Whatever Passions may thy Mind infest,
(Where is that Mind which Passions ne’er molest?)
Amidst the Pangs of such intestine Strife,
Still think the present Day, the last of Life; 60
Defer not till to Morrow to be wise,
To Morrow’s Sun to thee may never rise.
Or shou’d to Morrow chance to cheer thy Sight,
With her enliv’ning and unlookt-for Light,
How grateful will appear her dawning Rays! 65
As Favours unexpected doubly please.
Who thus can think and who such thoughts pursues,
Content may keep his Life, or calmly lose;
All Proofs of this Thou may’st thy self receive,
When Leisure from Affairs will give thee Leave. 70
Come, see thy Friend, retir’d without Regret,
Forgetting Care, or striving to forget;
In easy Contemplation soothing Time
With Morals much, and now and then with Rhime,
Not so robust in Body, as in Mind, 75
And always undejected, tho’ declin’d;
Not wond’ring at the World’s new wicked Ways,
Compar’d with those of our Fore-fathers Days,
For Virtue now is neither more or less,
And Vice is only varied in the Dress; 80
Believe it, Men have ever been the same,
And OVID’S Golden Age, is but a Dream.
FINIS.
List of Poems in Alphabetical Order
A-D E-H I-L M-O P-S T-V W-Z
Poems upon Several Occasions
EPISTLE TO THE RIGHT HONOURABLE CHARLES LORD HALIFAX, &C.
THE MOURNING MUSE
TO THE KING, ON THE TAKING OF NAMURE.
THE BIRTH OF THE MUSE.
ON MRS. ARABELLA HUNT, SINGING.
PRIAM’S LAMENTATION AND PETITION TO ACHILLES, FOR THE BODY OF HIS SON HECTOR.
THE LAMENTATIONS OF HECUBA, ANDROMACHE, AND HELEN, OVER THE DEAD BODY OF HECTOR.
PARAPHRASE UPON HORACE.
STANZA’S IN IMITATION OF HORACE, LIB. II. ODE XIV.
IN IMITATION OF HORACE. ODE IX. LIB. I.
SONG. I LOOK’D, AND I SIGH’D, AND I WISH’D I COU’D SPEAK
THE RECONCILIATION.
ABSENCE.
SONG. FALSE THOUGH SHE BE TO ME AND LOVE
SONG IN DIALOGUE, FOR TWO WOMEN.
SONG. CRUEL AMYNTA, CAN YOU SEE
SONG. SEE, SEE, SHE WAKES, SABINA WAKES!
OCCASIONED ON A LADY’S HAVING WRIT VERSES IN COMMENDATION OF A POEM WHICH WAS WRITTEN IN PRAISE OF ANOTHER LADY.
EPIGRAM
SONG. PIOUS SELINDA GOES TO PRAY’RS
A HYMN TO HARMONY.
VERSES TO THE MEMORY OF GRACE LADY GETHIN
EPITAPH UPON ROBERT HUNTINGTON, OF STANTON HARCOURT, ESQ; AND ROBERT HIS SON.
TO MR. DRYDEN, ON HIS TRANSLATION OF PERSIUS.
THE ELEVENTH SATIRE OF JUVENAL.
PROLOGUE TO QUEEN MARY
EPILOGUE AT THE OPENING OF THE QUEEN’S THEATRE IN THE HAY-MARKET
PROLOGUE TO PYRRHUS KING OF EPIRUS.
EPILOGUE TO OROONOKO.
PROLOGUE TO THE HUSBAND HIS OWN CUCKOLD.
PROLOGUE TO THE COURT; ON THE QUEEN’S BIRTH-DAY, 1704.
THE TEARS OF AMARYLLIS FOR AMYNTAS.
TO CYNTHIA, WEEPING AND NOT SPEAKING.
AMORET.
LESBIA.
DORIS.
TO SLEEP.
TO SIR GODFREY KNELLER,
TO A CANDLE.
ΟVID’S THIRD BOOK OF THE ART OF LOVE.
OF PLEASING
A PINDARIQUE ODE
A DISCOURSE ON THE PINDARIQUE ODE.
ODE.
TO THE RIGHT HONOURABLE THE EARL OF GODOLPHIN
IMPOSSIBLE THING.
THE PEASANT IN SEARCH OF HIS HEIFER.
HOMER’S HYMN TO VENUS.
TO THE READER OF THE ENSUING HYMN.
HOMER’S HYMN TO VENUS.
Songs from Plays
FROM THE OLD BATCHELOR.
SONG. THUS, TO A RIPE, CONSENTING MAID
SONG. AS AMORET AND THYRSIS LAY
FROM THE DOUBLE DEALER.
SONG. CYNTHIA FROWNS WHEN E’RE! WOO HER
SONG. ANCIENT PHILLIS, HAS YOUNG GRACES
FROM LOVE FOR LOVE.
SONG. A NYMPH AND A SWAIN TO APOLLO ONCE PRAY’D
FROM LOVE TRIUMPHANT.
SONG. SO FOREKNOWING THE CHEAT
FROM THE FAIR PENITENT.
SONG. AH STAY! AH TURN! AH WHITHER WOULD YOU FLY
Miscellaneous Songs and Poems
LEONORA’S SONG, FROM INCOGNITA
THE DECAY, A SONG.
THE MESSAGE, A SONG.
FADED DELIA MOVES COMPASSION
A TWO-PART SONG.
A POEM IN PRAISE OF THE AUTHOR.
THE OATH OF THE TOST
TO MARIA.
JACK FRENCH-MAN’S DEFEAT.
PROLOGUE. WRITTEN FOR MR. HAINS, AND SPOKEN BY HIM.
PROLOGUE TO THE PRINCESS.
PROLOGUE TO THE CONQUEST OF SPAIN
OVID’S METAMORPHOSES. BOOK X.
INTRODUCTION
THE OLD BACHELOR. A COMEDY
TO THE RIGHT HONOURABLE CHARLES, LORD CLIFFORD OF LANESBOROUGH, ETC.
TO MR. CONGREVE.
TO MR. CONGREVE.
TO MR. CONGREVE, ON HIS PLAY CALLED THE OLD BACHELOR.
PROLOGUE INTENDED FOR THE OLD BACHELOR.
PROLOGUE.
DRAMATIS PERSONÆ.
ACT I.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
ACT II.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
ACT III.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
ACT IV.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XV.
SCENE XVI.
SCENE XVII.
SCENE XVIII.
SCENE XIX.
SCENE XX.
SCENE XXI.
SCENE XXII.
ACT V.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE the Last
A DANCE.
EPILOGUE.
TO THE RIGHT HONOURABLE CHARLES MONTAGUE, ONE OF THE LORDS OF THE TREASURY.
TO MY DEAR FRIEND MR. CONGREVE, ON HIS COMEDY CALLED THE DOUBLE-DEALER.
PROLOGUE
DRAMATIS PERSONÆ.
ACT I.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
ACT II.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
>
ACT III.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
ACT IV.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XV.
SCENE XVI.
SCENE XVII.
SCENE XVIII.
SCENE XIX.
SCENE XX.
SCENE XXI.
ACT V.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XV.
SCENE XVI.
SCENE XVII.
SCENE XVIII.
SCENE XIX.
SCENE XX.
SCENE XXI.
SCENE XXII.
SCENE XXIII.
SCENE the last.
EPILOGUE.
TO THE RIGHT HONOURABLE CHARLES, EARL OF DORSET AND MIDDLESEX, LORD CHAMBERLAIN OF HIS MAJESTY’S HOUSEHOLD, AND KNIGHT OF THE MOST NOBLE ORDER OF THE GARTER, ETC.
PROLOGUE.
EPILOGUE.
ACT I. — SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XIV.
ACT II. — SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
ACT III. — SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XV.
ACT IV. — SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XV.
SCENE XVI.
SCENE XVII.
SCENE XVIII.
SCENE XIX.
SCENE XX.
SCENE XXI.
ACT V. — SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE the Last.
TO THE RIGHT HONOURABLE RALPH, EARL OF MOUNTAGUE, ETC.
PROLOGUE.
ACT I. — SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
ACT II. — SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
ACT III. — SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XV.
SCENE XVI.
SCENE XVII.
SCENE XVIII.
ACT IV. — SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XV.
ACT V. — SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE the Last.
EPILOGUE.
Preface
Prologue
Personæ Dramatis
Act I, Scene 1
Act I, Scene 2
Act II, Scene 1
Act II, Scene 2
Act II, Scene 3
Act III, Scene 1
Act III, Scene 2
Act IV, Scene 1
ARGUMENT INTRODUCTORY TO THE OPERA.
PERSONS REPRESENTED.
ACT I. SCENE I.
SCENE II.
SCENE III.
SCENE IV.
ACT II. SCENE I.
SCENE II.
SCENE III.
SCENE IV.
ACT III. SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
THE PREFACE TO THE READER.
INCOGNITA: OR, LOVE & DUTY RECONCIL’D
The Letter.
The Comedies
The Old Library, Trinity College Dublin — Congreve attended this university in the late 1660’s.
The Old Bachelor
William Congreve’s first play was produced in 1693 and set to music by the renowned English composer Henry Purcell. The plot concerns Heartwell, ‘a surly old pretended woman-hater’ and the bachelor of the title. Heartwell falls in love with Silvia, unaware that she is the forsaken mistress of Vainlove. Tricked into marrying her, he only discovers her true character afterwards from the gibes of his acquaintances. The parson that was brought in to marry them is in fact Vainlove’s friend Belmour, who has assumed the disguise for the purpose of an intrigue with Laetitia, the young wife of an uxorious old banker, Fondlewife.
The play is notable for introducing the amusing characters of Sir Joseph Wittol, a foolish knight, who allows himself to be really married to Silvia, under the impression that she is the wealthy Araminta, and his companion, the cowardly bully, Captain Bluffe, who under the same delusion is married to Silvia’s maid.
Congreve had actually written the play as a means of amusing himself while convalescing. The Old Bachelor was produced at the Theatre Royal, Drury Lane in 1693. Recognised as an instant success, it ran for a two-week period following positive reviews. Congreve’s mentor John Dryden praised the
production and proclaimed it to be a ‘brilliant first piece’. The success of the drama was in part due to the fine acting of performers Thomas Betterton and Anne Bracegirdle.
John Dryden by Sir Godfrey Kneller, c. 1720. Dryden was an important literary figure for Congreve, who prospered well under his guidance.
CONTENTS
INTRODUCTION
THE OLD BACHELOR. A COMEDY
TO THE RIGHT HONOURABLE CHARLES, LORD CLIFFORD OF LANESBOROUGH, ETC.
TO MR. CONGREVE.
TO MR. CONGREVE.
TO MR. CONGREVE, ON HIS PLAY CALLED THE OLD BACHELOR.
PROLOGUE INTENDED FOR THE OLD BACHELOR.
PROLOGUE.
DRAMATIS PERSONÆ.
ACT I.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
ACT II.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
ACT III.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
ACT IV.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE XV.
SCENE XVI.
SCENE XVII.
SCENE XVIII.
SCENE XIX.
SCENE XX.
SCENE XXI.
SCENE XXII.
ACT V.
SCENE I.
SCENE II.
SCENE III.
SCENE IV.
SCENE V.
SCENE VI.
SCENE VII.
SCENE VIII.
SCENE IX.
SCENE X.
SCENE XI.
SCENE XII.
SCENE XIII.
SCENE XIV.
SCENE the Last
A DANCE.
EPILOGUE.
Theatre Royal, Drury Lane, c. 1775
The interior of the theatre at Drury Lane, c. 1808
INTRODUCTION
I.
Before repeating such known facts of Congreve’s life as seem agreeable to the present occasion, and before attempting (with the courage of one’s office) to indicate with truth what manner of man he was, and what are the varying qualities of his four comedies, it seems well to discuss and have done with two questions, obviously pertinent indeed, but of a wider scope than the works of any one writer.
The first is a stupid question, which may be happily dismissed with brief ceremony. Grossness of language — the phrase is an assumption — is a matter of time and place, a relative matter altogether. There is a thing, and a generation finds a name for it. The delicacy which prompts a later generation to reject that name is by no means necessarily a result of stricter habits, is far more often due to the flatness which comes of untiring repetition and to the greater piquancy of litotes. I am told that there are, or were, people in America who reject the word ‘leg’ as a gross word, but they must have found a synonym. So there is not a word in Congreve for which there is not some equivalent expression in contemporary writing. He says this or that: your modern writers say so-and-so. One man may even think the monosyllables in better taste than the periphrases. Another may sacrifice to his intolerance thereof such enjoyment as he was capable of taking from the greatest triumphs of diction or observation: he is free to choose. It may be granted that to one unfamiliar with the English of two centuries since the grossness of Congreve’s language may seem excessive — like splashes of colour occurring too frequently in the arrangement of a wall. But that is merely a result of novelty: given time and habit, a more artistic perspective will be achieved.
Complete Works of William Congreve Page 19