Complete Works of William Congreve

by William Congreve

  LUCY. I have that in my head may make mischief.

  SILV. How, dear Lucy?

  LUCY. You know Araminta’s dissembled coyness has won, and keeps him hers —

  SILV. Could we persuade him that she loves another —

  LUCY. No, you’re out; could we persuade him that she dotes on him, himself. Contrive a kind letter as from her, ’twould disgust his nicety, and take away his stomach.

  SILV. Impossible; ‘twill never take.

  LUCY. Trouble not your head. Let me alone — I will inform myself of what passed between ’em to-day, and about it straight. Hold, I’m mistaken, or that’s Heartwell, who stands talking at the corner— ’tis he — go get you in, madam, receive him pleasantly, dress up your face in innocence and smiles, and dissemble the very want of dissimulation. You know what will take him.

  SILV. ’Tis as hard to counterfeit love as it is to conceal it: but I’ll do my weak endeavour, though I fear I have not art.

  LUCY. Hang art, madam, and trust to nature for dissembling.

  Man was by nature woman’s cully made:

  We never are but by ourselves betrayed.

  SCENE II.

  Heartwell, Vainlove and Bellmour following.

  BELL. Hist, hist, is not that Heartwell going to Silvia?

  VAIN. He’s talking to himself, I think; prithee let’s try if we can hear him.

  HEART. Why, whither in the devil’s name am I agoing now? Hum — let me think — is not this Silvia’s house, the cave of that enchantress, and which consequently I ought to shun as I would infection? To enter here is to put on the envenomed shirt, to run into the embraces of a fever, and in some raving fit, be led to plunge myself into that more consuming fire, a woman’s arms. Ha! well recollected, I will recover my reason, and be gone.

  BELL. Now Venus forbid!

  VAIN. Hush —

  HEART. Well, why do you not move? Feet, do your office — not one inch; no, fore Gad I’m caught. There stands my north, and thither my needle points. Now could I curse myself, yet cannot repent. O thou delicious, damned, dear, destructive woman! S’death, how the young fellows will hoot me! I shall be the jest of the town: nay, in two days I expect to be chronicled in ditty, and sung in woful ballad, to the tune of the Superannuated Maiden’s Comfort, or the Bachelor’s Fall; and upon the third, I shall be hanged in effigy, pasted up for the exemplary ornament of necessary houses and cobblers’ stalls. Death, I can’t think on’t — I’ll run into the danger to lose the apprehension.

  SCENE III.

  Bellmour, Vainlove.

  BELL. A very certain remedy, probatum est. Ha, ha, ha, poor George, thou art i’ th’ right, thou hast sold thyself to laughter; the ill-natured town will find the jest just where thou hast lost it. Ha, ha, how a’ struggled, like an old lawyer between two fees.

  VAIN. Or a young wench between pleasure and reputation.

  BELL. Or as you did to-day, when half afraid you snatched a kiss from Araminta.

  VAIN. She has made a quarrel on’t.

  BELL. Pauh, women are only angry at such offences to have the pleasure of forgiving them.

  VAIN. And I love to have the pleasure of making my peace. I should not esteem a pardon if too easily won.

  BELL. Thou dost not know what thou wouldst be at; whether thou wouldst have her angry or pleased. Couldst thou be content to marry Araminta?

  VAIN. Could you be content to go to heaven?

  BELL. Hum, not immediately, in my conscience not heartily. I’d do a little more good in my generation first, in order to deserve it.

  VAIN. Nor I to marry Araminta till I merit her.

  BELL. But how the devil dost thou expect to get her if she never yield?

  VAIN. That’s true; but I would —

  BELL. Marry her without her consent; thou ‘rt a riddle beyond woman —

  SCENE IV.

  [To them] Setter.

  Trusty Setter, what tidings? How goes the project?

  SETTER. As all lewd projects do, sir, where the devil prevents our endeavours with success.

  BELL. A good hearing, Setter.

  VAIN. Well, I’ll leave you with your engineer.

  BELL. And hast thou provided necessaries?

  SETTER. All, all, sir; the large sanctified hat, and the little precise band, with a swinging long spiritual cloak, to cover carnal knavery — not forgetting the black patch, which Tribulation Spintext wears, as I’m informed, upon one eye, as a penal mourning for the ogling offences of his youth; and some say, with that eye he first discovered the frailty of his wife.

  BELL. Well, in this fanatic father’s habit will I confess Lætitia.

  SETTER. Rather prepare her for confession, sir, by helping her to sin.

  BELL. Be at your master’s lodging in the evening; I shall use the robes.

  SCENE V.

  Setter alone.

  SETTER. I shall, sir. I wonder to which of these two gentlemen I do most properly appertain: the one uses me as his attendant; the other (being the better acquainted with my parts) employs me as a pimp; why, that’s much the more honourable employment — by all means. I follow one as my master, the other follows me as his conductor.

  SCENE VI.

  [To him] Lucy.

  LUCY. There’s the hang-dog, his man — I had a power over him in the reign of my mistress; but he is too true a Valet de Chambre not to affect his master’s faults, and consequently is revolted from his allegiance.

  SETTER. Undoubtedly ’tis impossible to be a pimp and not a man of parts. That is without being politic, diligent, secret, wary, and so forth — and to all this valiant as Hercules — that is, passively valiant and actively obedient. Ah, Setter, what a treasure is here lost for want of being known.

  LUCY. Here’s some villainy afoot; he’s so thoughtful. May be I may discover something in my mask. Worthy sir, a word with you. [Puts on her mask.]

  SETTER. Why, if I were known, I might come to be a great man —

  LUCY. Not to interrupt your meditation —

  SETTER. And I should not be the first that has procured his greatness by pimping.

  LUCY. Now poverty and the pox light upon thee for a contemplative pimp.

  SETTER. Ha! what art who thus maliciously hast awakened me from my dream of glory? Speak, thou vile disturber —

  LUCY. Of thy most vile cogitations — thou poor, conceited wretch, how wert thou valuing thyself upon thy master’s employment? For he’s the head pimp to Mr. Bellmour.

  SETTER. Good words, damsel, or I shall — But how dost thou know my master or me?

  LUCY. Yes; I know both master and man to be —

  SETTER. To be men, perhaps; nay, faith, like enough: I often march in the rear of my master, and enter the breaches which he has made.

  LUCY. Ay, the breach of faith, which he has begun: thou traitor to thy lawful princess.

  SETTER. Why, how now! prithee who art? Lay by that worldly face and produce your natural vizor.

  LUCY. No, sirrah, I’ll keep it on to abuse thee and leave thee without hopes of revenge.

  SETTER. Oh! I begin to smoke ye: thou art some forsaken Abigail we have dallied with heretofore — and art come to tickle thy imagination with remembrance of iniquity past.

  LUCY. No thou pitiful flatterer of thy master’s imperfections; thou maukin made up of the shreds and parings of his superfluous fopperies.

  SETTER. Thou art thy mistress’s foul self, composed of her sullied iniquities and clothing.

  LUCY. Hang thee, beggar’s cur, thy master is but a mumper in love, lies canting at the gate; but never dares presume to enter the house.

  SETTER. Thou art the wicket to thy mistress’s gate, to be opened for all comers. In fine thou art the highroad to thy mistress.

  LUCY. Beast, filthy toad, I can hold no longer, look and tremble. [Unmasks.]

  SETTER. How, Mrs. Lucy!

  LUCY. I wonder thou hast the impudence to look me in the face.

  SETTER. Adsbud, who’s in fault, mistress of mine?
who flung the first stone? who undervalued my function? and who the devil could know you by instinct?

  LUCY. You could know my office by instinct, and be hanged, which you have slandered most abominably. It vexes me not what you said of my person; but that my innocent calling should be exposed and scandalised — I cannot bear it.

  SETTER. Nay, faith, Lucy, I’m sorry, I’ll own myself to blame, though we were both in fault as to our offices — come, I’ll make you any reparation.

  LUCY. Swear.

  SETTER. I do swear to the utmost of my power.

  LUCY. To be brief, then; what is the reason your master did not appear to-day according to the summons I brought him?

  SETTER. To answer you as briefly — he has a cause to be tried in another court.

  LUCY. Come, tell me in plain terms, how forward he is with Araminta.

  SETTER. Too forward to be turned back — though he’s a little in disgrace at present about a kiss which he forced. You and I can kiss, Lucy, without all that.

  LUCY. Stand off — he’s a precious jewel.

  SETTER. And therefore you’d have him to set in your lady’s locket.

  LUCY. Where is he now?

  SETTER. He’ll be in the Piazza presently.

  LUCY. Remember to-day’s behaviour. Let me see you with a penitent face.

  SETTER. What, no token of amity, Lucy? You and I don’t use to part with dry lips.

  LUCY. No, no, avaunt — I’ll not be slabbered and kissed now — I’m not i’ th’ humour.

  SETTER. I’ll not quit you so. I’ll follow and put you into the humour.

  SCENE VII.

  Sir Joseph Wittoll, Bluffe.

  BLUFF. And so, out of your unwonted generosity —

  SIR JO. And good-nature, Back; I am good-natured and I can’t help it.

  BLUFF. You have given him a note upon Fondlewife for a hundred pound.

  SIR JO. Ay, ay, poor fellow; he ventured fair for’t.

  BLUFF. You have disobliged me in it — for I have occasion for the money, and if you would look me in the face again and live, go, and force him to redeliver you the note. Go, and bring it me hither. I’ll stay here for you.

  SIR JO. You may stay until the day of judgment, then, by the Lord Harry. I know better things than to be run through the guts for a hundred pounds. Why, I gave that hundred pound for being saved, and de’e think, an there were no danger, I’ll be so ungrateful to take it from the gentleman again?

  BLUFF. Well, go to him from me — tell him, I say, he must refund — or Bilbo’s the world, and slaughter will ensue. If he refuse, tell him — but whisper that — tell him — I’ll pink his soul. But whisper that softly to him.

  SIR JO. So softly that he shall never hear on’t, I warrant you. Why, what a devil’s the matter, Bully; are you mad? or de’e think I’m mad? Agad, for my part, I don’t love to be the messenger of ill news; ’tis an ungrateful office — so tell him yourself.

  BLUFF. By these hilts I believe he frightened you into this composition: I believe you gave it him out of fear, pure, paltry fear — confess.

  SIR JO. No, no, hang’t; I was not afraid neither — though I confess he did in a manner snap me up — yet I can’t say that it was altogether out of fear, but partly to prevent mischief — for he was a devilish choleric fellow. And if my choler had been up too, agad, there would have been mischief done, that’s flat. And yet I believe if you had been by, I would as soon have let him a’ had a hundred of my teeth. Adsheart, if he should come just now when I’m angry, I’d tell him — Mum.

  SCENE VIII.

  [To them] Bellmour, Sharper.

  BELL. Thou ‘rt a lucky rogue; there’s your benefactor; you ought to return him thanks now you have received the favour.

  SHARP. Sir Joseph! Your note was accepted, and the money paid at sight. I’m come to return my thanks —

  SIR JO. They won’t be accepted so readily as the bill, sir.

  BELL. I doubt the knight repents, Tom. He looks like the knight of the sorrowful face.

  SHARP. This is a double generosity: do me a kindness and refuse my thanks. But I hope you are not offended that I offered them.

  SIR JO. May be I am, sir, may be I am not, sir, may be I am both, sir; what then? I hope I may be offended without any offence to you, sir.

  SHARP. Hey day! Captain, what’s the matter? You can tell.

  BLUFF. Mr. Sharper, the matter is plain: Sir Joseph has found out your trick, and does not care to be put upon, being a man of honour.

  SHARP. Trick, sir?

  SIR JO. Ay, trick, sir, and won’t be put upon, sir, being a man of honour, sir, and so, sir —

  SHARP. Harkee, Sir Joseph, a word with ye. In consideration of some favours lately received, I would not have you draw yourself into a premunire, by trusting to that sign of a man there — that pot-gun charged with wind.

  SIR JO. O Lord, O Lord, Captain, come justify yourself — I’ll give him the lie if you’ll stand to it.

  SHARP. Nay, then, I’ll be beforehand with you, take that, oaf. [Cuffs him.]

  SIR JO. Captain, will you see this? Won’t you pink his soul?

  BLUFF. Husht, ’tis not so convenient now — I shall find a time.

  SHARP. What do you mutter about a time, rascal? You were the incendiary. There’s to put you in mind of your time. — A memorandum. [Kicks him.]

  BLUFF. Oh, this is your time, sir; you had best make use on’t.

  SHARP. I — Gad and so I will: there’s again for you. [Kicks him.]

  BLUFF. You are obliging, sir, but this is too public a place to thank you in. But in your ear, you are to be seen again?

  SHARP. Ay, thou inimitable coward, and to be felt — as for example. [Kicks him.]

  BELL. Ha, ha, ha, prithee come away; ’tis scandalous to kick this puppy unless a man were cold and had no other way to get himself aheat.

  SCENE IX.

  Sir Joseph, Bluffe.

  BLUFF. Very well — very fine — but ’tis no matter. Is not this fine, Sir Joseph?

  SIR JO. Indifferent, agad, in my opinion, very indifferent. I’d rather go plain all my life than wear such finery.

  BLUFF. Death and hell to be affronted thus! I’ll die before I’ll suffer it. [Draws.]

  SIR JO. O Lord, his anger was not raised before. Nay, dear Captain, don’t be in passion now he’s gone. Put up, put up, dear Back, ’tis your Sir Joseph begs, come let me kiss thee; so, so, put up, put up.

  BLUFF. By heaven, ’tis not to be put up.

  SIR JO. What, Bully?

  BLUFF. The affront.

  SIR JO. No, aged, no more ’tis, for that’s put up all already; thy sword, I mean.

  BLUFF. Well, Sir Joseph, at your entreaty — But were not you, my friend, abused, and cuffed, and kicked? [Putting up his sword.]

  SIR JO. Ay, ay, so were you too; no matter, ’tis past.

  BLUFF. By the immortal thunder of great guns, ’tis false — he sucks not vital air who dares affirm it to this face. [Looks big.]

  SIR JO. To that face I grant you, Captain. No, no, I grant you — not to that face, by the Lord Harry. If you had put on your fighting face before, you had done his business — he durst as soon have kissed you, as kicked you to your face. But a man can no more help what’s done behind his back than what’s said — Come, we’ll think no more of what’s past.

  BLUFF. I’ll call a council of war within to consider of my revenge to come.

  SCENE X.

  Heartwell, Silvia. Silvia’s apartment.

  SONG.

  As Amoret and Thyrsis lay

  Melting the hours in gentle play,

  Joining faces, mingling kisses,

  And exchanging harmless blisses:

  He trembling cried, with eager haste,

  O let me feed as well as taste,

  I die, if I’m not wholly blest.

  [After the song a dance of antics.]

  SILV. Indeed it is very fine. I could look upon ’em all day.

  HEART. Well has this pre
vailed for me, and will you look upon me?

  SILV. If you could sing and dance so, I should love to look upon you too.

  HEART. Why, ’twas I sung and danced; I gave music to the voice, and life to their measures. Look you here, Silvia, [pulling out a purse and chinking it] here are songs and dances, poetry and music — hark! how sweetly one guinea rhymes to another — and how they dance to the music of their own chink. This buys all t’other — and this thou shalt have; this, and all that I am worth, for the purchase of thy love. Say, is it mine then, ha? Speak, Syren — Oons, why do I look on her! Yet I must. Speak, dear angel, devil, saint, witch; do not rack me with suspense.