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THE AUGUSTAN REPRINT SOCIETY

CATHERINE CLIVE

RICHARD C. FRUSHELL

H.T. Swedenberg, Junior

Where could they find another formed so fit, To poise, with solid sense, a sprightly wit? Were these both wanting, as they both abound, Where could so firm integrity be found?

GENERAL EDITORS

William E. Conway, William Andrews Clark Memorial Library George Robert Guffey, University of California, Los Angeles Maximillian E. Novak, University of California, Los Angeles David S. Rodes, University of California, Los Angeles

ADVISORY EDITORS

Richard C. Boys, University of Michigan James L. Clifford, Columbia University Ralph Cohen, University of Virginia Vinton A. Dearing, University of California, Los Angeles Arthur Friedman, University of Chicago Louis A. Landa, Princeton University Earl Miner, Princeton University Samuel H. Monk, University of Minnesota Everett T. Moore, University of California, Los Angeles Lawrence Clark Powell, William Andrews Clark Memorial Library James Sutherland, University College, London H.T. Swedenberg, Jr., University of California, Los Angeles Robert Vosper, William Andrews Clark Memorial Library Curt A. Zimansky, State University of Iowa

CORRESPONDING SECRETARY

Edna C. Davis, William Andrews Clark Memorial Library

EDITORIAL ASSISTANT

Jean T. Shebanek, William Andrews Clark Memorial Library

Typography by Wm. M. Cheney

INTRODUCTION

Mrs. Clive's stature as a comic actress would, then, seemingly make her a prize for Rich or Fleetwood, but they did their best to thwart her career and happiness at their theaters.

I suspect that their motivation in so doing was fear that her temper, her influence with other actors and her audiences, and her strong loyalty to her profession would hinder their legislated power to control absolutely London theaters, players, and audiences in 1743. Not much investigation is required to see Mrs. Clive at her clamoring best, at various times head to head with Susannah Cibber, Peg Woffington, Woodward, Shuter, or Garrick. Her letters to Garrick show that as late as the sixties she was quite capable of vitriol when she felt that she or her friends were unjustly treated. Tate Wilkinson was surely correct in describing her as "a mixture of combustibles; she was passionate, cross, and vulgar," often simultaneously. If this were the case in mere greenroom tiffs or casual correspondence, how the ire of "the Clive" must have been excited by the cartelists, who did their utmost to keep her out of joint and almost out of sight.

The part you have maintained in the present dispute between the players and the patentees, is so full of honour, that had it been in higher life, it would have given you the reputation of the greatest heroine of the age. You looked on the cases of Mr. Highmore and Mrs. Wilks with compassion, nor could any promises or views of interest sway you to desert them; nor have you scrupled any fatigue ... to support the cause of those whom you imagine injured and distressed; and for this you have been so far from endeavouring to exact an exorbitant reward from persons little able to afford it, that I have known you to offer to act for nothing, rather than the patentees should be injured by the dismission of the audience.

Fielding is, of course, referring to the 1733 dispute in which Mrs. Clive among the principal players stayed with the ineffective proprietor of Drury Lane, John Highmore. Jealous that Highmore and not he gained control of Drury Lane after former shareholders either died or sold out, Theophilus Cibber demanded, among other things, that Highmore share profits with his players rather than pay fixed salaries. He then led the Drury Lane players in revolt in the autumn of 1733 to the New Haymarket where they played without a license until March of the 1733-1734 season, at which time they returned to Drury Lane under the new management of Fleetwood. The actors at least partially won this battle, and although Highmore tried to have the vagrant act enforced, the players returned to Drury Lane unscathed. With Highmore gone, a period of uneasy peace obtained. The players, however, were not to win so easily the next dispute, the one that took place after the passage of the licensing act.

As I intimated at the outset, the licensing act mainly troubled the London players because of the power of monopoly it invested in Fleetwood and Rich. Not only were the forums for dramatic presentation now restricted, but so was professional freedom. The problem, therefore, was as much philosophical as it was geographical. From the sixteenth century to 1737, English players had some freedom to rebel from intolerable authority and to form their own company. This freedom, this choice, as Lord Chesterfield pointed out in his speech against the act, was severely attenuated in 1737, and was to remain so in varying degrees until the monopoly the act allowed was legislated dead in 1843. But it was a cartel between the managers that the players most feared, and there is evidence in the pamphlets growing out of the struggle of 1743 that such a fear was well-founded.

The playing conditions at Drury Lane in the early forties were not good, a situation directly attributable to the ineptitude and highhandedness of Fleetwood and his refusal to pay salaries in full and on time. The manager's accommodating side-show performers in his company did not help. Macklin, as Fleetwood's lieutenant, had to try to pacify actors, workmen, creditors; as actor he commiserated with the players. With the coming of Garrick from Goodman's Fields to Drury Lane late in the 1741-1742 season and with a progressively disgruntled Clive all the principals in the revolt are under one--leaky--roof.

The main complaint of Fleetwood's company, then, was not only base salary but the "Fallacy" of the manager's account and his "setting down besides the Manager's Charges, every benefit Night, what is got by the Actor's own private Interests in Money and Tickets, as also the Article of 50L for Cloaths, added to the Actresses Account, which is absolutely an Advantage to the Manager, as they always lay out considerably more." This evidence, if not in itself damning to Fleetwood's designs toward his actors, at least indicates the internecine breach at Drury Lane.

Evidence that Mrs. Clive was in no position to be avaricious and that a debilitating cartel in fact existed is found in her own essay. When the defected players returned to Drury Lane late in 1743, Fleetwood offered Mrs. Clive a salary incompatible with her talent and lower than his previous "agreements" with her. Clive says, "They were such as I was advis'd not to accept, because it was known they were proposed for no reason but to insult me, and make me seek for better at the other Theatre; for I knew it had been settled, by some dark Agreement, that Part of the Actors were to go to Covent-Garden Theatre, and others to Drury-Lane."

Led to believe that she would find comfort and acceptance at Covent Garden based on previous encouragement by Rich to have her join his company, Mrs. Clive realized that the dark agreement was a fact, for "When I apply'd to him, he offered me exactly the same which I had refused at the other Theatre." She managed a bit more salary, however, and out of necessity agreed to play. More rankling to Mrs. Clive than basic salary was her being forced to pay for her benefit. The extant Clive-Garrick correspondence points to the pride she took in not only a "clear" benefit but one held during that part of the month she dictated. As is the case with salary, the basis for this complaint was unreasonable manipulation by the managers, loss of freedom, and an unjustified break with tradition: "I had had one clear of all Expence for Nine Years before; an Advantage the first Performers had been thought to merit for near Thirty Years, and had grown into a Custom."

Mrs. Clive did not regularly play for Rich until December 1743, from which time she "determined to stay there," doing all in her power to please her audiences and him. Yet she "found, by his Behaviour to me, it was designed I should not continue with him." Clive's specific exposition of Rich's mistreatment of her is a portrait of an actress aware of her worth and of a manager at his worst. Fired from Covent Garden--against custom and justice--at the end of the season without being told, Mrs. Clive could not arrange to play in Ireland, where she was a great favorite, for Rich's cheat did not become clear to her until summer was too far advanced. Clive says it all when she observes "it is unlawful to act any where but with them." Fleetwood was the only alternative for the next season, and he still owed her ?160. 12s. At the time of Clive's Case Fleetwood had not yet contacted her for engagement at Drury Lane even though he could not "but know I am disengag'd from the other Theatre." Nor could have Clive expected much of a salary from him even if he did call on her since the last season he offered her "not near half as much as he afterwards agreed to give another Performer, and less than he then gave to some others in his Company." Mrs. Clive could not but conclude that the managers were in league to distress her. In the final third of her essay, Mrs. Clive presents a rather touching account of the personal costs of a piece of legislation which was itself manipulated and "interpreted in the narrow sense of forming the legal safeguard to the patent monopoly."

The next season finds her back at Drury Lane, where she reigns uncontested queen of comedy for more than twenty years. In addition to the return of Clive, the 1745-1746 season at Drury Lane is noteworthy because of a reinstated Macklin, a de-throned Fleetwood, a new manager , a well-balanced company soon to be augmented by player-manager Garrick, prospects for a bright future--and a theatrical monopoly stronger than ever. In the latter regard Mrs. Clive's case is revealing in that it gives a new emphasis to the epithet His Majesties' Servants.

Indiana State University Terre Haute

NOTES TO THE INTRODUCTION

Yet, with Fitzgerald , I believe that Fielding could have helped Mrs. Clive ready her Case for the press. Certainly the "correctness" of that printed text could not have been achieved by her alone. Cf. Clive's MS letters, Appendix, "An Edition of the Afterpieces."

, pp. 15-16.

Crean, "Life and Times," p. 254 n. 1, points out that on the very day of this benefit a second notice of Mrs. Clive's Case appeared.

BIBLIOGRAPHICAL NOTE

Submitted to the PUBLICK.

Submitted to the PUBLICK.

In order to put an End to some false Reports, which have been raised in Relation to my not acting this Season, as well as to bespeak the Favour of the Publick, I have, by the Advice of my Friends, ventured to address my self to them, from whom I have received many and great Marks of Favour, and whose further Protection I now stand in need of.

I know Appeals of this Nature, which relate to Disputes that happen at a Theatre, are by some thought presuming and impertinent, supposing they are too trifling to demand Attention: But, as I persuade my self that Injustice and Oppression are by no means thought Matters of Indifference by any who have Humanity, I hope I shall not be thought to take too great a Liberty. I am the more encouraged to hope this from Experience; it having been observed, that those Performers, who have had the Happiness to please on the Stage, and who never did any thing to offend the Publick, whenever they have been injured by those who presided over Theatres, have seldom, if ever, failed of Redress upon representing the Hardships they met with: And, as I at this time, apprehend my self to be greatly oppressed by the Managers of both Theatres, I hope I shall be justified in taking this Method of acquainting the Publick with my Case, submitting it to their Determination.

And since I have mentioned those Disputes, which ended so greatly to the Disadvantage of the Actors, I must beg Leave to endeavour to set that Matter in a clear Light, which hitherto has been misrepresented to the Publick: I think my self obliged to this, as the Hardships I at present labour under are owing to that Disagreement; if any think I treat this Matter too seriously, I hope they will remember, that however trifling such Things may appear to them, to me, who am so much concerned in 'em, they are of great Importance, such as my Liberty and Livelihood depend on.

As only two Theatres were authorised, the Managers thought it was in their Power to reduce the Incomes of those Performers, who could not live independant of their Profession; but in order to make this appear with a better Face to the Town, it was agreed to complain of the Actors Salaries being too great, and accordingly a false Account was published of them in the daily Papers, by whom I will not say: Whether, or no, some particular Salaries were so, I will not pretend to determine; yet, in the whole, they did not amount to more than had been allowed for many Years, when the Theatre was under a frugal and exact Regulation; when the Managers punctually fulfilled, not only all Engagements to their Actors, but to every other Person concerned in the Theatre, and raised very considerable Fortunes for themselves.

But supposing the Expence of the Theatre too high, I am very certain it was not the Actors refusing to submit to a proper Reduction of them, which made so many of them quit the Stage, but from great Hardships they underwent, and greater which they feared would happen from an Agreement supposed to be concluded betwixt the two Managers, which made 'em apprehend, that if they submitted to act under such Agreements, they must be absolutely in the Managers Power; and the Event has proved that their Fears were not ill-grounded, as I doubt not but I shall make appear.

The Agreements betwixt that Manager and me were verbal, but made before two Gentlemen of Character and Fortune, on whom I must depend for the fulfilling of them; they were for one Year. At the end of the Acting-season the Manager sent an Office-keeper to me with some Salary that was due, who required a Receipt in full; I told him a very great Part of my Agreements were yet due, and requested to see the Manager, who came and acknowledged them, and promised to bring one of the Gentlemen who was pressent at our Ingagements in a Day or two and pay me, and then he said he had done with me; but he has not paid me, nor have I ever seen him since, or as much as heard from him.

As I have said, it has been a Custom to give Actors Notice of a Discharge: I must at the same time observe, That it never was a Custom to discharge any, but upon Neglect of their Business, or such as were obnoxious to the Publick; this Maxim extended even to those of the lowest Class; but to those, on whose Performances the Town had been pleased to stamp a Value, by their Indulgence and Applause, the Stage was always a Support, even after Age or any Accident had made 'em incapable of their Profession; for the then Patentees thought it as great a Piece of Insolence to deprive the Publick of their Pleasures, as of Cruelty and Injustice to deny those a Subsistence who had contributed towards 'em; for they knew and acknowledged, that the Publick was the only Support of all, consequently had an indisputable Right to be pleased in the best manner possible.

I am sorry I am reduced to say any thing in favour of myself; but, as I think I merit as much as another Performer, and the Managers are so desirous to convince me of the contrary, I hope I shall be excused; especially when I declare, that at this time, I am not in the least vain of my Profession.

As to my Performances, the Audience are the only, proper Judges: But I may venture to affirm, That my Labour, and Application, have been greater than any other Performers on the Stage. I have not only acted in almost all the Plays, but in Farces and Musical Entertainments; and very frequently two Parts in a Night, even to the Prejudice of my Health. I have been at a very great Expence in Masters for Singing; for which Article alone, the Managers now give five and six Pounds a Week. My additional Expences, in belonging to the Theatre, amount to upwards of one Hundred Pounds a Year, in Clothes, and other Necessaries; and the pretended great Salaries, of ten and twelve Pounds a Week, which have been so artfully, and falsly represented to the Town, to the Prejudice of the Actors, will, upon Enquiry, appear to be no more than half as much, since they performed half Season, at the Theatres, very seldom above three or four Days a Week; so taking in the long Vacation, when there are no Plays at all, to those Days the present Managers omit acting, a Salary which appears to be great, will be found, in effect, to be very moderate; and those which are less, not a Sufficiency.

The Reason of my taking the Liberty to communicate these Things to the Publick, is most earnestly to interceed for their Favour and Protection, from whom I have always met with great Generosity and Indulgence: For, as I have already declared, in a Letter published by me last Year in the Daily Papers, that I had not a Fortune to support me, independent of my Profession, I doubt not but it will appear, I have not made any considerable Acquisition to it since, having not received two Hundred Pounds Salary for acting in Plays, Farces, and Singing; tho' other Performers have received more than twice that Sum. I have, in Consideration of these Hardships, been promised the Protection of many Ladies, to whom I have the Honour to be personally known, and will not doubt the Concurrence of the Publick, in receiving my Performance in the best manner I am, at present, capable of, which I shall always most gratefully Acknowledge.

C. CLIVE

FINIS.

WILLIAM ANDREWS CLARK MEMORIAL LIBRARY

UNIVERSITY OF CALIFORNIA, LOS ANGELES

THE AUGUSTAN REPRINT SOCIETY

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