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FrancesBrookeandDavidGarrick K.J.H.BERLAND .TrancesMooreBrooke(1725-1789)isoneofthemanyeighteenth- centurywomenofletterswhoseworkhasrecentlybeenrediscoveredand revaluated.Shewasaprolificwriter;herproductionsincludeavarietyof forms,rangingfromperiodicalessays,translations,plays,andnovelsto operas.Shewasalsoactivelyinvolvedintheatricalproduction.Such activityinevitablybroughtherintocontactwithDavidGarrick.Thetwo didnotgetalongwellatall,andthehistoryofthisconflictisinteresting becausethebrightlightofadulationthatGarrickattractedseemstohave madeitdifficultfornegativeviewsofhisinfluencetosurvive.Itwas certainlynotalwayseasytoworkwithhim,andevenlesseasytoworkin his shadow. First,abriefoutlineofBrooke'scareermaybeinorder.Herfirst publicationwasaweeklypaper,TheOldMaid,publishedinthirty-seven numbersin1755.'In1756shemarried,andsoonaftermovedwithher husbandtoQuebec,wherehewaschaplaintotheEnglishgarrison.Her stayinCanadalastedonlyafewyears,butthelandscapeevidentlymade alastingimpressiononher.DescriptionsofsublimeCanadianscenery appearinherfirstnovel,TheHistoryofLadyJuliaMandeville(1763), andmostofherbest-knownnovel,TheHistoryofEmilyMontague (1769),issetinCanada.Anothernovel,TheExcursion,cameoutin 1777,andTheHistoryofCharlesMandevillewaspublishedposthu- 217 218 / BERLAND mouslyin1790.Brookewasalsoanabletranslator.Amongtheworks shepublishedweretranslationsofMme.Riccaboni'sLadyJulietCatesby (1764),Framéry'sMemoirsoftheMarquisdeSt.Forlaix(1770),andthe AbbéMilot'sElementsoftheHistoryofEngland(1771). Brookewasfascinatedbythetheaterallherlife,ifwecanjudgebythe evidencefoundthroughoutmostofherworks.Amongthelettersinthe OldMaidareseveralcommentingonplaysandoncurrentproductions, andhercriticismisofteninsightfulandoriginal.Thereisalsoarich supplyofdramaticcriticisminanumberofpassagesinhernovels.She wroteseveralpiecesforthetheater,thehistoryofwhichisworthyof note. In1756,Brookepublishedatragedy,Virginia(drawnfromLivy's histories),followingaprotractedandunsuccessfulseriesofattemptsto findaproducerwillingtopresentitontheLondonstage.2Thoughthe theaterwasherfirstlove,sheinitiallyachievedsuccessinotherliterary endeavors.Withthissuccess,Brooke'sfriendshipsinliterarycircles appeartohavebecomeextensive;shewasacquaintedwithCharlesBur- ney,ElizabethGriffith,AnnaSeward,FannyBurney,Dr.Johnson,and HannahMore,amongothers.Shebecameparticularlyclosetothe actressMaryAnn(Fanny)Yates,andtheyeventuallybecameco-man- agersoftheKing'sTheatreintheHaymarketforseveralyears.During thisperiod,Brooke'stragedy,TheSiegeofSinope,ranfortennightsat theCovent-GardenTheatre(1781),andshehadgreatsuccesswithtwo playswithmusicalsettingsbyWilliamShields.Rosina(1783)hada remarkablerun,andthepublishedplay(withthemusicalscore)was muchindemand.Thirteeneditionscameoutby1796(eleveninthefirst threeyears);itwasalsowidelyanthologized. Anothermusicalplay,Marian,appearedin1788.Ittoowaspopular, thoughitdidnotmatchtheextraordinarysuccessofRosina.Fanny Yatesdiedin1787;Brooke'seulogyofherpartnerandfriendwaspub- lishedintheGentleman'sMagazine?Brookediedearlyin1789,afew daysafterthedeathofherhusband,andsheisburiedinSleaford, Lincolnshire. TheseriousnessofBrooke'sinterestinthetheatercanbeseeninher firstpublication,TheOldMaid.Thenarrativepersona,MarySingleton, quiteearlyintheseriesofpapersestablishesherintentionofvoicingher opinionwithouthesitationorfalsemodesty.Herobservationsabout manytopicsareboldandincisive,andmanyofthepapersontheatrical topicsareespeciallyinteresting.Amongthesepaperssheoffersdetailed criticismofdramaticpoetry,praiseofspecificperformances,andcom- mentaryoncurrenttrendsontheLondonstage. Inanearlynumber,Singletonproposesaschemetoreformthestage. FrancesBrookeandDavidGarrick / 219 Shedeclaresthatshewillformanacademyof"realjudges,"a"little courtoffemalecriticism,"whichwill"takeintoconsiderationallstage offensesagainstsenseanddecency"(29).Inthiscapacity,theOldMaid commentsonanumberoftopics,rangingfromtheattackontheimmo- ralityofthestagewhichwasrenewedaftertheLisbonearthquake,coun- teredbyherowndisquisitiononthemoralutilityofthestage(30-38), protestagainsttheill-treatmentofanactressatCovent-Gardenbya memberoftheaudience(123),thecurrencyofKingLear(139)andthe LearsofBarryandGarrick(145-50),praiseofMrs.Clive'sparodyof ItalianOpera(219),anamusingaccountoftheMoroccanAmbassador's naivedelightintheplay-houses(220),tocomplaintsaboutactorsupstag- ingeachotherwithdistractingstage-business(222). ReviewingthestateofBritishtheater,Singletonclaimstherearepoets nowlivinginEnglandcapableofequallingtheancients,thoughcontem- porarypiecesonthestagefallshortofthegreatplaysoftheprevious age.Thisdecline,sheinsists,isdueto"particularcircumstances"which shesaysshemayexplaininanotherpaper(17).Thoughshedoesnot makethisthreatgood,itseemslikelythatBrookewasthinkingofwriting aboutthemonopolyheldbyproducerssuchasGarrickandRich,a complaintsheheldbackforanotheroccasion.Still,herownsenseof powerlessnessasawriterofunproducedplaysappearsinawrydiscus- sionofthewayauthorssufferfromthediffidenceoftheirfriends,who arereluctanttopraiseanauthor'sworkinpublicforfearofaccusations ofpuffing(23).Noneoftheplay-houseshadacceptedherplays,andshe hadnotyetmanagedtobreakintothecharmedcirclethatcouldprovide friendlyrecommendations. ThisisnottosuggestthatallSingleton'scriticismsomehowreflects Brooke'sownfrustrations.Inseveralpassagesshewriteswithanacute criticalsensesharpenedbyastrongsenseofliteraryvalue.Intheremark- ableessayonLearinTheOldMaid,No.18,MarySingletondemonstratesherindependenceofthoughtbycounteringthecontemporary tasteforNahumTate's"corrected"Shakespearewithastrongly-worded defenseoftheoriginal: Ithasalwaysbeenmatterofgreatastonishmenttome,thatboththe houseshavegiven7ere's[wretched]adulterationofKingLearthe preferencetoShakespearesexcellentoriginal,whichMr.Addison,the mostcandid,aswellasjudiciousofcritics,thinkssoinfinitely preferable,astobearnodegreeofcomparison;andonecannothelp remarkingparticularly,andwithsomesurprize,thatMr.Garrick,who professeshimselfsowarmanidolaterofthisinimitablepoet,andwho isdetermined,ifImayusehisownwords,intheprologuetothe Winter'sTale, Tolosenodropofthisimmortalman, 220 / BERLAND shouldyetpreferthe[vile]adulteratedcupofTatetothepuregenuine draftofferedhimbythemasterheavowstoservewithsuchfervencyof devotion.(149)4 ReprovingGarrickforcontinuingtouseTate'sLearbyturningGarrick's ownmuchvauntedchampionshipofShakespearebackuponhimisa subtleyetpotentattack.SingletondoesnotsubjectBarrytosimilar criticism,sayingonlythathewasrighttochoosetoactthesameversion sothecompetitionbetweenthetwogreatactorsappearingintheplayat rivalhouseswouldbe"onafairfooting." Itisnotsoclearthatheraccountofthecompetitionisasbalanced.She writesthatsheattendedBarry'sperformancewithseveralofher"critical virgins,"andlavishespraiseonthe"strongandaffecting...tenderness" ofBarry'sinterpretation:"HeneverlosessightoftheFather,butinall hisrage,eveninthemidstofhisseverestcurses,youseethathisheart, heavilyinjuredasheis,andprovokedtothelastexcessoffury,stillowns theoffendersforhischildren"(145).Itisthisvisibleconflictofloveand ragethatconvincesherBarry'smannerofplayingLear"appearsper- fectlyconsistentwiththewholemeaningofthepoet"(147).Whenshe comesto"thecompetition"betweentherivalactors,suchisherenthusi- asmforthisperformancethatshepraisesBarryatGarrick'sexpense: Ihavenotyetbeensofortunateastoseethelatterinit,whose performance,Idoubtnot,isnolessjustlythangenerallycelebratedand admired;buttheadvantageMr.Barryhasfromhisperson,thevariety ofhisvoice,anditsparticularaptitudetoexpressthedifferingtones whichsorrow,pity,orragenaturallyproduce,areofsuchservicetohim inthischaracter,thathecouldnotfailofpleasing,thoughhedidnot playitwithallthejudgmentwhichinmyopinionhedoes.(150) Afterherprefatorydiscussionof"fair"competitionbetweenthe Lears,forBrooketocomplimentBarrysoextravagantlywithoutactually havingseenGarrick—orsosaying—isattheveryleastinjudicious,andis farfrombeingstrictlyfair.Yetthereismorethanalittleevidencethat Brookeisactingdeliberately,thatitisnotBrookewhonods. Rather,sheisemployingdeliberaterhetoricalstrategies,especially whenshelistsBarry's"advantages."Thisisaloadedword,foritdenotes bothabsoluteandrelativemerits.Barry'spersonandexpressivevoiceare theattributesthatmakehimagreatactor;theyarealsofactorsthatin thisaccountlifthimabovehiscompetitor.Moreover,thesuggestionthat Barry'sLearismorejudiciousandmorefaithfultoShakespeareeffec- tivelydefinesanidealperformancewhileitundercutsthefaintpraise awardedtoGarrick. FrancesBrookeandDavidGarrick / 221 WhenGarrickreadthisaccount,then,theslightmusthavebeensuffi- cientlyclear.LordOrrery,concernedwiththesuccessofthepaper,wrote nervouslyinthemarginsofhiscopy,"ThePreferenceofBarrytoGar- rickwillgivethelattergreatoffence."5Garrick'ssensitivitytopublic criticismiswell-known,andhedidnotescapethecompetitionwithBarry unscathed;Garrick'senvybecameapartofthepopularmythologythat attachesitselftoagreatfigure.Professionaljealousyisthekeynoteof thesatiricversesontheBarry-GarrickLearswhichTheophilusCibber records(commentingthat"toguesswhowashurtmostbyMr.Barry's ApplausecannotbeaveryhardMattertoguess"). Criticksattend—andjudgetherivalLears; WhilsteachcommandsApplause,andeachyourTears: ThenownthisTruth,—wellheperformshisPart Whotouches,—evenGarricktotheHeart. BidMaliceceasetosnare,—andWitsbemute. IfboththeLearshaveMeritinthyEyes, Onbothsmilegracious,anddividethePrize: OffutureWorthletCandourbetheTest; WAoenviesmostshallbebutSecondBest.6 Garrick'slaterproductionsofKingLeardidrestorealargerpartofthe originalversionthanhehadusedbeforeTheOldMaiddaredtoquestion him;whetherBrookedirectlyinfluencedthischangeisopentodebate.7 WhywouldFrancesBrookewanttoattacksuchaformidablepublic figureasGarrick?Perhapsinpartbecauseshehadalreadytangledwith him,andtheresultsoftheirencounterhadgrievouslywoundedherpride inherwork.Shehadbroughthimhertragedy,Virginia,atsometimein theearly175Os,butfailedtoconvincehimtoproduceit.Thesituation wasnotinitselfunusual,forthemanagersoftheLondonstagewere constantlydelugedwithmanuscripts,manyofwhichmusthavebeen reallyworthless.MostofGarrick'sbiographerstakeasympatheticview. ThomasDaviespresentsthecasewithajudicioustone: Themostdifficultandirksometaskwhichamanagerofatheatrecan, perhaps,undergo,arisesfromhisconnexionwithauthors.Toacceptor refuseaplayisamatterofmoreconsequencethantheworldingeneral imagines.Thewritingadramaticpiece,withouttheassistanceofa candidandintelligentmanager,and,perhaps,thefarthersupportofa considerableparty,willscarceanswertheviewsoftheauthor.Thetime bestowedinrehearsingthepiece,andtheexpenseofnewscenes, dresses,music,andotherdecorations,makeitoftenveryineligibletoa directorofatheatretoacceptanewplay;especiallywhenitis consideredthattherevivingofagoodoldplaywillanswerhisendof 222 / BERLAND profit,andreputationtoo,perhaps,aswell....Butthemanagerruns theriskofdisobliginganauthorandhisfriends,onwhoseworkhehas presumedtoputanegative.CibberandGarrick,whowereauthorsas wellasplayersandmanagers,experiencedthemostviolentresentments fornotthinkingsowellofawriter'sworkasheandhisfriendsdid.The mantowhomnaturehasdeniedthegeniustocomposeaplayorafarce, mayhaveabilitiestostrikeoutaverypoignantsatire.8 Davies,incommonwithmanytheatricalhistorians,assumesthatthe managers'negativedecisionswerereliable,basedonliterarystandards andashrewdsenseofwhatwouldplaywell.Suchisthemanager's prerogative,butitcoversamultitudeofsins,accordingtoother accounts.Thoughtherewereundoubtedlymanybadplaysamongthose submittedtothemanagers,theremusthavebeensomeworthyofpro- duction.Theargumentofbusinesscannotbeuniversallyapplied.Davies' argumentistooheavilyweightedinfavourofthemanagers.Notallthe satiricalattacksuponmanagerswerelaunchedbywriterslackingdramaticgenius .Suchcomplaintsbyauthorsrecurfrequently,whichsug- geststhattheproblemwasnotsoeasilyreconciledasthemanagersand theirapologistswouldlike.FieldingattackstheCibbers'reignasman- agersinTheAuthor'sFarce,andotherplaywrightshadtroublewith Booth,Rich,Garrick,andSheridan.Fewmanagersescapedsimilar criticism. Thoughplaysoftenmetwithrejection,Brookewasconvincedthatin hercaseGarrickhadactedinahigh-handed,evenoutrageousmanner. ThematterwascomplicatedbythefactthatGarrickapparentlykeptthe playforsometime—Brookeclaims,withoutreadingit—andreturnedit onlyafterhehadproducedSamuelCrisp'splayofthesamenamein 1754.ThefactthatDrury-LanehadpresentedoneVirginia,andCovent- Gardenanothertragedybasedonthesametalein1755(JohnMoncrief's Appius)significantlydiminishedthevalueofherownplay.Brooke retainedasenseofgrievancethatthepublichadnotbeenallowedthe opportunitytojudgeherVirginiainafaircomparisonofstageproduc- tions.Exactlywhattheresultmighthavebeenisdifficulttodetermine; evenwiththebenefitofhindsightitisnoteasytogetaclearpictureof theeighteenthcentury'spopulartasteintragedy. Inspiteofseveralfairlypositivereviewsofthepublishedversion,9the failuretobringVirginiaontothestagemeantthatitpracticallydisap- pearedfromsight.Theextentofthiseclipsecanstillberecognizedinthe adjoiningentriesinBaker'sNewTheatricalDictionary: Virginia.Tr.byMr.Crisp,8vo.1754.Thistragedyisbuiltonthe celebratedstoryofVirginius'skillinghisdaughter,topreserveherfrom FrancesBrookeandDavidGarrick / 223 thelustofAppiustheDecemvir.ItwasactedattheTheatreRoyalin Drury-Lanewithsomesuccess,andindeednotundeservedly. Virginia.Tr.byMrs.FrancesBrooke,8vo.1756.Thisplay, consideringitaswrittenbyalady,isfarfrombeingdevoidofmerit.It wasnot,however,broughtonthestage.10 Theplay'sfateseemstohavepleasedGarrick,whoseaccountofthe businesstoMme.Riccobonisometenyearslaterrevealshisconviction thatthewayhehadhandledVirginiawasdirectlyrelatedtotheunpleas- antnessinOldMaidNo.18:"IamnotacquaintedwithMrsBrooke:she oncewroteaplay,whichIdidnotlike,&wouldnotact,forwhich heinousoffence,sheventedherfemaleSpiteuponMe,inapapershe publish'dcall'dyeOldMaid,butIforgiveherasthoroughly,asher Workisforgotten.""Garrickwiselyrefrainedfromenteringintoapublic battlewithBrooke,thoughthereareseveralextantlettersindicatingthat thehostilitiescontinued. In1773,BrookeformedapartnershipwithFannyYatestomanagethe King'sTheatreintheHaymarket,whichhadbeenpurchasedbyJames BrookeandRichardYates(Brooke'sbrother-in-lawandYates'shus- band).12GenestnotesBrooketurnedhertalentstowriting"withaviewto herstyleofacting."13ComparisonofthepartofThamyrisinTheSiege ofSinopewithcontemporaryaccountsofYates'sstylesuggestsBrooke madeagoodmatch.Herfriend'sstrengthswererageanddisdain,pride, violence,andmajesty(thoughherportrayalof"tenderfeelings"wasless convincing),14exactlywhatactingThamyriswouldseemtorequire. TherewereothercircumstancesintheBrooke-Yatespartnershipthat mayhaveincreasedGarrick'sirritation.In1766...
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