Chapter XVIII: Epilogue

Our too advent'rous author soared to-night
Above the little praise, mirth to excite,
And chose with pity to chastise delight.
For laughter's a distorted passion, born
Of sudden self-esteem and sudden scorn;
Which, when 'tis o'er, the men in pleasure wise,
Both him that moved it and themselves despise;
While generous pity of a painted woe
Makes us ourselves both more approve and know.
What is that touch within which nature gave
For man to man e'er fortune made a slave?
Sure it descends from that dread Power alone,
Who levels thunder from His awful throne,
And shakes both worlds--yet hears the wretched groan.
'Tis what the ancient sage could ne'er define,
Wondered--and called part human, part divine;
'Tis that pure joy which guardian angels know,
When timely they assist their care below,
When they the good protect, the ill oppose;
'Tis what our sovereign feels when she bestows,
Which gives her glorious cause such high success,
That only on the stage you see distress.

_THE TENDER HUSBAND:_

OR

_THE ACCOMPLISHED FOOLS._

"Oportet ut is qui audiat cogitet plura quam videat."[77]
CICERO DE ORATORE.

Steele's third play, _The Tender Husband: or, the Accomplished Fools, a Comedy_, was given to Rich, of the Theatre Royal, in March, 1705, and was produced on April 23, when it ran for five nights, "with several entertainments of singing by Mrs. Tofts, and dancing"; and again in May and June. The profits were but small. The play was published by Tonson on the 9th of May. It was acted several times nearly every year between 1705 and 1736, and occasionally afterwards. In 1760, Garrick appeared as Sir Harry Gubbin, and in 1802, Charles Kemble and Mrs. Jordan acted in the piece. Mills (Clerimont, Sen.), Wilks (Capt. Clerimont), Estcourt (Pounce), Bullock (Sir Harry Gubbin), Pinkethman (Humphry Gubbin), Norris (Tipkin), Mrs. Powell (Aunt), and Mrs. Oldfield (Niece), were in the original cast. Steele was indebted for some ideas in the fourth Act to Molière's _Sicilien: ou, l'Amour Peintre_, and possibly to Cibber's _Careless Husband_, which had recently appeared. In No. 555 of the _Spectator_ he said that "many applauded strokes" in the piece were from Addison's hand. Fielding, Goldsmith, and Sheridan had Steele's play in view when they created the characters of Squire Western, Tony Lumpkin, and Lydia Languish. The phrase "accomplished fools" had been used by Steele in the _Lying Lover_ (p. 148).

_To_

MR. ADDISON.[78]

SIR,

You'll be surprised, in the midst of a daily and familiar conversation, with an address which bears so distant an air as a public dedication. But to put you out of the pain which I know this will give you, I assure you I do not design in it, what would be very needless, a panegyric on yourself, or what, perhaps, is very necessary, a defence of the play. In the one I should discover too much the concern of an author, in the other too little the freedom of a friend.

My purpose in this application is only to show the esteem I have for you, and that I look upon my intimacy with you as one of the most valuable enjoyments of my life. At the same time I hope I make the Town no ill compliment for their kind acceptance of this Comedy, in acknowledging that it has so far raised my opinion of it, as to make me think it no improper memorial of an inviolable friendship.

I should not offer it to you as such, had I not been very careful to avoid everything that might look ill-natured, immoral, or prejudicial to what the better part of mankind hold sacred and honourable.

Poetry, under such restraints, is an obliging service to human society; especially when it is used, like your admirable vein, to recommend more useful qualities in yourself, or immortalise characters truly heroic in others. I am here in danger of breaking my promise to you, therefore shall take the only opportunity that can offer itself of resisting my own inclinations, by complying with yours. I am,

SIR,

Your most faithful,

Humble Servant,

RICHARD STEELE.