The Kit-Cat Club: Friends Who Imagined a Nation. Ophelia Field

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СКАЧАТЬ home, Somers was an incurable bibliophile. His library in Powys House, the impressive brick residence the King had granted him in Lincoln's Inn, was dominated by the legal texts in which the Tonson family firm specialized. Like Tonson, Somers' claim to gentility depended on his display of learning, and this library was the most tangible proof of that education. Tonson was careful not to lose touch with his increasingly powerful friend. He kept Somers' shelves well stocked and met him regularly to ‘unbend’ over an after-work drink in a tavern near Temple Bar, where the commerce of the City intersected with the politics and law of Westminster.

      Tonson also flattered Somers' learning by offering the statesman opportunities for dispensing patronage to various authors in Tonson's publishing fold. Being unmarried and without significant extended family to support, Somers was free to put his patronage to such use. His beneficiaries included Dryden, though Somers allegedly authored an anonymous poem critical of Dryden's Catholicism and regretting, ‘The knot of friendship is but loosely tied / Twixt those that heavenly concerns divide.’²¹ Dryden in turn introduced younger authors to Tonson and hence to Somers' purse. Two such authors who arrived in London during these exciting post-Revolutionary years would quickly become the leading playwrights of their generation: William Congreve and John Vanbrugh.

      Congreve had been 4 years old when his father, an English army officer, was posted to Ireland in 1674. A perk for those, like Congreve's father, in nominal service to the Lord Lieutenant of Ireland was free education for their sons at the best Irish grammar school, Kilkenny. Some sixty pupils were enrolled at the school in the early 1680s and Jonathan Swift was enrolled two years behind Congreve. Congreve went on to Trinity College Dublin at age 16 in 1686, with Swift following a few years later; these two talented young men lived together in the small community of students for several years without leaving any surviving trace of a particular attachment to one another.

      Beyond Trinity's Elizabethan red brick walls, Dublin remained something of a frontier town, a place of opportunity for entrepreneurs and rough justice for criminals, including pirates, smugglers, deserters and horse-thieves; a place where disgraced Englishmen bought cheap land and acquired new identities. The Glorious Revolution was neither quick nor bloodless in Ireland. Instead, it haemorrhaged into the War of the Two Kings (between William III and James II, or ‘Liam’ and ‘Seamus’), with violence that pushed out large numbers of Anglo-Irish refugees. When Trinity College closed in 1689 because of the upheavals, Swift fled to England, where he found his first job as secretary to a retired diplomat. That spring, as the deposed King James tried to retake Ireland with the aid of French troops, 19-year-old Congreve likewise fled to England where his family had well-off relatives happy to put them up. Congreve lodged first with his grandfather in Staffordshire, where, recuperating from an illness, he picked up a pen and began to compose his first play.

      Two years later, Congreve arrived in London, a fresh-faced 21-year-old looking for an edgier and more fashionable existence than that on offer in Staffordshire. He was admitted to study law at Middle Temple in March 1691, but was described by a friend as having ‘a wit of too fine a turn to be long pleased with that crabbed, unpalatable study’.²² Middle Temple was not overly concerned if he neglected his legal studies to pursue a ‘coffee house education’ instead, since for many so-called ‘amateur’ students the Inns of Court were merely gentlemen's finishing schools, providing congenial central London lodgings.²³ Congreve himself described the education of Middle Temple as being more social than professional—‘Inns o’ Court breeding', he said, was mainly about learning to snub one's country relations when they came to town.²⁴

      Congreve's wit quickly made him many friends among his fellow students—several of whom would end up as his fellow Kit-Cats in the years ahead. He went drinking with them in the self-consciously literary taverns and coffee houses of Covent Garden, northwest of the Temple. In that neighbourhood, according to one Kit-Cat poet, lawyers traded their robes for the lace coats of dandies, country girls lost their noses to syphilis, ‘Poets canvass the Affairs of State’, and all classes ‘blend and jostle into Harmony’.²⁵

      In the centre of Covent Garden was Will's Coffee House, where Dryden held court among literati of all political shades. Congreve was probably introduced to this circle by one of the other ageing Restoration dramatists of London: Thomas Southerne or William Wycherley, whom Congreve knew through some cousins. Dryden's court at Will's was imperious: those allowed to take a pinch from his snuffbox comprised his inner circle, while his special chair had a prescribed place by the fire in winter and on the balcony in summer, which he called ‘his winter and his summer seat’.²⁶ Yet, at the same time, Dryden carried himself with a charming humility that impressed Congreve deeply: Dryden was, Congreve remembered, ‘of all the Men that ever I knew, one of the most Modest’.²⁷ The next generation of writers would say much the same of Congreve.

      Dryden soon declared ‘entire affection’ for Congreve: ‘So much the sweetness of your manners move / We cannot envy you, because we love,’ he wrote.²⁸ Congreve, in return, said he was ‘as intimately acquainted with Mr Dryden as the great Disproportion in our Years could allow’, concluding quite simply that he ‘loved’ the old man.²⁹ Congreve showed his Staffordshire manuscript to Dryden, who declared he had never seen ‘such a first play in his life’, but added that ‘it would be a pity to have it miscarry for want of a little assistance’. What the comedy, entitled The Old Batchelor, needed, Dryden declared, was only ‘the fashionable cut of the town’.³⁰ Though ostensibly a plot of romantic intrigues, the real seduction of the play lies in the enviably quick wit exchanged between its male characters—it is a love letter to the urbane world Congreve must have imagined in his teens and in which he was now becoming accepted. Taking Dryden's suggestions on board, Congreve spent summer 1692 in Derbyshire reworking the text. By Michaelmas, thanks to Dryden's endorsements, Congreve was directing rehearsals of The Old Batchelor at the Theatre Royal on Drury Lane.

      It was likely during these rehearsals that Congreve fell in love with the woman who would become his muse throughout the next decade: the actress Anne Bracegirdle, or ‘Bracey’. Since adolescence, Bracey had acted under the tutelage of Mr and Mrs Betterton, two experienced members of the United Company, the theatre company based at the Theatre Royal. A brunette with dark sparkling eyes, a blushing complexion and a miraculously perfect set of even white teeth, it was said of Bracey that ‘few Spectators that were not past it could behold her without Desire’.³¹ Congreve met her when she was ‘blooming to her Maturity’³² and already a star.

      It was more respectable to claim infatuation with Bracey than with most actresses, since she was reputed to be as chaste as the virgins she played. She lived with her mother in rented lodgings on Howard Street, where Congreve paid drawing-room visits. If their Northamptonshire family was related to the Staffordshire Bracegirdles, they may even have been distantly related to Congreve. But away from the decorum of Howard Street, backstage at the theatre, Congreve pursued Bracey with fervour, writing her a love poem that lamented her chastity:

      Would I were free from this Restraint,

      Or else had hopes to win her; Would she could make of me a Saint, Or I of her a Sinner.³³

      The Old Batchelor opened in March 1693 to a ‘Torrent of Applause’ that would СКАЧАТЬ