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The Way of the World

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(1700)

Audire est operae pretium, prcedere recte

Qui maechis non vultis. HORACE. Sat. i. 2, 37.

--Metuat doti deprensa.-Ibid.

This play premiered in 1700 at the theatre in Lincoln's Inn Fields in London, England. It is widely regarded as one of the best Restoration comedies. It is based on the two lovers, Mirabell and Millamant (originally played by John Verbruggen and Anne Bracegirdle). In order for the two to get married and receive Millamant's full dowry, Mirabell must receive the blessing of Millamant's aunt, Lady Wishfort. Unfortunately, she is a very bitter lady, who despises Mirabell and wants her own nephew, Sir Wilfull, to wed Millamant. Another character, Fainall, is having a secret affair with Mrs. Marwood, a friend of Mrs. Fainall's, who in turn once had an affair with Mirabell. In the mean time Mirabell's servant is married to Foible, Lady Wishfort's servant. Waitwell pretends to be Sir Rowland and, on Mirabell's command, tries to trick Lady Wishfort into a false engagement.

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Prologue--Spoken by Mr. Betterton.
Of those few fools, who with ill stars are curst, Sure scribbling fools, called poets, fare the worst: For they're a sort of fools which fortune makes, And, after she has made 'em fools, forsakes. With Nature's oafs 'tis quite a diff'rent case, For Fortune favours all her i***t race. In her own nest the cuckoo eggs we find, O'er which she broods to hatch the changeling kind: No portion for her own she has to spare, So much she dotes on her adopted care. Poets are bubbles, by the town drawn in, Suffered at first some trifling stakes to win: But what unequal hazards do they run! Each time they write they venture all they've won: The Squire that's buttered still, is sure to be undone. This author, heretofore, has found your favour, But pleads no merit from his past behaviour. To build on that might prove a vain presumption, Should grants to poets made admit resumption, And in Parnassus he must lose his seat, If that be found a forfeited estate. He owns, with toil he wrought the following scenes, But if they're naught ne'er spare him for his pains: Damn him the more; have no commiseration For dulness on mature deliberation. He swears he'll not resent one hissed-off scene, Nor, like those peevish wits, his play maintain, Who, to assert their sense, your taste arraign. Some plot we think he has, and some new thought; Some humour too, no farce--but that's a fault. Satire, he thinks, you ought not to expect; For so reformed a town who dares correct? To please, this time, has been his sole pretence, He'll not instruct, lest it should give offence. Should he by chance a knave or fool expose, That hurts none here, sure here are none of those. In short, our play shall (with your leave to show it) Give you one instance of a passive poet, Who to your judgments yields all resignation: So save or damn, after your own discretion.

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