The collected critical heritage the restoration and the augustans

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WILLIAM CONGREVE: THE CRITICAL HERITAGE THE CRITICAL HERITAGE SERIES General Editor: B.C.Southam The Critical Heritage series collects together a large body of criticism on major figures in literature Each volume presents the contemporary responses to a particular writer, enabling the student to follow the formation of critical attitudes to the writer’s work and its place within a literary tradition The carefully selected sources range from landmark essays in the history of criticism to fragments of contemporary opinion and little published documentary material, such as letters and diaries Significant pieces of criticism from later periods are also included in order to demonstrate fluctuations in reputation following the writer’s death WILLIAM CONGREVE THE CRITICAL HERITAGE Edited by ALEXANDER LINDSAY AND HOWARD ERSKINE-HILL London and New York First Published in 1989 11 New Fetter Lane London EC4P 4EE & 29 West 35th Street New York, NY 10001 This edition published in the Taylor & Francis e-Library, 2002 Compilation, introduction, notes and index © 1989 Alexander Lindsay and Howard Erskine-Hill All rights reserved No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers British Library Cataloguing in Publication Data ISBN 0-415-13431-5 (Print Edition) ISBN 0-203-19779-8 Master e-book ISBN ISBN 0-203-19782-8 (Glassbook Format) General Editor’s Preface The reception given to a writer by his contemporaries and nearcontemporaries is evidence of considerable value to the student of literature On one side we learn a great deal about the state of criticism at large and in particular about the development of critical attitudes towards a single writer; at the same time, through private comments in letters, journals or marginalia, we gain an insight upon the tastes and literary thought of individual readers of the period Evidence of this kind helps us to understand the writer’s historical situation, the nature of his immediate reading-public, and his response to these pressures The separate volumes in the Critical Heritage Series present a record of this early criticism Clearly, for many of the highly productive and lengthily reviewed nineteenth- and twentieth-century writers, there exists an enormous body of material; and in these cases the volume editors have made a selection of the most important views, significant for their intrinsic critical worth or for their representative quality—perhaps even registering incomprehension! For earlier writers, notably pre-eighteenth century, the materials are much scarcer and the historical period has been extended, sometimes far beyond the writer’s lifetime, in order to show the inception and growth of critical views which were initially slow to appear In each volume the documents are headed by an Introduction, discussing the material assembled and relating the early stages of the author’s reception to what we have come to identify as the critical tradition The volumes will make available much material which would otherwise be difficult of access and it is hoped that the modern reader will be thereby helped towards an informed understanding of the ways in which literature has been read and judged B.C.S v Contents PREFACE ACKNOWLEDGEMENTS INTRODUCTION Page xiii xiv Part I The Early Reception, 1691–1700 10 11 12 13 14 15 16 17 18 19 20 WILLIAM CONGREVE, Preface to Incognita, 1691 56 JOHN DRYDEN on The Old Batchelour, 1692 58 Prefatory poems to The Old Batchelour, 1693 59 PETER MOTTEUX in The Gentleman’s Journal, 1693 63 HENRY HIGDEN in the Preface to The Wary Widdow, 1693 64 JOHN DRYDEN in the dedication to Examen Poeticum, 1693 66 THOMAS YALDEN, ‘To Mr Congreve An Epistolary Ode Occasion’d by his late Play’, 1693 67 JONATHAN SWIFT, ‘To Mr Congreve’, 1693 70 WILLIAM CONGREVE, Epistle Dedicatory to The DoubleDealer, 1693 77 JOHN DRYDEN on The Double-Dealer, 1693 82 WILLIAM DOVE, ‘To Mr Congreve’, 1693 84 JOSEPH ADDISON in ‘An Account of the Greatest English Poets’, 1694 85 CHARLES HOPKINS in ‘To Walter Moyle, Esq.’, 1694 86 ANON in The Mourning Poets, 1695 87 EDWARD HOWARD in the Proem to An Essay upon Pastoral, 1695 88 WILLIAM CONGREVE, ‘Concerning Humour in Comedy’, 1695 90 WILLIAM PITTIS in An Epistolary Poem to N.Tate, Esquire, 1696 98 CATHARINE TROTTER, ‘To Mr Congreve, on his Tragedy, the Mourning Bride’, 1697 101 SIR RICHARD BLACKMORE in the Preface to King Arthur, 1697 102 CHARLES HOPKINS, dedication of Boadicea, Queen of Britain, 1697 104 vii 21 ANON in The Justice of Peace, 1697 106 22 JEREMY COLLIER in A Short View of the Immorality, and Profaneness of the English Stage, 1698 108 23 ELKANAH SETTLE in A Defence of Dramatick Poetry, 1698 115 24 WILLIAM CONGREVE in Amendments of Mr Collier’s False and Imperfect Citations, 1698 116 25 ANON in A Letter to Mr Congreve, 1698 133 26 ANON in Animadversions on Mr Congreve’s Late Answer to Mr Collier, 1698 138 27 JEREMY COLLIER in A Defence of the Short View, 1698 139 28 ANON in Some Remarks upon Mr Collier’s Defence, 1698 160 29 CHARLES GILDON in A Letter to Mr Congreve, Occasion’d by the Death of the Countess Dowager of Manchester, 1698 163 30 ANON in ‘A Session of the Poets’, 1698 164 31 JOHN OLDMIXON in Reflections on the Stage, 1699 165 32 JAMES DRAKE in The Ancient and Modern Stages Survey’d, 1699 167 33 CHARLES HOPKINS in ‘An Epistle from Mr Charles Hopkins to Mr Yalden in Oxon.’, 1699 169 34 CHARLES GILDON in Lives and Characters of the English Dramatick Poets, 1699? 170 35 SIR RICHARD BLACKMORE in A Satyr against Wit, 1699 175 36 WILLIAM CONGREVE, dedication of The Way of the World, 1700 176 37 SAMUEL WESLEY in An Epistle to a Friend concerning Poetry, 1700 179 38 SAMUEL COBB in Poetae Britannici, 1700 180 39 DANIEL KENRICK in A New Session of the Poets, Occasion’d by the Death of Mr Dryden, 1700 181 40 ANON in An Epistle to Sir Richard Blackmore, 1700 182 Part II The Eighteenth-Century Response, 1701–93 41 RICHARD STEELE, ‘Epistle to Mr Congreve, occasion’d by his Comedy call’d The Way of the World’, 1701 42 ANON in A Comparison between the Two Stages, 1702 43 ANON in The Tryal of Skill, 1704 44 RICHARD STEELE on The Old Batchelour and ‘Doris’, 1709–13 45 JOHN DENNIS in Remarks upon Mr Pope’s Translation of Homer, 1717 viii 184 186 188 190 193 46 RICHARDSON PACK in ‘Of STUDY’, 1719 195 47 GILES JACOB in The Poetical Register, 1719 195 48 LADY MARY WORTLEY MONTAGU, ‘To the Memory of Mr Congreve’, 1729 198 49 JONATHAN SWIFT in a letter to Viscount Bolingbroke and Alexander Pope, 1729 199 50 DAVID MALLET, ‘A Poem to the Memory of Mr Congreve’, 1729 200 51 ANON in An Epistle to Lord Viscount Cobham, 1730 205 52 ALEXANDER POPE, miscellaneous comments 211 53 FRANCOIS-MARIE AROUET DE VOLTAIRE in Letters Concerning the English Nation, 1733 212 54 WILLIAM POPPLE in The Prompter, 1735 213 55 ANON in The Daily Gazetteer, 1737 216 56 HENRY FIELDING in The Champion, 1739 217 57 SAMUEL FOOTE in The Roman and English Comedy Consider’d and Compar’d, 1747 218 58 EDMUND BURKE in The Reformer, 1748 219 59 WILLIAM MELMOTH on Congreve’s translations of Homer, 1750 220 60 JOHN CAMPBELL and ANDREW KIPPIS in Biographia Britannica, 1750 and 1789 224 61 JOSEPH WARTON in The Adventurer, 1754 229 62 ARTHUR MURPHY in The Gray’s Inn Journal, 1754 230 63 ARTHUR MURPHY (?), three reviews in The London Chronicle, 1757–8 231 64 CHARLES CHURCHILL in The Rosciad, 1761 236 65 ARTHUR MURPHY in ‘An Essay on the Life and Genius of Henry Fielding, Esq;’, 1762 237 66 HENRY HOME, Lord Kames in Elements of Criticism, 1762–3 239 67 SAMUEL JOHNSON in The Life of Samuel Johnson, L.L.D., by James Boswell, 1769 245 68 FRANCIS GENTLEMAN in The Dramatic Censor, 1770 246 69 ANON., review of The Way of the World in The Gazetteer and New Daily Advertiser, 1775 250 70 WILLIAM MASON in ‘Memoirs of the Life and Writings of Mr Gray’, 1775 252 71 HORACE WALPOLE in ‘Thoughts on Comedy’, 1775–6 253 ix WILLIAM CONGREVE actually offended, especially where these passages are diverting, easily lifted from their context, and characteristic of their author Two such passages of The Double Dealer at once suggest themselves Mr Brisk is Sparkish of The Country Wife It has been objected that Congreve has spoiled the encounters between Mr Brisk and my Lady Froth by allowing them to misconduct themselves in the prevailing fashion of the comedy Let us very solemnly reflect that the loves of Mr Brisk and my Lady Froth have very solemnly been censured Then let us read the passage wherein they are discovered: Lady Froth O Parnassus! who would have thought Mr Brisk could have been in love, ha! ha! ha! O Heavens, I thought you could have had no mistress but the nine Muses Brisk No more I have, egad, for I adore ’em all in your ladyship Let me perish, I don’t know whether to be splenetic or airy upon’t; the deuce take me if I can tell whether I’m glad or sorry that your ladyship has made the discovery Lady Froth O be merry by all means! Prince Volscius in love! ha! ha! ha! Brisk O barbarous, to turn me into ridicule! Yet, ha! ha! ha!—the deuce take me, I can’t help laughing myself, ha! ha! ha!—yet by Heavens! I have a violent passion for your ladyship, seriously Lady Froth Seriously? ha! ha! ha! Brisk Seriously, ha! ha! ha! Gad, I have, for all I laugh Lady Froth Ha! ha! ha! What d’ye think I laugh at? ha! ha! ha! Brisk Me, egad, ha! ha! Lady Froth No, the deuce take me if I don’t laugh at myself; for, hang me! if I have not a violent passion for Mr Brisk, ha! ha! ha! Brisk Seriously? Lady Froth Seriously, ha! ha! ha! [IV, vi, 30–56] It is a grave text indeed Another passage, which seems painfully to have disturbed Sir Richard Steele, is a duologue between Sir Paul Plyant and his daughter Cynthia Sir Paul has been censured for indelicately assuming that a possible result of his daughter’s marriage will be an heir: Sir Paul [To CYNTHIA.] He! and wilt thou bring a grandson at nine months’ end, he!—a brave chopping boy? I’ll settle a thousand pound a year upon the rogue, as soon as he looks me in the face; I will, gadsbud! I’m 480 T H E C R I T I C A L H E R I TA G E overjoyed to think I have any of my family that will bring children into the world For I would fain have some resemblance of myself in my posterity, hey, Thy? Can’t you contrive that affair, girl? do, gadsbud, think on thy old father, he? make the young rogue as like as you can Cyn I’m glad to see you so merry, sir Sir Paul Merry! gadsbud, I’m serious; I’ll give thee five hundred pounds for every inch of him that resembles me; ah, this eye, this left eye! a thousand pound for this left eye This has done execution in its time, girl; why thou hast my leer, hussy, just thy father’s leer:—let it be transmitted to the young rogue by the help of imagination; why ’tis the mark of our family, Thy; our house is distinguished by a languishing eye, as the house of Austria is by a thick lip.—Ah! when I was of your age, hussy, I would have held fifty to one I could have drawn my own picture.—Gadsbud! I could have done—not so much as you neither,—but—nay, don’t blush— Cyn I don’t blush, sir, for I vow I don’t understand— Sir Paul Pshaw! pshaw! you fib, you baggage; you understand, and you shall understand [IV, iii, 109–38] This passage, transcribed literatim, is not precisely in late nineteenth century phrase or taste; but the old gentleman who jokes at the marriage feast about a christening is encountered outside the licentious comedies of the Restoration In many scenes of The Double Dealer ‘manners’ alone are the theme Of these, two at least may profitably be cited here The first is a dialogue on laughter between Lord Froth, Brisk, Careless and Mellefont: Lord Froth I assure you, Sir Paul, I laugh at nobody’s jest but my own or a lady’s: I assure you, Sir Paul Brisk How? how, my lord? what, affront my wit! let me perish, I never say anything worthy to be laughed at? Lord Froth O foy! don’t misapprehend me: I don’t say so, for I often smile at your conceptions But there is nothing more unbecoming a man of quality than to laugh; ’tis such a vulgar expression of the passion! everybody can laugh Then, especially to laugh at the jest of an inferior person, or when anybody else of the same quality does not laugh with one; ridiculous! To be pleased with what pleases the crowd! Now when I laugh, I always laugh alone Mel But does your lordship never see comedies? Lord Froth O yes, sometimes;—but I never laugh 481 WILLIAM CONGREVE Mel No? Lord Froth O no;—never laugh indeed, sir Care No? why, what d’ye go there for? Lord Froth To distinguish myself from the commonalty, and mortify the poets [I, iv, 22–v, 9] The second is a dialogue wherein is devised between Mr Brisk and my Lady Froth the celebrated heroic poem of Jehu, formerly a hackneycoachman It recalls, certainly not to its disadvantage, a classic passage of Molière [Quotes III, x, 1–58.] Congreve’s next play, Love for Love, was his most successful comedy It held the stage to the time of Hazlitt, who has eloquently described Munden in the part of Foresight Its success upon the stage is easily understood It has a better plot; and a better selection of what, in slang of the theatre, are called ‘character’ parts than any other comedy of the period Ben, ‘the absolute sea-wit;’ Foresight, the astrologer; Sir Sampson, the travelled ass; Tattle, who kept his secrets so mysteriously that all the town had wind of them; Miss Prue, the rustic ingénue, as forward as she is innocent—all are admirably of the stage It is characteristic of Love for Love that one remembers the persons and story of the play, which is neither possible nor necessary in the majority of Restoration comedies Nevertheless, Love for Love, as Congreve knew, is infinitely less admirable than The Double Dealer or The Way of the World It may reasonably be urged that comedies are built for the stage, and that if Love for Love acts better than The Way of the World, it is therefore a better play But this argument begs the question Whether a play acts better or worse than another, entirely depends upon the audience, and the particular qualities in a play which the audience is expecting Every audience to-day expects in a play the qualities in which Love for Love is stronger than The Way of the World They expect an intelligible story, characters strongly marked, and diverting situations, not too elaborately prepared But the audiences of the Restoration period were being educated into expecting a different sort of merit The tendency from Etherege to Congreve was to encourage the qualities in which The Way of the World excels every English comedy Plot 482 T H E C R I T I C A L H E R I TA G E counts hardly at all; characters are finely shaded; manners are the principal theme; style is the necessary excellence This type of comedy has never succeeded in England with a popular audience Undoubtedly it would have done so, had the Restoration influence survived; but causes, hereafter to be examined, were already at work, which damned the current of English comedy In Love for Love, Congreve turned aside from the natural development of his style It is the most loosely written of his comedies The best scenes are a bright effervescence of that style of which the full body is Millamant and Mirabell In one or two scenes—notably the scene where Miss Prue receives a first lesson in love from Mr Tattle—Congreve goes negligently back to the tumbling comedy of Wycherley The whole play is so obviously a backwater of the authentic stream, that it scarcely pays to dwell upon it very particularly As a specimen of the light running style of its dialogue—written, as it seems, joyously, currente calamo—we may with advantage read the celebrated passage between Mrs Foresight and Mrs Frail: Mrs Fore You never were at the World’s-End? Mrs Frail No Mrs Fore You deny it positively to my face? Mrs Frail Your face! what’s your face? Mrs Fore No matter for that, it’s as good a face as yours Mrs Frail Not by a dozen years’ wearing.—But I deny it positively to your face then Mrs Fore I’ll allow you now to find fault with my face; for I’ll swear your impudence has put me out of countenance:—but look you here now— where did you lose this gold bodkin?—O sister, sister! Mrs Frail My bodkin? Mrs Fore Nay, ’tis yours, look at it Mrs Frail Well, if you go to that, where did you find this bodkin?—O sister, sister!—sister every way [II, ix, 50–67] The Way of the World was produced in 1700 Betterton, Mrs Barry, Mrs Bracegirdle, and Mrs Leigh were in the cast; and Congreve wrote a prologue, in which the verdict of his audience was asked, with a confession that the play had cost him dear The respectful irony of this appeal was too fine to be resented, even had it been perceived But the verdict was against him 483 WILLIAM CONGREVE The Comedy of Manners, as we have followed it from Etherege through Wycherley, to Congreve, has been a reflexion of contemporary life Congreve has left, in his dedication of The Way of the World to Montague, unmistakable evidence of his intention ‘If,’ says Congreve, ‘it has happened in any part of this comedy, that I have gained a turn of style or expression more correct, or at least, more corrigible, than in those which I have formerly written, I must, with equal pride and gratitude, ascribe it to honour of your Lordship’s admitting me into your conversation, and that of a society where everybody else was so well worthy of you, in your retirement last summer from the town; for it was immediately after that this comedy was written.’ We are now upon the summit of our theme The Way of the World is a perfect expression of the temperament whose origins we have studied in the letters and plays of Sir George Etherege Life is accepted and observed—not as a problem, but a pageant The earlier author’s impudent and bustling hedonism has, in his successor, grown to a calm and finished superiority to all that life can offer of good or bad Etherege accepted life as the raw material of good manners He asked no questions of Fate; life should minister to him occasions which he would improve as became a gentleman He was the cheerful philosopher, as yet unthinking, innocent of a system, obeying his appetite for the day, keeping no account of himself for the satisfaction of an imaginary creditor In Congreve, this life of the superficies has grown into a principle Existence is an agreeable pageant Microcosm and macrocosm are justified in that they are plain to the senses The whole duty of man is to talk, when he can, like Mirabell The cheerful wickedness of Etherege has given place to a more rounded and systematic iniquity; Congreve’s characters are epicures in pleasure, exquisites in villainy Their morality is as smoothly asserted in conduct and precept as the philosophy of Pope, which confines the universe in a couplet, and dismisses its ruler in an epigram Congreve’s muse is the full-blooded jade of Etherege and Wycherley come to discretion Coleridge was right Congreve’s theme is often but simple wickedness, empty of pleasure or lust There is an equable finality about the morality of The Way of the World—a dead level of conscience against which is vividly thrown a brilliant variety of manners and habits It is a final assertion of that noble laziness of the mind which began with Etherege, in accepting and enjoying the vicissitudes of fortune, and ended, with Congreve, in despising them Congreve seems ever to be passing his creatures in review with faint, expressive smiles of disdain 484 T H E C R I T I C A L H E R I TA G E Congreve’s finished wickedness, of a world that has refined upon its worldliness, is admirably sampled in the opening scene of our comedy: [MIRABELL and FAINALL, rising from cards.] Mir You are a fortunate man, Mr Fainall! Fain Have we done? Mir What you please: I’ll play on to entertain you Fain I’ll give you your revenge another time, when you are not so indifferent; you are thinking of something else now, and play too negligently; the coldness of a losing gamester lessens the pleasure of the winner I’d no more play with a man that slighted his illfortune than I’d make love to a woman who undervalued the loss of her reputation Mir You have a taste extremely delicate, and are for refining on your pleasures [I, i, 1–14] Even more significant is the dialogue between Mirabell and his cast mistress in the Second Act Mrs Fain While I only hated my husband, I could bear to see him; but since I have despised him, he’s too offensive Mir Oh, you should hate with prudence Mrs Fain Yes, for I have loved with indiscretion Mir You should have just so much disgust for your husband, as may be sufficient to make you relish your lover Mrs Fain You have been the cause that I have loved without bounds, and would you set limits to that aversion of which you have been the occasion? Why did you make me marry this man? Mir Why we daily commit disagreeable and dangerous actions? to save that idol, reputation If the familiarities of our loves had produced that consequence of which you were apprehensive, where could you have fixed a father’s name with credit, but on a husband? I knew Fainall to be a man lavish of his morals, an interested and professing friend, a false and a designing lover; yet one whose wit and outward fair behaviour have gained a reputation with the town enough to make that woman stand excused who has suffered herself to be won by his addresses A better man ought not to have been sacrificed to the occasion; a worse had not answered to the purpose When you are weary of him you know your remedy [II, iii, 3–32] 485 WILLIAM CONGREVE Mirabell here justifies himself by the code, striking in cold blood a profit-and-loss account of what, if we invoke the moral values of a later period, is inexcusable, perfidious villainy Lady Wishfort, Mirabell, and Millamant of The Way of the World are the three most brilliant and equably sustained comic figures of the Restoration theatre Lady Wishfort is presented as a portrait; but she is in every stroke impressed with the style of her master It is not easy to recover the mood in which Congreve conceived her We are persistently troubled with intrusions of pity or disgust, equally remote from the contemptuous ironical detachment of her author: Mrs Fain Female frailty! we must all come to it, if we live to be old, and feel the craving of a false appetite when the true is decayed Mir An old woman’s appetite is depraved like that of a girl—’tis the green sickness of a second childhood; and, like the faint offer of a latter spring, serves but to usher in the fall, and withers an affected bloom [ibid., ll 76–83] Mirabell and Millamant are gallantry upon the heights Millamant makes love with the tips of her fingers; Mirabell with the finished decorum of the man who has in this world nothing to learn or to lose In the last encounter of Mirabell and Millamant, Congreve’s comedy reaches a full close ‘Here,’ in the words of Mirabell, ‘the chase must end,’ though Millamant would be followed to the last: [Quotes IV, v, 8–149.] The Way of the World but rarely falls beneath the level of this passage It is equably brilliantly, monotonously fine Comic dialogue can no further go (pp 180–98) 486 Index The following index is not a comprehensive index of names In particular it rarely covers names in the footnotes All the authors here constituting the critical heritage of Congreve are included, however, not now in the chronological order of the Contents but in wider alphabetical order (Where the contribution is anonymous, the item is represented by the name of the periodical or work in which it first appeared.) There is an entry for each of Congreve’s works formally mentioned in the primary material The names of actors and actresses cited as having played in Congreve are included, though it has not always been possible to discover the full name In addition, a series of thematic sub-headings, after the list of Congreve’s works, is intended to help the reader with more general concerns Abington, Frances, 35, 38, 251, 289, 292–3, 317, 438 Addison, Joseph, 1, 6, 8, 32, 48, 53, 67, 85, 252, 291, 294, 353, 365, 372, 375, 387, 439 Adventurer, The, 229–31 Alckin, James, 247 Anderson, Mr., 381 Anne, Princess, later Queen, 8, 25, 172, 197, 225, 324, 410 Archer, William, 1, 37, 49, 50, 51, 447–63 Aristophanes, 14, 301, 344 Aristotle, 14, 19, 117, 121, 133, 140–1, 178 Athenaeum, The, 420 Augustus, 68, 207, 212, 227 Ayliff, Mrs., 435 Baddeley, Robert, 294 Badtes, Mrs., 293 Barnard, Mr., 313 Barry, Elizabeth, 2–3, 8, 22, 33, 217, 256, 334, 411, 418, 475 Barry, Spranger, 247 Bartley, Mr., 312 Beaumont, Francis, 302, 362 Bellamy, George Anne, 282 Berry, Edward, 247, 282 Betterton, Thomas, 2, 22, 33, 186, 235, 349, 371, 411, 418, 434–5, 467, 475 Bicknell, Mary, 288–9 Biographia Britannica, 27, 224 Blackmore, Sir Richard, 8, 9, 10, 11, 99, 102, 167, 172, 175–6, 179, 180, 182, 197 Blair, Hugh, 29, 31, 271 Boaden, James, 333–42 Bonnor, Mr., 293 Booth, Barton, 282, 283 Bossu, René Le, 14, 166 Boswell, James, 28, 245–6 Bower, Mr., 418 Bowman (or Boman), Elizabeth, 22 Bowman, John, 418 Bracegirdle, Anne, 2, 8, 22, 25, 33, 35, 189, 349, 360, 408, 411, 414, 417, 421, 431, 432, 435, 475 Buckstone, Mr., 386 Burke, Edmund, 1, 29, 219 Burney, Fanny, 1, 30, 256 Byron, George Gordon, Sixth Baron, 328–9 Campbell, John, 27, 224–8 Carr, Philip, 462 487 INDEX Centilevre, Susannah, 311, 329 Cervantes, Saavedra, Miguel de, 23, 161, 279, 333 Champion, The, 217–18 Champman, Mr., 301 Chapman, Thomas, 289 Charles II, 10, 11, 238, 273, 275, 300, 323, 355, 365, 377, 411, 428, 440, 472–3 Churchill, Charles, 29, 35, 236–7, 273 Cibber, Colley, 2, 12, 34, 35, 47, 253, 283, 288, 302, 349, 431, 432, 435, 467 Cibber, Katherine, 35 Cibber, Susanna [or Jane?], 248 Clarke, Charles Cowden, 1, 44–5, 393 Clifford, Charles, Lord, 196, 275 Clive, Catherine, 35, 234, 249, 277–8, 283, 289 Cobb, Samuel, 180 Cobham, Richard Temple, First Viscount, 205, 207–9, 228 Coleridge, Derwent, 344 Coleridge, Hartley, 40, 342–51 Coleridge, Samuel Taylor, 1, 40, 343, 344, 346, 348, 349, 350, 484 Collier, Jeremy, 1, 9, 11–22, 30, 39, 40, 41, 42, 46, 47–8, 53, 90, 108–14, 115, 116–62, 165–7, 216, 261, 263, 348–51, 372, 406–7, 421, 427, 429, 435, 439, 442–3, 457 Collins, William, 234 Colman, Richard, 381 Congreve, William, works: Amendments of Mr Collier’s False and Imperfect Citations, xiii, 15, 17, 116–62; ‘Amoret’, 391; ‘Art of Pleasing’, 270, 359; ‘The Birth of the Muse’, 107, 269–70, 291; ‘To a Candle’, 341–2; Collected Works (1710), xiii, 22, 24; 488 ‘Governing Humour in Comedy’, 90–8; ‘Doris’, 191, 192, 227, 278, 360–1; Double Dealer, 3, 5, 9, 10, 12, 13, 18, 21, 23, 26, 33, 34, 46, 47, 49, 50, 71–1, 77, 84–5, 112–14, 118–22, 124–6, 130, 137, 138, 149–50, 171, 181, 187, 196–7, 213, 214, 243, 253, 262, 275–6, 279, 300–1, 315, 343, 355, 370–1, 375, 396–7, 402, 406, 411–14, 431, 433, 447–58, 460, 461, 462, 464, 478–82; ‘The Eleventh Satyr of Juvenal’, 220–3; ‘Homer’s Hymns to Venus’, 227, 270; Incognita, 52, 56–8, 59, 228, 261, 352, 370, 406, 425–6; The Judgement of Paris, 24, 198, 227, 290, 318, 382; ‘The Lamentations of Hecuba’ 66, 220–3; ‘Lesbia’, 391; Letters and Documents, 24, 101; Love for Love, 6, 7, 12, 18, 21, 22, 29, 30, 31, 33, 34, 35, 36, 38, 39, 42–3, 44, 45, 49, 50, 111–12, 126–32, 134–7, 144–5, 149–56, 171–2, 181, 186, 189, 197, 220, 229, 232–4, 238, 243, 254, 255, 257, 262–3, 278–9, 283, 284, 288, 293–4, 310–11, 311–13, 314–15, 322–3, 340–1, 346, 355–6, 362, 371–2, 376, 377–86, 394, 397–8, 406, 433–5, 448, 458, 459, 460, 462, 467–8, 474, 482–3; Miscellanies, xiv, 66, 265, 270, 359–61, 390–2; Monsieur de Pourceaugnac; or Squire Trelooby, 24, 189; The Mourning Bride, 1, 8, 9, 19, 27, 28–9, 31, 33, 35, 38, INDEX 45, 47, 52, 101, 103, 108–9, 118–22, 135, 145–9, 156–9, 160–9, 170, 172, 181, 197, 232, 236, 239–42, 243–4, 245–6, 247–9, 263, 267–8, 272, 279–83, 294–5, 296–9, 301, 318, 324–5, 334, 348, 357, 372, 406, 415–16, 435, 469; ‘The Mourning Muse of Alexis A Pastoral Lamenting the death of our late gracious Queen Mary’, 6, 28, 87–9, 138–9, 163, 165, 180, 185, 196, 207, 262, 268, 346; The Old Batchelour, 2, 3, 5, 9, 12, 18, 26, 33, 34, 35, 44, 45, 59, 63, 64, 65, 78, 110–11, 113, 115, 122–4, 129, 137, 144–5, 156, 161, 172, 174, 181, 187, 189, 190, 196, 198, 229, 231, 238, 242, 254, 260, 261, 274–5, 276, 278, 287–90, 304, 315, 343, 354–5, 362, 370, 375, 376, 382, 394–6, 411, 417, 418, 429, 431, 432, 448, 455, 458, 459, 463–4, 475–8; Ode for St Cecilia’s Day, 270; ‘On Mrs Arabella Hunt Singing A Pindarique Ode’, 185, 227, 270, 291, 359; ‘Pindarique Ode, Humbly Offer’d to the King On His Taking Namure’, 6, 98–9, 100, 185, 269, 347; ‘A Pindarique Ode, Humbly Offer’d to the Queen, On the Victorious Progress of Her Majesty’s Arms, under the Conduct of the Duke of Marlborough’, 206; ‘Priam’s Lamentation’, 66; Semele, 24, 198, 227, 290, 318, 382; ‘The Tears of Amaryllis for 489 Amyntas’, 268–9, 359; ‘Verses to the Memory of Grace, lady Gethin’, 270; The Way of the World, 1, 5, 22–3, 24, 33, 34, 35, 37–8, 40, 42–3, 44, 45, 50–2, 176–9, 188, 194, 197, 216–17, 234–6, 243, 244, 250–1, 254, 255, 265, 283, 285, 289, 292–3, 311, 314, 315, 319–21, 332, 349–51, 357, 382–6, 398, 402–5, 407, 413, 416–19, 422, 430, 431, 433, 435–8, 439, 443, 444–6, 448, 449, 459, 460, 467, 470–3, 474, 478, 482 character in the plays: 5, 26, 31, 32, 37–8, 39, 45–6, 50, 51, 80, 103, 171–2, 191, 202, 213, 214–15, 218, 219, 229–31, 232–3, 235, 238, 243, 249, 251, 253, 254, 255, 262, 267, 278, 280, 305–9, 311, 316–18, 320–4, 330, 340, 410, 482 comedy, humour, and wit in the plays: 2, 3, 4, 9, 26, 29, 31–2, 34, 36–7, 38, 40, 42, 44, 46, 62, 65, 68, 72, 75, 85, 90–8, 100, 105, 171, 174, 175, 185, 195, 196, 199, 201, 202, 203, 213, 214, 217, 219–20, 229, 230–1, 238, 249–50, 251, 252–3, 254, 255, 262, 267, 275–9, 302–9, 311–18, 319, 320–4, 329, 340, 344, 346, 354, 379, 380–1, 382–3, 390, 394, 409–10, 417, 472, 486 dialogue and language in the plays: 38, 45, 130, 152–3, 178, 196, 243, 249–50, 255, 262, 304, 313, 350, 370, 474, 486 drama and morality: 9–22, 29–30, 32, 36, 37, 38–44, 47–8, 52, 64–5, 72, 78, 81, 103, 108–62, 215, 216, 219, INDEX 232, 234, 244, 250, 257–9, 263–4, 272, 281–2, 294, 300–1, 303–4, 310, 323–4, 330–3, 348–51, 364–77, 380, 390, 394, 422–4, 427–9 drama and plot: 26, 31, 44, 49, 50, 65, 78–9, 130, 172, 197, 202, 214, 228, 232, 235, 238, 249, 251, 253, 255, 263, 272, 273, 276, 280, 283, 286, 304, 309, 380, 417, 437, 446, 447–62, 465, 482 drama and religion: 13–18, 20–1, 40, 111–14, 118–62, 244, 263–5 drama and society: 7, 30, 38–41, 43, 45, 48, 70–6, 98, 116–62, 171–4, 199, 213, 255, 257–9, 262, 263–4, 265–6, 276, 300–1, 324, 329–33, 341, 347, 348–9, 440, 442–3, 473 music: 24, 26, 52, 225, 227, 243, 359 in the theatre: 3, 8, 22, 31, 32–6, 46, 48, 50–2, 64–5, 68, 77–81, 171, 181, 230–6, 246–9, 250–1, 255–6, 277–301, 320, 329–30, 333–41, 349, 362, 377–86, 417–19, 422–4, 429, 431–2, 482 women in/and: 7, 8, 30, 37, 38, 40–1, 45, 48, 51, 65, 80–1, 84, 102, 257–9, 272–3, 276, 279, 280, 300, 310–11, 323–4, 348–9, 381, 394, 411–12, 431–2 Corneille, Pierre, 14 Crawfurd, Oswald, 409–10 Crowne, John, 1, 425 Cumberland, Richard, 319–28 Daily Gazetteer, The, 216–17 Dancourt, Florent Carton, Sieur de, 235 Davies, Thomas, 1, 28, 33, 34–5, 245, 273–93 Dennis, John, 90–8, 107, 193–4, ?203, 285 Dickens, Charles, 42, 378 Dodd, James William, 294 Doggett, Thomas, 2, 34, 35, 181, 190, 288, 411, 431, 435, 475 Dorset and Middlesex, Charles Sackville, sixth, Earl of, 180, 197, 347, 361, 435 Dove, William, 84–5 Dowton, Mr., 312 Drake, James, 167–9 Dryden, John, 1, 2, 3, 4, 5, 6, 7, 8, 10, 12, 14, 20–1, 24, 49, 53, 59, 60, 62, 66–7, 69, 70, 74, 82–4, 86, 87, 88–9, 90, 98, 102, 109, 112–13, 115, 138, 141, 142, 162, 166, 169, 172, 173, 179, 182, 183, 187, 189, 194, 197, 198, 208, 220, 226, 243, 261, 263, 264, 270, 274, 275, 276, 278, 280, 281, 284, 347, 348, 354, 355, 356 359, 362, 365, 366, 370, 371, 373, 374, 406, 411, 415, 420, 421, 429, 430, 432, 436, 439, 457, 467, 479 Dunstall, John, 289 D’Urfey, Thomas, 7, 68, 138, 264, 374 Duse, Eleanor, 444 Eccles, John, 27, 225, 227, 290 Eckersley, Arthur, 447 Edinburgh Review, The, 41, Egleton, Jane, 289, 290 Encyclopaedia Britannica, 45, 405–9 Este, Charles, 293–5 Etherege, Sir George, 1, 4, 61, 83, 180, 253, 363, 406, 408, 414, 418, 422, 429, 436, 454, 475, 476, 479, 484 490 INDEX Euripides, 241, 281 Examiner, The, 36–7 Farquhar, George, 1, 41, 272, 302, 329, 354, 361, 366, 422–3, 439 Farren, Elizabeth, 294 Farren, William, 293, ?362, 386 Faucit, Miss H., 381 Fielding, Henry, 1, 29, 217, 237, 345, 421, 441 Filmer, Sir Robert, 12–13 Fletcher, John, 4, 5, 20, 82, 276, 302, 355, 362, 365 Foote, Samuel, 31, 218, 246, 285, 288 Garrick, David, 28, 245, 246, 247, 255, 273, 281, 282 Gazetteer and New Daily Advertiser, The, 250–1 Gentleman, Francis, 29, 31–2, 246 Gentleman’s Journal, The, 63 Gildon, Charles, 163–4, 170, 184, 187 Glover, Mrs., 386 Godolphin, Sidney, First Earl of, 225, 226 Gosse, Edmund, 1, 12, 46, 52, 53, 101, 411–19, 420–4, 435, 454 Gray, Thomas, 252, 253 Gray’s Inn Journal, The, 230–1 Green, Jane, 256, 278 Halifax, Charles Montague, First Earl of, 25, 77, 203, 226, 262, 265, 361, ?370 Hallam, ?Isabella, 289 Hallard, Mr C.M., 447 Handel, 24 Harley, Mr., 312 Harley, Robert, later First Earl of Oxford, 25, 265–6 Harlowe, Mrs., 36, 312–13 Harper, John, 34–5, 287, 290 Havard, William, 234–5, 248 Hazlitt, William, 1, 36–8, 40, 41, 45, 47, 48, 49, 50, 52, 53, 311–18, 356, 363, 393, 420, 429, 433, 438, 440, 441, 482 Henley, W.E., 47–8, 53, 420–4 Higden, Henry, 64–5 Higgons, Bevil, 60, 62, 101, 187 Hill, Aaron, 213 Hippisley, John, 288–9, 290 Holl, Mr., 368 Holland, ?Charles, 247 Homer, 3, 27, 66, 180, 208, 209, 220–4, 227, 266, 270, 344 Hopkins, Charles, 86–7, 104–5, 169–70 Hopkins, Elizabeth, 249 Horace, 5, 14, 24, 57, 141, 177, 200, 206, 207, 211, 213, 227, 270, 361 Howard, The Hon Edward, 6, 88–9 Hunt, Leigh, 41, 44, 351–63, 364, 365, 393 Inchbald, Elizabeth, 310–11 Irving, Ethel, 51, 445, 446 Jacob, Giles, 195–8 James I, 21, 39, 366 James II, 10, 11, 12, 59, 83, 273–4, 349 Johnson, Samuel, 1, 8, 27–8, 30–1, 67, 115, 228, 229, 230, 245, 255, 256, 260, 273, 274, 275, 280, 306, 309, 310–11, 318, 319, 334, 341, 347, 356, 357, 406, 439, 467, 469, 472 Jonson, Ben, 2, 4, 7, 13–14, 23, 42, 67, 82, 90, 92–5, 125, 126–7, 150, 152, 180, 188, 219, 230–1, 246, 275, 284, 285, 286, 287, 341, 355, 359, 365, 378, 380, 408, 420, 424, 459, 472, 474 Johnson or Jonson, Ben (actor), 288 Jordan, Mrs (Dorothy Bland), 294, 340–1 491 INDEX Kames, Henry Home, Baron, 29, 239, 275, 336 Kean, Edmund, 444 Keeley, Mr., 381 Keeley, Mrs., 381 Kemble, John Philip, 294, 298 Kenrick, Daniel, 7, 181–2 King, ?Thomas, 290, 294 Kippis, Andrew, 27, 224–8 Kynaston, Edward, 411 Lamb, Charles, 1, 38–40, 41, 48, 49, 52, 53, 329–33, 344, 361–3, 364, 366, 420, 428, 439–40, 441, 446, 460, 473 Lascelles, Frank, 447 Law, William, 443 Lee, Nathaniel, 8, 61, 172–3, 197, 215, 281, 373, 415 Leigh, Elinor, 22, 34, 35, 411, 417, 435 Lewes, Charles Lee, 235 Lewis, William Thomas, 293 Locke, John, 8, 13, 32, 99, 284 London Chronicle, The, 31, 231–6 London Magazine, The, 38 Macaulay, Thomas Babington, First Baron, 1, 5, 11, 18, 19, 20, 41, 44, 46, 47, 53, 364–77, 406, 420, 439 Macklin, Maria, 248 Maclaren, Ian, 446 Macready, William Charles, 382, 462 Mallet, David, 25–7, 200 Mardyn, Mrs., 312 Marlborough, Churchill, John, First Duke of, 206, ?207, 208, 209, 225 Marlborough, Henrietta, Duchess of, 25, 201, 204, ?207, 266, 407, 421 Marsh, Jeremiah, 59, 61–2 Mary II, 3, 6, 10, 11, 28, 53, 87–9, 162, 163, 165, 180, 185, 196, 199, 262, 344, 346, 401, 432, 457 Mary of Modena, Queen to James II, 10 Mason, William, 32, 252–3 Mathews, Mr B., 386 Mathews, Mrs F., 386 Mattocks (or Maddocks), Mrs Walter, 256 Melmoth, William, 27, 220–4 Menander, 49, 140, 177, 361, 472 Meredith, George, 45, 48, 49, 402–5, 420, 423, 424, 441, 442 Miller, Joseph, 288–9 Mills, The Elder, (?John), 282 Milton, John, 28, 164, 167, 194, 344, 414, 415–16, 471 Molière, Jean Baptiste Poquelin de, 2, 14, 24, 25, 45–6, 47, 189, 213, 344, 379, 402, 404, 408, 412, 413, 418, 423, 424, 435, 441, 459, 474, 482 Montagu, The Hon Charles, 77, 90, 163, 166, 171, ?182, ?183, 196, 431 Montagu, Lady Mary Wortley, 198–9 Montagu, Ralph, First Earl of, 176–9, ?182, ?183, 197, 286, 437, 439, 473, 483–4 Morning Chronicle, and London Advertiser, The, 255–6 Mossop, Henry, 247 Monthly Mirror, The, 300–1, Motteux, Peter, 63, 98 Mountfort, Susanna (later Verbruggen), 411, 432, 434, 475 Munden, Joseph, 36–7, 312, 314, 362, 398, 482 Murphy, Arthur, 28–9, 31, 33, 35, 230–6, 237, 245, 250, 381 Murray, ?Charles, 301 Neale, Charles, 289, 290 Nisbett, Mrs., 381 non-jurors, 162, 264, 375, 406–7 Norton, Miss, 301 492 INDEX Oldfield, Anne, 35, 282, 290 Oldmixon, John, 165–7 Olive, Edyth, 445 Orger, Mrs., 312–13 Otway, Thomas, 1, 61, 172–3, 182, 194, 197, 274, 279, 281, 372, 415 Ovid, 100, 200, 227, 290, 364 Pack, Richardson, 195 Palmer, John, 49–2, 52, 475–86 Palmer, John (actor), 234–5 Parsons, ?William, 294, 312 patriarchalism, 12, 17 Pawle, Lennox, 446 Pindar, 100, 107, 208, 271 Pinkethman (or Penkethman), William, Jr., 290 Pittis, William, 6, 25, 98, ?189 Plato, 8, 14 Plautus, 94, 116, 140, 174, 177 Playfair, Nigel, 446 Pope, Alexander, 1, 2, 5, 27, 31, 47, 163, 195, 206, 211–12, 220, 224, 229, 234, 252, 266, 279, 305, 323, 343, 417, 484 Pope, ?Jane, 278, 294, Popple, William, 213–17 Porter, Mary, 282 Potter, Ada, 447 Prior, Matthew, 32, 77, 252 Pritchard, Hannah, 35, 235, 236–7, 249, 282, ?301 Prompter, The, 213–16 Public Advertiser, The, 292–3 Purcell, Henry, 290 Quin, James, 35, 288, 289 Rae, Mr., 312 Racine, Jean, 14, 174, 282, 415 Raleigh, Walter, 425–6 Rapin, René, 14, 88 Reformer, The, 219 Rochester, John Wilmot, Second Earl of, 18, 431 Ross, David, 35, 233 Rowe, Nicholas, Ruffhead, Owen, 212 Ryan, Lacey, 289 Rymer, Thomas, 19, 83, 175 Scots Magazine, The, 302–9 Settle, Elkanah, 64, 115–16 Shadwell, Thomas, 1, 10, 83, 188, 406, 408, 454 Shakespeare, William, 5, 8, 23, 28, 31, 32, 38, 41, 49, 67, 83, 126–7, 152, 180, 230–1, 243, 244, 245, 252, 280, 287, 314, 316–17, 318, 320, 334, 336, 344, 355, 362, 364, 365, 371, 380, 396, 423, 424, 438, 454, 467, 468, 472, 474 Sheridan, Richard Brinsley, 313, 329, 340, 377, 379, 396, 404, 408, 413, 419, 431, 437 Shuter, Edward, 234, 256 Siddons, Sarah, 282, 294–5, 298–9, 301, 333–40 Sidney, Sir Philip, 13 Socrates, 14 Sophocles, 20–1, 157, 466 Southerne, Thomas, 1, 2, 3, 4, 5, 52, 58–9, 60–1, 83, 87, 175, 182, 187, 226, 260, 261, 275, 372, 475 Southey, Robert, 367–8 Sparks, I or Luke, 247 Spectator, The, 191, 265, 288, 439 Steele, Sir Richard, 23–4, 27, 184, 190–2, 227, 266, 277, 353, 361, 363, 416, 421 Stephen, Sir Leslie, 13, 48, 438–43 Stephens, Mrs (later Rich), 289 Stirling (actress), 381 Sturt, Mr., 366 Street, G.S., 48–9 Swift, Jonathan, 1, 9–10, 25, 32, 70–6, 199–200, 252, 278, 343, 353, 420 Swinburne, Algernon Charles, 45, 50, 405–9, 411, 420, 435 493 INDEX Tate, Nahum, 6, 98 Tatler, The, 190–1, 265, 288, 352 Terence, 49, 94, 116, 140, 177, 178, 252, 276, 349, 472 Thackeray, William Makepeace, 1, 44, 47, 53, 420–1, 427 Theophrastus, 178 Thespian Magazine, The, 296–9 Thomson, James, 200, 206, 415 Thurmond, Jane, 282 Times, The, 42–3, 48, 53, 377–86 Times Literary Supplement, The, 50–2, 443–7 Tonson, Jacob, 1, 2, 6, 192, 212 Trotter, Catharine, 8, 47, 101–2 Underhill, Cave, 22, 419, 467 Vanbrugh, Sir John, 1, 12, 41, 42, 113, 139, 175, 187, 189, 213, 219, 253, 264, 354, 361, 366, 373, 374, 378, 408, 414, 422, 423, 439 Verbruggen, John, 8, 22 Vernon, Joseph, 291 Vestris, Mrs., 386 Vining, Mr., 386 Virgil, 6, 18, 25, 66, 88–9, 100, 143, 170, 206, 209, 226, 360 Vitruvius, 4–5, 82 Voltaire, Franỗois Marie Arouet de, 1, 25, 212, 233, 266, 408, 410, 416, 420, 425, 437 Walker, Thomas, 287, 290 Walkley, A.B., 50–2, 53, 443–7 Walpole, Horace, 1, 32, 253–4 Walpole, Sir Robert, 216–17, 253 Warton, Joseph, 31, 229 Webster, Mr., 382 Wesley, Samuel, 179–80 Whibley, Charles, 49, 50, 51, 53, 463–74 Wilks, Robert, 35, 283, 288, 329 William III, 2, 6, 10, 11, 13, 21, 39, 41, 44, 60, 99, 162, 185, 263, 269, 349, 356, 401 Williams, Joseph, 411, 435 Wilson, Mr., 254 Woffington, Margaret, 235, 249 Woodward, Henry, 277–8 Wright, Theodore Mrs., 445, 447 Wroughton, Ricard, 235 Wycherley, William, 1, 4, 5, 7, 29, 39, 41, 42, 44, 60, 79, 81, 85, 87, 90, 172, 175, 182, 190, 194, 213, 217, 237, 238, 273, 274, 275, 276, 279, 300, 318, 331, 332, 355, 366, 367, 370, 374, 376–7, 378, 393, 394, 406, 407, 408, 412, 413, 414, 418, 422, 423, 429, 430, 439, 440, 441, 454, 475, 477, 478, 479 Yalden, Thomas, 67–70, 169 Yates, Mrs ?Mary, 235–6 Yates, Richard, 283 Young, Edward, 47, 416 Young, Miss, 248 Younger, Elizabeth, 288–9 494 ... in the theatre, and that except for the latter half of the last century they have maintained their place in the repertory; their performance demands a special kind of critical response on the. .. to Jonson and Fletcher on the one hand, to Etherege, Southerne, and Wycherley on the other Dryden does not wish to express a preference for one set of qualities rather than the other The melancholy...WILLIAM CONGREVE: THE CRITICAL HERITAGE THE CRITICAL HERITAGE SERIES General Editor: B.C.Southam The Critical Heritage series collects together a large body of criticism on major
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Xem thêm: The collected critical heritage the restoration and the augustans , The collected critical heritage the restoration and the augustans , JONATHAN SWIFT, 'To Mr. Congreve', 1693, ANON. in The Mourning Poets, 1695, CATHARINE TROTTER, 'To Mr. Congreve, on his Tragedy, the Mourning Bride', 1697, ANON. in The Justice of Peace, 1697, WILLIAM CONGREVE in Amendments of Mr. Collier's False and Imperfect Citations, 1698, ANON. in 'A Session of the Poets', 1698, ANON. in The Tryal of Skill, 1704, JOHN DENNIS in Remarks upon Mr. Pope's Translation of Homer, 1717, DAVID MALLET, 'A Poem to the Memory of Mr. Congreve', 1729, ANON. in An Epistle to Lord Viscount Cobham, 1730, ANON. in The Daily Gazetteer, 1737, WILLIAM MASON in 'Memoirs of the Life and Writings of Mr. Gray', 1775, ANON., review of The Way of the World in The Morning Chronicle, 1776, ANON., review of The Way of the World in The Public Advertiser, 1784, ANON., 'On the Character of Congreve as a Writer of Comedy', 1804

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