Background
John Vanbrugh was born in London and christened on January 24, 1664. His father was Giles van Brugge, the son of a Protestant merchant from Ghent who had fled to England to escape Catholic persecution.
(Excerpt from the Prologue: This play took birth from pri...)
Excerpt from the Prologue: This play took birth from principles of truth, To make amends for errors past, of youth. A bard, that's now no more, in riper days, Conscious review'd the licence of his plays: And tho' applause his wanton muse had fir'd, Himself condemn'd what sensual minds admir'd. At length, he own'd, that plays should let you see Not only, What you are, but ought to be; Though vice was natural, 'twas never meant The stage should shew it, but for punishment! Warm with that thought, his Muse once more took flame, Resolv'd to bring licentious life to shame. Such was the piece his latest pen design'd, But left no traces of his plan behind. Luxuriant scenes unprun'd or half contriv'd; Yet thro' the mass his native fire surviv'd: Rough, as Richard ore, in mines the treasure lay, Yet still 'twas Richard, and forms at length a play. In which the bold compiler boasts no merit, But that his pains have sav'd your scenes of spirit. Not scenes that would a noisy joy impart, But such as hush the mind and warm the heart. From praise of hands no sure account he draws, But fixt attention is sincere applause: If then (for hard you'll own the task) his art Can to those embryon-scenes new life impart, The living proudly would exclude his lays, And to the buried bard resign the praise.
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(Briefly traces the life of the seventeenth-century Britis...)
Briefly traces the life of the seventeenth-century British architect, soldier, and playwright and looks at some of the castles, palaces, and manor houses he designed, including Blenheim Palace and Castle Howard
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(Excerpt from the Prologue: Ladies, this Play in too much ...)
Excerpt from the Prologue: Ladies, this Play in too much haste was writ, To be o'ercharg'd with either Plot or Wit; 'Twas got, conceiv'd, and born in six Weeks Space, And Wit, you know, 's as slow in Growthas Grace. Sure it can ne'er be ripen'd to your Taste; I doubt 'twill prove our Author bred too fast: For mark 'em well, who with the Muses marry, They rarely do conceive, but they miscarry. 'Tis the hard Fate of those who are big with Rhyme, Still to be brought-to-bed before their Time. Of our late Poets, Nature few has made; The greatest partare only so by Trade. Still want of something brings the scribbling Fit; For want of Money some of 'em have writ, And others do't, you seefor want of Wit. Honour, they fancy, summons 'em to write, So out they lug in resty Nature's spight, As some of you spruce Beaux dowhen you fight. Yet let the Ebb of Wit be ne'er so low, Some Glimpse of it a Man may hope to show, Upon a Theme so ampleas a Beau. So, howsoe'er true Courage may decay, Perhaps there's not one Smock-Face here to-day, But's bold as Cæsarto attack a Play. Nay, what's yet more, with an undaunted Face, To do the Thing with more heroick Grace, 'Tis six to four y' attack the strongest Place. You are such Hotspurs in this kind of Venture, Where there's no Breach, just there you needs must enter. But be advis'd E'en give the Hero and the Critique o'er, For Nature sent you on another score; She formed her Beau, for nothing but her Whore. This comedy if five acts was written in England in 1776.
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(John Vanbrugh (1664-1726), one of the principal Restorati...)
John Vanbrugh (1664-1726), one of the principal Restoration dramatists, is best known for comedies that capture the hilarious idiosyncrasies and unique subject matter of marital discord. This collection contains five of his most rollicking comedies on marital disharmony, edited to the high standard of the Oxford English Drama series in modernized spelling and including full notes and glossary. In addition to his most famous plays, The Relapse and The Provoked Wife, the collection also includes The Confederacy, A Journey to London, and The Country House. There is a critical introduction, wide-ranging annotation, and an informative bibliography which together illuminate the plays' cultural context and theatrical potential. The only selection of Vanbrugh's plays currently in print, this book is ideal for readers, performers and students alike. About the Series: For over 100 years Oxford World's Classics has made available the broadest spectrum of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, voluminous notes to clarify the text, up-to-date bibliographies for further study, and much more.
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(Excerpt from Act I: Lisetta. Once more I tell ye, Sir, if...)
Excerpt from Act I: Lisetta. Once more I tell ye, Sir, if you have any consideration in the world for her, you must be gone this minute. Erastus. My dear Lisetta, let me but speak to her, let me but see her only. Lisetta. You may do what you will; but not here, whilst you are in our house. I do believe she's as impatient to see you, as you can be to see her; but Erastus. But why won't you give us that satisfaction then? Lisetta. Because I know the consequence; for when you once get together, the Devil himself is not able to part you; you will stay so long 'till you are surpriz'd, and what will become of us then? Servant. Why, then we shall be thrown out at the window, I suppose. Lisetta. No, but I shall be turn'd out of doors. Erastus. How unfortunate am I! these doors are open to all the world, and only shut to me. Lisetta. Because you come for a wife, and at our house we do not care for people that come for wives. Servant. What would you have us come for, child?
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(Excerpt from Act 1, Scene 1: What cloying Meat is Lovew...)
Excerpt from Act 1, Scene 1: What cloying Meat is Lovewhen Matrimony's the Sauce to it! Two Years Marriage has debauch'd my five Senses. Every thing I see, every thing I hear, every thing I feel, every thing I smell, and every thing I tastemethinks has Wife in't. No Boy was ever so weary of his Tutor, no Girl of her Bib, no Nun of doing Penance, or old Maid of being chaste, as I am of being married. Sure there's a secret Curse entail'd upon the very Name of Wife. My Lady is a young Lady, a fine Lady, a witty Lady, a virtuous Lady,and yet I hate her. There is but one thing on Earth I loath beyond her: That's Fighting. Would my Courage come up to a fourth part of my Ill-Nature, I'd stand buff to her Relations, and thrust her out of doors. But Marriage has sunk me down to such an Ebb of Resolution, I dare not draw my Sword, tho' even to get rid of my Wife. But here she comes.
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(Excerpt from the Prologue: Our author's wit and rallery ...)
Excerpt from the Prologue: Our author's wit and rallery to-night Perhaps might please, but that your stage delight No more is in your minds, but ears and sight. With audiences compos'd of belles and beaux, The first dramatick rule is, have good clothes, To charm the gay spectator's gentle breast, In lace and feather Tragedy's express'd, And heroes die unpity'd, if ill-dress'd. The other stile you full as well advance; If 'tis a comedy, you askwho dance? For oh! what dire convulsions have of late Torn and distracted each dramatick state, On this great question, which house first should sell The new French steps imported by Ruel! Desbarques can't rise so high, we must agree, They've half a foot in height more wit than we. But tho' the genius of our learned age Thinks fit to dance and sing, quite off the stage, True action, comic mirth, and tragic rage; Yet as your taste now stands, our author draws Some hopes of your indulgence and applause. For that great end this edifice he made, Where humble swain at lady's feet is laid; Where the pleas'd nymph her conquer'd lover spies, Then to glass pillars turns her conscious eyes, And points anew each charm, for which he dies.
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(Uncle Richard solus. What prudent cares does this deep f...)
Uncle Richard solus. What prudent cares does this deep foreseeing nation take, for the support of its worshipful families! In order to which, and that they may not fail to be always significant and useful in their country, it is a settled foundation-point that every child that is born shall be a beggarexcept one; and that heshall be a foolMy grandfather was bred a fool, as the country report: my father was a fool,as my mother used to say; my brother was a fool, to my own knowledge, though a great justice of the peace; and he has left a son, that will make his son a fool, or I am mistaken. The lad is now fourteen years old, and but just out of his Psalter. As to his honour'd father, my much esteem'd nephew, here I have him. Shewing a letter. In this proprofound epistle (which I have just now received) there is the top and bottom of him. Forty years and two is the age of him; in which it is computed by his butler, his own person has drank two and thirty ton of ale. The rest of his time has been employed in persecuting all the poor four-legg'd creatures round, that wou'd but run away fast enough from him, to give him the high-mettled pleasure of running after them.
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(Excerpt from the Prologue: Spoken by a Shabby Poet. Ye Go...)
Excerpt from the Prologue: Spoken by a Shabby Poet. Ye Gods! what crime had my poor father done, That you should make a poet of his son? Or is't for some great services of his, Y'are pleas'd to compliment his boywith this? Shewing his crown of laurel. The honour, I must needs confess is great, If, with his crown, you'd tell him where to eat: Tis wellBut I have more complaintslook here! Shewing his ragged coat. Hark ye; d'ye think this suit good winter wear? In a cold morning; whuat a Lord's gate, How you have let the porter let me wait! You'll say, perhaps, you knew I'd get no harm, You'd given me fire enough to keep me warm. Ah A world of blessings to that fire we owe; Without it I'd ne'er made this princely show. I have a brother too, now in my sight, Looking behind the scenes. A busy man amongst us here to-night: Your fire has made him play a thousand pranks, For which, no doubt you've had his daily thanks: He's thank'd you, fi fi, for all his decent plays, Where he so nick'd it, when he writ for praise.
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(Sir John Vanbrugh, an eminent dramatic Writer, Son of Mr....)
Sir John Vanbrugh, an eminent dramatic Writer, Son of Mr. Giles Vanbrugh, of London, Merchant, was born in the Parish of St. Stephen's, Wallbrook, in 1666. The Family of Vanbrugh were for many Years Merchants of great Credit and Reputation, at Antwerp, and came into England in the reign of Queen Elizabeth, on account of the Persecution for Religion. Sir John received a very liberal Education, and at the Age of nineteen, was sent by his Father to France, where he continued some Years: He became very eminent for his Poetry, to which he discovered an early propension. And, pity it is, that this agreeable Writer had not discovered his Wit, without any Mixture of that Licentiousness, which, tho' it pleased, tended to corrupt the Audience.
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John Vanbrugh was born in London and christened on January 24, 1664. His father was Giles van Brugge, the son of a Protestant merchant from Ghent who had fled to England to escape Catholic persecution.
Vanbrugh studied the arts in France (1683-1685).
In 1686 he obtained a commission in a foot regiment, but he soon resigned. While traveling in France he was imprisoned by the French as a spy for nearly 2 years.
During his imprisonment Vanbrugh occupied himself in writing plays, and in 1696 he produced a highly successful comedy, The Relapse; or, Virtue in Danger. Its sequel, The Provok'd Wife, although strongly criticized for its immorality, was another triumph. Other plays followed in 1702, 1704, and 1705, but they were mostly translations or adaptations and added little to his reputation. His chief gifts were naturalness of dialogue and genial, lively humor, which, although broad, was not as coarse as the writing of many of his contemporaries.
Vanbrugh's genius was suddenly, in the words of Jonathan Swift, "without thought or lecture … hugely turned to architecture, " when in 1699 he began designing Castle Howard, Yorkshire, for the Earl of Carlisle. The following year the earl secured for him the post of comptroller of the royal works. The building of Castle Howard began in 1701, with Nicholas Hawksmoor as Vanbrugh's principal assistant. Castle Howard with its diversified baroque outline and its elegant Corinthian details is perhaps the most beautiful of Vanbrugh's works. Less successful was the Opera House he built in the Hay-market, in which he produced his play The Confederacy in 1705.
In 1703 Vanbrugh was appointed commissioner at Greenwich Hospital, where Hawksmoor carried out Vanbrugh's plans for completing the Great Hall and for building the King William block. (Vanbrugh succeeded to the surveyorship of the hospital in 1716. ) In 1704 the Duke of Marlborough selected Vanbrugh to build Blenheim Palace, which was intended as a royal gift to the victor in the wars against Louis XIV. No proper contracts were entered into between Queen Anne and Vanbrugh; and although generous grants were made at first from the Treasury, these ceased after a while and Vanbrugh was forced to depend upon the duke, who "naturally resisted the notion of having to pay for his own reward. " Moreover, Vanbrugh fell into disgrace with Sarah, the tempestuous Duchess of Marlborough, who accused him of extravagance in building a house for which she had no liking. Her willfulness and antagonism reached their climax when Sir John and Lady Vanbrugh brought Lord and Lady Carlisle and their friends to see the completed palace and were refused admission.
Blenheim Palace, "an English Versailles" with its overwhelming masses of buildings, marks at once the climax of English baroque and its downfall, for Vanbrugh's style was so highly personal that an achievement of such magnitude in so individualistic a manner could hardly be matched by others. The way was clear for the Burlingtonian revival of Palladianism, with its strict adherence to rule.
The extent to which Vanbrugh was indebted to Hawksmoor in designing Castle Howard and Blenheim has been strongly debated, especially as Vanbrugh left few drawings that can confidently be ascribed to him. What is beyond question is that the partnership was eminently harmonious and successful. Vanbrugh's genius lay chiefly in the spectacular conceptions embodied in his works and in the dramatic disposition of the principal masses of his buildings. Hawksmoor exercised no less genius in handling masses and possessed great knowledge of decorative features and details.
At Seaton Delaval, Northumberland (1720-1728; interior gutted by fire, 1822), Vanbrugh displayed his dramatic talents no less intensely than at Blenheim, although on a smaller scale. Other important works of Vanbrugh were King's Weston, Gloucestershire (1711-1714); Claremont, Surrey (ca. 1715-1720; demolished); garden buildings at Stowe (ca. 1720-1725); Eastbury, Dorset (1718); and Grimsthorpe Castle, Lincolnshire (1723).
He died on March 26, 1726, in his own dwelling, Goose-pie House (destroyed), in Whitehall.
(Excerpt from the Prologue: Ladies, this Play in too much ...)
(Briefly traces the life of the seventeenth-century Britis...)
(John Vanbrugh (1664-1726), one of the principal Restorati...)
(Excerpt from the Prologue: Our author's wit and rallery ...)
(Excerpt from Act 1, Scene 1: What cloying Meat is Lovew...)
(Excerpt from the Prologue: This play took birth from pri...)
(Sir John Vanbrugh, an eminent dramatic Writer, Son of Mr....)
(Excerpt from the Prologue: Spoken by a Shabby Poet. Ye Go...)
(Excerpt from Act I: Lisetta. Once more I tell ye, Sir, if...)
(Uncle Richard solus. What prudent cares does this deep f...)
Vanbrugh was in many senses a radical throughout his life. As a young man and a committed Whig, he was part of the scheme to overthrow James II, put William III on the throne and protect English parliamentary democracy, and he was imprisoned by the French as a political prisoner. In his career as a playwright, he offended many sections of Restoration and 18th century society, not only by the sexual explicitness of his plays, but also by their messages in defence of women's rights in marriage. He was attacked on both counts, and was one of the prime targets of Jeremy Collier's Short View of the Immorality and Profaneness of the English Stage.
Quotations:
"Once a woman has given you her heart, you can never get rid of the rest of her. "
"Good manners and soft words have brought many a difficult thing to pass. "
"Virtue is its own reward. There's a pleasure in doing good which sufficiently pays itself. "
"Friendship's said to be a plant of tedious growth, its root composed of tender fibers, nice in their taste, cautious in spreading. "
"No man is worth having is true to his wife, or can be true to his wife, or ever was, or ever will be so. "
"Thinking is to me the greatest fatigue in the world. "
"Let our weakness be what it will, mankind will still be weaker; and whilst there is a world, 'tis woman that will govern it. "
"We gentlemen, whose chariot's roll only upon the four aces, are apt to have a wheel out of order. "
"He laughs best who laughs last. "
"A slighted woman knows no bounds. "
Vanbrugh was a handsome, witty, and popular member of society.
In 1719, at St Lawrence Church, York, Vanbrugh married Henrietta Maria Yarburgh of Heslington Hall, York, aged 26 to his 55. In spite of the age difference, this was by all accounts a happy marriage, which produced two sons. Unlike that of the rake heroes and fops of his plays, Vanbrugh's personal life was without scandal.
His married life was mostly spent at Greenwich (then not considered part of London at all) in the house on Maze Hill now known as Vanbrugh Castle, a miniature Scottish tower house designed by Vanbrugh in the earliest stages of his career.
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