‘I’ll have no leading-strings; I can walk alone: I hate a harness’
(Manly in The Plain Dealer, Act One)
William Wycherley wrote four comedies during the Restoration era. The Plain Dealer is the fourth and final one and is generally thought to be the best. It is a free adaptation of The Misanthrope (1666), one of the best-known plays of the French dramatist Moliere (1622 to 1673).
The protagonist, Manly, is a sea captain now returned to shore. His ship sank (he is said to have scuttled it after being trapped by Dutch enemy ships) and now he is back on land in lodgings. In any case, he only went to sea to get away from people, who he loathes:
You must pardon me, I cannot wish well to pimps, flatterers, detractors, and cowards, stiff nodding knaves, and supple, pliant, kissing fools
Manly prides himself on his plain-speaking and plain-dealing – in stark contrast to the society around him which he thinks is made up of fawning, lying hypocrites.
What, thou art one of those who esteem men only by the marks and value fortune has set upon ’em, and never consider intrinsic worth! but counterfeit honour will not be current with me: I weigh the man, not his title
Inevitably, his boasted plain dealing strikes others as rudeness and cruelty.
Manly has a friend or confidante, Freeman, who is the auditor of his extended soliloquies about society’s hypocrisies. Freeman is ‘a gentleman well educated, but of a broken fortune, a complier with the age’. I like that description, a complier with the age. Am I a complier with my age, I wonder.
In fact, Manly brusquely tells Freeman that the latter is not his friend; he (Manly) has only one friend, one true deep friend (and even as he says this, the reader suspects that this ‘friend’ is fated to betray him).
Manly is in love with Olivia, a wealthy woman who is tough and misanthropic in her own right. He is so confident of her love he has deposited with her some £6,000 of his fortune including a pile of jewels.
Olivia, also, purports to hate ‘the filthy world’. She has a cousin, Eliza, who is her confidante i.e. who she can confide in, and who is a sarcastic, ironic foil to her, in their first scene together listening to Olivia’s long description of how she despises the world and then, when Novel visits, embarrassingly proving that she is in fact an expert at all the hypocritical practices she has just condemned (gossiping, criticising etc).
OLIVIA: Hold, cousin, hold; I hate detraction. But I must tell you, cousin, his civility is cowardice, his good-nature want of wit; and he has neither courage nor sense to rail: and for his being always in humour, ’tis because he is never dissatisfied with himself.
Manly is beloved by Fidelia, who dressed up as a man to serve aboard his ship, won his trust and now, back on land, continues to dress as a man, all the time professing her love for Manly, declaring in an aside to the audience that she owes him her:
love, faith, and duty to you, the bravest, worthiest of mankind
Then there’s a flotilla of secondary, comic characters, including a couple of sailors who sailed with Manly and now do him the office of doormen or bouncers, tasked with keeping all his callers at bay, plus:
- Novel – ‘a pert railing Coxcomb, and an admirer of novelties’ who tries to woo Olivia
- Major Oldfox – ‘an old impertinent Fop, given to scribbling’, who is wooing Widow Blackacre
- Lord Plausible – ‘a ceremonious, supple, commending Coxcomb, in love with Olivia’
- Widow Blackacre – ‘a petulant, litigious Widow, always in law, and Mother of Squire Jerry’
- Squite Jerry – feeble, hen-pecked son of the Widow Blackacre
The scenes with Novel and Plausible are particularly funny. As the play progresses, so do the complications.
Act 2
Act 2 starts with Olivia explaining at length how she also despises society, and rejects company and visits, to her foil Eliza. Which makes it funny when she is promptly paid lots of visits – by the dandies and fops, Novel and Lord Plausible, and indulges in the very kind of catty gossip she has just criticised to Eliza.
Half-way through this scene Manly, Freeman and Fidelia arrive and, from a secret vantage point (one of the conventions of Restoration comedy) watch Olivia consorting with the fops. Manly overhears Olivia criticising him, a tone she continues once they’ve fully walked onstage and announced their presence. In fact Manly’s arrival prompts Olivia to make the shock declaration that she is married, a revelation which staggers all Manly’s hopes.
MANLY: I wish I never had seen you.
Olivia tells the assembled cast that she is married to an honourable gentleman and I, for one, immediately suspected this will be none other than ‘the one man’ Manly esteems as friend.
Manly and Olivia part with vehement curses of each other. But, during the visit, Olivia has taken a fancy to young Fidelia, dressed as a man, who was accompanying Manly.
When Lady Blackacre is announced, Freeman declares he will stay and woo her, impossible though she is, in order to inherit her money and to pay off his own debtors. Freeman’s bare-faced attempt to chat the Widow up turns into a comic scene as he competes with Lady Blackacre’s constant companion, a dried-up older man, Major Oldfox, who mostly exists to provide a comic foil to Freeman. The scene morphs into a parody of a courtroom confrontation, with either side flinging legalistic accusations at each other in order to prove their ’cause’, i.e. the widow’s hand and money.
The Widow is given a magnificent series of imaginative, long insults which match Falstaff at his finest:
WIDOW BLACKACRE: Thou withered, hobbling, distorted cripple; nay, thou art a cripple all over: wouldst thou make me the staff of thy age, the crutch of thy decrepidness?
Act 3. Westminster Hall
Manly has been summonsed there to be a witness in Lady Blackacre’s law suit. There is a touch of Jarndyce and Jarndyce about a character entirely consumed by one never-ending law suit, and it gives Manly and Freeman the opportunity for conventional criticisms of the law and lawyers.
Enter Fidelia who says she’ll do anything for him, so Manly asks her to go and win back Olivia on his behalf. Obviously, Fidelia is appalled at being given a task which runs directly counter to her own wishes.
Enter Widow Blackacre surrounded by a flock of cavilling lawyers named Blunder, Quaint and Petulant, Buttongown and Splitcause, Quillit and Quirk. When the Widow exits, Freeman takes the opportunity to chat up her poor, put-upon son, Jerry, lending him money to buy a book, encouraging his hopes.
FREEMAN: Steal away the calf, and the cow will follow you.
To which the fabulous Widow replies:
WIDOW: What sir, d’ye think to get the mother by giving the child a rattle?
Anyway, Freeman arranges for one of Manly’s sailor-servants to pinch the Widow’s bags full of years of legal papers which she had left with Jerry to guard. When Jerry re-enter to say they’re all gone, the Widow is distraught, Jerry is mortified, and Freeman gets the sailor-servant to drag Jerry off to Manly’s apartments. I smell a scam!
Manly re-enters and tells Freeman that he has managed to get into three lawsuits already, just by candidly telling some lawyers and a poet what he thinks of them, before going on to dispense with a suite of other characters, Oldfox, various lawyers, an aldermen and a City merchant with withering humour, commented on by Freeman. You realise it is a deliberate gallery of London types, of men of the world – all of them fawning cheats, in Manly’s opinion.
Act 4
Scene 1. Manly’s lodging
Dialogue between Manly and Fidelia (still dressed as a man). He hopes she has come back from Olivia’s to say she won her round to his cause. Instead Fidelia says the diametric opposite, that Olivia extravagantly insulted Manly and then took her (Fidelia) in her arms and showered her with kisses and would have done more but they were interrupted, and Olivia begged her to return for an assignation.
Manly leaps to the conclusion that Fidelia is in love with Olivia, and has made the story of her abusing him up and begins attacking her.
Freeman enters and joins in a philosophical trio about Love. Then the Widow Blackacre and Major Oldfox enter. Oldfox has penned some poetry to the Widow but she comically counters with her writs and lawyer’s letters, her preferred genre of writing.
Then Freeman enters with Jerry: he has successfully corrupted the boy, who now wants to escape his mother’s apron strings and live the London life of theatres, pubs and brothels. In a confrontation the boy demands his right to a life of his own (backed up by Freeman) – but the Widow reveals that Jerry was born out of wedlock, is a bastard and so shall not inherit her jointure
Jointures crop a lot. A jointure is: ‘an estate settled on a wife for the period during which she survives her husband, in lien of a dower.’
Scene 2. Olivia’s lodging
Novel and Lord Plausible compete with each other, claiming Olivia is vowed to them. Her servant gives them each identical letters, stating she despises their rival and loves only them… except that they swap and read them out loud and realise she is tricking both of them.They leave. Olivia enters, dispenses with her serving boy and prepares to meet Fidelia in the dark, as she had earlier arranged. Except that in the darkness a new character named Vernish arrives and embraces her, Olivia enthusiastically responding. He is, we discover, her husband!
After Olivia cleverly covers her initial mistake thinking of thinking Vernish was her secret lover, we learn that Vernish has been out of town five days; it is during that time that Manly rearrived in town i.e. after encountering the Dutch in the Channel, sinking his ship and making it back to shore; and that Olivia and Vernish have deliberately conned Manly out of his money, she persuading Manly to give her his £6,000 while he appears to have given Vernish some £1,000 guineas to be held at a goldsmith’s.
They now plan to be so cruel to Manly as to encourage him back to sea where, hopefully, he will drown. Vernish goes. Olivia soliloquises, making it clear she plans to swindle him, as well.
Enter Fidelia (still dressed as a man) trailed at a distance by Manly. Olivia instantly starts kissing her but when Fidelia asks about Manly, Olivia is crushingly honest, saying she never loved the brute, only wanted him for his money – which Manly, in hiding, hears.
Olivia says she’ll just pop into the other chamber and lock the doors. This gives Manly and Fidelia time to discuss Olivia’s treachery. Manly is initially for murdering her, which Fidelia talks him out of, but then comes round to a more savage revenge, and slips into the darkened room after Olivia, presumably to ravage her pretending to be Fidelia.
But just moments later he slips out of the room again and says his savage revenge would be pointless if no-one witnesses it. Therefore he tells Fidelia to tell Olivia that she (Fidelia) has to leave, but will return same time tomorrow night. By which time Manly will have set up his scam.
Olivia returns and Fidelia successfully feigns illness (‘the falling sickness’) and so says she must leave – but promises to return tomorrow night. But she has no sooner exited than she hurries back onstage saying a man is coming up the stairs with a candle. ‘Tis Vernish! Olivia disappears into the inner room – but Vernish catches Fidelia, thinking she is a male adulterer, draws his sword and threatens to stab her.
At which point Fidelia confesses she is a woman. Vernish pulls off her wig then squeezes her breasts. Yes, she is a woman! Still angry and puzzled, Vernish says he’ll have one final proof that Fidelia is a woman and drags her towards the bedroom, obviously to **** her. Fidelia starts screaming.
At which point a servant enters to tell Vernish that an alderman has sent his ‘cashier’ round with some money he had promised money, and the servant is is even now coming up the stairs. Forced to abandon his attempt at ravishment, Vernish gets the servant to help him push Fidelia into an adjoining room and lock the door.
Act 5
Scene 1. Eliza’s lodgings
Eliza is just telling Olivia off for the bad reputation she’s acquired when enter Vernish who promptly tells Olivia off for consorting with a woman dressed in men’s clothes.
Olivia is greatly confused, thinking Fidelia must have persuaded Vernish that ‘he’ is a woman. Then it begins to dawn on her that Vernish might be telling the truth, that Fidelia might be a woman in disguise!
Either way, Vernish lets slip that he terrified the girl by pretending he was going to ravish her – at which point Olivia finds an opportunity to accuse Vernish of being a heartless ravisher, and in the first month of their marriage, too!
So Vernish finds himself having to apologise and gives Olivia 200 of the guineas he has just received from the cashier. He then asks Eliza to accompany i.e. take Olivia home. Vernish leaves, at which point Eliza teases Olivia about this woman dressed as a man who was no doubt the lover and gallant Olivia was boasting about, and this turns into an almighty argument, with both women ending up damning each other.
Scene 2. The Cock pub in Bow Street
Fidelia is back in her costume as a man explaining to Manly how s/he managed to persuade Vernish that s/he was a woman. Manly is now desperate to know what Olivia’s husband looks like, but Fidelia didn’t get a clear view (the room was darkened). So in a bid to find out, Manly insists that Fidelia send a note telling Olivia she will visit again, tonight, at seven.
Enter Freeman who asks Manly why, now that he’s poor (he gave Olivia all his money), he doesn’t call on old friends and old obligations. This is a prompt for Manly to give an extended explanation of his misanthropy.
Disappointed in Manly, Freeman leaves to carry on his schemes re. the Widow Blackacre.
Enter Vernish to meet Manly amid a great display of enthusiasm and, sure enough, he does turn out to be the One Good Friend In The World Manly thinks he has while the audience, of course, knows Vernish is gulling and robbing him.
The conversation turns immediately to Olivia and Vernish joins in hypocritically damning her for a mercenary… Until Manly claims to have slept with her, at which point Vernish (who we know is Olivia’s ‘secret’ husband becomes genuinely angry. Manly sends him, as his best friend, to ask if Olivia will give him even a little of his money back.
The buzzing fops, Novel, Lord Plausible and Oldfox barge into Manly’s room, leading to comedy at their pretensions and foibles, namely stupid Novel insisting it is a sign of great wit to make loud noises and break windows.
This is just business to pass the time during which Vernish is supposed to have gone and asked Olivia for some of Manley’s money. Now he re-enters the room, and Manly kicks the fops out. Vernish tells Manly that Olivia told him to go to hell.
Vernish is still uncertain whether Olivia’s slept with Manly or not but, in any case, in an aside, confesses he would gladly slit Manly’s throat. Some friend!
In a scene drenched in dramatic irony, Manly laughs with Vernish about what a poor, wretched cuckold Olivia’s husband must be, about how he has been sending a go-between to Olivia who persuaded the fool he was a woman, and how he – Manly – now has an appointment with Olivia, as the time is coming up to 7.30 at night.
Vernish is confused and angry, he’s sure Fidelia was a woman, why is Manly describing him as a man? (Because Manly doesn’t yet realise that Fidelia is a woman, that’s why.) Manly goes to keep his appointment and Vernish shares his bewilderment with us, his plan to catch them at it (whatever it is) and his abiding hatred of Manly. He is a genuinely bad man.
Cut to Manly arranging with Freeman for the latter to scour all the drinkers in the pub and bring them all to Olivia’s place in half an hour precisely. Manly wants as many people as possible to witness his humiliation of her.
Scene 3. Another room in the Cock pub
Widow Blackacre suborns some professional perjurers and lying witnesses she will need in her next court case.
She has barely finished and dispatched them before Major Oldfox appears with a waiter who overcomes the widow and ties her to her chair and gags her! Is Oldfox going to rape her? No. Worse! He is going to read her his poetry!!
But he hasn’t even started before Freeman, Jerry, three bailiffs a constable and his assistants all burst into the room. They untie the Widow, Oldfox scarpers, but they haven’t come for him, they’ve come to serve an enormous suit on the Widow for ten thousand pounds!
This has all been cooked up by Freeman who now tells the Widow there’s only one way out of it which is to marry him. But the Widow is a legal expert, and suggests instead that she pays all his debts and settle an annuity on him. Hmmm, Freeman throws in £40 a year for Jerry (and free access to the Widow’s maid’s bedroom) and it’s a deal. He has lawyers at hand to draw up a contract.
Scene 4. Olivia’s lodging
Olivia has barely welcomed Fidelia (followed silently by Manly) into her darkened chambers and is leading her to the bed, than there are sounds at the door, which is locked and starts to be forced.
Panicking that it is her husband, Olivia tells Fidelia they’ll climb out the window down a rope made of curtain.
In the dark Olivia just has time to give Manly – thinking he is Fidelia – her purse and cabinet (presumably containing all the money she took from Manly) and disappear out the window, before Vernish forces the door and charges at Manly with his sword out.
In the pitch black, Manly unswords Vernish and throws him to the floor, Olivia returns and embraces Manly thinking him Fidelia, at which point Freeman, Novel, Plausible, Jerry and Widow Blackacre all barge in carrying torches.
So it is finally revealed that Vernish, pinned to the floor – Manly’s best friend – is Olivia’s husband. Manly is appalled.
In the struggles Fidelia’s wig has fallen off and she is revealed as a woman! She makes a speech about how she has loyally loved and followed Manly everywhere. Realising the depth of her loyalty, Manly pledges his love to her, too, and gives her the cabinet and purse.
Olivia and Vernish exit after being admonished, and now condemned to live as faithless man and wife in poverty.
Fidelia announces her family name is Grey and her father left her £2,000 a year. Money money money is always the ultimate subject of Restoration comedy.
The philosophy of Love
For thousands of years writers have been anatomising, categorising and philosophising about Love. Huge swathes of these Restoration comedies are devoted to this subject of apparently endless fascination and are stuffed with sweeping generalisations about men, women and Love.
MANLY: Why, what did you hear me say?
FREEMAN: Something imperfectly of love, I think.
MANLY: I was only wondering why fools, rascals, and desertless wretches, should still have the better of men of merit with all women, as much as with their own common mistress, Fortune.
FREEMAN: Because most women, like Fortune, are blind, seem to do all things in jest, and take pleasure in extravagant actions. Their love deserves neither thanks, nor blame, for they cannot help it: ’tis all sympathy; therefore, the noisy, the finical, the talkative, the cowardly, and effeminate, have the better of the brave, the reasonable, and man of honour; for they have no more reason in their love, or kindness, than Fortune herself.
MANLY: Yes, they have their reason. First, honour in a man they fear too much to love; and sense in a lover upbraids their want of it; and they hate anything that disturbs their admiration of themselves; but they are of that vain number, who had rather show their false generosity, in giving away profusely to worthless flatterers, than in paying just debts. And, in short, all women, like fortune (as you say) and rewards, are lost by too much meriting.
I find this stuff quite exhausting to read. It is tempting to skim over this eternal opinionising about men and women and Love in order to get to the plot, where people discuss actual events and plans and schemes, and where there is a lot more comedy.
Anti-women propaganda
- MANLY: Yes; for she is not (I tell you) like other women, but can keep her promise
- MANLY: for women’s wants are generally the most importunate solicitors to love or marriage.
- OLIVIA: Well, we women, like the rest of the cheats of the world, when our cullies or creditors have found us out, and will or can trust no longer, pay debts and satisfy obligations with a quarrel, the kindest present a man can make to his mistress, when he can make no more presents.
- FREEMAN: Well, you see now, mistresses, like friends, are lost by letting ’em handle your money; and most women are such kind of witches, who can have no power over a man, unless you give ’em money: but when once they have got any from you, they never leave you till they have all. Therefore I never give a woman a farthing.
Insulting servants
Olivia calls her servant, Lettice, ‘you dowdy’, ‘insatiable creature’, you buffle-headed stupid creature you’, and the boy who serves her ‘you little unthinking fop’, ‘you heedless little animal’ and so on. Manly curses his sailor-doormen as rogues
The Widow Blackacre
Is a quite marvellous comic creation. All the scenes with her come vividly to life. Her language is supercharged with vitriol and imaginative insult. She is a kind of female Falstaff, and a magnificent invention. Voltaire, himself a playwright, considered her ‘the most comical character that was ever brought upon the stage’ (Letters Concerning The English Nation, 1733).
Related links
More seventeenth century reviews
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