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THE WAY OF THE WORLD

An essay on the play by William Congreve

The following essay is reprinted from Life of William Congreve. Edmund Gosse. London: Walter Scott, 1888. pp. 135-9.

William Congreve's The Way of the World is the best-written, the most dazzling, the most intellectually accomplished of all English comedies, perhaps of all the comedies of the world. But it has the defects of the very qualities which make it so brilliant. A perfect comedy does not sparkle so much, is not so exquisitely written, because it needs to advance, to develop. To The Way of the World may be applied that very dubious compliment paid by Mrs. Browning to Landor's Pentameron that, "were it not for the necessity of getting through a book, some of the pages are too delicious to turn over." The beginning of the third act, the description of Mirabell's feelings in the opening scene, and many other parts of The Way of the World, are not to be turned over, but to be re-read until the psychological subtlety of the sentiment, the perfume of the delicately chosen phrases, the music of the sentences, have produced their full effect upon the nerves. But, meanwhile, what of the action? The reader dies of a rose in aromatic pain, but the spectator fidgets in his stall, and wishes that the actors and actresses would be doing something. In no play of Congreve's is the literature so consummate, in none is the human interest in movement and surprise so utterly neglected, as in The Way of the World. The Old Bachelor, itself, is theatrical in comparison. We have slow, elaborate dialogue, spread out like some beautiful endless tapestry, and no action whatever. Nothing happens, nothing moves, positively from one end of The Way of the World to the other, and the only reward of the mere spectator is the occasional scene of wittily contrasted dialogue, Millamant pitted against Sir Wilful, Witwoud against Petulant, Lady Wishfort against her maid. With an experienced audience, prepared for an intellectual pleasure, the wit of these polished fragments would no doubt encourage a cultivation of patience through less lively portions of the play, but to spectators coming perfectly fresh to the piece, and expecting rattle and movement, this series of still-life pictures may easily be conceived to be exasperating, especially as the satire contained in them was extremely sharp and direct.

Very slight record has been preserved of the manner in which The Way of the World was acted. The only part which seems to have been particularly distinguished was that of Mrs. Leigh in Lady Wishfort. Mrs. Bracegirdle, of course, was made for the part of Millamant, and her appearance in the second act, "with her fan spread and her streamers out, and a shoal of fools for tenders," was carefully prepared; yet we hear nothing of the effect produced. Mrs. Barry took the disagreeable character of Mrs. Marwood, and Betterton had no special chance for showing his qualities in Fainall. Witwoud and Petulant, who keep some of the scenes alive with their sallies, were Bower and Bowman, and Underhill played Sir Wilful. It is very tantalizing, and quite unaccountable, that no one seems to have preserved any tradition of the acting of this magnificent piece.

In The Way of the World, as in The Old Bachelor, Congreve essayed a stratagem which Molière tried but once, in Le Misanthrope. It is one which is likely to please very much or greatly to annoy. It is the stimulation of curiosity all through the first act, without the introduction of one of the female characters who are described and, as it were, promised to the audience. It is probable that in the case of The Way of the World it was hardly a success. The analysis of character and delicate intellectual writing in the first act, devoid as it is of all stage-movement, may possibly have proved very tedious to auditors not subtle enough to enjoy Mirabell's account of the effect which Millamant's faults have upon him, or Witwoud's balanced depreciation of his friend Petulant. Even the mere reader discovers that the whole play brightens up after the entrance of Millamant, and probably that apparition is delayed too long. From this point, to the end of the second act, all scintillates and sparkles; and these are perhaps the most finished pages, for mere wit, in all existing comedy. The dialogue is a little metallic, but it is burnished to the highest perfection; and while one repartee rings against the other, the arena echoes as with shock after shock in a tilting-bout. In comparison with what we had had before Congreve's time that was best -- with The Man of Mode, for instance, and with The Country Wife -- the literary work in The Way of the World is altogether more polished, the wit more direct and effectual, the art of the comic poet more highely developed. There are fewer square inches of the canvas which the painter has roughly filled in, and neglected to finish; there is more that consciously demands critical admiration, less that can be, in Landor's phrase, pared away.

Why, then, did this marvellous comedy fail to please? Partly, no doubt, on account of its scholarly delicacy, too fine to hold the attention of the pit, and partly also, as we have seen, because of its too elaborate dialogue and absence of action. But there was more than this. Congreve was not merely a comedian, he was a satirist also -- asper jocum tentavit. He did not spare the susceptibilities of his fine ladies. His Cabal-Night at Lady Wishfort's is the direct original of Sheridan's School for Scandal; but in some ways the earlier picture is the more biting, the more disdainful. Without posing as a Timon or a Diogenes, and so becoming himself an object of curious interest, Congreve adopted the cynical tone, and threads the brightly-coloured crowd of social figures with a contemptuous smile upon his lips. When we come to speak of his plays as a whole, we shall revert to this trait, which is highly characteristic of his genius; it is here enough to point out that this peculiar air of careless superiority, which is decidedly annoying to audiences, reaches its climax in the last of Congreve's comedies.

We have spoken with high praise of the end of the second act; but perhaps even this is surpassed in the third act by Lady Wishfort's unparalleled disorder at the sight of her complexion, "an arrant ash-colour, as I'm a person," and her voluble commands to her maid; or, in the fourth act, by the scene in which Millamant walks up and down the room reciting tags from the poets, not noticing Sir Wilful, the country clodpole squire, "ruder than Gothic," who takes the ejaculation, "Natural easy Suckling!" as a description of himself. It is to be noticed, as a proof that this play, in spite of its misfortunes, has made a deep impression on generations of hearers and readers, that it is fuller than any other of Congreve's plays of quotations that have become part of the language. It is from The Way of the World, for instance, that we take -- "To drink is a Christian diversion unknown to the Turk and the Persian"; while it would be interesting to know whether it is by a pure coincidence that Tennyson, in perhaps the most famous of all his phrases, comes so near to Congreve's "'Tis better to have been left, than never to have been loved."

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