Love in Several Masques is a play by Henry Fielding that was first performed on 16 February 1728 at the Theatre Royal, Drury Lane. The moderately received play comically depicts three lovers trying to pursue their individual beloveds. The beloveds require their lovers to meet their various demands, which serves as a means for Fielding to introduce his personal feelings on morality and virtue. In addition, Fielding introduces criticism of women and society in general.
The play marks Fielding's early approach to theatre and how he begins to create his own take on traditional 18th-century theatre conventions. Critics have emphasised little beyond how the play serves as Fielding's first play among many. The possible sources of the play including a possible failed pursuit of a lover by Fielding, or the beginnings of Fielding's reliance on the topic of gender, identity, and social ethics.
Background
Love in Several Masques was Fielding's first play. It was advertised on 15 January 1728 in the London Evening Post and first ran on 16 February 1728 at the Theatre Royal. Performances were held on 17, 19 and 20 February, with the third night being the author's benefit. The play was never revived.Fielding 2004 p. 9 The cast included four members among some of the most talented of the Theatre Royal actors. Although it only ran for four nights, this was a great feat because John Gay's popular The Beggar's Opera was performed during the same time and dominated the theatrical community during its run.Rivero 1989 pp. 6–7 It was first printed on 23 February 1728 by John Watts, and a Dublin edition appeared in 1728. The play was later collected by John Watts in the 1742 and 1745 Dramatick Works and by Andrew Millar in the 1755 edition of Fielding's works. It was later translated and printed in German as Lieb unter verschiedenen Larven in 1759.Fielding 2004 pp. 10–14
Most of the information on the play and its run is known because of Fielding's preface in the printed edition of the play. The printed Love in Several Masques is dedicated "To the Right Honourable the Lady Mary Wortley Montague", his cousin. It is probable that she read the original draft of the play, which is alluded to in the dedication.Hume 1988 pp. 29–30 Information on her reading the draft comes from a letter written in approximately September 1727.Battesin 1989 pp. 246–248 In the letter, Fielding writes:
The play was completed during September 1727 and it was listed in the British Journal of 23 September 1727 as being scheduled. There is little information on Fielding's editing of the work, and none to support that anyone suggested corrections except Anne Oldfield, who he thanked in the Preface for supplying corrections. The prologue, dedication, and preface were probably composed during January or February 1728, with the dedication and preface most likely composed between the last nights of the show, 20 and 21 February, and its publication, 23 February.Fielding 2004 pp. 2–4
Cast The cast according to the original printed billing:Hume 1988 pp. 32–33Fielding 2004 p. 24 Wisemore – lover of Lady Matchless, played by John Mills Merital – lover of Helena, played by Robert Wilks Malvil – lover of Vermilia, played by Roger Bridgewater Lord Formal – rival to Wisemore, played by Benjamin Griffin Rattle – fop and rival to Merital, played by Colley Cibber Sir Apish Simple – rival to Malvil, played by Josias Miller Lady Matchless – played by Anne Oldfield Vermilia – played by Mary Porter Helena – played by Mrs Booth Sir Positive Trap – husband of Lady Trap, care taker of Helena, played by John Harper Lady Trap – played by Mrs. Moor Catchit – maid to Lady Trap, played by Theodosia Mills Prologue spoken by John MillsFielding 2004 p. 25 Epilogue spoken by Miss Robinson, child actressFielding 2004 p. 97
Plot The plot is traditional in regards to Restoration theatre and includes three female characters, three respectable males, three non-respectable males, and three side characters. Each respectable male meets their female counterpart three times, and each has a parallel incident with letters and an unmasking. The primary plot of the play deals with Wisemore and his pursuit of Lady Matchless.Rivero 1989 p. 17 With the help of his friend Merital, Wisemore is able to overcome other lovers and various struggles in order to prove his worth to Matchless and win her love.Fielding 2004 pp. 85–91
A secondary plot involves Merital and his desire to marry a woman named Helena, cousin to Matchless. He is kept from doing so externally by her uncle, Sir Positive Trap, by the workings of her aunt, and internally by themselves.Rivero 1989 pp. 17–18 Against her uncle's wishes, Helena and Merital elope. Although Trap is angered by this, Lady Matchless steps in and defends the marriage by saying that she too will marry like her cousin. The play ends with a song about beauty, virtue, and lovers.Fielding 2004 pp. 91–95
Preface The printed version of the play included a self-conscious preface:Rivero 1989 p. 7 I believe few plays have ever adventured into the world under greater disadvantage than this. First, as it succeeded a comedy which, for the continued space of twenty-eight nights, received as great (and as just) applauses, as ever were bestowed on the English Theatre. And secondly, as it is co-temporary with an entertainment which engrosses the whole talk and admiration of the town.
These were difficulties which seemed rather to require the superior force of a Wycherley, or a Congreve, than of a raw and unexperienced pen; for I believe I may boast that none ever appeared so early upon the stage. However, such was the candour of the audience, the play was received with greater satisfaction than I should have promised myself from its merit, had it even preceded the Provoked Husband.Fielding 1902 Vol VIII p. 9 He continued by thanking his cast, especially Anne Oldfield, for the effort that they put into their roles.Battestin and Battestin 1993 pp. 60–61 This preface served as a model for Fielding's later prefaces included in his novels, such as Joseph Andrews or Tom Jones.
Themes Love in Several Masques is a traditional comic drama that incorporates morality. The theme of the play is the relationship of disguises and courtship with a discussion of the nature of love. Fielding focuses on men and how they deal with love and marriage. Also, the gentlemen must prove their worth before they can be justified in their marriage, which allows Fielding to describe the traits required in successful male suitors. The first act deals primarily with the gentlemen in order to establish a focus on their characteristics.Rivero 1989 pp. 16–17 Fielding's first play serves as a representation for his belief in the relationship of morality and libertine beliefs and introduces character types that he would use throughout his plays and novels.Potter 1999 p. 34 However, all negative characteristics are very apparent to the audience, and those characters who are immoral are unable to accomplish their goals. The main characters are still decent individuals who are able to help another, even though they sometimes get in each other's way. At no time is the audience able to believe that vice will conquer, which undermines part of the satire. Regardless, Harold Pagliaro is still able to conclude that "Fielding's satire on the marriage market, however, is effective, if not biting."Pagliaro 1998 pp. 58–59
Wisemore's character introduces feelings about the London community and criticises various problems. However, his reflections are portrayed as both correct and lacking, and that he is focused only on the bad aspects of life. His ideas result from removing himself from society in preference to the company of classical books. Although he does not realise it, the play suggests that there are virtuous people. Merital, in response to Wisemore, believes that Wisemore's philosophical inclinations are foolish. As the play later reveals, Wisemore's views are only a mask to hide from his own feelings and views on love.Rivero 1989 pp. 19–20
Wisemore is not the only one to serve as a means to comment on society; the characters Vermilia and Lady Matchless are used to discuss the proper role of females within society by serving as housewives. The dialogue between the two reveals that females are only in control of the domestic sphere because men have allowed them to dominate in the area. This is not to suggest that Fielding supports the repression of females; instead, women are used as a way to discuss the internal aspects of humans including both emotions and morality. However, feminist critic Jill Campbell points out that Fielding does mock women who abuse their relationship with the internal, emotions, and morality in order to dominate and assume power.Campbell 1995 pp. 23–24 Tiffany Potter, another feminist critic, sees gender within the play in a different light; Merital's actions and words show a moderate approach to females, and "Women are neither victims of deceitful men nor overdefensive virgins, but individuals who can choose to 'bestow' their favours on a man who will 'enjoy' them."Potter 1999 p. 38
The image of the masque within the play deals with hiding one's identity. Fielding, like many other playwrights, focuses on how the masque genre deals with the social acceptability of altering identities within the format. However, Fielding extends the image to discuss society and those who impersonate social and gender roles that they do not fill.Campbell 1995 pp. 49–50 Fielding also has a problem with those who act viciously with license even though he is willing to accept some of the lesser libertine actions. Merital, for instance, is a sexual type of libertine and is treated differently than those like Sir Positive Trap, Lord Formal, and Sir Apish Simple who are criticised as being part of the corrupted order. Trap and Formal are part of old families, and their attachment to the age of their families and their attempts to use that to justify their beliefs over what is proper is ridiculed within the play. In particular, Merital is the one able to point out their flaws.Potter 1999 pp. 36–37
Sources
It is possible that the plot of Love in Several Masques is connected to Fielding's own attempt to marry Sarah Andrew in November 1725.Cross 1918 pp. 53–55 Fielding met Andrew when he travelled to Lyme Regis. She was his cousin by marriage, 15 years old, and an heiress of the fortune of her father, Solomon Andrew. Her guardian Andrew Tucker, her uncle, prohibited Fielding from romantically pursuing her; it is possible that Tucker wished Andrew to marry his own son. On 14 November 1725, Andrew Tucker alleged the mayor that Fielding and Fielding's servant, Joseph Lewis, threatened to harm Tucker. According to Andrews's descendants, Fielding attempted to violently take Andrew on 14 November.Battestin and Battestin 1993 pp. 49–50 Regardless, Fielding fled the town after leaving a notice in public view that accused Andrew Tucker and his son of being "Clowns, and Cowards".Battestin and Battestin 1993 qtd. p. 51 Thomas Lockwood qualified the connection of this incident and the plot of Love in Several Masques by saying, "I suspect so too, or at any rate suspect that this experience gave a crucial infusion of real feeling to that part of the play: which is however not to say that the writing itself, or the idea, goes back that far."Fielding 2004 p. 2