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 the play ran no more than three nights. Till the third act was almost over, “the Audience,” says the Prompter (as quoted by “Sylvanus Urban”), “sat quiet, in hopes it would mend, till finding it grew worse and worse, they lost all Patience, and not an Expression or Sentiment afterwards pass’d without its deserved Censure.” Perhaps it is not to be wondered at that the author—“the prolifick Mr. Fielding,” as the Prompter calls him, attributed its condemnation to causes other than its lack of interest. In his Advertisement he openly complains of the “cruel Usage” his “poor Play” had met with, and of the barbarity of the young men about town who made “a Jest of damning Plays”—a pastime which, whether it prevailed in this case or not, no doubt existed, as Sarah Fielding afterwards refers to it in David Simple. If an author—he goes on to say—“be so unfortunate [as] to depend on the success of his Labours for his Bread, he must be an inhuman Creature indeed, who would out of sport and wantonness prevent a Man from getting a Livelihood in an honest and inoffensive Way, and make a jest of starving him and his Family.” The plea is a good one if the play is good; but if not, it is worthless. In this respect the public are like the French Cardinal in the story; and when the famished writer’s work fails to entertain them, they are fully justified in doubting his raison d’etre. There is no reason for supposing that the Universal Gallant deserved a better fate than it met with.

Judging from the time which elapsed between the production of this play and that of Pasquin (Fielding’s next theatrical venture), it has been conjectured that the interval was occupied by his marriage, and brief experience as a Dorsetshire country gentleman. The exact