Author
Charles Macklin
Died 1797
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WikipediaBooks by Charles Macklin
A Will and No Will; or, A Bone for the Lawyers. (1746) The New Play Criticiz'd, or the Plague of Envy. (1747)
"A Will and No Will; or, A Bone for the Lawyers" by Charles Macklin is a comedic farce written in the mid-18th century. This two-act play satirizes the legal profession and social conventions of its time, particularly focusing on themes of avarice and deceit through the character of Sir Isaac Skinflint, who exhibits extreme caution regarding his fortune and his will. Other characters, including his potential heirs and a scheming servant, contribute to the chaos surrounding Skinflint's attempts to secure his legacy while avoiding financial loss. The opening of the play introduces a theatrical prologue featuring banter between audience members discussing the play's reception and teasing the Irish lawyer character. It sets a light-hearted tone while hinting at the comedic misadventures to follow, as characters express their motivations tied to inheritance and legal maneuvering. The prologue's whimsical discussion about the farce prepares the audience for the ensuing antics as the plot unfolds around Skinflint’s reluctance to draft a will and his encounters with would-be heirs and opportunists, ultimately revealing the absurdities of wealth and familial greed in a lively theatrical context.
The Covent Garden Theatre, or Pasquin Turn'd Drawcansir
"The Covent Garden Theatre, or Pasquin Turn'd Drawcansir" by Charles Macklin is a satirical play written in the mid-18th century. This work serves as an afterpiece, a genre characterized by short comedic performances added to longer theatrical presentations during the period. The primary focus of the play is on the social follies of the time, offering a humorous critique of the public and their follies, particularly in the context of the theatre and London society. The play unfolds through the character of Pasquin, who acts as a public censor, addressing and ridiculing various societal figures and their vices. The narrative lacks a conventional plot and primarily serves as a platform for Macklin's sharp social commentary, delivered through exaggerated characters and witty dialogue. Pasquin and his companion Marforio engage with a series of characters that personify the absurdities and moral weaknesses of early 18th-century English society, using satire to explore themes of pretentiousness, gaming, and decency. The farce culminates in a rich tapestry of comedic encounters and reflections on the nature of public opinion, theatricality, and human behavior, ultimately leaving the audience with a blend of laughter and critical thought.
The Man of the World (1792)
"The Man of the World" by Charles Macklin is a comedy written during the late 18th century. The play centers around the character of Sir Pertinax Macsycophant and explores themes of social ambition, personal integrity, and the complexities of familial and romantic relationships. The narrative delves into the moral dilemmas faced by the characters, particularly regarding love and duty. The opening of the play introduces us to a swirling social environment where the household's servants gossip about their masters' affairs, hinting at the romantic entanglements between Charles Egerton, who has adopted his mother's family name, and Constantia, a dependent orphan raised by Lady Macsycophant. As their attraction blossoms, there are underlying tensions with Sir Pertinax, who aims to marry Charles to Lady Rodolpha Lumbercourt for social elevation. Constantia struggles with her feelings of loyalty towards Lady Macsycophant, while the play sets the stage for dramatic developments surrounding the characters' desires and familial expectations. This dynamic interplay of relationships and comedic misadventures suggests a satire of the social mores of the time.
The true-born Irishman : $b or, Irish fine lady : a comedy of two acts
"The true-born Irishman : or, Irish fine lady : a comedy of two acts by Macklin" is a satirical stage comedy written in the late 18th century. The play skewers fashionable pretension and social climbing in Dublin, lampooning anglicized airs, reckless gambling, and marital folly, while contrasting sturdy Irish plain-dealing with imported vanity. Country gentleman Murrogh O’Dogherty laments that his wife, newly back from London and rebranded “Mrs. Diggerty,” has caught the “fine lady” fever—aping English speech, chasing titles, and losing money at cards with Lady Kinnegad, Lady Bab Frightful, and their set. An English coxcomb, Count Mushroom, also Lord Old-Castle’s agent, tries to seduce her to sway lease terms, but O’Dogherty and the maid Katty intercept his letters and answer in her name to entrap him. At a bustling evening of gaming, O’Dogherty’s brother, Counsellor Hamilton, shocks Mrs. Diggerty into repentance with a blunt warning about her reputation. The husband forgives her and bids farewell to French cooks and London affectations. Finally, Mushroom arrives in women’s clothes for an assignation, is terrified by O’Dogherty’s feigned jealousy and pistol, and, in a panic, hides in a portmanteau. The company exposes and parades him for ridicule, and the play ends with the coxcomb punished and the “Irish fine lady” reclaimed to sense.