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by Elvira, is puerile, but was doubtless welcome to a sentimental audience. It is a bad play, but not at all an unpromising one.

      Early in 1696 Agnes de Castro, still anonymous, was published as a book, and for the next five or six years we find Catharine Trotter habitually occupied in writing for the stage. Without question she did so professionally, though in what way dramatists at the close of the seventeenth century lived by their pens is difficult to conjecture. A very rare play, The Female Wits; or, the Triumvirate of Poets, the authorship of which has hitherto defied conjecture, was acted at Drury Lane after Catharine Trotter had been tempted across to Lincoln's Inn Fields, and is evidently inspired by the intense jealousy which smouldered between the two great houses. The success of Miss Trotter incited two older ladies to compete with her; these were Mrs. Delariviere Manley, who was a discarded favourite of Barbara Villiers, and fat Mrs. Mary Pix, the stage-struck consort of a tailor. These rather ridiculous women professed themselves followers of Catharine, and they produced plays of their own not without some success. With her they formed the trio of Female Wits who were mocked in the lively but, on the whole, rather disappointing play I have just mentioned, in the course of which it is spitefully remarked of Calista—who is Miss Trotter—that she has "made no small struggle in the world to get into print," and is "now in such a state of wedlock to pen and ink that it will be very difficult" for her "to get out of it."

      In acting The Female Wits Mrs. Temple, who had played the Princess in Agnes de Castro, took the part of Calista, and doubtless, in the coarse fashion of those days, made up exactly like poor Catharine Trotter, who was described as "a Lady who pretends to the learned Languages, and assumes to herself the name of a Critic." This was a character, however, which she would not have protested against with much vigour, for she had now quite definitely taken up the position of a reformer and a pioneer. She posed as the champion of women's intellectual rights, and she was accepted as representing in active literary work the movement which Mary Astell had recently foreshadowed in her remarkable Serious Proposal to Ladies of 1694. We turn again to The Female Wits, and we find Marsilia (Mrs. Manley) describing Calista to Mrs. Wellfed (Mrs. Fix) as "the vainest, proudest, senseless Thing! She pretends to grammar! writes in mood and figure! does everything methodically!" Yet when Calista appears on the stage, Mrs. Manley rushes across to fling her arms around her and to murmur: "O charmingest Nymph of all Apollo's Train, let me embrace thee!" Later on Calista says to Mrs. Pix, the fat tailoress, "I cannot but remind you, Madam … I read Aristotle in his own language"; and of a certain tirade in a play of Ben Jonson she insists: "I know it so well, as to have turn'd it into Latin." Mrs. Pix admits her own ignorance of all these things; she "can go no further than the eight parts of speech." This brings down upon her an icy reproof from Calista: "Then I cannot but take the Freedom to say … you impose upon the Town." We get the impression of a preciseness of manner and purpose which must have given Catharine a certain air of priggishness, not entirely unbecoming, perhaps, but very strange in that loose theatre of William III.

      Accordingly, in her next appearance, we find her complaining to the Princess (afterwards Queen Anne) that she has become "the mark of ill Nature" through recommending herself "by what the other Sex think their peculiar Prerogative"—that is, intellectual distinction. Catharine Trotter was still only nineteen years of age when she produced her tragedy of Fatal Friendship, the published copy of which (1698) is all begarlanded with evidences of her high moral purpose in the shape of a succession of "applausive copies" of verses. In these we are told that she had "checked the rage of reigning vice that had debauched the stage." This was an allusion to the great controversy then just raised by Jeremy Collier in his famous Short View of the Immorality and Profaneness of the Stage, in which all the dramatists of the day were violently attacked for their indecency. Catharine Trotter has the courage to side with Collier, and the tact to do so without quarrelling with her male colleagues. She takes the side of the decent women.

      "You as your Sex's champion art come forth

       To fight their quarrel and assert their worth,"

      one of her admirers exclaims, and another adds:—

      "You stand the first of stage-reformers too."

      The young poetess aimed at reconciling the stage with virtue and at vindicating the right of woman to assume "the tragic laurel."

      This was the most brilliant moment in the public career of our bluestocking. Fatal Friendship enjoyed a success which Catharine Trotter was not to taste again, and of all her plays it is the only one which has ever been reprinted. It is very long and extremely sentimental, and written in rather prosy blank verse. Contemporaries said that it placed Miss Trotter in the forefront of British drama, in company with Congreve and Granville "the polite," who had written a She-Gallants, which was everything that Miss Trotter did not wish her plays to be. Fatal Friendship has an ingenious plot, in which the question of money takes a prominence very unusual in tragedy. Almost every character in the piece is in reduced circumstances. Felicia, sister to Belgard (who is too poor to maintain her), is wooed by the wealthy Roquelaure, although she is secretly married to Gramont, who is also too poor to support a wife. Belgard, afraid that Gramont will make love to Felicia (that is, to his own secret wife), persuades him—in order that his best friend, Castalio, may be released from a debtor's prison—bigamously to many Lamira, a wealthy widow. But Castalio is in love with Lamira, and is driven to frenzy by Gramont's illegal marriage. It all depends upon income in a manner comically untragical. The quarrel between the friends in the fifth act is an effective piece of stage-craft, but the action is spoiled by a ridiculous general butchery at the close of all. However, the audience was charmed, and even "the stubbornest could scarce deny their Tears."

      Fatal Friendship was played at the Lincoln's Inn Theatre, and no doubt it was Congreve who brought Miss Trotter over from Drury Lane. His warm friendship for her had unquestionably a great deal to do with her success and with the jealousy of her rivals. A letter exists in which the great dramatist acknowledges, in 1697, the congratulations of his young admirer, and it breathes an eager cordiality. Congreve requested Betterton to present him to Catharine Trotter, and his partiality for her company is mentioned by several writers. The spiteful author of The Female Wits insinuates that Congreve made the looking-over of Catharine's scenes "his pretence for daily visits." Another satirist, in 1698, describes Congreve sitting very gravely with his hat over his eyes, "together with the two she-things called Poetesses which write for his house," half-hidden from the public in a little side-box. Farquhar, too, seeing the celebrated writer of Fatal Friendship in the theatre on the third night of the performance of his Love and a Bottle, had "his passions wrought so high" by a sight of the beautiful author that he wrote her a letter in which he called her "one of the fairest of the sex, and the best judge." If Catharine Trotter, as the cynosure of delicacy, at the age of nineteen, sat through Love and a Bottle without a blush, even her standard of decency was not very exacting. But in all this rough, coarse world of wit her reputation never suffered a rebuff.

      Encouraged by so much public and private attention, our young dramatist continued to work with energy and conscientiousness. But her efforts were forestalled by an event, or rather a condition of the national temper, of which too little notice has been taken by literary historians. The attacks on the stage for its indecency and blasphemy had been flippantly met by the theatrical agents, but they had sunk deeply into the conscience of the people. There followed with alarming abruptness a general public repulsion against the playhouses, and to this, early in 1699, a roughly worded Royal Proclamation gave voice. During the whole of that year the stage was almost in abeyance, and even Congreve, with The Way of the World, was unable to woo his audience back to Lincoln's Inn. During this time of depression Catharine Trotter composed at least two tragedies, which she was unable to get performed, while the retirement of Congreve in a paroxysm of annoyance must have been a very serious disadvantage to her.

      On May 1st, 1700, Dryden died, and with him a dramatic age passed away. What Miss Trotter's exact relations with the great poet had been is uncertain; she not only celebrated his death in a long elegy, in which she speaks on behalf of the Muses, but wrote another and more important poem, in which she gives very sound advice to the poetical beginner, who is to take Dryden as a model, and to be particularly careful to disdain Settle, Durfey, and Blackmore, typical poetasters

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