Mistress Nell: A Merry Tale of a Merry Time — Background and Themes
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Hat was the play; 't was language, wit, and tale: Like them that find meat, drink, and cloth in ale."_
The King leaned well out over the box-rail, his dark eyes intent upon Nell's face.
A fair hand, however, was placed impatiently upon his shoulder and drew him gently back. "Lest you fall, my liege."
"Thanks, Castlemaine," he replied, kindly but knowingly. "You are always thoughtful."
The play went on. The actors came and went. Hart appeared in Oriental robes as Almanzor--a dress which mayhap had served its purposes for Othello, and mayhap had not; for cast-off court-dresses, without regard to fitness, were the players' favourite costumes in those days, the richness more than the style mattering.
With mighty force, he read from the centre of the stage, with elocution true and syllable precise, Dryden's ponderous lines. The King nodded approvingly to the poet. The poet glowed with pride at the patronage of the King. The old-time audience were enchanted. Dryden sat with a triumphant smile as he dwelt upon his poetic lines and heard the cherished syllables receive rounds of applause from the Londoners.
Was it the thought, dear Dryden; or was it Nell's pretty ways that bewitched the most of it? Nell's laugh still echoes in the world; but where are your plays, dear Dryden?
_It's near your cue, Mistress Nell!_
The greenroom of the King's House was scarcely a prepossessing place or inviting. A door led to the stage; another to the street. On the remaining doors might have been deciphered from the Old English of a scene-artist's daub "Mistress Gwyn" and "Mr. Hart." These doors led respectively to the tiring-room of the sweet sprite who had but now set the pit wild with a hat over a sparkling eye and to that of the actor-manager of the House. A rough table, a few chairs, a mirror which had evidently seen better days in some grand mansion and a large throne-chair which might equally well have satisfied the royalty of Macbeth or Christopher Sly--its royalty, forsooth, being in its size, for thus only could it lord-it over its mates--stood in the corner. Old armour hung upon the wall, grim in the light of candles fixed in braziers. Rushes were strewn about the floor.
Ah! Pepys, Pepys, was it here that you recalled "specially kissing of Nell"? Mayhap; for we read in your book: "I kissed her, and so did my wife, and a mighty pretty soul she is." Be that as it may, however, you must have found Nell's lips very agreeable; for a great wit has suggested that it was well that Mrs. Pepys was present on the occasion.
On great play-nights, however, this most unroyal room assumed the proportions of royalty. Gallants and even lords sought entrance here and elbowed their way about; and none dared say them nay. They forced a way even upon the stage during the play, though not so commonly as before the Restoration, yet still too much; and the players played as best they could, and where best they could. _Billets-doux_ passed, sweet words were said,--all in this dilapidated, unpretentious, candle-lighted room.
At the moment of which we speak, the greenroom was deserted save for a lad of twelve or fourteen years, who stood before the mirror, posing to his personal satisfaction and occasionally delivering bits from "Hamlet." He was none other than "Dick," the call-boy of the King's House.
The lad struck a final attitude, his brow clouded. He assumed what seemed to him the proper pose for the royal Dane. His meditations and his pose, however, were broken in upon by the sudden entrance of Manager Hart, flushed and in an unusual state of excitement.
"Where is my dagger, Dick?" he exclaimed, pacing the room.
The boy came to himself but slowly.
"What are you doing? Get my dagger, boy," wildly reiterated the irate manager. "Don't you see there will be a stage-wait?" He cast an anxious glance in the direction of the door which led to the stage.
"Where did you leave it, sir?" asked the lad, finally realizing that it would be wise not to trifle at such a time.
"Never mind where I left it. Get it, get it; do you hear! Nell's on the stage already." Hart rushed to the door and looked off in an increasing state of excitement.
"Why, you've got your dagger on, sir," hesitatingly suggested the lad, as he caught the gleam of a small scimiter among the folds of Almanzor's tunic.
"Devil take you, boy," he exclaimed; "you are too stupid ever to make an actor!"
With this speech, the manager strode out of the greenroom toward the stage.
Poor Dick sank back in an attitude of resignation. "How long, O Rome, must I endure this bondage?" he said, sadly.
He again observed his boyish figure in the mirror, and the pretty face brightened as he realized that there might still be hope in life, despite Manager Hart's assertion that he would never be able to act. His features slowly sank into a set expression of tremendous gloom, such as he thought should characterize his conception of himself as Hamlet when in days to come the mantles of Burbage and of Betterton should be his and Manager Hart must bow to him. He stood transfixed before the glass in a day-dream, forgetful of his ills. His pretty lips moved, and one close by might have heard again, "To be or not to be" in well-modulated phrase.
It was a richly dressed gallant, in old-rose with royal orders, who had entered the room quietly but authoritatively from the street--the same lordly personage we observed in the pit. His manner was that of one accustomed to be obeyed and quickly too. The lad knew him and bowed low.
"Tell Mistress Nell, Buckingham would speak with her. Lively, lad; lively," he said.
"She is on the stage, my lord," replied Dick, respectfully.
"Gad, I thought otherwise and stepped about from my box. Here; put these flowers in her tiring-room."
The boy took the beautiful bouquet of white roses. "Yes, my lord," he replied, and turned to do the bidding.
"Flowers strewn in ladies' ways oft' lead to princely favours," muttered his lordship, thoughtfully, as he removed his gloves and vainly adjusted his hat and sword. "Portsmouth at Dover told me that."
It was apparent from his face that much passed before his mind, in that little second, of days when, at Dover Castle not long since, he had been a part--and no small part--of the intrigue well planned by Louis of France, and well executed by the Duchess of Orleans assisted by the fair Louise, now Duchess of Portsmouth, in which his own purse and power had waxed mightily. Whatever his lordship thought, however, it was gone like the panorama before a drowning brain.
He stopped the lad as he was entering Nell's tiring-room, with an exclamation. The boy returned.
"You gave Mistress Nell my note bidding her to supper?" he asked, questioningly.
"I did, my lord," answered Dick.
"'Sheart, a madrigal worthy of Bacchus! She smiled delightedly?" continued his lordship, in a jocular mood.
"No, my lord; quite serious."
His lordship's face changed slightly. "Read it eagerly?" he ventured, where he might have commanded, further to draw out the lad.
"Yes, my lord," added Dick, respectfully, "after a time." The boy's lids dropped to avoid revealing his amused recollection of the incident; and his lordship's quick eye noted it.
"Good!" he exclaimed, with an assumed triumphant air. "She folded it carefully and placed it in her bosom next her heart?"
"She threw it on the floor, my lord!" meekly answered Dick, hiding his face in the flowers to avoid revealing disrespect.
"My _billet-doux_ upon the floor!" angrily exclaimed his lordship. "Plague on't, she said something, made some answer, boy?" The diplomat was growing earnest despite himself, as diplomats often do in the cause of women.
"She said your dinners made amends for your company, my lord," he said, meekly.
Buckingham's eyes snapped; but he was too clever to reveal his feelings further to a call-boy, whom he dismissed with a wave of the hand. He then swaggered to the table and complacently exclaimed: "The rogue! Nelly, Nelly, your lips shall pay tribute for that. Rosy impudence! Buckingham's dinners make amends for his company? Minx!" He threw himself into a chair, filled with deep reflections of supper and wine, wit and beauty, rather than state-craft.
Thus lost in selfish reflection, he did not observe, or, if he did, cared not for, the frail figure and sweet face of one who cautiously tiptoed into the greenroom. It was Orange Moll, whose sad countenance and tattered garments betokened a sadder story. Her place was in the pit, with her back to the stage, vending her oranges to artisans, girls with vizards or foolish gallants. She had no right behind the scenes.
"I am 'most afraid to enter here without Nell," she thought, faint-heartedly, as she glanced about the room and her eyes fell upon the great Lord Buckingham.
"Oranges? Will you have my oranges? Only sixpence, my lord," she ventured at length, then hesitatingly advanced and offered her wares; but his lordship's thoughts were far away.
"What shall we have for supper?" was his sole concern. "I think Nelly would like spiced tongue." Instantly his hands and eyes were raised in mock invocation of the intervention of the Powers that Be, and so suddenly that Moll drew back. "Ye Gods," he exclaimed aloud, "she has enough of that already! Ah, the vintage of----"
It was more habit than courage which brought to Moll's trembling lips the familiar orange-cry, which again interrupted him: "Oranges; only sixpence. Here is one picked for you, my lord."
Buckingham's eyes flashed with anger; he was not wont to have his way, much less his pleasure, disturbed by the lowly. "Oh, hang you, you disturb me. I am thinking; don't you perceive I am thinking? Begone!"
"Only sixpence, my lord; I have not sold one to-night," pleaded the girl, sadly.
His lordship rose irritably. "I have no pauper's pence," he exclaimed. "Out of my way! Ragbag!" He pushed the girl roughly aside and crossed the room.
At the same instant, there was confusion at the stage-door, the climax of which was the re-entrance of Hart into the greenroom.
"How can a man play when he trembles for his life lest he step upon a lord?" cried the angry manager. "They should be horsewhipped off the stage, and"--his eyes falling upon Buckingham--"out of the greenroom."
"Ah, Hart," began his lordship, with a patronizing air, "why is Nelly so long? I desire to see her."
Hart's lips trembled, but he controlled his passion. "Indeed? His Majesty and the good folk in front would doubtless gladly await your interview with Mistress Eleanor Gwyn. Shall I announce your will, my lord, unto his Majesty and stop the play?"
"You grow ironical, friend Hart," replied his lordship.
"Not so," said the actor, bowing low; "I am your lordship's most obedient servant."
Buckingham's lip curled and his eyes revealed that he would have said more, but the room was meantime filling with players from the stage, some exchanging compliments, some strutting before the glass, and he would not so degrade his dignity before them. Dick, foil in hand even in the manager's room, was testing the steel's strength to his utmost, in boyish fashion.
This confusion lent Moll courage, and forth came again the cry: "Oranges? Will you have my oranges? Only sixpence, sir."
She boldly offered her wares to Almanzor, but started and paled when the hero turned and revealed Manager Hart.
"What are you doing here, you little imp? Back to the pit, where you belong." The manager's voice was full of meaning.
"Nell told me I might come here, sir," said the girl, faintly excusing herself.
Hart's temper got the better of him. To admit before all that Nell ruled the theatre was an affront to his managerial dignity which he could not brook.
"Oh, Nell did, did she?" he almost shrieked, as he angrily paced the room like some caged beast, gesticulating wildly.
The actors gathered in groups and looked askant.
"Gadso," he continued, "who is manager, I should like to know! Nell would introduce her whole trade here if she could. Every orange-peddler in London will set up a stand in the greenroom at the King's, next we know. Out with you! This is a temple of art, not a marketplace. Out with you!"
He seized Moll roughly in his anger and almost hurled her out at the door. He would have done so, indeed, had not Nell entered at this moment from the stage. Her eye caught the situation at a glance.
"Oh, blood, Iago, blood!" she exclaimed, mock-heroically, then burst into the merriest laugh that one could care to hear. "How now, a tragedy in the greenroom! What lamb is being sacrificed?"
Hart stood confused; the players whispered in expectation; and an amused smile played upon the features of my Lord Buckingham at the manager's discomfiture. Finally Hart found his tongue.
"An old comrade of yours at orange-vending before you lost the art of acting," he suggested, with a glance at Moll.
"By association with you, Jack?" replied the witch of the theatre in a way which bespoke more answers that wisdom best not bring forth.
Nell's whole heart went out to the subject of the controversy. Poor little tattered Orange Moll! She was carried back in an instant to her own bitter life and bitter struggles when an orange-girl. Throwing an arm about the child, she kissed away the tears with, "What is the matter, dear Moll?"
"They are all mocking me, and sent me back to the pit," replied the girl, hysterically.
"Shame on you all," said Nell; and the eyes that were so full of comedy revealed tragic fire.
"Fy, fy," pleaded Hart; "I'll be charitable to-morrow, Nell, after this strain is off--but a first night--"
"You need charity yourself?" suggested Nell; and she burst into a merry laugh, in which many joined.
Buckingham instantly took up the gauntlet for a bold play, for a _coup d'etat_ in flattery. "Pshaw!" he cried, waving aside the players in a princely fashion. "When Nell plays, we have no time to munch oranges. Let the wench bawl in the street."
Poor Moll's tears flowed again with each harsh word. Nell was not so easily affected.
"Odso, my lord! It is a pity your lordship is not a player. Then the orange-trade would flourish," she said.
Buckingham bowed, amused and curious. "Say you so, i' faith! Pray, why, mad minx?"
"Your lordship would make such a good mark for the peel," retorted Nell, tossing a bit of orange-peel in his face, to the infinite delight of Hart and his fellow-players.
"Devil!" angrily exclaimed his lordship as he realized the insult. "I would kill a man for this; a woman, I can only love." His hand left his sword-hilt; and he bowed low to the vixen of the theatre, picked from the floor the bit of peel which had fallen, kissed it, tossed it over his shoulder and turned away.
Nell was not done, however; her revenge was incomplete. "There! dry your eyes, Moll," she exclaimed. "Give me your basket, child. You shall be avenged still further."
The greenroom had now filled from the stage and the tiring-rooms; and all gathered gleefully about to see what next the impish Nell would do, for avenged she would be they all knew, though the course of her vengeance none could guess.
The manager, catching at the probable outcome when Nell seized from Moll's trembling arm the basket heaped with golden fruit, gave the first warning: "Great Heavens! Flee for your lives! I'faith, here comes the veteran robber at such traffic."
There was a sudden rush for the stage, but Nell cried: "Guard the door, Moll; don't let a rascal out. I'll do the rest."
It was not Moll's strength, however, which kept the greenroom filled, but expectation of Nell. All gathered about with the suspense of a drama; for Nell herself was a whole play as she stood in the centre of that little group of lords and players, dressed for Almahyde, Dryden's heroine, with a basket of oranges on her dimpled arm. What a pretty picture she was too--prettier here even than on the stage! The nearer, the prettier! A band of roses, one end of which formed a garland falling to the floor, circled and bound in her curls. What a figure in her Oriental garb, hiding and revealing. Indeed, the greenroom seemed bewitched by her cry: "Oranges, will you have my oranges?"
She lifted the basket high and offered the fruit in her enchanting old-time way, a way which had won for her the place of first actress in England. Could it not now dispose of Moll's wares and make the child happy? Almahyde's royal train was caught up most unroyally, revealing two dainty ankles; and she laughed and danced and disposed of her wares all in a breath. Listen and love:
_Sweet as love-lips, dearest mine, Picked by Spanish maids divine, Black-eyed beauties, who, like Eve, With golden fruit their loves deceive! Buy oranges; buy oranges!_
_Close your eyes, when these you taste; Think your arm about her waist: Thus with sixpence may you win Happiness unstained with sin. Buy oranges; buy oranges!_
_As the luscious fruit you sip, You will wager 'tis her lip; Nothing sweeter since the rise Of wickedness in Paradise. Buy oranges; buy oranges!_
There were cries of "Brava!" "Another jig!" and "Hurrah for Nelly!" It was one of those bits of acting behind the scenes which are so rare and exquisite and which the audience never see.
"Marry, gallants, deny me after that, if you dare"; and Nell's little foot came down firmly in the last step of a triumphant jig, indicating a determination that Moll's oranges should be sold and quickly too.
"Last act! All ready for the last act," rang out in Dick's familiar voice from the stage-door as she ended. It was well some one thought of the play and of the audience in waiting.
Many of the players hastily departed to take up their cues; but not so Nell. Her eyes were upon the lordly Buckingham, who was endeavouring to effect a crafty exit.
"Not so fast, my lord," she said as she caught his handsome cloak and drew him back into the room. "I want you with me." She looked coyly into his lordship's face as though he were the one man in all the world she loved, and her curls and cheek almost nestled against his rich cloak. "A dozen, did you say? What a heart you have, my lord. A bountiful heart!"
Buckingham was dazed; his eyes sought Nell, then looked aghast at the oranges she would force upon him. The impudence of it!
"A dozen!" he exclaimed in awe. "'Slife, Nelly; what would I do with a dozen oranges?"
"Pay for them, in sooth," promptly replied the vixen. "I never give a lord credit."
The player-folk gathered closer to watch the scene; for there was evidently more fun brewing, and that too at the expense of a very royal gentleman.
"A player talk of credit!" replied his lordship, quite ironically, as he straightened up proudly for a wit-encounter. "What would become of the mummers, if the lords did not fill their empty pockets?" he said, crushingly.
"What would become of the lords, if the players' brains did not try to fill their empty skulls with wits?" quickly retorted Nell.
"If you were a man, sweet Nelly, I should answer: 'The lords first had fools at court; then supplanted them with players!'"
"And, being a woman, I do answer," replied the irrepressible Nell, "'--and played the fools themselves, my lord!'"
The players tried to smother their feelings; but the retort was too apt, and the greenroom rang with laughter.
Buckingham turned fiercely upon them; but their faces were instantly mummified.
"Gad, I would sooner face the Dutch fleet, Nelly. Up go my hands, fair robber," he said. He had decided to succumb for the present. In his finger-tips glistened a golden guinea.
Nell eyed the coin dubiously.
"Nay, keep this and your wares too," added his lordship, in hope of peace, as he placed it in her hand.
"Do you think me a beggar?" replied Nell, indignantly. "Take your possessions, every one--every orange." She filled his hands and arms to overflowing with her golden wares.
His lordship winced, but stood subdued.
"What am I to do with them?" he asked, falteringly.
"Eat them; eat them," promptly and forcefully retorted the quondam orange-vender.
"All?" asked his lordship.
"All!" replied her ladyship.
"Damme, I cannot hold a dozen," he exclaimed, aghast.
George C. Hazelton's Mistress Nell: A Merry Tale of a Merry Time opens with a verse epigraph and a narrator who announces the Restoration as a 'renaissance of carelessness and good-living.' The prose immediately establishes a tone of playful irreverence, matching the subtitle's promise. Hazelton, who first wrote a play on the same subject, brings a theatrical sensibility to the novel: scenes are built around dialogue, physical comedy, and swift exits. The excerpts show a writer who favors brisk, colloquial speech over period pastiche, yet peppers the text with exclamations like 'Odsbud' and 'Body o’ me!' to evoke the era.
Diction and the Comic Voice
Hazelton's dialogue relies on exaggerated, rhythmic repetition for comic effect. In the tavern scene, Constable Swallow and his posse Buzzard trade hiccup-laced insults: 'I’ll arrest you, you Buzzard–hic!' / 'I’ll arrest you, you Swallow–hic!' The author uses the hiccup as a verbal tic, turning a routine arrest into a farcical standoff. The landlord's cries of 'Stop, thief!' and Nell's retort 'Send it to the Duchess!' show how Hazelton compresses character and conflict into single lines. The King's speech is marked by imperatives and mock-heroic bluster ('We’ll see what his Majesty’s constables are made of'), while Nell's whispers reveal her pragmatic cunning. This contrast between Charles's bravado and Nell's quick thinking drives the scene's rhythm.
Theatrical Structure and Stage Directions
The novel's origins as a play are evident in its scene construction. The tavern sequence is built like a stage farce: characters enter and exit through doorways and steps, the constables' 'posse' is a single man, and the action culminates in a physical tangle on the floor. Hazelton writes action lines that read like stage directions: 'He looked about quickly for an exit,' 'She ran hastily toward the steps,' 'The two drunken representatives of the law seized each other angrily.' The narrator's interjections—'A wrangle of the generals,' laughed Charles—function as asides to the audience. Even the chapter headings, such as 'In the field, men; at court, women!,' echo the curt, thematic titles of play scenes.
Setting as Atmosphere
Hazelton establishes setting through sensory shorthand rather than dense description. The opening paragraph contrasts 'gray and sombre' Roundheads with the 'merry' court, using broad strokes to paint the Restoration mood. The bal masqué at Portsmouth's palace is evoked through 'music filled her palace with rhythmic sound' and 'many lights, its flowers, its works of art.' The tavern, by contrast, is defined by disorder: a constable hiccuping, a landlord in despair, a rapier 'tickling' ribs. These settings are functional backdrops for dialogue and action, not immersive worlds. Hazelton's prose moves quickly from place to place, trusting the reader to fill in visual details from the brisk cues.
Nell Gwyn's Voice and Agency
In the excerpts, Nell is defined by her quick wit and practical advice. When Charles reaches for his sword, she whispers, 'You will raise a nest of them... You need your wits, Sire; not your sword.' This line reveals her as the strategic mind in the pair, steering the King away from unnecessary confrontation. Her parting shot to the landlord—'Send it to the Duchess!'—is a cheeky dismissal that underscores her social audacity. Hazelton gives Nell the last word in the scene, and her laughter ('Fly, fly!') contrasts with the blustering men. The author does not dwell on her backstory or inner thoughts here; instead, he lets her actions and dialogue carry her character, a choice consistent with the novel's theatrical roots.
Readers approaching Mistress Nell should attend to how Hazelton balances historical setting with comic pacing. The novel does not aim for psychological depth or period accuracy; it is a light entertainment built on brisk dialogue and farcical situations. The excerpts suggest that Nell's charm lies in her verbal dexterity and her ability to outmaneuver the men around her. Those who enjoy Restoration comedy or theatrical prose will find the style familiar, while readers seeking a detailed portrait of Nell Gwyn may need to look elsewhere.
Years among these shelves taught me how a stage can hold a soul, as with Nell Gwyn’s saucy wit. Yet there is another kinship, quieter—a daughter’s imagined world in Judith Shakespeare: Her love affairs and other adventures — A Closer Reading, whose yearning feels like Nell’s own, masked by laughter. Both whisper of women longing, briefly, to be heard.
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