The absence of publicity from Mrs. Clive, or about her, suggests that
her second short year at Covent Garden was fairly acceptable to all
concerned, although Portia in _The Merchant of Venice_ was hardly her
forte.
The next season finds her back at Drury Lane, where she reigns
uncontested queen of comedy for more than twenty years. In addition to
the return of Clive, the 1745-1746 season (one poor in attendance and
new plays) at Drury Lane is noteworthy because of a reinstated Macklin,
a de-throned Fleetwood, a new manager (Lacy), a well-balanced company
soon to be augmented by player-manager Garrick, prospects for a bright
future--and a theatrical monopoly stronger than ever.[23] In the latter
regard Mrs. Clive's case is revealing in that it gives a new emphasis to
the epithet His Majesties' Servants.[24]
Indiana State University
Terre Haute
NOTES TO THE INTRODUCTION
[1] _The Dramatic Congress_ (London, 1743). Throughout I use short
titles.
[2] Three major documents concerning this quarrel are published under
the title _Mr. Macklin's Reply to Mr. Garrick's Answer_ (London, 1743).
[3] Mrs. Clive's four afterpieces, with their allusions to her
personality and career, are equally revealing. I treat this subject in
"An Edition of the Afterpieces of Kitty Clive," Diss. Duquesne Univ.
1968, and "The Textual Relationship and Biographical Significance of Two
Petite Pieces by Mrs.
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