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RICHARD CUMBERLAND (1732-1811)

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Originally appearing in Volume V07, Page 623 of the 1911 Encyclopedia Britannica.
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RICHARD See also:CUMBERLAND (1732-1811)  , See also:English dramatist, was See also:born in the See also:master's See also:lodge of Trinity See also:College, See also:Cambridge, on the 19th of See also:February 1732 . He was the See also:great-See also:grandson of the See also:bishop of See also:Peterborough; and his See also:father, Dr See also:Denison Cumber-See also:land, became successively bishop of Clonfert and of Kilmore . His See also:mother was See also:Joanna, the youngest daughter of the great See also:scholar See also:Richard See also:Bentley, and the heroine of See also:John See also:Byrom's once popular little See also:eclogue, See also:Colin and See also:Phoebe . Of the great master of Trinity his grandson has See also:left a kindly See also:account; he afterwards collected all the See also:pamphlets bearing on the Letters of See also:Phalaris controversy, and piously defended the reputation of his ancestor in his See also:Letter to Bishop See also:Lowth, who had called Bentley See also:aut caprimulgus aut fossor." See also:Cumberland was in his seventh See also:year sent to the See also:grammar-school at See also:Bury St See also:Edmunds, and he relates how, on the See also:head-master See also:Arthur Kinsman undertaking, in conversation with Bentley, to make the grandson as See also:good a scholar as the grandfather himself, the latter retorted: " Pshaw, Arthur, how can that be, when I have forgot more than See also:thou ever knewest?" Bentley died during his grandson's Bury school-days; and in 1744 the boy, who, while rising to the head of his school, had already begun to " try his strength in several slight attempts towards the See also:drama," was removed to See also:Westminster, then at the height of its reputation under Dr Nicholls . Among his schoolfellows here were See also:Warren See also:Hastings, See also:George See also:Colman (the See also:elder), See also:Lloyd, and (though he does not mention them as such) See also:Churchill and See also:Cowper . From Westminster Cumberland passed, in his fourteenth year, to Trinity College, Cambridge, where in 1750 he took his degree as tenth wrangler . His account of his degree examination, as well as that for a fellowship at his college, See also:part of which he underwent in the " See also:judges' chamber," where he was born, is curious; he was by virtue of an alteration in the statutes elected to his fellowship in the second year of his degree . Meanwhile his projects of See also:work as a classical scholar had been interspersed with attempts at imitating See also:Spenser—whom, by his mother's See also:advice, he " laid upon the shelf "—and a dramatic effort (unprinted) on the See also:model of See also:Mason's Elfrida, called See also:Caractacus . He had just begun to read for his fellowship, when he was offered the See also:post of private secretary by the See also:earl of See also:Halifax, first See also:lord of See also:trade and plantations in the See also:duke of See also:Newcastle's See also:ministry . His See also:family persuaded him to accept the See also:office, to which he returned after his See also:election as See also:fellow . It left him abundant leisure for See also:literary pursuits, which included: the See also:design of a poem in See also:blank See also:verse on See also:India . He resigned his Trinity fellowship on his See also:marriage—in 1759—to his See also:cousin See also:Elizabeth See also:Ridge, to whom he had paid his addresses on receiving through Lord Halifax " a small See also:establishment as See also:crown-See also:agent for Nova See also:Scotia." In 1761 he accompanied his See also:patron (who had been appointed lord-See also:lieutenant) to See also:Ireland as See also:Ulster secretary; and in See also:acknowledgment of his services was afterwards offered a baronetcy .

By declining this he thinks he gave offence; at all events,, when in 1762 Halifax became secretary of See also:

state, Cumber-land in vain applied for the post of under-secretary, and could only obtain the clerkship of reports at the See also:Board of Trade under Lord Hillsborough . While he takes some See also:credit to himself for his incorruptibility when in Ireland, he showed zeal for his friend and secured a bishopric for his father . On the See also:accession to office of Lord George Germaine (See also:Sackville) in 1775, Cumberland was appointed secretary to the Board of Trade and Plantations, which post he held, till the abolition of that board in 1782 by See also:Burke's economical reform . Before this event he had, in 178o, been sent on a confidential See also:mission to See also:Spain, to negotiate aseparate treaty of See also:peace with that See also:power; but though he was well received by See also:King See also:Charles III. and his See also:minister See also:Floridablanca, the question of See also:Gibraltar proved a stumbling-See also:block, and the See also:Gordon riots at See also:home a most untoward occurrence . He was recalled in 1781, and was refused repayment of the expenses he had incurred, towards which only £r000 had been advanced to him . He thus found himself 4500 out of See also:pocket: in vain, he says, " I wearied the See also:door of Lord See also:North till his very servants drove me from it "; his memorial remained unread or unnoticed either by the See also:prime minister or by secretary See also:Robinson, through whom the See also:original promise had been made . Soon after this experience he lost his office, and had to retire on a See also:compensation See also:allowance of less than See also:half-pay . He now took up his See also:residence at Tunbridge See also:Wells; but during his last years he mostly lived in See also:London, where he died on the 7th of May 1811 . He was buried in Westminster See also:Abbey, a See also:short oration being pronounced on this occasion by his friend See also:Dean See also:Vincent . Cumberland's numerous literary productions are spread over the whole of his See also:long See also:life; but it is only by his contributions to the drama, and perhaps by his See also:Memoirs, that he is likely to be remembered . The collection of essays and other pieces entitled The Observer (1785), afterwards republished together with a See also:translation of The Clouds, found a See also:place among The See also:British Essayists . For the accounts given in The Observer of the See also:Greek writers, especially the comic poets, Cumberland availed himself of Bentley's See also:MSS. and annotated books in his See also:possession; his See also:translations from the Greek fragments, which are not in-elegant but lack closeness, are republished in See also:James See also:Bailey's Comicorum Graecorum (part i., 1840) and Hermesianactis, Archilochi, et Pratinae fragmenta .

Cumberland further produced Anecdotes of Eminent Painters i"n Spain (1782 and 1787); a See also:

Catalogue of the King of Spain's Paintings (1787); two novels—See also:Arundel (1789), a See also:story in letters, and See also:Henry (1795), a " diluted See also:comedy" on the construction and polishing of which he seems to have expended great care; a religious epic, See also:Calvary, or the See also:Death of See also:Christ (1792); his last publication was a poem entitled Retrospection . He is also supposed to have joined See also:Sir James Bland See also:Burges in an epic, the Exodiad (1807), and in John de See also:Lancaster, a novel . Besides these he wrote the Letter to the Bishop of O[xfor]d in vindication of Bentley (1767); another to the Bishop of See also:Llandaff (Richard See also:Watson) on his proposal for equalizing the revenues of the Established See also:Church (1783); a See also:Character of the See also:late Lord Sackville (1785), whom in his Memoirs he vindicates from the stigma of cowardice; and an See also:anonymous pamphlet, See also:Curtius rescued from the Gulf, against the redoubtable Dr See also:Parr . He was also the author of a version of fifty of the See also:Psalms of See also:David; of a See also:tract on the evidences of See also:Christianity; and of other religious exercises in See also:prose and verse, the former including " as many sermons as would make a large See also:volume, some of which have been delivered from the pulpits." Lastly, he edited, in 1809, a short-lived See also:critical See also:journal called The London See also:Review, intended to be a See also:rival to the Quarterly, with signed articles . Cumberland's Memoirs, which he began at the See also:close of 1804, and concluded in See also:September 18o5, were published in 18o6, and a supplement was added in 1807 . This narrative, which includes a long account of his See also:Spanish mission, contains some interesting reminiscences of several persons of See also:note—more especially Bubb Dodington, Single-Speech See also:Hamilton, and Lord George Sackville among politicians, and of See also:Garrick, See also:Foote and See also:Goldsmith; but the accuracy of some of the anecdotes concerning the last-named is not beyond suspicion . The See also:book exhibits its author as an amiable egotist, careful of his own reputation, given to prolixity and undistinguished by wit, but a good observer of men and See also:manners . The uneasy self-absorption which See also:Sheridan immortalized in the character of Sir Fretful Plagiary in The Critic is apparent enough in this autobiography, but presents itself there in no offensive See also:form . The incidental criticisms of actors have been justly praised . Cumberland was hardly warranted in the conjecture that no English author had yet equalled his See also:list of dramas in point of number; but his plays, published and unpublished, have been computed to amount to fifty-four . About 35 of these are See also:regular plays, to which have been added 4 operas and a See also:farce; and about half of the whole list are comedies . ' The best known of them belong to what he was pleased to See also:term " legitimate comedy," and to that See also:species of it known as sentimental." The essential characteristic of these plays is the See also:combination of plots of domestic See also:interest with the rhetorical enforcement of moral precepts, and with such small comic See also:humour as the author possesses .

Phoenix-squares

These comedies are primarily, to See also:

borrow Cumber-land's own phraseology, designed as " attempts upon the See also:heart." He takes great credit to himself for See also:weaving his plays out of homely stuff, right British drugget,'' and for eschewing " the vile refuse4f the Gallic See also:stage "; on the other See also:hand, he borrowed from the sentimental fiction of his own See also:country, including See also:Richardson, See also:Fielding and See also:Sterne . The favourite theme of his plays is virtue in See also:distress or danger, but safe of its See also:reward in the fifth See also:act; their most See also:constant characters are men of feeling and See also:young ladies who are either prudes or coquettes . Cumber-land's comic power—such as it was—See also:lay in the invention of comic characters taken from the " outskirts of the See also:empire," and professedly intended to vindicate from English See also:prejudice the good elements in the Scotch, the Irish and the colonial character . For the See also:rest, patriotic sentiment liberally asserts itself by the See also:side of See also:general morality . If Cumberland's See also:dialogue lacks brilliance and his characters reality, the construction of the plots is as a See also:rule, skilful, and the situations are contrived with what Cumberland indisputably possessed—a thorough insight into the secrets of theatrical effect . It should be added that, though Cumberland's sentimentality is often wearisome, his morality is generally See also:sound; that if he was without the See also:genius requisite for elevating the See also:national drama, he did his best to keep it pure and sweet; and that if he borrowed much, as he undoubtedly did, it was not the vicious attractions of other dramatists of which he was the plagiary . His debut as a dramatic author was made with a tragedy, The Banishment of See also:Cicero, published in 1761 after its rejection by Garrick; this was followed in 1765 by a musical drama, The Summer's See also:Tale, subsequently compressed into an afterpiece Amelia (1768) . Cumberland first essayed sentimental comedy in The See also:Brothers (1769) . The theme of this comedy is inspired by Fielding's Tom See also:Jones; its comic characters are the See also:jolly old See also:tar See also:Captain See also:Ironsides, and the henpecked See also:husband Sir See also:Benjamin See also:Dove, whose progress to self-assertion is genuinely comic, though not altogether original . See also:Horace See also:Walpole said that it acted well, but read See also:ill, though he could distinguish in it " strokes of Mr Bentley." The See also:epilogue paid a compliment to Garrick, who helped the See also:production of Cumberland's second comedy The See also:West-See also:Indian (1771) . The See also:hero of this comedy, which probably owes much to the See also:suggestion of Garrick, is a young scapegrace fresh from the tropics, " with See also:rum and See also:sugar enough belonging to him to make all the See also:water in the See also:Thames into See also:punch,"—a libertine with generous instincts, which in the end prevail . This See also:early example of the See also:modern drame was received with the utmost favour; it was afterwards translated into See also:German by Boden, and See also:Goethe acted in it at the See also:Weimar See also:court .

The Fashionable See also:

Lover (1772) is a sentimental comedy of the most pronounced type . The Choleric See also:Man (1774), founded on the Adelphi of See also:Terence, is of a similar type, the comic See also:element rather predominating, but philanthropy being duly represented by a virtuous lawyer called Manlove . Among his later comedies may be mentioned The Natural Son (1785), in which See also:Major O'Flaherty who had already figured in The West-Indian, makes his reappearance; The Impostors (1789), a comedy of intrigue; The See also:Box See also:Lobby See also:Challenge (1794), a protracted farce; The See also:Jew (1794), a serious See also:play, highly effective when the character of Sheva was played by the great German actor Theodor D8ring; The See also:Wheel of See also:Fortune (1795), in which John See also:Kemble found a celebrated part in the misanthropist Penruddock, who cannot forget but learns to forgive (a character declared by See also:Kotzebue to have been stolen from his Menschenhass and Reue), while the lawyer See also:Timothy See also:Weasel was made comic by Richard Suett; First Love (1795); The Last of the Family (1795); False Impressions (1797) ; The Sailor's Daughter (1804); and -a Hint to Husbands (1806), which, unlike the, rest, is in blank verse . The other See also:works printed during his lifetime include The Note of Hand (1774), a farce; the songs of his musical comedy, The Widow of See also:Delphi (1780); his tragedies of The See also:Battle of Hastings (1778); and The Carmelite (1784), a romantic domestic drama in blank verse, in the See also:style of Home's See also:Douglas, furnishing some effective scenes for Mrs See also:Siddons and John Kemble as mother and son; and the domestic drama (in prose) of The Mysterious Husband (1783) . His posthumously printed plays (published in 2 vols. in 1813) include the comedies of The See also:Walloons (acted in 1782); The Passive Husband (acted as A Word for Nature, 1798); The See also:Eccentric Lover (acted 1798); and Lovers' Resolutions (once acted in 1802); the serious quasi-historic drama See also:Confession; the drama See also:Don Pedro (acted 1796); and the tragedies of Alcanor (acted as The Arab, 1785); Torrendal; The Sibyl, or The Elder See also:Brutus (afterwards amalgamated with other plays on the subject into a very successful tragedy for See also:Edmund See also:Kean by See also:Payne); Tiberius in Capreae; and The False See also:Demetrius (on a theme which attracted See also:Schiller) . Cumberland translated the Clouds of See also:Aristophanes (1797), and altered for the stage See also:Shakespeare's See also:Timon of See also:Athens (1771), See also:Massinger's The Bondman and The Duke of See also:Milan (both 1779) . In 1806–1807 appeared Memoirs of R . Cumberland, written by himself . Cumberland's novel, Henry, was printed in Ballantyne's Novelists' Library (1821), with a prefatory See also:notice of the author by Sir See also:Walter See also:Scott . A so-called Critical Examination of Cumberland's works and a memoir of the author based on his autobiography, with the addition of some more or less feeble criticisms, by See also:William Madford, appeared in 1812, An excellent account of Cumberland is included in " George Paston's " Little Memoirs of the Eighteenth See also:Century (1901) . ' See also:Hettner well characterizes Cumberland's position in the See also:history of the English drama in Litteraturgesch. d . 18 .

Jahr hunderts (2nded., 1865), i . 52o . Cumberland's portrait by See also:

Romney (whose See also:talent he was one of the first to encourage) is in the Nationale . Portrait See also:Gallery . (A . W .

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