The Boudoir No. 3

MEMOIRS OF NELL GWYNN, THE CELEBRATED MISTRESS OF CHARLES II

Eleanor Gwynn, or Gwyn, had little or no education. What we learn of her is, that she was born in a night cellar (State Poems), sold fish about the streets, rambled from tavern to tavern, entertaining the company after dinner and supper with songs, her voice being very agreeable; was next taken into the house of Madam Ross, a noted courtesan; admitted afterwards into the Theatre Royal, as early as the year 1667 (see the drama of the Maiden Queen, and others of Dryden's plays for ten years successively); was mistress both to Hart and Lacy, two famous actors, and kept by Buckhurst, whom Charles II sent on a sleeveless errand to France, in order to favour his approach to her. From that period she began to be pretty well known, and is mentioned by Burnet and other historians.

As this giddy and dissipated creature gave rise to a noble and most worthy family, one would have nothing desired against her by way of romance; she had some very good qualities to contrast against her bad education and vicious habits.

Without proofs and citations, one can pay but a proportionate regard to many facts reported of her in a pamphlet, which is certainly well-written; nevertheless many assertions there clash with accounts better known, and offend against probability.

It no way appears that Lord Rochester was ever enamoured of her. Mrs. Barry was his passion, and Mrs. Botel antecedently to Mrs. Barry, at the time when Miss Gwynn trod the stage; and the King never seeing her till at a certain nobleman's house, it is well known that he had seen her uninterruptedly on the stage from 1667 to 1671, and fell in love with her on her speaking the epilogue of Tyrannical Love, which seems to have been written by Dryden on purpose. It is doubtful, too, if she ever played at Dorset Garden.

Nelly was highly favoured by Dryden. For many years he gave her the most showy and fantastic parts in his comedies.

It looks as if he played her at the monarch for a considerable time, since, not to mention the epilogue last spoken of, he wrote on purpose for her an equally whimsical and spirited prologue, prefixed to Orengzebe. At the other house (viz., the Duke's, under Killigrew's patent) Nokes had appeared in a hat larger than Pistol's, which gave the town wonderful delight, and supported a bad play by its pure effect (perhaps Mamamouchi, or The Citizen Turned Gentleman, a comedy by Ravenscroft). Dryden, piqued at this, caused a hat to be made the circumference of a hinder coach wheel, and as Nelly was low of stature, and what the French call "mignon and piquante," he made her speak under the umbrella of that hat, the brims thereof being spread out horizontally to their full extension. The whole theatre was in convulsions of applause; nay, the very actors giggled, a circumstance none had observed before. Judge, therefore, what a condition the merriest prince alive was in at such a conjuncture. He wanted little of being suffocated with laughter.

In a word, Madam Ellen (as the drama often styles her after she was declared the King's mistress) had no great turn for tragedy, nor do we note her in any part of moment but that of Valeria, in Tyrannical Love, to which Dryden raised her partly through partiality, and partly as it was necessary for her to die in that play in order to rise and speak the epilogue.

In comedy she was more excellent; nevertheless she must not be ranked as an actress with the Quins, Davenports, Marshalls, Bowtels, Bettertons, and Lees, du siecle d'or de Charles II. But of what the French call enjou'e she was a perfect mistress — airy, fantastic, coquet, sprightly, singing, dancing — made for slight, showy parts, and filling them up, as far as they went most effectually — witness Florimel in the Maiden Queen, to which she spoke the epilogue, Jacinta in the Mock Astrologer, amp;c.

It is highly probable that Madam Ellen might have made a more decent figure in life had her birth been fortunate, and her education good. A seminary like the streets and cellars of London is infinitely worse than crawling in woods, and conversing with savages. We make this remark because she possessed many good qualities, which no human disadvantages could quite destroy. She had no avarice — when her power increased she served all her theatrical friends. She showed particular gratitude to Dry den; and valued eminent writers, as Lee, Otway, amp;c. She was almost the only mistress of the King who was guilty pi no infidelity towards him, nor did she relapse after his decease. Endued with natural sagacity and wit, she made no ill use of them at Court, paid no attention to ministers, nor ever acted as their creature. Her charities were remarkable; and, what was singular, she piqued herself on a regard for the Church of England, contrary to the genius of the then Court.

Once as she was driving up Ludgate Hill in a superb coach, some bailiffs were hurrying a clergyman to prison; she stopped, sent for the persons whom the clergyman mentioned as attestors to his character, and, finding the account a just subject for pity, paid his debt instantly, and procured him a preferment.

She was the most popular of all the King's mistresses, and most acceptable to the nation.

An eminent goldsmith having on view an expensive service of plate manufactured for the Duchess of P- as a present from the King, the crowd of persons, who went to inspect it out of mere curiosity, threw out a thousand ill wishes against the Duchess, and wished the silver was melted and poured down her throat; but said it was ten thousand pities His Majesty had not bestowed this bounty on Madam Ellen.

Her picture, painted by Lely and others, pronounce her to be very handsome, though low in stature and red-haired.

There used to be a bust of her to be seen at Bagnigge Wells, but it was coarsely executed.

At Bagnigge Wells was one of her country houses, and where the King and the Duke of York frequently visited, and where she frequently entertained them and others with concerts, breakfasts, Sec.