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genres with low standards by using personified versions of them during the puppet show. In particular, Fielding mocks how contemporary audiences favoured
Italian opera, a dramatic form that he regarded with contempt. Fielding considered it "a foreign intruder that has weaned the public from their native entertainments". The character Signior Opera, the image of the favoured castrato singer within the puppet show, is a parody of the foreigners who performed as singers, along with the audiences that accepted them. Additionally, the character serves as a source of humour that targets 18th-century literary genres; after the character Nonsense chooses the castrato Signior Opera as her husband, Mrs Novel objects, declaring that she gave birth to his child. This act would be physically impossible because Opera is a castrato, and it pokes fun at how the genres and the public treated such individuals. Fielding was not alone in using the castrato image for humour and satire;
22:
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184:. Fielding's use of the pseudonym connects his play to the satirical writings of the Scriblerus Club's members, and reveals their influence on his new style, such as incorporating in their work the styles of the entertainments that they were ridiculing. Fielding thus allows the audience to believe that he is poking fun at others, less discriminating than themselves, and less able to distinguish good art from bad. Fielding also borrowed characters from the work of the Club's members, such as the Goddess of Nonsense, influenced by Pope's character from
210:, and as such employs petty forms of humour like slapstick. Instead of relying on rhetorical wit, Fielding incorporates dramatic incongruities. For example, actors play puppets in a life-size version of a puppet play. Fielding's purpose in relying on the farce tradition was specifically to criticise society as a whole. Like others, Fielding believed that there was a decline in popular theatre related to the expansion of its audience, therefore he satirises it, its audiences, and its writers throughout
194:, who is at war with reason. Nonsense, like Dulness, is a force that promotes the corruption of literature and taste, to which Fielding adds a sexual element. This sexuality is complicated, yet also made comical, when Nonsense chooses a castrated man as her mate. Her choice emphasises a lack of morality, one of the problems that Fielding believed dominated 18th-century British society. Despite the link to Dulness, the general satire of the play more closely resembles Gay's
665:. Writing in 1993, Martin and Ruthe Battestin maintain that the play "was first experiment in the irregular comic modes ... where his true genius as a playwright at last found scope". They further assert that Fielding was the first to offer audiences "a kind of pointed, inventive foolery", and that his talent for "ridicule and brisk dialogue" and for devising "absurd yet expressionistic plots" was unmatched even in 20th-century theatre. Earlier,
164:, is an attempt by Fielding to try writing in formats beyond the standard five-act comedy play. Though he returned to writing five-act plays later, many of his plays contain plot structures that differ from those common to contemporary plays. To distinguish his satirical intent, Fielding claims that the work was written by "Scriblerus Secundus," which places his play within an earlier literary tradition. The name refers to the
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119:
literary and theatrical establishment. Luckless is trying to become a successful writer, but lacks the income that would allow him to concentrate on his writing. Although others try to support him financially, Luckless refuses their help; when his friend, Witmore, pays his rent behind his back, Luckless steals the money from Mrs. Moneywood. In the second act, Luckless seeks assistance to help finish his play,
424:, stating that it was in rehearsal. An advertisement appeared in the same newspaper shortly afterwards mentioning restricted seating and high ticket prices, suggesting that the play was expected to be a popular entertainment. It opened on Easter Monday, 30 March 1730, at the Little Theatre, Haymarket, and shortly thereafter was billed alongside
653:, who focus on what the play says about Grub Street and Fielding. Most later critics agree with Dobson's judgement that the play primarily provides a commentary on events in Fielding's life, and marks his transition from older forms of comedy to the new satire of his contemporaries. Charles Woods, writing in 1966, argues that
290:
in early 1729. There
Fielding incurred a debt of about £13 (equivalent to about £1,760 as of 2008), and a legal case was brought against him. Abandoning his personal property, Fielding fled to London; Oson's seizure of Fielding's possessions mirrors Mrs Moneywood's threats to seize those belonging to
101:
The play established
Fielding as a popular London playwright, and the press reported that seats were in great demand. Although largely ignored by critics until the 20th century, most agree that the play is primarily a commentary on events in Fielding's life, signalling his transition from older forms
118:
was written in three. The opening introduces the main character, Harry
Luckless, and his attempts to woo Harriot, the daughter of his landlady Mrs. Moneywood. The play begins in much the same way as Fielding's earlier romance-themed comedies, but quickly becomes a different type of play, mocking the
685:
is "ramshackle but effective", although he considers that "Fielding's parody of recognition scenes is done with verve" and "the 'realistic' part of the show is a clever combination of the straightforward and the ironic." Writing in 1998, Thomas
Lockwood explains various aspects that make the play
239:
The blending of the fictional and real worlds at the end of the play represents the inability of individuals to distinguish between fictional and real experience. The final act of the play also serves as
Fielding's defence of traditional hierarchical views of literature. He satirises new literary
134:
opera singer as her favourite — Signior Opera — after he sings an aria about money. Mrs. Novel then claims that she loved
Signior Opera, and died giving birth to his child. At this revelation, the goddess becomes upset, but is quick to forgive. The play within the play is interrupted by
222:
and preach nonsense, and you may meet with encouragement enough." Luckless's only ambition is to become successful. Many of the characters in the play believe that the substance of a play matters little as long as it can earn a profit. Harriot believes that the only important characteristic of a
676:
J. Paul Hunter, in his 1975 comparison of
Fielding's theatrical style and form, notes that while "many of the literary and theatrical jibes are witty," the slow pacing and lack of dramatic conflict make the play seem "essentially untheatrical". Pat Rogers disagrees, reasoning that "Few livelier
523:
act was performed as a one-act play outside London throughout the century, including a 15-show run at
Norwich in 1749 and during the 1750s, and a production at York during the 1751–52 theatre season. Additionally, there were benefit shows that included the third act at a variety of locations,
1899:
339:(1698), in that both plays describe the relationship between an author and his landlady. The plays only deal with the same generalised idea however; the particulars of each are different. Fielding also drew on the Scriblerus Club's use of satire and the humour common to traditional
263:
Many aspects of the play are drawn from
Fielding's own experiences. During Act II, the characters Marplay and Sparkish, two theatre managers, offer poor advice to Luckless on how to improve his play, which they then reject. This fictional event mirrors Fielding's own life when
686:
great, putting particular emphasis on the "musical third act", which he believes "shows a gift for brilliant theatrical arrangement". Lockwood praises the play's conclusion in particular, and the ever-increasing tempo of events following Murdertext's "explosive invasion".
123:, but is poorly advised, and the work is rejected by his local theatre. Luckless revises his play and succeeds in finding an alternative venue, leading to the third act, in which the work is performed as a puppet show, with actors taking the place of the puppets.
53:
was Fielding's first theatrical success. The Little Theatre allowed Fielding the freedom to experiment, and to alter the traditional comedy genre. The play ran during the early 1730s and was altered for its run starting 21 April 1730 and again in response to the
139:
then arrives to tell Luckless that he is the prince of Bantam. News follows that the King of Bantam has died, and that Luckless is to be made the new king. The play concludes with the revelation that Luckless's landlady is in reality the Queen of "Old
160:. However, this and his being forced into minor theatres proved beneficial, because it allowed him more freedom to experiment with his plays in ways that would have been unacceptable at larger locations. This experimentation, beginning with
603:
describes the play as Fielding's "first great success". Catherine Ingrassia, in 2004, attributes its popularity to Fielding's satirical attack on the archetypal woman writer, specifically Haywood. Among contemporary accounts the
555:(1734) and included a letter by an unknown writer, possibly Fielding himself. The 1734 edition of the play was printed in 1750, and it was used for all later publications until 1966. Printed texts of the play were included in
278:. Cibber was an inspiration for the character of Marplay and Wilks for Sparkish, but Sparkish does not appear in the revised version of 1734, after Wilks's death. In his place Fielding introduces a character who mocks
102:
of comedy to the new satire of his contemporaries. Fielding's play within a play satirised the way in which the London theatre scene, in his view, abused the literary public by offering new and inferior genres.
73:
The first and second acts deal with the attempts of the central character, Harry Luckless, to woo his landlady's daughter, and his efforts to make money by writing plays. In the second act, he finishes a
286:. Another biographical parallel involves the relationship between Luckless and Mrs Moneywood, which is similar to Fielding's own relationship with Jan Oson, his landlord during his stay in
130:. All dunces, the suitors include Dr. Orator, Sir Farcical Comic, Mrs. Novel, Bookseller, Poet, Monsieur Pantomime, Don Tragedio and Signior Opera. The goddess eventually chooses a foreign
515:
were main shows, they alternated on the billing until the 18 June 1731 performance, the final showing of any Fielding play in the Little Theatre except for a 12 May 1732 benefit show of
223:
lover is his merit, which, to her, is his ability to become financially successful. Fielding later continues this line of attacks on audiences, morality, and genres when he criticises
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including Dublin, on 19 December 1763 and Edinburgh in 1763. There were also many performances of the puppet theatre versions, including a travelling show by Thomas Yeates, titled
484:
in January 1731. Performances continued into February and March 1731. Productions in 1732 included a new prologue, now lost, that had been added for the 10 May 1731 performance.
363:, published on 13 March 1729, influenced the themes of the play and the plot of the puppet show. The Court of Nonsense in the puppet show are related to the Court of Dulness in
144:" and that her daughter, Harriot, is now royalty. An epilogue in which four poets discuss how the play should end is brought to a conclusion by a cat, in the form of a woman.
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The play was hardly discussed at all during the 18th century, and the 19th century mostly followed the same trend. A chapter on the play is included in Frederick Lawrence's
638:"are a ridicule on poets, several of their works, as also of operas, etc., and the last of our modern tragedians, and are exceedingly full of humour, with some wit."
135:
Constable and Murdertext, who arrive to arrest Luckless "for abusing Nonsense", but Mrs. Novel persuades Murdertext to let the play finish. Someone from the land of
214:. Speaking of popular entertainment in London, Fielding's character Luckless claims, "If you must write, write nonsense, write operas, write entertainments, write
126:
The third act is dominated by the puppet show, a play within the play. It begins when the Goddess of Nonsense chooses a mate from a series of suitors along the
156:
to portray aspects of his life, including his experience with the London theatre community. The plot serves as revenge for the Theatre Royal's rejection of
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Luckless. Other characters are modelled on well-known personalities of whom Fielding was aware though they were not personal acquaintances:: Mrs Novel is
681:, with their mixture of broad comedy, personal satire, tuneful scenes and rapid action." Robert Hume, in 1988, comments that the literary structure of
519:. The last documented non-puppet version was performed on 28 March 1748 by Theophilus Cibber as a two-act companion piece for a benefit show. The
2099:
1596:
Castro-Santana, Anaclara. "Sham Marriages and Proper Plots: Henry Fielding's 'Shamela' and Joseph Andrews'" English Studies 96,6 (2016): 636–53.
447:. This combination continued through May and June and was later billed for a revival on 3 July 1730. Starting on 1 August 1730, the third act of
2113:
669:, had described the puppet show in the third act as "a highly original satire on the theatrical and quasi-theatrical amusements of the day."
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of 2 May 1730 reported that the play received universal approval, and on 6 May that seats were in great demand. The 7 May issue of the
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announced that a new prologue was to be added. A version without the prologue followed before the play's run ended, to be replaced by
2081:
1932:
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was briefly revived in November 1730 and January 1731, but only the first two acts of the play were shown. It was paired with the
614:
noted that the play was popular among "Persons of Quality"; many notable figures attended the show, including on the first night
348:
244:
connects the castrato singer with politics and social problems, and many other contemporary works mock women who favour eunuchs.
1196:
630:. The only surviving comments from any of those who saw the play come from the diary of the Earl of Egmont, who reported that
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1769:
325:
Fielding drew inspiration from many literary sources and traditions as well as from his own life. The structure and plot of
1882:
157:
322:, an editor and author. Sir Farcical Comick is another version of Colley Cibber, but only in his role as an entertainer.
657:
was an integral part of Fielding's career, and dismisses a political reading of the work. Some years earlier, in 1918,
391:(1728). In turn, Fielding's play influenced later Scriblerus Club works, especially Pope's fourth book of his revised
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579:, edited by G. H. Maynadier, included only the first two acts. Only three scenes were included in Alfred Howard's
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347:. Many of Luckless's situations are similar to those found within various traditional British dramas, including
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539:, incorporating a new prologue and epilogue. Performed at the Theatre Royal, it was advertised in the
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236:, in which a nobleman makes advances upon a servant-maid with the intent of making her his mistress.
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90:. After its rejection by one theatre, Luckless's play is staged at another. The third act becomes a
1993:
543:, opening with an inferior replacement cast for some of the important characters. It was joined by
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was written during 1729. The first press announcement of the play appeared on 18 March 1730 in the
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1918:
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2014:
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for its second run beginning on 21 April 1730, when it shared the bill with his earlier play
551:. These were the only performances of the revised version, which was printed together with
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315:
60:
8:
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658:
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310:, a bookseller and publisher known for unscrupulous publication and publicity; Orator is
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and two other plays in a Fielding collected edition of 1893, but ignored the others.
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Mrs Moneywood – Luckless's landlady, played by Mrs. Mullart (Elizabeth Mullart)
58:. Throughout its life, the play was coupled with several different plays, including
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1986:
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1847:
Licensing Entertainment: The Elevation of Novel Reading in Britain, 1684–1750
670:
583:, which collected passages from Fielding's works. George Saintsbury included
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307:
269:
1740:
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357:(1672), a satirical play about staging a play. It is possible that Pope's
1655:
707:
Harriot Moneywood – daughter of Mrs. Moneywood, played by Miss Palms
704:
Harry Luckless – playwright, played by Mr. Mullart (William Mullart)
661:
had held that the play revealed Fielding's talent for writing farces and
368:
314:, a clergyman, entertainer, and well-known orator; Monsieur Pantomime is
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186:
83:
106:
is now considered to be a critical success and a highly skilled satire.
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1839:
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1576:
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theatrical occasions can ever have been seen than the original runs of
474:
94:, in which the characters in the puppet play are portrayed by humans.
662:
300:
141:
1776:
The Plays of Henry Fielding: A Critical Study of His Dramatic Career
1905:
1604:
Natural Masques: Gender and Identity in Fielding's Plays and Novels
303:
296:
177:
131:
98:
ends with a merging of the play's and the puppet show's realities.
1910:
673:
included the play in his 1963 list of "satirical extravaganzas".
359:
191:
287:
21:
599:
established Fielding as a London playwright; writing in 1998,
207:
377:. The Scriblerus Club style of humour as a whole influences
127:
428:. The last act was later made into the companion piece to
451:
was revived by the Little Theatre during the week of the
1343:
1341:
114:
Most of Fielding's plays were written in five acts, but
82:, about the Goddess Nonsense's choice of a husband from
1198:
Purchasing Power of British Pounds from 1264 to Present
381:, and it is possible that Fielding borrowed from Gay's
402:
318:, a director and theatre manager; and Don Tragedio is
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than the other works produced by the Scriblerus Club.
1338:
741:
Jack – Luckless's servant, played by Mr. Achurch
295:, a writer, actress, and publisher; Signior Opera is
944:
942:
622:, whose presence was mentioned in the 28 April 1730
1891:(scanned books full-color hi-res original editions)
939:
823:Epilogue spoken by four poets, a player and a cat
455:fair. On 17 October 1730 an advertisement in the
37:is a play by the English playwright and novelist
2231:
1598:https://dx.doi.org/10.1080/0013838X.2015.1045728
416:The Author's Farce and the Pleasures of the Town
34:The Author's Farce and the Pleasures of the Town
1804:London Theatre: From the Globe to the National
1188:
1001:
999:
507:, the original companion piece. Although both
1926:
1259:
1257:
1255:
526:Punch's Oratory, or The Pleasures of the Town
1820:. Southern Illinois University Press, 1990.
1665:Vol. 1 (1728–1731). Clarendon Press, 2004.
996:
784:Sir Farcical Comick – by Mr. Davenport
168:, a satirical group whose members included
1933:
1919:
1679:. University of Pennsylvania Press, 2002.
1252:
835:4th Poet – played by Mr. Wells junior
766:Goddess of Nonsense – by Mrs. Mullart
744:Jack-Pudding – played by Mr. Reynolds
738:Blotpage – played by Mr. Wells junior
575:along with only two other plays. The 1903
206:is not a standard comedy; rather, it is a
41:, first performed on 30 March 1730 at the
2082:The Historical Register for the Year 1736
1818:The History of the English Puppet Theatre
1633:Henry Fielding: His Life, Works and Times
1582:Battestin, Martin, and Battestin, Ruthe.
535:, Fielding produced a revised version of
1849:. University of California Press, 1998.
1707:. Johns Hopkins University Press, 1975.
406:
251:
20:
1194:
2232:
1863:. University of Nebraska Press, 1966.
1778:. University Press of Virginia, 1989.
1764:. University of Delaware Press, 2008.
1735:. University Press of Kentucky, 1986.
1222:Battestin and Battestin 1993 pp. 72–73
832:3rd Poet – played by Mr. Marshall
790:Monsieur Pantomime – by Mr. Knott
747:Bantomite – played by Mr. Marshal
729:Scarecrow – played by Mr. Marshal
1914:
726:Bookweight – played by Mr. Jones
723:Sparkish – played by Mr. Stopler
720:Marplay – played by Mr. Reynolds
86:representatives of theatre and other
846:
802:Somebody – by Mr. Harris junior
590:
282:, Colley's son, and his role in the
1834:. Haskell House Publishers, 1966 .
1832:Henry Fielding, Critic and Satirist
1606:. Stanford University Press, 1995.
826:1st Poet – played by Mr. Jones
817:Mrs. Glass-rin – by Mrs. Blunt
811:Lady Kingcall – by Miss Clarke
778:Signior Opera – by Mr. Stopler
713:Witmore – played by Mr. Lacy (
403:Performance history and publication
49:'s rejection of his earlier plays,
13:
1940:
1859:Woods, Charles. "Introduction" in
1428:Battestin and Battestin 1993 p. 83
838:Player – played by Miss Palms
829:2nd Poet – played by Mr. Dove
781:Don Tragedio – by Mr. Marshal
14:
2261:
1876:
814:Mrs. Cheat'em – by Mrs. Wind
805:Nobody – by Mr. Wells junior
735:Quibble – played by Mr. Dove
616:John Perceval, 1st Earl of Egmont
1894:
1201:, MeasuringWorth, archived from
866:Count Ugly – unlisted actor
841:Cat – played by Mrs. Martin
793:Mrs. Novel – by Mrs. Martin
763:Murder-text – by Mr. Hallam
732:Dash – played by Mr. Hallam
1748:Henry Fielding: A Literary Life
1691:Fielding and the London Theater
1620:. Yale University Press, 1918.
1571:. Russell & Russell, 1963.
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889:
645:(1855), and it is mentioned by
1830:van der Voorde, Frans Pieter.
987:
978:
969:
960:
951:
930:
921:
912:
787:Dr. Orator – by Mr. Jones
775:A Poet – by Mr. W. Hallam
480:, which was later replaced by
272:of the Theatre Royal rejected
1:
1618:The History of Henry Fielding
1569:English Comic Drama 1700–1750
1195:Officer, Lawrence H. (2009),
1122:Castro-Santana 2016 pp 637-41
877:
872:Epilogue spoken by Mrs. Clive
869:Prologue spoken by Mrs. Clive
796:Robgrave – by Mr. Harris
760:Constable – by Mr. Wells
437:Fielding altered and rewrote
367:and the Court of Nonsense in
45:. Written in response to the
820:Prologue spoken by Mr. Jones
799:Saylor – by Mr. Achurch
694:
7:
1904:public domain audiobook at
1790:Henry Fielding, A Biography
1750:. St Martin's Press, 1998.
856:Index – unlisted actor
306:; Bookweight is similar to
152:Fielding uses Luckless and
16:1730 play by Henry Fielding
10:
2266:
1762:Henry Fielding (1707–1754)
1733:Colley Cibber: A Biography
769:Charon – by Mr. Ayres
620:Frederick, Prince of Wales
553:The Intriguing Chambermade
545:The Intriguing Chambermaid
384:Three Hours after Marriage
247:
2189:
2163:
2146:The Covent-Garden Journal
2137:
2091:
2073:
2043:The Covent Garden Tragedy
1948:
1721:. Broadview Press, 2004.
1693:. Clarendon Press, 1988.
1509:Fielding 2004 pp. 227–228
1383:Lockwood 2004 pp. 194–195
1347:Lockwood 2004 pp. 205–206
1335:Lockwood 2004 pp. 204–206
1326:Lockwood 2004 pp. 194–199
1308:Lockwood 2004 pp. 196–197
1299:Lockwood 2004 pp. 194–196
1290:Lockwood 2004 pp. 192–193
1272:Lockwood 2004 pp. 188–190
1158:van der Voorde 1966 p. 96
808:Punch – by Mr. Hicks
757:Player – by Mr. Dove
528:, which started in 1734.
147:
121:The Pleasures of the Town
80:The Pleasures of the Town
43:Little Theatre, Haymarket
1994:The Tragedy of Tragedies
1661:Lockwood, Thomas (ed.):
1446:Bateson 1963 pp. 121–126
1392:Lockwood 2004 qtd p. 204
1140:Ingrassia 2004 pp. 21–22
899:of £13 in 1729 with 2008
772:Curry – by Mr. Dove
581:The Beauties of Fielding
498:The Tragedy of Tragedies
397:The Rehearsal at Goatham
329:are similar to those of
158:Fielding's earlier plays
2250:Plays by Henry Fielding
2171:Actor Rebellion of 1733
1959:Love in Several Masques
1719:Anti-Pamela and Shamela
1650:. Edward Arnold, 1967.
1176:Campbell 1995 pp. 32–36
1167:Campbell 1995 pp. 33–34
1059:Campbell 1995 pp. 32–34
993:Pagliaro 1999 pp. 69–70
948:Pagliaro 1999 pp. 71–72
927:Pagliaro 1999 pp. 70–71
689:
577:Works of Henry Fielding
569:Works of Henry Fielding
561:Works of Henry Fielding
533:Actor Rebellion of 1733
501:, as a replacement for
284:Actor Rebellion of 1733
109:
56:Actor Rebellion of 1733
2181:Paper War of 1752–1753
1717:Ingrassia, Catherine.
1635:. Archon Books, 1966.
1584:Henry Fielding: A Life
1231:Freeman 2002 pp. 62–63
1149:Roose-Evans 1977 p. 35
1131:Freeman 2002 pp. 64–65
1086:Freeman 2002 pp. 59–63
861:Internal puppet show:
752:Internal puppet show:
667:Frederick Homes Dudden
571:. The latter includes
412:
260:
29:
2092:Novels and Narratives
2064:The Universal Gallant
2015:The Grub Street Opera
1663:Henry Fielding: Plays
1374:Ingrassia 2004 p. 106
1104:Rivero 1989 pp. 33–37
1077:Rivero 1989 pp. 38–41
1041:Rivero 1989 pp. 34–35
1023:Rivero 1989 pp. 31–34
918:Rivero 1989 pp. 35–36
549:The Harlot's Progress
521:Pleasures of the Town
410:
255:
24:
1802:Roose-Evans, James.
1567:Bateson, Frederick.
1554:Fielding 2004 p. 299
1545:Fielding 2004 p. 297
1536:Fielding 2004 p. 305
1527:Fielding 2004 p. 304
1518:Fielding 2004 p. 222
1500:Fielding 2004 p. 227
1491:Lockwood 2004 p. 212
1401:Lockwood 2004 p. 206
1317:Speaight 1990 p. 157
1281:Lockwood 2004 p. 205
1032:Lockwood 2004 p. 189
966:Lockwood 2004 p. 282
626:and the 15 May 1730
509:Tragedy of Tragedies
491:was paired with the
462:The Beggar's Wedding
426:The Cheats of Scapin
61:The Cheats of Scapin
1845:Warner, William B.
1677:Character's Theatre
1586:. Routledge, 1993.
1482:Hume 1988 pp. 64–65
1473:Hume 1988 pp. 63–64
1365:Pagliaro 1998 p. 69
1205:on 24 November 2009
1185:Pagliaro 1999 p. 70
1095:Fielding 1967 p. 16
1050:Pagliaro 1999 p. 71
975:Pagliaro 1999 p. 72
957:Campbell 1995 p. 33
895:Comparing relative
659:Wilbur Lucius Cross
624:London Evening Post
611:Grub Street Journal
531:In response to the
395:and possibly Gay's
299:, a famous Italian
2176:Licensing Act 1737
2156:(play, attributed)
2036:The Old Debauchees
2029:The Modern Husband
2001:The Letter Writers
1973:The Author's Farce
1901:The Author's Farce
1861:The Author's Farce
1816:Speaight, George.
1792:. Scribner, 1979.
1746:Pagliaro, Harold.
1648:The Author's Farce
1631:Dudden, F. Homes.
1113:Warner 1998 p. 241
1068:Warner 1998 p. 242
683:The Author's Farce
679:The Author's Farce
655:The Author's Farce
632:The Author's Farce
597:The Author's Farce
585:The Author's Farce
573:The Author's Farce
537:The Author's Farce
517:The Author's Farce
513:The Author's Farce
504:The Letter Writers
489:The Author's Farce
487:On 31 March 1731,
482:The Jealous Taylor
478:Damon and Phillida
471:The Author's Farce
449:The Author's Farce
439:The Author's Farce
413:
389:The Beggar's Opera
379:The Author's Farce
327:The Author's Farce
261:
212:The Author's Farce
204:The Author's Farce
162:The Author's Farce
154:The Author's Farce
116:The Author's Farce
104:The Author's Farce
96:The Author's Farce
92:play within a play
51:The Author's Farce
30:
27:The Author's Farce
2225:
2224:
2212:Samuel Richardson
2207:Christopher Smart
1884:The Authors Farce
1806:. Phaidon, 1977.
1770:978-0-87413-931-0
1703:Hunter, J. Paul.
1646:Fielding, Henry.
1464:Rogers 1979 p. 49
1455:Hunter 1975 p. 53
1437:Dudden 1966 p. 54
1356:Rivero 1989 p. 31
1240:Rawson 2008 p. 23
1014:Rivero 1989 p. 23
984:Hunter 1975 p. 54
936:Rivero 1989 p. 37
847:1734 altered cast
591:Critical response
565:George Saintsbury
336:Love and a Bottle
280:Theophilus Cibber
256:Colley Cibber as
225:Samuel Richardson
2257:
2138:Essays and Misc.
1935:
1928:
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1898:
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1889:Internet Archive
1774:Rivero, Albert.
1760:Rawson, Claude.
1602:Campbell, Jill.
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2008:The Welsh Opera
1966:The Temple Beau
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331:George Farquhar
275:The Temple Beau
258:Lord Foppington
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166:Scriblerus Club
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88:literary genres
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467:Charles Coffey
434:for one show.
411:Henry Fielding
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345:Augustan drama
320:Lewis Theobald
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197:Beggar's Opera
182:John Arbuthnot
174:Jonathan Swift
170:Alexander Pope
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2074:Later plays
2022:The Lottery
1950:Early plays
387:(1717) and
369:John Dryden
365:The Dunciad
341:Restoration
312:John Henley
187:The Dunciad
84:allegorical
2240:1730 plays
2234:Categories
878:References
715:James Lacy
663:burlesques
628:Daily Post
606:Daily Post
475:afterpiece
457:Daily Post
421:Daily Post
349:Buckingham
128:River Styx
2121:Tom Jones
2057:The Miser
1980:Tom Thumb
1741:301354330
1626:313644743
907:Footnotes
695:1730 cast
636:Tom Thumb
493:Tom Thumb
444:Tom Thumb
316:John Rich
301:contralto
142:Brentford
67:Tom Thumb
1906:LibriVox
1656:16876561
1209:29 April
567:'s 1893
559:'s 1762
495:remake,
304:castrato
297:Senesino
178:John Gay
132:castrato
2100:Shamela
393:Dunciad
248:Sources
220:Oratory
192:Dulness
2190:People
2164:Events
2128:Amelia
1869:355476
1867:
1853:
1840:229300
1838:
1824:
1810:
1796:
1782:
1768:
1754:
1739:
1725:
1711:
1697:
1683:
1669:
1654:
1641:173325
1639:
1624:
1610:
1590:
1577:350284
1575:
851:Play:
699:Play:
618:, and
288:Leiden
233:Pamela
180:, and
148:Themes
137:Bantam
883:Notes
208:farce
1865:OCLC
1851:ISBN
1836:OCLC
1822:ISBN
1808:ISBN
1794:ISBN
1780:ISBN
1766:ISBN
1752:ISBN
1737:OCLC
1723:ISBN
1709:ISBN
1695:ISBN
1681:ISBN
1667:ISBN
1652:OCLC
1637:OCLC
1622:OCLC
1608:ISBN
1588:ISBN
1573:OCLC
1211:2010
690:Cast
649:and
634:and
563:and
547:and
511:and
343:and
268:and
110:Plot
1887:at
465:by
371:'s
351:'s
333:'s
227:'s
2236::
1340:^
1254:^
998:^
941:^
469:.
399:.
190:,
176:,
172:,
70:.
1934:e
1927:t
1920:v
1871:.
1842:.
1743:.
1658:.
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1628:.
1579:.
717:)
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