264:, this connection served as a means to put forth a general political view and deal with politics in a more critical way unlike any of Fielding's previous plays. The play is a political allegory that satirises Walpole's government and the British monarchy. However, the play does not pick a side but pokes fun at everyone. He also kept his personal political views out of the play.
50:, the play deals with morality from the beginning. Additionally, it linked to Fielding's previous attacks on the London theatre and inept writers. Fielding also used the virtue of female servants as a point of humour and to discuss morality, while using the effeminacy and dominance by women to mock various characters and discuss the issue of gender roles. Critics viewed
371:. Although these depictions may have caused problems for Fielding, the Battestins believe that "Fielding's satire is fairly innocuous when compared to the egregious standard of scandal-mongering and vituperation current at the time. And – an important circumstance often overlooked – his satire is even-handed in roasting both parties alike."
90:
is the only play by
Fielding that existed only as a printed play. It is unknown as to why the play was never put on for an audience, but it is possible that it was not performed because Fielding was either legally prevented to perform it by the British government or he was bribed to not perform it.
292:
The virtue of the female servants is a point of humour in the play. Traditionally, female servants were depicted in comedic works as those lacking virtue and sexually willing towards their masters. The constant discussion of virtue and the upholding of virtue on the part of the servants is used in
222:
The play describes the
Apshinken family and the pursuits in love of Owen and his butler, Robin. Owen pursues four women and Robin pursues only one. However, Robin is pursuing Sweetissa, whom Owen wishes to have for himself. To separate the two, Owen forges a letter which works until Robin's virtue
78:
saying, "We hear that the
Grubstreet Opera, written by Scriblerus Secundus, which was to have been postponed till next Season, will, at the particular Request of several Persons of Quality, be perform'd within a Fortnight, being now in Rehearsal at the New Theatre in the Hay-market."
223:
proves his own devotion to
Sweetissa. Although Robin lacks virtue in most regards, such as his stealing from his master, he is able to marry Sweetissa and, at the end of the play, Fielding breaks from his own tradition of comedic marriages by having Owen and Molly marry.
325:
Betrand Godgar believed that, in the play, "Fielding unambiguously jeered at politicians and court figures, reducing them to the level of a Welsh family with its domestic squabbles." Fielding transitioned from the
Pulteney and Walpole feud (see discussion at
219:. Scriblerus does introduce the play, as in the original, but he describes the moral purpose that motivates the play instead of being a comical connection with another work. After revealing Fielding's design in the play, Scriblerus leaves the stage.
402:
Other views focused on other aspects, including the possible topical statements; John Loftis argues that "this afterpiece in the form of ballad opera seems, in its rendering of Court gossip, to be a dramatization of Lord Hervey's
132:
administration, became public knowledge. Fielding eventually printed his own version of the play, dated 1731. However, it is possible that it was not actually printed until June 1755, shortly after
Fielding's death, by his friend
340:. Unlike the feud, the depiction of the royal family was risky, especially seeing as how Fielding had no direct knowledge of any actual actions taking place with the royal family. Instead, he based his knowledge on rumours.
313:. Unlike those later novelists, Fielding incorporates the humorous juxtaposition to allow for a mixture of humour and truth. The issue of gender roles and the virtue of various characters is extended further within
128:
without
Fielding's knowledge in August 1731. The print edition was based on the second script. Fielding responded with claims of piracy and was upset that his satirical attack, primarily upon
117:). In it, he gloated over the play being kept from performance and stated that the government did not accept the play. He followed this in the 15–22 June edition with an attack upon Fielding.
86:
as being rehearsed, but the 11 June edition stated that one of the performers was sick and the 14 June edition said that the play would be postponed indefinitely. It was never produced, and
317:
to include the use of effeminacy and dominance by women to mock various characters. In particular, the way the men are dominated by their wives is made fun of and shown as problematic.
995:
1009:
275:, the rewrite deals with morality at the very beginning. Similarly, the play focuses on problems within the literary community; the title links the play with the
293:
juxtaposition of that tradition to amuse an audience. However, their discussion also serves as a means for
Fielding to discuss morality in a manner similar to
285:. It also links the play with Fielding's previous attacks on the London theatre and inept writers. In particular, Fielding satirises bad imitations of Gay's
356:
379:
Although the play was never performed, its revisions reflect how
Fielding sought to cater to what the audiences saw was popular in the earlier version,
977:
383:, which included adding more songs. Although not performed on stage, the songs became popular on their own. This was especially true in the case of "
828:
35:, the author of the play is identified as Scriblerus Secundus. Secundus also appears in the play and speaks of his role in composing the plays. In
1016:
173:
Lady
Apshinken – wife to sir Owen, a great housewife, governante to her husband, a zealous advocate for the church. Played by Mrs. Furnival.
289:
and those who do not understand what Gay's play was originally about especially in regards to its mockery of the Italian opera tradition.
368:
137:. Regardless of the date, the connection of Fielding to the edition establishes this later version as the only authoritative edition.
1138:
415:. It is so much improved that the impossibility of staging it must have infuriated Fielding. Thomas Lockwood believes that both
845:
70:. Of these, one was performed at a Haymarket theatre, but only in rehearsals. The play originates as an expanded version of
432:
384:
360:
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234:
is the first truly political play and also Fielding's first ballad opera. As such it owes a lot to Fielding's model,
352:
344:
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938:
889:
207:
423:
are characterized by a "spirit of fun" but are complicated by the 18th-century politics that gave them birth.
387:". Edgar Roberts, when examining the quality of the songs of the play, declared that "it is fair to say that
1066:
854:
814:
92:
355:. The help also represent individuals involved in politics, for example, the gardener, Thomas, represents
1143:
959:
868:
240:
158:
Puzzletext – his chaplain, in love with women, tobacco, drink, and backgammon. Played by Mr. Reynolds.
1133:
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277:
176:
Molly Apshones – daughter to Mr. Apshones, a woman of strict virtue. Played by Miss Patty Vaughan.
1071:
931:
924:
917:
896:
179:
Sweetissa – waiting-woman, – Women of strict virtue, in love with – Robin. Played by Mrs. Nokes.
1107:
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304:
875:
391:
is musically the most satisfactory of all the ballad operas written in the decade following
1112:
1048:
945:
903:
861:
453:
442:
328:
249:
27:
149:
Sir Owen Apshinken – a gentleman of Wales, in love with tobacco. Played by Mr. Furnival.
1097:
1023:
1002:
882:
837:
364:
257:
253:
185:
Margery – housemaid – Women of strict virtue, in love with – John. Played by Mrs. Lacy.
129:
96:
22:
31:. It was never put on for an audience and is Fielding's single print-only play. As in
1127:
1092:
299:
134:
182:
Susan – cook, – Women of strict virtue, in love with – Will. Played by Mrs. Mullart.
294:
43:
282:
164:
William – his coachman, enemy to Robin, in love with Susan. Played by Mr. Jones.
152:
Master Owen Apshinken – his son, in love with woman kind. Played by Mr Stopler.
113:
235:
761:
Vol. 1 (1728–1731). Ed. Thomas Lockwood. Oxford: Clarendon Press, 2004.
244:. Unlike his other Scriblerus plays, Fielding's Scriblerus persona in
39:
the main storyline involves two men and their rival pursuit of women.
794:
The Plays of Henry Fielding: A Critical Study of His Dramatic Career
745:
Natural Masques: Gender and Identity in Fielding's Plays and Novels
248:
is deeply connected to Gay instead of Gay's fellow members of the
161:
Robin – his butler, in love with Sweetissa. Played by Mr. Mullart.
806:
810:
99:
and Walpole's government, discussed the incident in his poem "
111:" (published in the 8–15 June 1731 edition of his newspaper,
754:. Waterloo, Ontario: Wilfrid Laurier University Press, 1984.
205:, as a figure to connect the play with its companion piece,
42:
The play is Fielding's first truly political play and first
167:
John – his groom, in love with Margery. Played by Mr. Dove.
145:
The cast, according to the printed version, is as follows:
789:, ed. L. J. Morrissey. Edinburgh: Oliver & Boyd, 1973.
343:
As for specific characters, Sir Owen Apshinken represents
281:, a periodical that satirised inept writers that frequent
267:
Fielding hoped to remove any moral ambiguity found within
332:-Sources) to parodying the royal family when he expanded
796:. Charlottesville: University Press of Virginia, 1989.
54:
positively, noting it to be a definite improvement on
1085:
1059:
1033:
987:
969:
844:
399:was "one of the finest ballad operas of its time".
74:. The revision had a puff piece in the 21 May 1731
25:that originated as an expanded version of his play
82:Later, it was advertised again in the 5 June 1731
155:Mr. Apshones – his tenant. Played by Mr. Wathan.
201:, Fielding incorporated his editorial persona,
803:. Lincoln: University of Nebraska Press, 1968.
768:. Lincoln: University of Nebraska Press, 1976.
66:Fielding created three theatrical versions of
822:
8:
747:. Stanford: Stanford University Press, 1995.
357:Thomas Pelham-Holles, 1st Duke of Newcastle
188:Scriblerus – Introduces the play, not cast.
170:Thomas – the gardener. Played by Mr. Hicks.
829:
815:
807:
347:, Lady Apshinken represents queen consort
978:The Historical Register for the Year 1736
785:Morrissey, L. J. "A Note on the Text" in
773:The Politics of Drama in Augustan England
736:Battestin, Martin, and Battestin, Ruthe.
395:." Likewise, Robert Hume determined that
607:Battestin and Battestin 1993 pp. 115–116
517:Battestin and Battestin 1993 pp. 118–119
367:, and the coachman, William, represents
465:
411:is a much better play than the two-act
7:
363:, the butler, Robin, represents Sir
215:Fielding drops all connections with
679:Battestin and Battestin 1993 p. 113
670:Battestin and Battestin 1993 p. 115
351:, and the Apshinken son represents
369:William Pulteney, 1st Earl of Bath
14:
407:". Thomas Cleary wrote that the "
782:. Oxford: Clarendon Press, 1988.
775:. Oxford: Clarendon Press, 1963.
752:Henry Fielding, Political Writer
359:, their groom, John, represents
780:Fielding and the London Theater
456:– an informal club of satirists
1:
433:The Roast Beef of Old England
385:The Roast Beef of Old England
361:John Hervey, 2nd Baron Hervey
126:The Genuine Grub-Street Opera
120:Like E. Rayner's printing of
1160:
740:. London: Routledge, 1993.
353:Frederick, Prince of Wales
345:George II of Great Britain
1042:The Covent-Garden Journal
939:The Covent Garden Tragedy
890:The Tragedy of Tragedies
535:Morrissey 1973 pp. 19–23
217:The Tragedy of Tragedies
208:The Tragedy of Tragedies
1139:Plays by Henry Fielding
1067:Actor Rebellion of 1733
855:Love in Several Masques
634:Rivero 1989 pp. 105–106
571:Rivero 1989 pp. 103–104
1077:Paper War of 1752–1753
738:Henry Fielding: a Life
553:Fielding 2004 II p. 70
544:Fielding 2004 II p. 69
988:Novels and Narratives
960:The Universal Gallant
911:The Grub Street Opera
801:The Grub-Street Opera
787:The Grub-Street Opera
724:Fielding 2004 II p. 1
661:Fielding 2004 pp. 4–5
625:Rivero 1989 pp. 95–97
598:Rivero 1989 pp. 90–92
562:Rivero 1989 pp. 94–95
526:Rivero 1989 pp. 88–89
448:The Grub Street Opera
421:The Grub-Street Opera
397:The Grub-Street Opera
389:The Grub-Street Opera
338:The Grub-Street Opera
315:The Grub Street Opera
246:The Grub-Street Opera
232:The Grub Street Opera
213:The Grub Street Opera
88:The Grub-Street Opera
68:The Grub Street Opera
52:The Grub Street Opera
37:The Grub Street Opera
18:The Grub Street Opera
766:Walpole and the Wits
764:Goldgar, Bertrand.
643:Campbell 1995 p. 21
508:Goldgar 1976 p. 113
490:Hume 1988 pp. 96–97
481:Hume 1988 qtd p. 96
349:Caroline of Ansbach
278:Grub Street Journal
203:Scriblerus Secundus
1072:Licensing Act 1737
1052:(play, attributed)
932:The Old Debauchees
925:The Modern Husband
897:The Letter Writers
869:The Author's Farce
706:Loftis 1963 p. 105
688:Roberts 1968 p. 75
652:Godgar 1976 p. 110
616:Rivero 1989 p. 101
580:Rivero 1989 p. 104
450:, also by Fielding
393:The Beggar's Opera
287:The Beggar's Opera
269:The Beggar's Opera
241:The Beggar's Opera
1121:
1120:
1108:Samuel Richardson
1103:Christopher Smart
757:Fielding, Henry.
715:Cleary 1984 p. 51
589:Rivero 1989 p. 98
499:Rivero 1989 p. 88
472:Rivero 1989 p. 76
446:– a precursor to
437:Grub Street Opera
409:Grub-Street Opera
305:Samuel Richardson
124:, Rayner printed
1151:
1034:Essays and Misc.
831:
824:
817:
808:
799:Roberts, Edgar.
792:Rivero, Albert.
750:Cleary, Thomas.
743:Campbell, Jill.
725:
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697:Hume 1988 p. 104
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95:, a defender of
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1049:The Golden Rump
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946:The Mock Doctor
904:The Welsh Opera
862:The Temple Beau
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454:Scriblerus Club
443:The Welsh Opera
429:
417:The Welsh Opera
381:The Welsh Opera
377:
334:The Welsh Opera
329:The Welsh Opera
323:
273:The Welsh Opera
262:The Welsh Opera
250:Scriblerus Club
229:
199:The Welsh Opera
195:
143:
122:The Welsh Opera
105:of the design'd
72:The Welsh Opera
64:
56:The Welsh Opera
48:The Welsh Opera
33:The Welsh Opera
28:The Welsh Opera
12:
11:
5:
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1098:Sarah Fielding
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883:Rape upon Rape
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838:Henry Fielding
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778:Hume, Robert.
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771:Loftis, John.
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254:Alexander Pope
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211:. However, in
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97:Robert Walpole
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23:Henry Fielding
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1093:John Fielding
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1010:Jonathan Wild
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21:is a play by
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1144:Comedy plays
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107:Grub-street
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44:ballad opera
41:
36:
32:
26:
17:
16:
15:
970:Later plays
918:The Lottery
846:Early plays
413:Welsh Opera
283:Grub Street
93:John Henley
1134:1731 plays
1128:Categories
731:References
307:'s use of
297:'s use of
114:Hyp-Doctor
101:Hay-Market
84:Daily Post
76:Daily Post
62:Background
1017:Tom Jones
953:The Miser
876:Tom Thumb
271:. Unlike
130:Walpole's
46:. Unlike
427:See also
375:Response
260:. As in
236:John Gay
996:Shamela
405:Memoirs
321:Sources
103:Actors
1086:People
1060:Events
1024:Amelia
310:Pamela
227:Themes
759:Plays
461:Notes
336:into
109:Opera
419:and
193:Plot
141:Cast
303:or
256:or
238:'s
197:In
1130::
252:,
58:.
830:e
823:t
816:v
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