1764

1764 **//The Universal Museum or //** **//Gentlemen’s and Ladies Polite Magazine of History Politicks and Literature //**  The Universal Museum was published monthly from January 1763 through December 1770. Each publication contained a variety of essays and news items, along with reviews of literature and theatre. The first half of the magazine generally contained essays often pertaining to new discoveries, but sometimes philosophical, historical or biographical in nature. The biographies were called “Lives of English Worthies” and they usually included an illustrated portrait in miniature. The general topics that were covered included Letters to the Printer, Scientific Discoveries, Planting and Husbandry, Foreign Affairs, Theatre and Literary Reviews, Domestic Occurrences and Poetry. Each issue was about fifty pages and occasionally contained an illustration with pertinent details from an article. For example there was an article on the upcoming Solar Eclipse that included an illustration of the when the eclipse would occur and what it would look like from various cities in England. The Editors of //The// //Universal Museum// in 1764 were Arthur Young and John Sealy.

The articles in //The Universal Museum// for the year 1764 discussed many topics on a variety of themes. In considering broad categories there were essays on philosophical issues such as liberty and honor. There were articles related to agriculture such as “The Cultivation of Madder”(20) or the “Culture of the Tea Plant in Carolina”(112-3), geographical essays, “Natural History Geography and the Present State of England” (200) as well as essays describing unique cultures or people in other parts of the world, “A Voyage to Martinico” (126-7). Throughout the year the journal had many historical biographies including Sir Richard Steele (329) and Sir John Barnard (440). The Foreign Affairs section would generally have a short review for each of the different major cities in Europe. There was a section called American News that often had recounts of confrontations between settlers and Indians in stateside cities such as New York, Williamsburg or Philadelphia. Domestic Occurrences covered local fires, duels, discoveries and deaths. There was also Poetry in every issue that often included an original song complete with musical notes.

//The Universal Museum’s// other name //Gentlemen’s and Ladies Polite Magazine of History Politicks and Literature// gives a good picture of all that this journal encompasses. There was a great deal of variety in the articles and many different authors, but the journal rarely includes their names. In October of 1764 there was a letter on first page explaining to the readers that //The Universal Museum// was merging with //Complete Magazine of Knowledge and Pleasure// and that some of the content would be changing as well. In the two months that followed the change was not obvious to this reader. **Royal Wedding **  The year 1764 began with a wedding. The Kings eldest daughter, “her Royal Highness the Princess Augusta” was married “his Most Serene Highness the hereditary Prince of Brunswick Lunenburg,” on January 16, 1764. The ceremony was held in the evening and was performed in the great council chamber at St. James by his Grace the Archbishop of Canterbury (The Universal Museum 45). In honor of the wedding //The Arcadian Nuptials// was performed at the Theatre Royal in Covent-Garden. The play is described as a “pastoral dialogue” and an excerpt from the dialogue was included in the Poetry section of the January edition of //The Universal Museum// (36-7). **Commentaries on Marriage **  Perhaps, related to this royal event, a number of articles and essays were written on the subject of marriage and offered interesting commentary on the views of the time. One such article was entitled “Rules for the Behaviour of both Sexes in a Married State.” It begins with an explanation of why men prefer their mistresses. The author describes a man who decides to leave his mistress because she behaves too much like his wife. Following this he proceeds to tell the reader that men should “be also careful to keep up a spirit of gallantry towards their wives” explaining how important it is to not become “slovenly” if one wishes to maintain their wife’s fidelity (The Universal Museum 141-2). A second article “An Essay on Love and Marriage” reflects on the author’s awareness that women often perceive any criticism of marriage as a personal affront to their sex, as if all problems related to marriage are the woman’s fault. This leads the author to the conclude that this is caused by men who abuse their authority over women which leads the women into wanting to rule and dominate the men. The author then suggests there should be “no pretensions to authority on either side” stating that everything should be carried out with “perfect equality.” After he retells Plato’s account of men and women as originally perfect, androgynous beings that were separated into two imperfect beings, he offers an allegory of his own with characters that have names such as Care, Hymen, Pleasure and Love that plead with Jupiter to reconcile the two halves, men and women back into one being. Both of these articles, in the end advocate the value of marriage (349-50). A third article that takes a slightly different approach is called “Reformed Rakes not good Husbands” in which a young man describes a conversation he had with a group of young women who seemed to think that “rakes make the best husbands.” His reflections include a concern that even though rakes may grow tired of their rakish behavior and settle down there is the distinct possibility of a relapse. He also states that they will have a “mistrust, joined with contempt for the sex,” in other words they will view all women to be like the women they have known in the past. Primarily, because rakes would not have known virtuous women, they will conclude that they do not exist. Thus a rake as a husband will be “jealous and suspicious” because he will consider all men to be like himself. Rakes may also be peevish, have impaired constitutions and be disagreeable (69-70). **Political Satire **  Dean Swift wrote an essay called “Swiftiana or the Bons Mots of Dean Swift” in which he used a succession of complicated metaphors to abuse satirists, wits, wisdom, critics, Whigs, writers and war. Here are two examples “Satire is a sort of glass, wherein the beholders discover every body's face but their own” and “The Whigs owe all their wealth to wars and revolutions, as the girl at Bartholomew-fair gets a penny by turning round with swords in her hand”(28-9). In his article he appears to be disparaging unfair criticism and all manner of behavior that is false or does not have sufficient forethought along with the current political situation. **Domestic Occurrences **  The “Domestic Occurrences” section of //The Universal Museum// generally contains brief reports about the people who lived in London at the time. One article that offered a detailed account of a fire that occurred on Tuesday, June fifth in Drury Lane included the names and occupations of everyone involved. In reading this article on gets a sense for the variety of jobs held by the working class. An excerpt from the article is included here: “Between twelve and one in the morning, a dreadful fire broke out in the house of Mr. Bayley, book-binder and stationer at the top of Wild-street, Drury lane, which soon consumed that house, with the other three lesser houses adjoining. The back part of the house of Mr Addy stone-cutter, also in Wild street, was burnt, and the house greatly damaged The wind being easterly, between one and two the flames reached the houses of Mr. John stone, shoe-maker, and Mr. Hunt haberdasher, in Drury-lane, which are also entirely burnt down; and the houses of Mr. Archer, cheesemonger; Mr. Doyley, silversmith; Wall, pork-seller ; and Mr. Coney, chandler ” (322). This article also gives a little picture of how the houses must have been very close to each other and thus provides a slice of local culture. **Summary of the Theater Season **  One of the earliest performances of the year 1764 was a tragedy called //Zara//, it was performed at Drury Lane and was generally well received. The only criticism was that Mr. Powell, who was acting in the lead for the first time, “spoke much too low and cried too much” (TLS 1031).

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;">On the following Monday a new comedy was introduced at Covent Gardens entitled //No One’s Enemy but his Own//. This comedy received an extensive review and plot summary in //The Universal Museum//. From that summary one can gather that the main character is a young gentleman named Careless who has a great deal of difficulty keeping secrets, particularly his own as they pertain to love. He makes the mistake of telling his rival, Wisely, that he has two mistresses. Wisely manages to foil things for Careless and in the end he loses both mistresses as punishment for his lack of sincerity and secrecy. Careless then declares to the audience that he is “no one’s enemy but his own.” The basic moral of the story was summarized as, “Lack of discretion and restraint concerning affairs and projects will lead to disappointment and ridiculous embarrassments” (14-5). This comedy was also performed on January 19 for “Their Majesties, the Prince and Princess of Brunswick and the Royal Family” and included a performance of //The Arcadian Nuptials// in the singing portion of the evening (TLS 1034).

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;">The Afterpiece to the original January 9 performance of //No One’s Enemy but his Own// was a new farce called //What We Must All Come To// that was reviewed by //The Universal Museum//. The story is somewhat convoluted but involved a rich man, Mr. Drugget who has two daughters. He marries the elder to man of high standing on his wife’s advice and plans to marry the younger one to someone similar. The elder daughter and her husband quarrel so offensively over a card game that the husband accuses her of “low birth.” The father decides this was not a good match and allows the younger daughter to marry the man of her choosing. The play ends with the quote “Quarrels in the married state is what we all must come to.”This farce was not well received by the audience; apparently the subject matter was borrowed from a story in the //Spectator//. It was performed only once at Covent Gardens (The Universal Museum 16-7). <span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;"> On January 23, also in honor of the marriage of the Princess Royal of England and the Prince of Brunswick a new piece was introduce called //Interlude Hymen//. It was written by Mr. Allen was performed a number of times in the following weeks (TLS 1034).

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;">On February 21, 1764 an opera called //Midas// was performed at Covent Gardens Theatre for the first time. It is described as an English Burletta that came from Dublin. The review described a story about the god Apollo and accused the poet of “giving gods and goddesses the language of porters and oyster women and burlesque color manners.” The general sentiment was that it was droll and “in danger of overstepping bounds of decency and good manners.” Compliments were given to the symphony, described as “pretty” and the decoration was “old but amusing.” //The Universal Museum// review gave an example of a rhyme from Act II that described Apollo. Also in the same Volume but on a different page there was a copy of the "Prologue" as it was spoken. It appeared to mainly be asking the audience to behave (84-5, 92-3). <span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;"> With the month of June came a new comedy of three acts called //The Patron//. It was written by Mr. Foote and was first performed at the Theatre in Haymarket on June 13. It received an extensive review in //The Universal Museum// that suggested it was “in many parts instructive almost new and original” (278-9). This play was very popular and continued to be performed several times each week through the end of September. The plot is summarized in full below. <span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;"> Early in November a new English opera called //Almena// came to Drury Lane. Reviewed in //The Universal Museum//, the opera //Almena// was considered to be a serious opera written by Mr Rolt, and composed by Mr. Arne and Mr. Battishull. It was performed for the first time at Theatre Royal in Drury Lane on November 2. The story involves complicated love triangles the main character, Mohammed being in love with Aspatia, but Aspatia is in love with Mirza, a young prince, who was in love with Almena. The dialogue was described as mediocre and the reviewer said there was “little expected, little given” and also that it was “dull and lifeless.” He did however praise the recitative as being “finely accompanied,” the airs as being “charmingly varied” and the choruses being “animated and full of harmony.” He was also complimentary of the “overative” describing it as elegant, and said the “scene, dresses and decorations” were “magnificent and striking” (579-580).

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;">Other performances in 1764 mentioned in //The London Stage// (1041-88) included: <span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;">//The Royal Shepherd// by Richard Rolt, an English Opera (Feb 24) <span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;">//False Concord// a farce (Mar 20) <span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;">//The Counterfeits// an afterpiece (Mar 26) <span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;">//The Absent Man// a farce (Apr 2) <span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;">//The Shepherd’s Artifice// an afterpiece (May 21) <span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;">//The Capricious Lovers// a comic opera by Mr. Rush (Nov 28) <span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;">//The Guardian Outwitted// a comic opera (Dec 12)

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;">In the December issue of //The Universal Museum// an article was written entitled “The Theatre.” It was the opinion of the reviewer that the theatre is in a “state of decline.” He complained about the theatre houses “vying with each other” and that there have been “no less than three operas at either house.” He described //Almena// as having a “short run.” He noted that //The Capricious Lovers// was a comic opera that had been translated from French and set to music. He said that the songs were all “cut from the same pattern” and the audience “dozed.” The reviewer also thought that it was odd that the third night’s benefits were given to the musician and not to the poet. He described this as being the “first of its kind where the music set itself above the poetry.” With regard to the //Guardian Outwitted//, by Dr. Arne, the reviewer was very dissatisfied with the entire play and claimed that it “fell by its own weight” and that the poet became the “jest of the public.” In reference to performances at Haymarket he mentioned the musical abilities of Signoir Manisolle as “excellent” and that his voice was “smooth, clear and even somewhat resembling finer tones of a clarinet.” The reviewer concluded that the theatres are in a “deplorable state” and that the excellence of the “Italian performers will either revive the Italian operas which have been declining for many years or to depress our present passion with music and bring good sense to the stage.” This review only covered the portion of the year from October through November (600-2). **<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;">Summary of //The Patron// ** <span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;"> Bever has recently graduated from Oxford and is looking for work as a poet. He has been sent to Sir Thomas, a known poet, in the hopes that Sir Thomas will help him to get published. The play begins on a London street with two young men, Bever and his friend Younger discussing Bever’s current predicament. Bever is in love with Juliet, the niece of Sir Thomas Lofty, but Sir Thomas has promised Juliet to a man named Rust. Rust is significantly older than Juliet and she has no interest in him, but rather prefers Bever. While they are talking Sir Peter Pepperpot, a wealthy gentleman and friend of Sir Thomas who has just returned from the West Indies joins them. After chatting about the turtles that Sir Peter has imported for local consumption Bever asks for his help in getting a message to Juliet that he wishes to see her. Once Sir Peter is on his way Bever is joined by Dactyl and Puff. Dactyl is a poet and Puff is his Publisher. They proceed to have a heated discussion over the fact that Dactyl’s plays are too sentimental and do not have enough spirit and satire to entertain the public. Puff also suggests that Dactyl, having lost the jobs Puff helped him to get, working Wine-office court and as the collector of casualties to the Whitehall and St James, will soon be begging him for a translation. Their exit ends the First Act.

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;">In Act II the scene begins with Bever and Younger listening in as Juliet tells Rust that she will not marry him and that he should marry one of the Greek statues that he has been seen fondling in the park. Once Rust leaves Bever joins Juliet and talks with her about changing her uncle’s mind. She also advises him on how to win favor with her uncle. <span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;"> The next scene takes place in Sir Thomas’ house, he is telling Rust, Dactyl and Puff about a new play that he has received anonymously. He reads parts of it to them to see their reaction. The men suspect that it is Sir Thomas’ work. Bever arrives, as does Sir Roger. Sir Roger is an East India Proprietor and an Orator who has a severe stutter. Sir Thomas has been helping with exercises, talking with pebbles in his mouth, to improve his infirmity. After discovering that Rust has obtained a valuable and ancient relic from Troy, everyone leaves except for Bever and Sir Thomas. Behind closed doors Sir Thomas asks Bever if he will claim authorship for the play that Sir Thomas wrote and that is to be performed that night. It is "The story of Robinson Crusoe,” Sir Thomas uses the excuse of trying to help Bever get published but he is actually concerned about how the play will be received.

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;">Act III begins with Bever reading the play. He tells Juliet how bad it is and that her uncle wrote it. While he is very unhappy about it she is pleased and tells him to go through with it and to hurry off to the theatre, as the show is about to start. Once Bever leaves Sir Thomas enters, and anxiously awaits the return of his servant who has gone to the show. They report an uproar at the playhouse and soon after Dactyl, Puff and Rust return to tell Sir Thomas that the show was stopped before the third act and that they feel very bad for Bever. Bever meanwhile is outside demanding to be let in, while Sir Thomas is trying to keep him out. Once inside he demands that Sir Thomas claim himself as the author and tells him that Juliet knows he wrote it already. Then Juliet enters and Sir Thomas offers her hand to Bever in return for him keeping the secret. Rust overhears and claims he will tell all to the newspaper at which point Bever reminds him about his relic and so he recants. The play ends.

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;">An interesting line from Sir Thomas regarding Bevel’s loss of reputation as a writer which may also be a reflection on the current state of affairs with plays in general, “the most they can say of him is, that he is a little wanting in wit; and he has so many brother-writers to keep him in countenance, that now-a-days that is no reflection at all.” The subject matter of the play, older poets writing bad plays and trying to pass them off anonymously, may be a reflection of real life (Foote). **<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;">Literary Reviews ** <span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;"> The October issue of //The Universal Museum// included a review that compared the novel //Romeo and Juliet// by Bandello with the play by Shakespeare. The reviewer explained to the reader that //Romeo and Juliet// was originally a novel written in Italian by a man named Bandello. It was then translated into French and from French into English. According to this review the “author’s sense is frequently mistaken and circumstances were injudiciously altered, added or omitted” in the translation. The reviewer criticized Shakespeare for the way he interpreted the novel and the changes he made to the story for the play. He was particularly critical of the final scene and the manner in which the suicides were carried out. Additionally, the reviewer stated that, “All the characters in Romeo, except that of Mercutio are exactly the same of those in the novelist and since he copied them from the translator and not original” (509-10). The review gives a significant amount of detail regarding particulars about the novel plot versus the play plot.

<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;">In the November issue of //The Universal Museum// there is a review called “Seasonable Advice to the public concerning a book entitled //L’Espion Chinois//” or //The Chinese Spy//. The reviewer is not complementary about the book but rather considers the book to be too satirical and calls the writer inconsiderate. The subject of the book is Louis XV of France and is filled with “pretended anecdotes” that the reader will “peruse with weariness.” The reviewer generally feels the book is filled with “a great deal of insipid stuff” and that it is generally an “incoherent work.” He then writes a number of kind and gracious things about Louis XV and compliments him (550-1). **<span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;">Conclusion ** <span style="font-family: Tahoma,Geneva,sans-serif; font-size: 120%;"> In considering the variety of performances in the theatres during 1764 and in reading much of The Universal Museum two themes emerged. The first, perhaps prompted by the royal wedding was that of marriage. Several of the plays involved plots around successful marriage and what makes for good relationships. Also, reflecting on the fact that //What We Must All Come To// was completely rejected and given that it was performed for the first and last time just before the royal wedding, one might consider that the subject was determined to be inappropriate. The second play to be looked at closely is “The Patron.” It seems that when a play revolves around theatre life there is usually some real life truth to the story line. Suggesting that either a situation similar to what happened in “The Patron” had actually occurred that year or that a lot of new plays were coming from old stories. In addition, the reviewers often did not like the plays and several were described as having plots that were not entirely original. Considering this one might conclude that 1764 may not have been one of the theatre’s more memorable years for innovative plays.

Works Cited // The London Stage, 1660-1800: A Calendar of Plays, Entertainments & Afterpieces, Together With Casts, Box-receipts and Contemporary Comment: Part 4, 1747-1776 //. Ed. George Winchester Stone, Jr. Carbondale: Southern Illinois University Press, 1960. Print.

// The Universal Museum // or //Gentlemen’s and Ladies Polite Magazine of History, Politiks an Literature for 1763. Volume 3//. 3.1 (1764): 14-16. Print. //Eighteenth Century// // Journals. // Online. 14 July 2013.

“The Cultivation of Madder.” //The Universal Museum// or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763. Volume 3//. 3.1 (1764): 20. Print. //Eighteenth Century Journals.// Online. 14 July 2013.

“Culture of the Tea Plant in Carolina” .” //The Universal Museum// or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763. Volume 3//. 3.1 (1764): 112-3. Print. //Eighteenth Century Journals.// Online. 14 July 2013.

“Natural History Geography and the Present State of England.” //The Universal Museum// or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763.Volume 3//. 3.1 (1764): 200. Print. //Eighteenth Century Journals.// Online. 14 July 2013.

“A Voyage to Martinico.” //The Universal Museum// or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763. Volume 3//. 3.1 (1764): 126-7. Print. //Eighteenth Century Journals.// Online. 14 July 2013.

Sir Richard Steele. //The Universal Museum// or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763. Volume 3//. 3.1 (1764): 329. Print. //Eighteenth Century Journals.// Online. 14 July 2013.

Sir John Barnard. .” //The Universal Museum// or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763. Volume 3//. 3.1 (1764): 440. Print. //Eighteenth Century Journals.// Online. 14 July 2013. (440)

“Domestic Occurrences.” // The Universal Museum // or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763. Volume 3//. 3.1 (1764): 45. Print. //Eighteenth Century Journals.// Online. 14 July 2013.

“The Arcadian Nuptials.” // The Universal Museum // or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763. Volume 3//. 3.1 (1764): 36-7. Print. //Eighteenth Century Journals.// Online. 14 July 2013.

“Rules for the Behaviour of both Sexes in a Married State.” .” //The Universal Museum// or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763. Volume 3//. 3.1 (1764): 141-2. Print. //Eighteenth Century Journals.// Online. 14 July 2013.

“An Essay on Love and Marriage.” // The Universal Museum // or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763. Volume 3//. 3.1 (1764): 349-50.Print. //Eighteenth Century Journals.// Online. 14 July 2013.

“Reformed Rakes not good Husbands” .” //The Universal Museum// or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763. Volume 3//. 3.1 (1764): 69- 70. Print. //Eighteenth Century Journals.// Online. 14 July 2013.

“Swiftiana or the Bons Mots of Dean Swift.” //The Universal Museum// or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763. Volume 3//. 3.1 (1764): 28-9. Print. //Eighteenth Century Journals.// Online. 14 July 2013.

“Domestic Occurrences” .” //The Universal Museum// or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763. Volume 3//. 3.1 (1764): 322. Print. //Eighteenth Century Journals.// Online. 14 July 2013.

“Account of a New Comedy No One’s Enemy but his Own.” //The Universal Museum// or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763.Volume 3//. 3.1 (1764): 14-5. Print. //Eighteenth Century Journals.// Online. 14 July 2013.

“Account of the Farce What We Must All Come To.” //The Universal Museum// or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763. Volume 3//. 3.1 (1764): 16-7. Print. //Eighteenth Century Journals.// Online. 14 July 2013.

“Account of the New Opera of Midas” //The Universal Museum// or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763. Volume 3//. 3.1 (1764): 84. Print. //Eighteenth Century Journals.// Online. 14 July 2013.

“Account of the Patron.” //The Universal Museum// or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763. Volume 3//. 3.1 (1764): 278-9. Print. //Eighteenth Century Journals.// Online. 14 July 2013.

“Account of Almena, a New English Opera.” //The Universal Museum// or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763. Volume 3//. 3.1 (1764): 579-80. Print. //Eighteenth Century Journals.// Online. 14 July 2013.

“The Theatre.” //The Universal Museum// or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763. Volume 3//. 3.1 (1764): 600-2. Print. //Eighteenth Century Journals.// Online. 14 July 2013.

Foote, Samuel, 1720-1777. //The Patron//. (1764): Cambridge 1996: //Chadwyck-Healey English Prose Drama Full-Text Database.// Web. 31 July 2013.

“Account of the Novel and Play of Romeo and Juliet.” //The Universal Museum// or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763. Volume 3//. 3.1 (1764): 509-10. Print. //Eighteenth Century Journals.// Online. 14 July 2013.

“Seasonable Advice to the public concerning a book entitled L’Espion Chinois” .” //The Universal Museum// or //Gentlemen’s and Ladies Polite Magazine of History, Politiks and Literature for 1763. Volume 3//. 3.1 (1764): 550-1. Print. //Eighteenth Century Journals.// Online. 14 July 2013.