1762


 * //The// //London Gazette//- January 1762-June 1762**

//The// //London Gazette// is known as the longest published newspaper in the United Kingdom, and is still published to this day. Originally known as the //Oxford Gazette// when first published in 1665, was said to be the first English newspaper as it was printed double-sided on one sheet of paper. The publication can be described as no-nonsense as it is only interested in reporting hard facts and makes little-to-no reference on anything related to the arts or theater. From the beginning, this newspaper has included govern -ment notices, copies of government speeches and notices to Parliament, foreign despatches, and other news related to business and trade. //The London Gazette// makes no mention of William Whitehead’s sentimental comedy //The School for Lovers,// which was released in February 1762 and received both commercial and critical success.

In the first half of 1762, //The London Gazette// the most extensively covered topic was what is now known as the Seven Years’ War, most notably the declaration of war against Spain in January 1762. On January 2nd, 1762 King George III declared war against Spain for combining their forces with France as he believed this would upset the commerce and unity of the rest of Europe, and //The London Gazette// printed his declaration speech. The coverage the followed was mostly regarding domestic and foreign war updates. Domestically, //The London Gazette// provided notices calling for enrollment in the British Navy as well as the King’s appointments for Colonels, Principal Officers and Sheriffs. Internationally, //The London Gazette// provided updates on the war including Great Britain’s role in defending Portugal from the French and Spanish, as well as Britain’s p ursuit of various West Indian Islands and the fate of the ships that were travelling to these islands. The paper also provided updates on government notifications, such as an extension of the prohibition of the export of any goods outside of the kingdom as well as the ban of the carrying of any arms or ammunition. These bans were set to expire at the end of April, and were granted an extension by George III.

Along with war coverage, //The London Gazette// also published many congratulatory notifications to the King on his marriage to Princess Charlotte of Mecklenberg wishing them many years of happiness and to be blessed with children. Additionally, notifications of pirate bounties, debt notifications and prison notifications were also published. Advertisements mainly included papers and books on war related subject matter such as “An Essay on the Art of War” and “Papers Relative to the Rupture of Spain.” Advertisements for chemical lotions, drops and pills are also present, but there is absolutely no notification of anything theater-related.


 * Review of the 1761-1762 Theater Season[[image:John Beard.jpg width="276" height="421" align="right" caption="John Beard- From the London Stage"]]**

The 1761-1762 was stated to be once again, another “well-regulated” theater season. Unlike the following theater season, there were no riots, and the season was peaceful. The Lord Chamberlain and London magistrates’ offices were alerted for any possible abuses to the Licensing Act, and even had one company apprehended and ultimately committed to Bridewell in December for performing //Othello// at a public house in the Strand. They also stopped all performances at Batholemew Fair in September 1762 due to some minor disturbances. They only allowed for thirteen theatrical performances at minor establishments (Stone 881).

The death of John Rich in November, marked a new manager for the theater at Covent Garden. His wife, and mainly his son-in-law John Beard took over the management. In March 1972, //Treatise on the Art of Dancing// appeared, where Giovanni Andrea Gallini presented his thesis showing the contemporary trend moving towards narrative dancing. This also laid the groundwork for the abolishment of stage loungers which would come the following season. Many producers followed suit, resulting in a movement towards fine acting (Stone 881).

Three events were often depicted in the theatrical performances for this season including the coronation of George III, his marriage to Charlotte of Mecklenberg, as well as the affair of the Cock Lane Ghost. There were 533 performances overall this season to make up for some of the lost performances from the previous season. There were several new plays this season as well several revivals. Drury Lane showed two new plays: John Delap’s //Hecuba// (December 1761) and William Whitehead’s //The School for Lovers// (February 1762) as mainpieces. Covent Garden showed T.A. Arne’s English Opera //Artaerxes// (February 1762) and Samuel Foote’s comedy //The Lyar// (January 1762) as mainpieces (Stone 881- 884).


 * Summary of //A School for Lovers// by William Whitehead**

The play starts in Act I with Mr. Modely being engaged to Araminta, but it is revealed that he is also in love with his 17-year old cousin Caelia. Araminta’s brother Sir John Dorilant, was close with Caelia’s deceased father, Sir Harry, who proposed that Sir John marry Caela or else she forfeits her inheritance according to Sir Harry’s will. Sir Harry was from the country, and was married to Lady Beverly, who wishes for Caelia to marry Mr. Modely so she can have Sir John as a lover for herself. Lady Beverly believes that Cealia loves Mr. Modely, and supports their marriage. She also volunteers to tell A raminta and Sir John that Mr. Modely will no longer be marring Araminta, and will marry Caelia instead. Mr. Belmour, who is a friend to Mr. Modely offers to assist him in breaking off his engagement to Araminta by going courting her for himself.

In Act II Amramita tries to persuade Sir John to tell Caelia outright how passionately he loves her. Sir John states that he will not agree to marry Caelia unless she also truly loves him. After the conversation between siblings, Lady Beverly attempts to tell Sir John that she loves him and that he should not marry Caelia, but he doesn’t understand what she is attempting to tell him. Lady Beverly also tells Sir John that Caelia is not as innocent as he believes her to be, and that there is another man under the same roof garnering for her affections. Lady Beverly never states who she is referring to, but Sir John infers that it is Belmour, and is distraught. Araminta knows that Lady Beverly was referring to Modely, but Modely advised Sir John that he is ready to marry his sister the following day as long as he signs the paperwork. Due to Modely’s suggestion, Aramintha then believes that Modely is no longer in love with Caelia.

In Act III, Sir John has Belmour believe that Caelia is in love with him, but Belmour is suspicious since he has not seen any signs of love from Caelia. Modely then advises Belmour that Caelia is actually in love with him, and Lady Beverly has a scheme to get Caelia and Modely together, but the plot includes Modely going through with his impending marriage to Araminta. Belmour is unsure of how the rest of her scheme is to carry out, but he agrees to follow her wishes anyway. Araminta sets up a meeting with Caela and Sir John to force Sir John to tell Caelia how passionately he feels for her. Caelia advises Sir John that she is ready to obey him, and is ready to marry him, but confesses that she loves Belmour. Sir John does not want to marry Caelia unless she loves him, and she currently just loves him like a father-figure. Sir John confesses to Araminta that Modely is in love with Caelia, and Araminta confronts Lady Beverly about her scheme.

In Act IV Araminta advises Sir John that she believes Caelia actually truly loves him and will agree to marry him. Sir John states that he only has honorable intentions with Caelia, and must see her at once. Upon seeing Caelia, Sir John lets her know that her heart and her fortune are for her to choose and he had papers drawn up stating she can marry whomever she wishes to marry. Caelia tries to tell Sir John that she actually no longer loves Modely, and wishes to marry him, but Sir John will not believe it and turns her suggestion down since he is extremely honest and honorable. Unbeknownst to Sir John, Caelia is very upset, since she has grown the love Sir John, and tears up the papers. Lady Beverly and Modely are surprised in Sir John’s generosity in letting Caelia keep her fortune, but Modely believes that Sir John is still scheming to get Caelia to marry him. Modely attempts to charm Caelia himself, but she is not interested. Modely, after being rejected by Caelia, then tries to push up his wedding to Araminta to that evening, but Araminta knows his scheming ways, and rejects him. Araminta then goes to Belmour for comfort, and Modely realizes that he truly loves Araminta, and is very upset at himself for his vain and dishonorable behavior.

Act V beings with Belmour and Araminta having a conversation where Belmour is sticking up for his friend Modely by asking Araminta to give him another chance. Araminta states that her intentions are to get her brother, Sir John, and Caelia together, but would not mind also getting revenge on Modely. Modely goes to Sir John, and lets him know that Caelia’s intentions are true and that she really does truly love him. Sir John is touched by Modely’s honesty, and is overjoyed at the idea of Caelia actually loving him. Later, Lady Beverly alerts to Sir John that she and Cealia are leaving, and want nothing to do with Sir John’s family any longer. Caelia admits that she is crushed because Sir John has rejected her twice. Sir John lets Caelia know that his intentions are true and honorable, and Caelia offers him her hand in marriage. Araminta and Belmour are together as well to get revenge on Modely, and Modely attempts to reconcile with Araminta. Araminta and Belmour admit that they were just trying to make Modely jealous as an attempt to get back at him, and Belmour relays to Araminta that Belmour does indeed love her, and she should give him another chance. Araminta states that she has lost respect for Belmour, and she could never have a husband that she does not respect. However, she does agree to dance with Belmour, and the scene ends in a dance.


 * Conclusions**

While //The London Gazette// did not provide any coverage of the theater, or promote the play //The School for Lovers// in any way, the effects of the Seven Years’ War and themes of Restoration and early 18th century plays can be slightly seen in the play. Before the play begins, there is an advertisement stating that the comedy was "formed on a plan of Monsieur de Fontenelle's, never intended for the stage, and printed in the eight volume of his works, under the title Le Testament." The Author goes on to lay out the geographical differences in that piece to what is come with //The School for Lovers// stating "The Author, therefore, hopes he may be excused for having made the story English, and his own." By stating this before the play, perhaps Whitehead is being satirical of the French influence in the European culture as Great Britain was fighting against the French in the Seven Years' War. The play is a sentimental comedy, which had taken popular form by 1762, but does carry on some themes that we have seen in the Restoration and other 18th century plays that we have read including an large age differential in marriage, and rakish characters. What is different about these characters however, is that while Sir John is significantly older from Caelia, it is Caelia who actually decides to marry him because she genuinely loves him. This is very different from the Restoration plays that showed a large age gap in marriages, which were usually institutionally based, and the older characters are seen as satirized and ridiculed in the play. In this play, Sir John is seen as an admirable and honorable character, and is not ridiculed for his age. Furthermore, the rakish character of Belmour in this play, does not succeed in marrying Araminta in this play, where the rakes usually succeed in all other plays that we have read. In conclusion, while //The London Gazette// did not provide any theater coverage in the first half of 1762, it did provide robust coverage of the Seven Years' War, and England's declaration of war against Spain in January 1762. Perhaps going to the theater was an escape from the daily reality of war, making //The School for Lovers// a mildly successful sentimental drama for theater patrons, running for 13 performances in it's first season.


 * Works Used:**

Whitehead, William. __The school for lovers. A comedy. As it is acted at the Theatre-Royal in Drury-Lane. By William Whitehead, Esq; Poet Laureat.__ Dublin, MDCCLXII. [1762]. __Eighteenth Century Collections Online__. Gale. University of Maryland College Park. 7 July 2016

“Seven Years’ War”. //Encyclopedia Britannica//. Encyclopedia Britannica Online. Encyclopedia Britannica Inc., 2015. 7 July 2016.

__The London Stage, 1660-1800: a Calendar of Plays, Entertainments & Afterpieces, Together With Casts, Box-receipts And Contemporary Comment.__ [1st ed.] Carbondale: Southern Illinois University Press, 1960196811965.   Jones, Edward, ed. //The London Gazette// 1762, 10171-10222. //17th and 18th Century Burney Collection Newspapers//. Web. 7 July 2016.