1772

//The London Stage //, //The Universal Magazine of Knowledge and Pleasure, and// Samuel Foote's //The Nabob// in 1772 //__The London Stage __//__ on 1772 __

The play season of 1771-1772 was filled with music, song, dance, an innate awareness of local happenings, and witty commentary by the public press ("London" 1565). This brings an image of a well-informed society taking part not only in local politics but commentating on international events. The latter was especially important because of Britain's increasingly growing international ambitions and power. Plays like Samuel Foote's //The Nabob// were reflecting this trend and public thinking.

On the overall art aspect, there were 500 performances set up by 275 performers ("London" 1565). Although //The London Stage// does not explicitly mention this, the list of plays performed in the 1771-1772 shows that many of the performers were repeats in acting out characters in completely different plays. This is very interesting as it shows the versatility of these actors and actresses in memorizing extremely long dialogues of a new play on short notice. It also points out to a bustling theatre industry that possessed established actors and actresses who were possibly well known in the public circles. The more famous ones might even be household names. Intriguingly so, this draws a parallel to our current movie and TV industries which have by and large adapted the function of theatre in our contemporary time.

//The London Stage// also mentions that the theatre season saw a shift from plays performed in patent theatres to the Haymarket Royal Theatre (1565). This points to Foote's royal patent to stage a summer theatre in which he could perform his own plays. Thus, //The Nabob//'s first performance took place on Monday 29 June, 1772, at the Hay ("London" 1647). Foote was a prolific writer and performer. He dominated the theatre season by composing 56 performances of 12 mainpieces and 14 afterpieces. Except //Richard III//, all of the performances were comedies. Foote's acting company included 51 actors, actresses, and Giorgi's scholars, a dance group. The most popular play during that season was Foote's //The Nabob.// It also had the longest run of all the plays performed ("London" 1569).

Some theatre critics such as David Williams in 1772 deplored the management policies of theatres during that season and wanted to see more of the traditional Shakespearean plays. They also criticized the extreme gestures and egregiously passionate acting that had dominated the theatre ("London" 1565). Samuel Foote was well-known for his infamous ability as a mimic and his tendency to savagely attack any popular event or personality for his theatrical gain ("Foote" Britannica). Needless to say, Foote's personality and //The Nabob//'s subject matter did not align himself positively with such critics.

//__The Universal Magazine of Knowledge and Pleasure __//__(1772) __

//The Universal// was a popular magazine that had a print run from the year 1747 to 1803. The authors of the magazine clarified in their very first note in 1747 that "no indecent language or scandalous reflect(ion)" would be permitted to be printed in their magazine ("The Authors" 1747). This was a troubling time period in British history because King George II was a much more powerful and forceful personality than his much weaker father. He had three ambitions: "the army, the music (opera), and his wife" (Britannia). King George II's ambitious personality resulted in Britain getting embroiled in wars with Spain and France. This was politically disastrous for Britain. Also, the King's relationship with Walpole crumbled ("George II" Britannica). Perhaps this political agitation is the reason that //The Universal// emphasized, "the reader may always expect the foreign and domestic news" ("The Authors" 1747).

Knowledge and pleasure were seen as the "great ends of all human study" ("The Authors" 1747). As mentioned earlier, the magazine did keep its readers abreast with foreign and domestic issues by maintaining regular editorials titled "Foreign Advances" and the "History of Britain." The idea was to have a well-informed reader who can converse on a wide variety of issues ranging from philosophy and arts to politics and war. By the 1772 issues, the magazine had a much more clear objective in mind. The authors wanted to gratify the readers of every class by an "understanding of philosophy and science via blending of amusement plus instruction" ("Preface" 1772). This was a noble goal and the price of the magazine for its broad and prolific coverage was very reasonable. Both the June 1747 and the January 1772 covers shows that the price was the same: only six pence. The magazine also updated its subscribers on the stock prices know-how which was very important to the imperialistic designs of 18th century Britain. A quick glance at the December 1772 stock price sheet shows that compared to the stocks, the magazine was quite low. Thus, the magazine truly wanted to cater to a wider audience and not just the aristocrats.

The philosophical edge of //The Universal// can be seen in one of its articles titled, "Discourse on the Creation of the World." In this article, the writer muses on the meaning of chance and if chance can really direct someone on a "magestically rapid course" (1772). The writer asserts that God maintains order and harmony and no human pride can doubt God's truth. On an unrelated note, this reminded me of Lillo's //The London Merchant// in which Millwood claims that despite her actions, she is not a "vulgar atheist." This reference aptly capture the thinking of 18th century Britain where any doubt against God was a heinous blasphemy. One was hard pressed to find works of art or literature discourse that would dare to go against organized religion. Even Foote with his acerbic personality did not have the audacity to choose that avenue in //The Nabob//. On the flip side, criticism against the newfound wealth gained by the wealthy nabobs or East India Company merchants who became rich through illicit practices was fair game, despite their financial standing.

The magazine also makes a strong effort to recognize Britain's love affair with imperialism and expanding the grips of the empire. Although this ambition had less to do with politics, the stories of the lazy beauty and untapped riches of the Orient spurred a culture of mercantilism. It would not be correct to assume that the magazine was furthering these stories for any mercantilist purpose. Instead, it served as a mirror or reflection of mercantilist thinking by portraying the Orient as this exotic place which is waiting to be explored by the West. This can be observed by reading unrealistic, legendary, fictional stories that painted the Orient with such a unique picture. "From the Annals of China" tells the story of a greedy, lavish, godlike emperor, Kia, who shelled "two hundred millions" in one day to honor a concubine (1772). There were more archaic and stereotypical stories like this. "A Turkish Tale" talks about the "happy plains of Arabia" and "An Eastern Tale" gleefully describes the "Houri [as] one of the delectable nymphs of Paradise" (1772). It can be argued that the magazine was presenting these accounts as merely fictional stories of a different society. However, the hyperbole and diction used in these stories shows that the difference was most definitely exaggerated. Notwithstanding the reading tendencies of the British, the common man definitely took offence to these nabobs who would use corrupt practices to leech wealth off of the natives of these eastern societies. Foote satirized these nabobs very effectively in his unforgettable character, Sir Matthew Mite.

Finally, it is important to note that //The Universal// published regular book reviews and birth, death, marriage, and promotion notices in every issue. The multiple book reviews prove that the readers were very literary in their everyday lives. Also, these readers were public about their everyday lives. While obituaries and marriage notices still appear in contemporary newspapers, it seems inconceivable that anyone would publish any births or job promotions in our current time ("Births" 1772). But it was a common thing to do in the late 18th century as the line between the public and private sphere was quite blurry. Theatre was very important in these people's lives as a source of entertainment. Naturally, //The Universal// took the liberty to publish reviews of popular plays to furnish its readers with a short summary so they could organize a community viewing at the Haymarket or similar theatre. In fact, a June publication of //The Universal// reviewed //The Nabob.// After providing an excellent summary, the reviewer ends by saying, "the characters are well marked and sustained, that it [//The Nabob//] abounds with wit, humor, and satire" ("An Account of The Nabob" 1772).

__Samuel Foote's //The Nabob// (1772) __

<span style="font-family: 'Times New Roman',serif; font-size: 12pt;">//The Nabob// is a comedy that charts the efforts of the unscrupulous Sir Matthew Mite to integrate in British high society after he is back from India. The play starts with Sir John and Lady Oldham arguing about a letter received from The Nabob i.e. Sir Matthew Mite. Lady Oldham is not happy with Sir John because he had almost allowed Sir Mite to buy a respectable family estate. Mr. Oldham, the brother of Sir John, breaks the argument by asking Lady Oldham's permission to read the letter. It is revealed that Sir Mite wants to marry Sophy, the Oldham's eldest daughter. His letter is very curt and arrogant which annoys Lady Oldham so much that she tears it apart. Sir John later reveals that he is in debt of Sir Mite which means that they will have to be very careful in refusing Sir Mite's offer.

<span style="font-family: 'Times New Roman',serif; font-size: 12pt;">Later in the play, the reader observes humorous scenes of Sir Mite trying to learn how to gamble among London's elite circles. He conducts business with some business brokers and has a hilarious (to the audience) conversation about buying a borough election seat with a member of the "Christian Club." Mr. Oldham tells Sir Mite that the Oldhams have refused his offer. Sir Mite is surprised by this and insists on talking to the Oldhams in person. The next scene is Sir Mite's dealing with the "Society of Antiquities" which in //The Universal//'s words displays "real humor and excellent ridicule" ("An Account of the Nabob" 1772). Sir Mite's aptly named attorney, Rapine, whose name means "violent seizure of someone else's property," accompanies him to the Oldham's house. Despite Sir Mite's threats the Oldhams stand their ground. He orders his attorney to sell the house to recover his money and hold Sir John hostage till the house is sold. In an unexpected twist, Mr. Oldham, Sir John's brother, furnishes the money from his own pocket and ends the confusion.

<span style="font-family: 'Times New Roman',serif; font-size: 12pt;">There are multiple references in the play that Sophy likes Mr. Oldham's son, but Lady Oldham is against the marriage because she thinks the "children are too nearly allied" (Foote 16). Due to Mr. Oldham's generosity, Lady Oldham is obliged to him and backs off her stance against her daughter's marriage to a cousin. This comedy ends in marriage, following the lead of other English comedies.

__<span style="font-family: 'Times New Roman',serif; font-size: 12pt;">Connections and Conclusions __

<span style="font-family: 'Times New Roman',serif; font-size: 12pt;">It is no secret that the play makes multiple references to India considering the increasingly mercantilist and imperialistic designs of the British in that time period. The mentions of "territorial acquisition," "lacks of roupees" of the jaghire, "Meer Jaffier," and his "successor Meer Cossim" in //The Nabob// all point out to the transactions that the British had conducted with India in the past two decades of 1772 (Wimsatt 329). Sheridan remarks that the years from the mid-1760s to early-1770s were marked by significant industrial and economic expansion of the British in the early Industrial Revolution. The credit boom peaked in 1769 before its huge collapse in 1772 (162).

<span style="font-family: 'Times New Roman',serif; font-size: 12pt;">It is no wonder that many of the British were unhappy with the rampant corruption of the companies involved in mercantile trade. A rough analysis of //<span style="font-family: 'Times New Roman',serif; font-size: 12pt;">The Universal //<span style="font-family: 'Times New Roman',serif; font-size: 12pt;"> shows that the share prices dropped significantly in the regular share reports. In addition, an article appropriately titled, "Abstract of an Act for the Relief of Insolvent Debtors; and for Indemnifying the Marshall of the King's Bench Prison from the Prosecutions at Law, for certain Escapes from the said Prison," was published in the June issue of //<span style="font-family: 'Times New Roman',serif; font-size: 12pt;">The Universal //<span style="font-family: 'Times New Roman',serif; font-size: 12pt;"> (1772). This showed that even the King was aware of the growing problem of debtors, most of whom were impoverished due to the Credit Crisis.

<span style="font-family: 'Times New Roman',serif; font-size: 12pt;">Coincidentally, Sir Mite asks a trader in //The Nabob// if his "advice [has] been followed for burning the tea" (Foote 35). Although the Boston Tea Party does not happen until 1773, this still shows that a controversy was brewing which would eventually lead to the American Revolution. The damage done by these so-called corrupt nabobs was frowned upon by the British. Lady Oldham angrily declares, "with the wealth of the East, we have too imported the worst of its vices" (Foote 17). Thus, the effects of the Credit Crisis was wider than just Britain. It ultimately lead to the American Revolution. Sheridan proves that "the controversy over tea, debtor-creditor relations between the thirteen colonies, and the mother country underwent marked deterioration" (161). Foote's satire was not just directed toward Britain's mercantilist relations with India, but it attacked the very basis of mercantilism in itself. Wheeler quotes Nechtman in her book review and states that "the decisively-termed nabobs were lightning-rods for a new aspect of British identity, one that was inextricably linked to imperial aspirations" (1543).

<span style="font-family: 'Times New Roman',serif; font-size: 12pt;">It was Foote's genius that he was able to live up to his name as a "mimic" who would "exploit any event for his purposes" ("Foote" Britannica). Foote foresaw what mercantilism, imperialism, poor economic and political policy, and debt-sharks were doing to Britain. It is very significant that Foote played the role of Sir Mite himself throughout the production of //The Nabob// to do complete justice to his most memorable and reviled character ("London" 1647-1724). This play, combined with the increasing political awareness and interest of people as evidenced by the relevant articles published in //The Universe// showcase an increasingly disturbed British society that was not completely sure of its very identity. The late 18th century British society was the one that "feared hybridity and scorned the incursions of foreignness that the nabobs made all too real" (Wheeler 1543). The utter ridiculousness and confusion of the whole situation is aptly immortalized by The Nabob's momentous line, "Why, the man must be mad; did you tell him that I had taken fancy to the spot, when I was but a boy?" (Foote 35).

<span style="background-color: white; font-family: 'Times New Roman',serif; font-size: 12pt;">1. " <span style="font-family: 'Times New Roman',serif; font-size: 12pt;">A Turkish Tale <span style="background-color: white; font-family: 'Times New Roman',serif; font-size: 12pt;">." //Universal magazine of knowledge and pleasure, June 1747-Dec.1803// (1772) //British Periodicals.// ProQuest. University of Maryland College Park. Web. 12 August 2012. <span style="font-family: 'Times New Roman',serif; font-size: 12pt;">2. "Abstract of an Act for the Relief of Insolvent Debtors; and for Indemnifying the Marshall of the King's Bench Prison from the Prosecutions at Law, for certain Escapes from the said Prison." // Universal magazine of knowledge and pleasure, June 1747-Dec.1803 // <span style="background-color: white; font-family: 'Times New Roman',serif; font-size: 12pt;">(1772) //British Periodicals.// ProQuest. University of Maryland College Park. Web. 12 August 2012. <span style="background-color: white; font-family: 'Times New Roman',serif; font-size: 12pt;">3. "An Account of The Nabob, a New Comedy of Three Acts." //Universal magazine of knowledge and pleasure, June 1747-Dec.1803// (1772) //British Periodicals.// ProQuest. University of Maryland College Park. Web. 12 July 2012. <span style="background-color: white; font-family: 'Times New Roman',serif; font-size: 12pt;">4. "An Eastern Tale." //Universal magazine of knowledge and pleasure, June 1747-Dec.1803// (1772) //British Periodicals.// ProQuest. University of Maryland College Park. Web. 12 August 2012. <span style="background-color: white; font-family: 'Times New Roman',serif; font-size: 12pt;">5. "Births, Marriages, Deaths." //Universal magazine of knowledge and pleasure, June 1747-Dec.1803// (1772) //British Periodicals.// ProQuest. University of Maryland College Park. Web. 12 August 2012. <span style="background-color: white; font-family: 'Times New Roman',serif; font-size: 12pt;">6. " <span style="font-family: 'Times New Roman',serif; font-size: 12pt;">Discourse on the Creation of the World <span style="background-color: white; font-family: 'Times New Roman',serif; font-size: 12pt;">." //Universal magazine of knowledge and pleasure, June 1747-Dec.1803// (1772) //British Periodicals.// ProQuest. University of Maryland College Park. Web. 12 August 2012. <span style="background-color: white; font-family: 'Times New Roman',serif; font-size: 12pt;">7. Foote, Samuel. //The Nabob; A Comedy, in Three Acts. As It Is Performed at the Theatre-Royal in the Hay-Market. Written by the Late Samuel Foote, Esq.// Dublin, 1778: A1-55. //Eighteenth Century Collections Online//. Gale. University of Maryland College Park. Web. 12 July 2012. <span style="background-color: white; font-family: 'Times New Roman',serif; font-size: 12pt;">8. " <span style="font-family: 'Times New Roman',serif; font-size: 12pt;">From the Annals of China <span style="background-color: white; font-family: 'Times New Roman',serif; font-size: 12pt;">." //Universal magazine of knowledge and pleasure, June 1747-Dec.1803// (1772) //British Periodicals.// ProQuest. University of Maryland College Park. Web. 12 August 2012. <span style="background-color: white; font-family: 'Times New Roman',serif; font-size: 12pt;">9. "George II (1727-60 AD)." //Britannia//. N.p., 2005. Web. 14 Aug 2012. <http://www.britannia. com/history/monarchs/mon54.html>. <span style="font-family: 'Times New Roman',serif; font-size: 12pt;">10. "George II." Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2012. Web. 14 Aug. 2012. <http://www.britannica.com/EBchecked/topic/230004/George-II>. <span style="background-color: white; font-family: 'Times New Roman',serif; font-size: 12pt;">11. "Preface." //Universal magazine of knowledge and pleasure, June 1747-Dec.1803// (1772) //British Periodicals.// ProQuest. University of Maryland College Park. Web. 12 August 2012. <span style="font-family: 'Times New Roman',serif; font-size: 12pt;">12. "Samuel Foote." Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2012. Web. 14 Aug. 2012. <http://www.britannica.com/EBchecked/topic/212884/Samuel-Foote>. <span style="background-color: white; font-family: 'Times New Roman',serif; font-size: 12pt;">13. Sheridan, Richard B. "The British Credit Crisis of 1772 and The American Colonies." //Journal of Economic History//. 20.2 (Jun 1960): 161-186. Web. //Economic History Association//. Cambridge University Press. 14 Aug. 2012. <http://www.jstor.org/stable/2114853>. <span style="background-color: white; font-family: 'Times New Roman',serif; font-size: 12pt;">14. "The Authors to the Reader." //Universal magazine of knowledge and pleasure, June 1747-Dec.1803// (1747) //British Periodicals.// ProQuest. University of Maryland College Park. Web. 12 August 2012. // 15. The London Stage, 1660-1800: A Calendar of Plays, Entertainments & Afterpieces, Together With Casts, Box-receipts and Contemporary Comment: Part 4, 1747-1776: //<span style="background-color: white; font-family: 'Times New Roman',serif; font-size: 12pt;"> 1565-1724. 1st ed. Ed. George Winchester Store Jr., et al. Carbondale: Southern Illinois UP, 1962. Print. <span style="font-family: 'Times New Roman',serif;">16. Wheeler, Roxann. Rev. of //<span style="color: #221e1f; font-family: 'Times New Roman',serif;">Nabobs: Empire and Identity in Eighteenth-Century Britain //<span style="color: #221e1f; font-family: 'Times New Roman',serif;"> by Tillman W. Nechtman. Cambridge: Cambridge U.P. (2010): 1543-1545. //The English Historical Review//. University of Maryland College Park. Web. 11 August 2012. <span style="font-family: 'Times New Roman',serif;">17. Wimsatt Jr., W.K. "Foote and a Friend of Boswell's: A Note on the Nabob." //Modern Language Notes,//. 57.5 (May 1942): 325-335. Web. The Johns Hopkins University Press. 14 Aug. 2012. <http://www.jstor.org/stable/2910159>.