1740


 * 1740 Events and Introduction**



During the year 1740, many things were going on in England. According to the Historical Outline of 18th Century Literature, 1740 was a year of political unrest and new works of literature. Many significant historical events also took place during this year. The War of the Austrian Succession began in 1740, and involved most of the European powers, including England. Because of these wars and other political unrest at the time, there were riots occurring in England, especially in the West Country. In addition to this, several acts were set into motion by King George II. These included the Seaman’s Act, the Gaming Act, and the Vagrancy Act. International war during this time made food more scarce, and as a result, food riots broke out during 1740. Overall, 1740 was a year of political unrest and many issues within the city of London. The theater was an outlet for people during this time who enjoyed watching Shakespearean plays as well as plays by Colley Cibber. Even though things were complicated politically, not everything was bad in London during this time.

**The //Daily Gazetteer//** The //Daily Gazetteer// was a popular newspaper during this time. It was available to a general audience in London, and provided citizens with information about current events in London and around the world. This newspaper came out daily with several sections of news, and a few pages of classified ads. Each newspaper started with either a letter to the paper about current events written by readers, or essays by writers of the newspaper. In the paper, there was information about things happening in London, at sea, and in America. In many ways, this newspaper was not so different from the news of today. Not only were current events explained, but news about murders, robberies, and missing people were also reported within the paper. The //Daily Gazetteer// also offered information about the theater and gave some information about plays occurring at the time, as well as opinions about the nature of the theater itself. On January 3, 1740, there was a letter written at the start of the //Daily Gazetteer// that addressed the state of the theater during these times. To start the letter, the writer first makes a comparison between Greek theatre Roman theater and London theatre. In the opinion of this writer, London theater during this time was not something to be proud of, and not something to go see. The author of this article shared the view of many critics of theater during this time. This writer was not fond of the subjects that were written about and performed onstage, and was not happy about the audience’s reaction to these types of plays. According to the author, “This makes me heartily regret the present State of our Theatre, upon which we see one continued Round of Pieces, some of which, indeed, have Merit; but more have little beside their //Age// to recommend them...” The writer of the article goes on to further demonstrate his distain for theater at this time. Even though the beginning of January seemed to get off on the wrong foot when it came to opinions about theater, the playwright Colley Cibber appears in one article at the beginning of the month. In an article written about London on January 1, 1740, Colley Cibber makes an appearance as Poet Laureate to the King. Despite some negative views about theater during this time, it was actually quite important. During 1740, King George II was involved in some difficult political events; however, he was able to lighten the mood with the help of playwrights such as Colley Cibber.

On February 8, 1740, issues regarding the theater were addressed in a letter to the paper. The citizen Tom Airy wrote a letter on this day about the absurd cost of the theater. He claimed that in the past, it was much cheaper and easier for common people like himself to view and enjoy theatre. Now, he claimed, theater is too expensive and too elite. The man who wrote this letter was displeased that the King and those in the upper class were allowed to see plays and get prime seats, while he had to pay a large price to sit with a crowded audience. Unlike the January writer, this gentleman seems to enjoy the theater; however, he is displeased with the way he must be seen as a less important than the upper class people also going to the theatre. During the month of March, many news articles centered around King George II and some things happening abroad. The articles in the newspaper mostly focused on the politics and war during this time rather than the theater itself. Even the occasional letters to the paper on the first page seemed to focus on the King’s decisions and even his speeches. One essay in particular focused on the King’s speeches and the corruption behind them. Even though theater was not mentioned in the papers this month, there were times when literature was mentioned. During this time, it seemed as though people were very interested in classic works of literature. In one article, the author mentions Roman literature.

**Theater in 1740** Even though theater was not a focus in the news during the months of January, February, and March in 1740, plays were still being performed at the local theaters. In January, Shakespeare plays seemed to be popular as //The Tempest, Julius Caesar, King Richard the Third, Macbeth, Hamlet,// and //King Henry the Eighth// were all performed within the same month. Besides Shakespeare, January also presented audiences with plays such as //The Conscious Lovers, The Miser, The Pilgrim, The Busy Body, Rosalinda, The Rehearsal, Cato, Comus, The Tender Husband, The Careless Husband, The Provok’d Husband, Oedipus, Love for Love, The Orphan, The Recruiting Officer,// and //Love’s Last Shift.// January was a month full of diverse plays. Even though times were not necessarily happy, the theater provided people with the classics and with some comedy. In February, many of the same plays were performed, with a few additions. Some of these new additions included //She Wou’d and She Wou’d Not, The Old Bachelor, Merode E. Selinunte, Amphitryon, Comment, Mother-In-Law, The Fair Quaker of Deal, Don John, The Distrest Mother, Rule a Wife and Have a Wife, Acis and Galatea, The Mistake, The Unhappy Favourite, The Cheats of Scapin, Oroonoko, David’s Lamentation over Saul and Jonathon, Elmerick, The Squire of Alsatia, Duke No Duke, Judith,// and several musical concerts. February seemed to be a very full month in terms of plays and musical concerts. The theater performed a great deal of plays during this month, and this may have been because of the unsettling political climate of the time. The darkness of winter did not help either. People needed something to do during the Restoration, especially during the cold winter months. The month of March saw many of the same plays as the previous months with only a few additions. Some of the plays performed during this month included //Esther, The Merry Wives of Windso//r, //Oratory,// and //Olympia in Ebuda.// During March, there were also several musical concerts. The month of March did not seem to have the same amount of plays being performed as in the previous months. The newspapers during the month of March show that theater was not a priority since it was hardly mentioned. Things were heating up politically and the weather itself was heating up. Because of this, it seems as though people went to the plays, but did not have quite as many shows to see because they were busy doing other things. By the time December rolled around and it was the end of the year, many of the same plays were being performed with a few additions. One of these additions included the play //The Relapse//. Even though the same types of plays were being performed, a lot of comedies appeared on the lineup for the month. By the end of the year, people needed some comic relief, especially since winter had arrived. With the start of a war happening in 1740 people also needed comedy during these dark times that were only going to get worse in the years to follow.

**//The Fatal Retirement// by Anthony Brown**



During the 1739-1740 season, a new play premiered at the Theatre-Royal in Drury-Lane. This play was called //The Fatal Retirement// written by Anthony Brown. When it first premiered, it was performed by the King’s servants. As the title shows, this play was a tragedy rather than a comedy and addressed different themes and stylistic elements than most comedies during the Restoration period. Act I of the play begins with a conversation between the characters Lanertes and Artamon. In the first scene, Lanertes learns that his love Leonora has had her virtue stolen from her by another man. Artamon claims that Leonora has been raped, and Lanertes wishes to avenge her and is both infuriated and deeply saddened by Leonora’s loss of virtue. In the scene that follows the characters Pravamor and Arcano discuss Leonora’s rape and loss of virtue. As it turns out, Pravamor is the culprit behind this event. In the scene that follows, a female character named Sabina enters, and Pravamor goes on to say that this rape was his way of seeking revenge on Ceron, Artamon, and Lanertes who he claims to have deep hatred for. In order to further his revenge, Pravamor frames Artamon as the culprit for Leonora’s loss of virtue which causes deep sadness for the Artamon’s wife, Semandra, and Leonora’s uncle, Ceron, who is also Artamon’s father. Act II of the play opens with Lanertes professing his love for Leonora despite her loss of virtue. Even though Lanertes is willing to be with her against these odds, Leonora claims that she must go away and the two can never be together. Lanertes tries to convince her to stay claiming that he does not care about her loss of virtue. Despite this, Leonora insists that she must go and leaves Lanertes in an angry state of revenge. In the scene that follows, Lanertes speaks of his anger and his desire to seek revenge for his beloved Leonora. After his speech, Lanertes is approached by Pravamor who attempts to prove himself to be Lanertes ally as he tells Lanertes that Artamon is the man responsible for Leonora’s loss of virtue. This information angers Lanertes as he strikes Pravamor but decides to seek his revenge on Artamon. Following this scene, Pravamor speaks of his success in fooling Lanertes. In the next scene Pravamor’s friend tells Artamon that Pravamor has accused him of stealing Leonora’s virtue. This comes as a shock to Artamon who claims to be innocent. As a result of Pravamor’s framing, Artamon’s honor is questioned by the women who surround him, including his wife Semandra. Act III of the play centers around the questioning of Artamon’s character. Pravamor continues to frame Artamon for Leonora’s rape and attempts to turn Artamon’s father Ceron against his own son. Even though this framing occurs, Artamon’s wife Semandra still wishes to be with Artamon. She believes in his innocence. Despite her beliefs, Artamon tells her that they can no longer be together as his reputation has been destroyed by Pravamor’s lies. In Act IV, Lanertes and Semandra discuss Artamon’s innocence. Semandra believes that Artamon is innocent, but Lanertes believes that he is the culprit behind Leonora’s loss of virtue. Lanertes also discusses his desires to seek revenge with Artamon’s father Ceron who is deeply troubled by Lanertes desire to kill his son. The women of the play Sabia and Semandra are deeply troubled by Leonora’s loss of virtue and the accusations against Artamon. In the final act of the play, Act V, The central characters continue to debate Artamon’s innocence. Meanwhile, Pravamor and Arcano discuss their plan for revenge and its success. Pravamor is happy with the way things are going, but Arcano believes Pravamor has taken things too far and urges him to stop. Instead of stopping; however, Pravamor goes to see Leonora and eventually stabs her. When Lanertes discovers Leonora close to death and discovers the real culprit behind her dishonor, he attempts to kill himself. As he does this, he is stopped by Artamon who forgives Lanertes for blaming him for Leonora’s loss of virtue. Following this, the two men find and kill Pravamor for all of his wrongdoings. The play ends with a speech by Artamon who urges Lanertes to continue to live even though life may be difficult without Leonora. This play is interesting for its time. Unlike the comedies of the Restoration period, //The Fatal Retirement// addresses virtue in a more serious way. Many of the comedies of this time make a joke out of people’s virtue as characters pretend to be something they or not, or use people for money. In this tragedy Leonora’s loss of virtue through rape sets the tone for the rest of the play. The violence that has been done to her becomes violence for everyone in the play. Unlike many of the Shakespeare plays that were playing in the theaters during this time, //The Fatal Retirement// does not end with the death of every major character. The villain of the play, Pravamor dies and gets what he deserves, and the innocent female character also dies. Instead of dying with her as Romeo in //Romeo and Juliet// does, Lanertes is forced to go on with life without Leonora even though it will be difficult.

**Conclusions** In the year 1740, many things were happening in England. The War of the Austrian Succession was beginning, and new acts were being put into place by King George II. With all this change also came the need for theater. Because the theater was so important to people during this time, several citizens wrote to the local paper the //Daily Gazetteer// about the theater and the ways in which the experience of going to the theater could be improved. Because there was a war going on during 1740, people needed an outlet and something fun to do to get their minds off of what was going on around them. During 1740, many comedies were performed in theaters, as a way to lighten the mood and give people the chance to laugh at themselves and the society surrounding them. Even though comedies were popular, the play //The Fatal Retirement// made its debut during the 1739-1740 season. The play was performed by the King’s servants. Even though it did not have the same happy tone as the comedies of the time, //The Fatal Retirement// still demonstrated the importance of honor and virtue. Even though 1740 was a tumultuous year politically, the theater still found a way to make its mark in the newspapers and in history.

**Works Cited** Airy, Tom. “News.” //Daily Gazetteer//. London, England, Friday, February 8, 1740; Issue 1447.//17th-18th Century Burney Collection Newspapers.// Web. 21 Apr. 2014. Brown, Anthony. //The fatal retirement. A tragedy. As it is acted at the Theatre-Royal in Drury-Lane, By His Majesty's Servants//. The second edition, corrected. London, MDCCXL. [1740]. //Eighteenth Century Collections Online.// Gale. University of Maryland College Park. 19 Apr. 2014 "Colley Cibber." Wikepedia. Web. 21 April 2014. Painting. "Drury-Lane." Wikepedia. Web. 21 April 2014. Painting. Jervas, Charles. "King George II." Wikepedia. Web. 21 April 2014. Painting. “News.” //Daily Gazetteer//. London, England, Tuesday, January 1, 1740; Issue 1414. //17th-18th Century Burney Collection Newspapers.// Web. 21 Apr. 2014. “News.” //Daily Gazetteer.// London, England, Thursday, January 3, 1740; Issue 1416. 1//7th-18th Century Burney Collection Newspapers.// Web. //21 Apr. 2014.// “News.” //Daily Gazetteer.// London, England, Tuesday, March 4, 1740; Issue 1468. 1//7th-18th Century Burney Collection Newspapers.// Web. 21 Apr. 2014. “News.” //Daily Gazetteer.// London, England, Friday, March 7, 1740; Issue 1471. 1//7th-18th Century Burney Collection Newspapers.// Web. 21 Apr. 2014//.// “News.” //Daily Gazetteer.// London, England, Tuesday, March 18, 1740; Issue 1480. 1//7th-18th Century Burney Collection Newspapers.// Web. 21 Apr. 2014. //The London Stage, 1660-1800, Part III: A Calendar of Plays, Entertainment and Afterpieces Together with Casts, Box-Reciepts and Contemporary Comment, 1729-1747:// Ed. Arthur Scouten. Carbondale, IL: Southern Illinois University Press, 1965. Print. Yadav,Alok. “Historical Outline of Restoration & 18th-Century British Literature.” George Mason University, 18 July 2010. Web 17 Apr. 2014.

Annie Ponton Spring 2014