Samuel Foote - The Author Himself

The Author Himself

The Fielding quarrel was followed by a more serious quarrel with actor Henry Woodward. This resulted in a small riot that was damaging not only to the Haymarket Theatre but to Foote's reputation. He only began to deflect criticism with the opening of his play, The Knights. This play, unlike his earlier satirical revues, was a romantic comedy set in the country, though he did use this play a vehicle to satirize such things as Italian opera and the gentry of Cornwall.

At the close of the Haymarket season in 1749, Foote left London for Paris in order to spend money he had recently inherited. Upon his return to London in 1752, Foote's new comedy, Taste, was produced at Drury Lane. Foote took aim at the burgeoning art and antiquities market and particularly aristocratic collectors. In his preface to the play, Foote specifies his targets as the "barbarians who have prostituted the study of antiquity to trifling superficiality, who have blasted the progress of the elegant arts by unpardonable frauds and absurd prejudices, and who have vitiated the minds and morals of youth by persuading them that what serves only to illustrate literature is true knowledge and that active idelness is real business."

Taste opens with Lady Pentweazel who believes that the works of art, the Venus de' Medici and the Mary de Medici, are sisters in the Medici family. Two other collectors, Novice and Lord Dupe, claim to be able to determine the age and value of coins and medals by tasting them while Puff, an auctioneer, convinces them and Sir Positive Bubble that broken china and statuary are worth far more than perfect pieces. Lord Dupe follows this advice by purchasing a canvas with the paint scraped off. The foibles of ignorant art collectors and predatory dealers were presented by Foote in this high burlesque comedy. In order for an audience to appreciate high burlesque, they must understand the standards of true taste before they can recognize the conflict between those standards and the characters. The audience that saw the premier of Taste evidently did not understand this conflict as the play was not successful and only played five performances.

Following the unsuccessful reception of Taste, Foote staged a new production, An Englishman in Paris, inspired by both his trip there and possibly, as Davison suggests, a French play, Frenchman in London which he may have seen. Here, Foote satirized the boorish behaviour of English gentlemen abroad. The play garnered wide acclaim and became a part of the repertoires of the Drury Lane and Covent Garden theatres where it remained for a few decades. While his success was becoming more solidified as a writer, Foote was also in demand as an actor, working at Drury Lane and Covent Garden during the 1753-4 season.

When he found himself out of work in November 1754, Foote rented the Haymarket theatre and began to stage mock lectures. Satirizing Charles Macklin's newly opened school of oratory, these lectures created a sort of theatrical war, especially when Macklin began to appear at the lectures himself. At one particular lecture, Foote extemporized a piece of nonsense prose to test Macklin's assertion that he could memorise any text at a single reading.

So she went into the garden to cut a cabbage-leaf to make an apple-pie; and at the same time a great she-bear, coming up the street, pops its head into the shop. "What! No soap?" So he died, and she very imprudently married the barber; and there were present the Picninnies, and the Joblillies, and the Garyulies, and the grand Panjandrum himself, with the little round button at top, and they all fell to playing the game of catch-as-catch-can till the gunpowder ran out at the heels of their boots.

This introduced the nonsense term "The Grand Panjandrum" into the English language and the name was adopted for the Panjandrum or Great Panjandrum, an experimental World War II-era explosive device.

With Foote's success in writing An Englishman in Paris, Irish playwright Arthur Murphy was moved to create a sequel, The Englishman returned from Paris. While Foote readily encouraged Murphy's plan, Foote secretly wrote his own version which opened at Covent Garden on 3 February 1756. While early biographers scorned Foote's plagiarism of Murphy's play, the 1969 discovery of that manuscript laid it to rest when it was proven that Foote's play was far superior. The play was successful at Covent Garden and played regularly until 1760.

Two rival actresses captured the attention of London audiences and Foote's satire. Peg Woffington and George Anne Bellamy apparently took their roles rather seriously in a production of Nathaniel Lee's The Rival Queens. When Bellamy's Parisian fashions began to upstage Woffington, Bellamy was driven offstage by a dagger-wielding Woffington thus providing a source for Foote's The Green-Room Squabble or a Battle Royal between the Queen of Babylon and the Daughter of Darius. The text of this farce is now lost.

Having turned his satire on Englishmen abroad and actresses at home, Foote pointed his daggered pen towards himself, other writers and the condition of the "starving writer" in his play The Author which premiered at Drury Lane on 5 February 1757. The plot concerned a poor author's father who disguises himself in order to spy on his son. Again, Foote created the role of Cadwallader for himself and used it to satirize John Apreece, a patron of authors. While critics derided Foote's attack on Apreece, audiences flocked to the theatre. Apreece even appeared and sat "open-mouthed and silly, in the boxes, to the delight of the audience, and mystified by the reflection of himself, which he beheld on the stage." Foote noted later that Apreece finding "the resemblance too strong, and the ridicule too pungent occasioned an application for the suppression of the piece, which was therefore forbidden to be anymore performed." The play was forbidden further productions by the Lord Chamberlain. While success may have been limited, Richard Brinsley Sheridan adapted the plot in his School for Scandal. Modern critics would point out that The Author shows great development in Foote's ability in creating characters and sustaining plot.