A Journal of Undergraduate History
hence, based on legislation alone, it appears as though censorship and patent restricts
granted limited agency to the playwrights and largely dened the style and content of
their works. Researchers have noted, however, that playwrights grew more creative over
time as they wrote for minor theatres. Not only did playwrights sneak prose rhetoric into
their performances, but they circumvented theatrical legislation by directing their actors
to hold signs and designing elaborate scenery and special effects to convey particular
messages.
3
Because of these techniques, considerable expressive and thematic variation
existed among minor house performances, allowing the plays to be examined as reliable
indicators of public opinion. The popularity of these plays suggests that artisans, the
upper-reaches of the working class, and the wealthier public –the typical patrons of
minor theatres
4
– may have aligned themselves with the performances’ political rhetoric.
One of the era’s most well-received political plays was John Dent’s The
Triumph of Liberty, or The Destruction of the Bastille. The play staged approximately
ninety showings and seemed to be “laid aside” rather unwillingly.
5
According to one
vague newspaper account, it was abandoned only “at the particular request of several
foreigners of distinction,” suggesting the reluctance of the Royal Circus theatre to halt
the performance’s run.
6
Such popularity afrms British interest in and engagement with
the events unfolding in France; thus, the play’s profound patriotic rhetoric can serve as
a promising indicator of public sentiment, particularly that of minor theatre audiences.
The play’s very title, The Triumph of Liberty, coupled with the opening lines, “May
gracious Heav’n aid great Freedom’s cause, / And make us happy in our country’s laws”
not only sets a democratic tone for the play, but implies that Dent’s audience would have
understood such patriotic fervor instantly, without introduction or justication.
7
3 Jane Moody, Illegitimate Theatre in London, 1770-1840 (Cambridge: Cambridge University
Press, 2000), 25-28.
4 Marc Brodie, “Free trade and cheap theatre: sources of politics for the nineteenth-cen-
tury London poor,” Social History 28, no. 3 (October 2003): 349. http://pdfserve.informaworld.
com/681977_731567687_714042817.pdf (accessed March 21, 2010).
5 “Royal Circus,” World (1787), April 23, 1790, under “Classied ads,” http://nd.galegroup.com.
ezproxy.library.wisc.edu/ (accessed November 28, 2009).
6 “Royal Circus,” World (1787), July 3, 1790, under “Classied ads,” http://nd.galegroup.com.
ezproxy.library.wisc.edu/ (accessed November 28, 2009).7 John Dent, The Bastille: a musical en-
tertainment of one act, (London, 1790), 1. http://nd.galegroup.com.ezproxy.library.wisc.edu/ (accessed
November 28, 2009).
7 John Dent, The Bastille: a musical entertainment of one act, (London, 1790), 1. http://nd.gale-
group.com.ezproxy.library.wisc.edu/ (accessed November 28, 2009).
37