not seem to have followed up dramatic authorship with equal vigour, or at all events with equal success. His real connection with the stage does not begin until January 1730, when the Temple Beau was produced by Giffard the actor at the theatre in Goodman’s Fields, which had then just been opened by Thomas Odell; and it may be presumed that his incentive was rather want of funds than desire of fame. The Temple Beau certainly shows an advance upon its predecessor; but it is an advance in the same direction, imitation of Congreve; and although Geneste ranks it among the best of Fielding’s plays, it is doubtful whether modern criticism would sustain his verdict. It ran for a short time, and was then withdrawn. The Prologue was the work of James Ralph, afterwards Fielding’s colleague in the Champion, and it thus refers to the prevailing taste. The Beggar’s Opera had killed Italian song, but now a new danger had arisen,—
“Humour and Wit, in each politer Age,
Triumphant, rear’d the Trophies of the Stage:
But only Farce, and Shew, will now go down,
And Harlequin’s the Darling of the Town.”
As if to confirm his friend’s opinion, Fielding’s next piece combined the popular ingredients above referred to. In March following he produced at the Haymarket, under the pseudonym of Scriblerus Secundus, The Author’s Farce, with a “Puppet Show” called The Pleasures of the Town. In the Puppet Show, Henley, the Clare-Market Orator, and Samuel Johnson, the quack author of the popular Hurlothrumbo, were smartly satirised, as also was the fashionable craze for Opera and Pantomime. But the most enduring part of this odd
