By Louise H. Marshall
Eighteenth-century drama is usually disregarded as homogenous, aesthetically dull, or politically complacent. This booklet finds the exceptionally exciting and complex nature of the period's heritage performs and their usually messy dramatisaton of the complexities of patriotic rhetoric and nationwide identity.
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Additional info for National Myth and Imperial Fantasy: Representations of British Identity on the Early Eighteenth-Century Stage
Sample text
Concerns over the structure of the political establishment no longer dominated British politics and attention turned to identifying the party best suited as the guardians of these ancient rights. It is in this way that accusations of corruption became so potent in the rhetorical struggle for political supremacy. Bolingbroke’s assertions regarding the security of British liberty uphold the constitution, but he is careful to limit the extent to which constitutional arrangements can safeguard the nation against the threat of internal corruption: Our constitution, indeed makes it impossible to destroy liberty by any sudden blast of popular fury, or by the treachery of a few; for though the many cannot easily hurt, they may easily save themselves.
36 The arguments used for restricting Leolyn’s power are his own violence and rashness, itself directly connected to his father’s act of treason against the Saxon King, Edgar: Proud Leolyn! Thy Father was a Rebel – Detected Treason Inverts the vanquish’d Traitor’s Property. And he and his lost Blood are Forfeits, all. I love the fearless Bravery of free Spirits; But the blind fierceness shocks me. (32–3) Leolyn’s ‘hot British blood’ is restrained by the Saxons. 37 Just as Hill’s Leolyn talks in bitter tones of his subordination to Edgar, Philips’s Yvor detests the attempted Roman incursion of his homeland.
But despite this apparent diversity in terms of the specific subjects appropriated by these texts and the varieties of historical interpretation therein, the commonality of themes is intriguing. Ambrose Philips’s The Briton depicts ancient Britons, specifically the Welsh, resisting the incursions of Roman invaders. William Philips’s Hibernia Freed (1722) examines a similar struggle against foreign invasion this time in first-century Ireland with Viking invaders. George Jeffreys’s Edwin (1724) fabricates Anglo-Saxon history, telling the story of the usurpation and restoration of an ancient dynasty.