Thomson made another effort in the year 1739 to introduce politics on the stage. His ‘Edward and Eleanora’ (after being publicly rehearsed) was advertised for representation, on March 29th, at Covent Garden; but, before the doors were open, the licenser withdrew his permission, and prohibited the performance absolutely. Thomson’s almost servile worship of the reigning family was manifested in the dedication of the tragedy to his patroness, the Princess of Wales. ‘In the character of Eleanora,’ he says, ‘I have endeavoured to represent, however faintly, a princess distinguished for all the virtues that render greatness amiable. I have aimed particularly to do justice to her inviolable affection and generous tenderness for a prince who was the darling of a great and free people.’ As Eleanora loved Edward, so, it was hinted, did Augusta love Frederick!
Dr. Johnson could not see why this play was ‘obstructed.’ Genest could no more see the reason than Dr. Johnson. Yet, the licenser may be easily justified in withdrawing a license which should never have been granted. The play touched nearly on the dissensions between George II. and his son Frederick, who were then living in open hostility. Such passages as the following would certainly have been hailed with hilarious sarcasm by the Jacobites, who dwelt with satisfaction on the unseemly antagonisms in the royal family:—
Has not the royal heir a juster claim
To share the Father’s inmost heart and Counsels,
Than aliens to his interest, those who make
A property, a market, of his honour?
The prince is urged to save the king from his ministers; England is represented as in peril from without as well as from within. Frederick, under the name of Edward, is described as one who ‘loves the people he must one day rule,’—Whigs and Jacobites equally, for:—
Yet bears his bosom no remaining grudge
Of those distracted times.
HENRY PELHAM AND THE JACOBITES.