“The success of the present performance, during the representation, arose from the author’s extraordinary talent at mimicry; but it is not calculated to please equally in the perusal. The satire levelled at the great leader of the Methodists seems to be extremely out of character. It is no less unjust to Mr. Whitefield, than absurd, to suppose a man of his penetration, either conniving at, or being the dupe of, an old bawd’s hypocrisy, in continuing to follow her iniquitous occupation, while she frequents the Tabernacle, and cants about the new birth. And when we are told that an occasional hymn is given out, and a thanksgiving sermon preached, on occasion of Mother Cole’s (Douglas’s) recovery from sickness, who can forbear smiling—not with approbation of the conceit, but,with contempt for the author of such improbable scandal? We despise and abhor all enthusiastic flights, and high pretentions to extraordinary sanctity, as much as Mr. Foote can do; but, without entering into the enquiry whether or not these are proper objects of playhouse ridicule, it is most certain, that no man, or body of men, ought to be charged with more than they are guilty of; and that there is not a juster maxim in the moral world, than, ‘Give the devil his due[477].’”
In the month of August,[478] 1760, there appeared a pamphlet with the title, “Christian and Critical Remarks on a Droll, or Interlude, called ‘The Minor,’ now acting by a Company of Stage-Players in the Hay-Market, and said to be acted by Authority; in which the Blasphemy, Falsehood, and Scurrility of that Piece are properly considered, answered, and exposed. By a Minister of the Church of Christ. London, 1760.” (8vo. 41 pp.) The writer says Foote “has gone beyond any of his competitors in debauching, if possible, and debasing the stage. He has done this, by doing that which nobody else in these kingdoms had the confidence to attempt; I mean by the introduction of real and living characters into his pieces.” And then, it is correctly added, “The name of the Spirit of God is bandied about from the mouth of vagabond to vagabond, in order to raise a laugh in honour of the devil.”
A month later, was published a 4to. shilling pamphlet, entitled, “A Satyrical Dialogue between the celebrated Mr. F—te and Dr. Squintum,” which the Monthly Review pronounced, “Dirty trash: intended to vilify Mr. Whitefield.” Also, a folio publication (price 1s.), with the title, “A Letter of Expostulation from the Manager of the Theatre in Tottenham Court, to the Manager of the Theatre in the Hay-Market, relative to a new Comedy, called ‘The Minor.’” In this infamous and lewd production, Whitefield is represented as being jealous of Foote in gulling the public, and, therefore, proposes that they become partners. Much of it cannot be quoted. The following are among the less objectionable lines. Addressing Foote, Whitefield, at the Tabernacle, is made to say:—
“Your talent of humour shall have its full swing,
Here pleasure and profit are both on the wing:
Love-feasts—and ladies intriguing—and cash—
Keep on but the vizor,—have at ’em slap-dash—
No bait shall be wanting the trade to advance,
We’ll now and then tip ’em a drum and a dance.”
In the month of October, the storm was continued, and, if possible, became more furious. A long letter was inserted in Lloyd’s Evening Post, in which, after praising Foote for his mimicry in “The Minor,” the writer adds: “Religion is too sacred (be it exercised in ever so absurd a manner) to become the butt of public mockery. If the exercise of it should be unwarrantable, the laws will check it, without calling theatrical buffoonery to their assistance.”