Five days afterwards, there appeared, in the same journal, a letter by Wesley, replying to this “very angry gentleman,” whom he presumed to be “a retainer of the theatre.” This evoked a disgracefully abusive answer, on November 24, which concluded with the polite assertion, that “arguing with Methodists is like pounding fools in a mortar.” Wesleyagain replied, on December 3; and his opponent, angrier than ever, in a long epistle, on December 12. In one of his quiet, but caustic letters, Wesley concluded the correspondence on December 26.
During this lengthened controversy, between Wesley and his nameless adversary, two more pamphlets were given to the public. The first was entitled, “A Letter to Mr. F—te. Occasioned by the Christian and Critical Remarks on his Interlude, called ‘The Minor.’ To which is added an Appendix, relative to a Serious Address to the Methodists themselves.” (12mo. 28 pp.) The thing was full of banter and badness,—bespattering Whitefield, and extolling Foote. The second was an equally vile production: “Observations, Good or Bad, Stupid or Clever, Serious or Jocular, on Squire Foote’s Dramatic Entertainment, entitled ‘The Minor.’ By a Genius.” (12mo. 15 pp.) In the Genius’s estimation, “the fable of ‘The Minor’ is pretty and entertaining; the manners happily described; the sentiments just and natural; and the language easy and spirited!!!” The critique of the Monthly Review on this production of “a Genius” was contained in a single line: “All the humour of this lies in the title-page.”
These lengthened details may be somewhat tedious; but they show the terrible fracas in which Whitefield was involved during the year 1760. This certainly was one of the most painful years of his eventful life. The persecution also was novel. He had been abused by clergymen in England, Scotland, and America, by pamphleteers learned and illiterate, and by mobs; but now, for the first time, he was ridiculed by theatrical comedians and their friends. Other opponents had been severe; but, as a rule, they had not been ribald and profane. Now it was otherwise. The farce of Foote, and the ballads in the streets, were steeped in blasphemy and filth. And yet, with the exception already mentioned, they are never noticed in any of Whitefield’s published letters. That he suffered—keenly suffered—it is impossible to doubt; but there is no evidence that he murmured or complained. No man more fully realized the truth and meaning of the Saviour’s beatitude, “Blessed are ye, when men shall revile you, and persecute you, and shall say all manner of evil against you falsely, for my sake.”
“The Minor” was not the only farce published against Whitefield. At least, three other kindred productions were printed during the ensuing year. First, there was “An Additional Scene to the Comedy of ‘The Minor.’ London, 1761.” (8vo. 19 pp.) In this, Whitefield was described as “a priestly-looking man, with a cast in his eyes, and wearing a white flaxen wig,” and who, on being introduced to Foote, presented a comedy of his own composing, and requested Foote to act it. Then, there was “The Register Office: a Farce of Two Acts. Acted at the Theatre Royal in Drury Lane. By J. Reed. London, 1761.” (8vo. 47 pp.) A filthy thing, in which Whitefield is called “Mr. Watchlight,” instead of “Dr. Squintum;” and “Mrs. Snarewell” answers to “Mrs. Cole” in “The Minor” by Foote. “Lady Wrinkle” and “Mrs. Snarewell” are both dramatis personæ in the printed farce; but a foot-note states, “These two characters were not permitted to be played.” Then, finally, there was “The Methodist: a Comedy: being a Continuation and Completion of the Plan of ‘The Minor’ written by Mr. Foote: as it was intended to have been acted at the Theatre Royal in Covent Garden, but for obvious reasons suppressed. With the original Prologue and Epilogue. London, 1761.” (8vo. 60 pp.) This, if possible, was even more profane and polluted than “The Minor” itself; and, though not acted, it soon passed through three editions. “Squintum” and “Mrs. Cole” were both among the leading characters; but to quote what they are made to say would be a crime. Half a dozen lines, however, taken from the prologue, may be given:—
“No private pique this just resentment draws,
Or brands a wretched Squintum, or his cause;
But, since the laws no punishment provide
For such as draw the multitude aside,
The poet seizes the corrective rod,
To scourge the bold blasphemer of his God.”