All posts by Joshua Sampson

Teacher, blogger, reader, and writer. A lover of all things scribbled, new and forgotten.
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Censorship in Satire: The Impact of the Theatrical Licensing Act

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In modern times, censorship for satirical lampooning is still in existence, from politicians to moguls and oligarchs. This was still the case in the 1700s, when playwrights were looking to put verbal and visual daggers into powerful leaders they did not agree with or leaders they found hypocritical. Those leaders did not respond with the same kind of tongue-in-cheek humor. Thus, the Theatrical Licensing Act of 1737 came into play to silence these irritating voices.

Background of the Licensing Act

In a previous post, we discussed Henry Fielding, who was an accomplished playwright and satirist who was known for plays such as The Author’s Farce, which critiqued the commercialization of writing and theatrical conventions.

He also wrote Shamela, which had poked fun at the Samuel Richardson book Pamela. His wit knew no bounds, so he wrote about literature all around him that he found worthy of poking fun at to make a point.

Moreover, he also wrote highly satirical plays such as The Historical Register for the Year 1736 and Eurydice Hiss’d that took to task the politicians of his era

While Fielding’s work wasn’t solely responsible for the Theatrical Licensing Act of 1737, it was plays and ideas such as those mentioned that caused the upper crust to sour. Their thin skins in the face of luminary playwrights showed through.

The Licensing Act in Theory and Practice

Sir Robert Walpole, prime minister of England, enacted the licensing act to begin with. His decision to do so was due to the high level of jabs the theater was taking at the political realm. Especially during the tumultuous political climate of 1700s.

As the Woodson Research Center states, “… the law allowed for the censorship of any piece of work deemed inappropriate for the London stage and provided the means for the suppression of satire directed towards the king or other government officials,” (Woodson). As can be said, it was a blanket act to keep criticism from reaching its way to the political elite. The Woodson Research Center further points out that this all but killed the momentum of the theater culture.

Ramifications of the Theatrical Licensing Act

The licensing act left only two theaters in London open for the public. Both Drury Lane and Covent Garden remained open, which meant that there were fewer places for the public to watch plays. Therefore, playwrights could make less of a mark on culture. They could also take fewer jabs at the elite. Of course, this caused many issues with employment in theatres. It also caused employment for writers and the free exchange of ideas. Whereas once there was a lively satirical environment (creative as well), there was now none of that. The arts in the theatrical discipline lay fallow.

Conclusion

While the licensing act eventually fell out of favor, it did have its benefits. For one, the act pushed playwrights into novel writing, which was not a popular discipline at the time. Plays earned money and novels did not. By the time the atmosphere had shifted and theaters were back in business, most writers were writing novels instead of plays.

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Voices of Change: The Harlem Renaissance

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It is hard to imagine the pain and sorrow a marginalized group of Americans must have felt emerging from the slavery of the South. Their palatable hope of Northern emancipation dissolved into similar racism and ostracism, too. But, from the ashes the phoenix does rise. In this post, we are going to talk about an important artistic movement known as The Harlem Renaissance. This movement pushed Black voices into the spotlight, and highlighted their artistic endeavors, from music to writing.

The Catalyst of a Cultural Movement and Renaissance

The Jim Crow laws of the post-Civil War American South did damage to Black Americans mentally and physically. These laws were the “system of segregation and discrimination in the South” by “legal segregation” (National Geographic). For example, these types of laws kept Black from eating in the same restaurants. They also could not drink from the same drinking fountains, going to the same theaters as whites. Likewise, exclusion can have the adverse effect of keeping people from feeling human.

It would stand to reason then, that many Blacks wanted to find a way out of the South.

As sources state, the disparity between Blacks and Whites in the South caused a turbulent rift to grow larger. The poison in the veins of these trodden Americans “led many African Americans to hope for a new life up north.” As Black Americans hid and dodged “hate groups” and “hate crimes” in the Deep South, they wondered about the “promise of owning land.” This promise never “materialized” (US History).

As it relates to our topic, the Harlem Renaissance grew out of Black Americans moving North. Here, they doubled-down on their cultures and histories in the segregated communities they were relegated to toil. Similarly, such innovation in the arts matched marginalized groups in the past. This includes the Native Americans who fought to maintain their own languages against the aggressions of European integration.

What was the Harlem Renaissance?

The Harlem Renaissance was a period between 1910 and the mid-1930s. The movement saw a large amount of Black Americans generating art from Harlem in New York City.

History states that “ … this period is considered a golden age in African American culture, manifesting in literature, music, stage performance and art.” The convergence of Black Americans on the Harlem area stemmed from The Great Migration from the South to the North. The migration was spurred by the aforementioned Jim Crow laws that actively worked to undermine Black power.

Other factors that led to this migration included, “natural disasters.” Likewise, little immigration to the United States and recruitment from Northern companies led to Black Americans heading North.

Langston Hughes

Langston Hughes, Harlem Renaissance author, wrote a great deal about the Black experience. Biography states, “Hughes broke new ground in poetry when he began to write verse that incorporated how Black people talked and the jazz and blues music they played. He led the way in harnessing the blues form in poetry with ‘The Weary Blues,’ which was written in 1923 and appeared in his 1926 collection The Weary Blues.”


The Major Players in the Renaissance?

The Harlem Renaissance would see the likes of W. E. B. Du Bois, Langston Hughes, Claude McKay, and Jean Toomer emerge as powerful writing voices. McKay would produce a collection of poems titled Harlem Shadows in 1922, which was a breakthrough for Black writers. He would go on to write more prominent works, such as the poem “America” and “If We Must Die.”

Countee Cullen, who had published volumes of poetry including Color, Copper Sun, and The Ballad of the Brown Girl, innovated in the Harlem happenings. He married W.E.B. DuBois’ daughter Nina Yolande. The public saw their marraige as a “major social event in Harlem.” It “marked the joining of the Cullen and Du Bois lineages, two of its most notable families” (Poetry Foundation).

Furthermore authors like Richard Wright and Ralph Ellison would contribute defining pieces of literature regarding the identify of Black Americans.

Conclusion

While this is a small picture of the Harlem Renaissance, it is important to recognize its lasting legacy on writing (and other art forms). Due to the large volume and publication of many important voices in Black literature, this movement gave levity and authority to Black culture. It also staked a claim for Black literature, poetry, music, and art, and showed white Americans that there was more than one voice in the country.

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Ralph Ellison: From Invisible Man to Iconic Writer

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Ralph Ellison won the National Book Award in 1952 for the only novel he ever published. That novel was “The Invisible Man.” His book told a story about a black man in America. The main character feels invisible to American society because of the color of his skin. It’s a timely tale that rang true when it was published and rings true in the era of Black Lives Matter.

History of Ralph Ellison

Growing Up

Ellison was born in Oklahoma City, OK, and lost his father at an early age. Before taking up writing, Ellison played the cornet and wanted to direct his ambitions toward a life as a symphonic composer. However, after moving to New York, Ellison picked up a job as a writer for the New York Federal Writers Program. He then became the editor of The Negro Quarterly.

At this time, he met the likes of Langston Hughes, Alain Locke, and Richard Wright. With their tutelage and friendship, his skills as a writer grew. He spent countless hours engaged in conversations about literature, politics, and social issues, and took in the wisdom and experiences of these influential figures. They challenged and inspired him to delve deeper into his own writing.

Writing Mentors

From Langston Hughes, he learned the power of poetry and the beauty of the spoken word. Alain Locke exposed him to the rich cultural heritage of the African diaspora and taught him the importance of using literature as a means of empowerment and self-expression. Richard Wright, a master storyteller, showed him how to capture the harsh realities of life with raw honesty and unflinching realism.

As stated on the Cultural Front, Ellison was engaged by his mentor. “Hughes served as a guide as Ellison began learning about New York City, leftist politics, and leftist literature. Moreover, when Hughes learned that Wright was moving to New York City, he made him aware that Ellison wanted to meet him.” The friendships he formed during this time were intellectually stimulating. They also offered him a supportive community of like-minded individuals who understood the challenges he faced. These challenges includes being a writer of color in a predominantly white literary world.

Their influence would leave an indelible mark on his work. Similarly, their tutelage allowed him to become one of the most revered and influential writers of his time.

The Invisible Man

Ellison had already been publishing essays and short stories before tackling a novel as a project. After he enlisted in the Merchant Marine as a cook during WWII, he took to writing his novel. Publishers put out the book in 1952. The novel was met with fanfare, stayed on the 1953 bestseller list for 16 weeks, and won the National Book Award. The success of “The Invisible Man” essentially helped shape the minds of Americans as it relates to race relations and shined a light on the under-represented and disenfranchised groups during that era.

As he states in the first chapter, Ellison found confusion and contradiction in society about who he was, and who he should be in his heart. He states: “It took me a long time and much painful boomeranging of my expectations to achieve a realization everyone else appears to have been born with: That I am nobody but myself” (Ellison). The lasting effect of his novel is still apparent in modern literature. Some authors cite it as one of the most important works of the last 100 years (Read.gov).

Conclusion

Through writing, Ellison found not only his voice but also his purpose. The encounters he had and the relationships he cultivated shaped and defined his literary legacy. He forever left an imprint on the pages of history. No doubt, the messages of a marginalized individual in “The Invisible Man” continues to be important to the conversations at large.

Literary Bios

The Life and Legacy of Henry Fielding: A Literary Pioneer

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In this post, we are going to look at the life of Henry Fielding. Fielding was a pioneer of novel writing, a playwright, and a London judge. He was also a satirist, and he had many successes at making the elite cringe.

Biography

Early Authorial Years

Fielding was born April 22, 1707 in Sharpham Park in Somerset, England. As a young man he studied classics and law at the university in Leiden. The Theatrical Licensing Act of 1737, which happens to be an important and pivotal moment that we discussed on the blog, saw Fielding resume his pursuits of law because the theatre had become heavily censored by the British Government.

In contrast, Fielding was a fan of producing rather scathing plays critical of the ruling class. Obviously, these two competing ideas cannot coexist peacefully. As such, he assumed the role that many writers of his era assumed and tackled complex issues in his writing.

As Nasrullah Mambrol states in Analysis of Henry Fielding’s, that the the author himself focused his criticisms and writings through textual expertise. “It is through the role of the narrator that he most clearly and successfully experiments in the methods of teaching a moral lesson,” the author states. “Starting with the voice of direct literary parody in Shamela and moving through the varied structures and voices of the other novels, Fielding’s art leads in many directions, but it always leads to his ultimate concern for finding the best way to teach the clearest moral lesson”(Mambrol).

Turning to Writing

While involved with the law, Fielding continued to write. In 1742, he wrote Joseph Andrews, which is considered by some historians as one of the first novels ever produced in the English language. However, his fame as a playwright takes precedence due to the lowly opinion of novelists during his time. Playwrighting netted the larger audience. As for novels, Fielding wrote Shamela, (1741) The Life and Death of Jonathan Wild, the Great, (1743) The History of Tom Jones, a Foundling, (1749) and Amelia (1751) (Britannica).

A Forthright Judge and Final Days

Later in his life, Henry Fielding became London’s chief magistrate and garnered a reputation as incorruptible throughout his career. He started one of the first police forces. They were called the Bow Street Runners. Fielding suffered from gout, asthma, and dropsy, or a swelling of soft tissue due to excess water. He died on Oct. 8, 1754.

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To His Coy Mistress: Satire and Love in Marvell’s Poetry

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Andrew Marvell, the poet and satirist behind the poem “To His Coy Mistress.” Led a remarkably interesting life, and his contributions are numerous. So much so that there is one defining poem that has kept ageless and universal in its appeal into the modern era.

Who was Andrew Marvell?

Andrew Marvell was a “metaphysical” poet and satirist who wrote “To His Coy Mistress,” somewhere between 1650 and 1652. Marvelll went to Trinity College in Cambridge. He wrote a variety of “political verse satires’ from The Last Instructions to a Painter, to The Rehearsal Transpros’d. Marvell was born March 31, 1621 and died August 18, 1678. His housekeeper eventually saw the publication of the aforementioned piece in 1681.

Defining a Metaphysical Poet

As Britannica writes, a “metaphysical poet” is a writer in 17th-century England. Their work “… is a blend of emotion and intellectual ingenuity, characterized by conceit or ‘wit'” (Britannica). The poetry is often a contrast between a few things that pushes the reader into thinking about the poet’s perspective. There are more modern maetphysical poets as well, including H.D.

In other words, the poet is interested in “exploring the recesses of his consciousness.” The metaphysical poets . These poets have a grandiose, sarcastic interpretation of the world, and they paint this picture with satire and wit.

Marvel’s “To His Coy Mistress”

In Marvel’s “To His Coy Mistress,” the author pokes fun at the conventions of love. He asserts a sort of carpe diem attitude toward the subject of the poem. The virginal woman who is the focus of Marvell’s lust is object of his affections. As such, Marvell is trying to get her to give into her baser desires rather than waiting another day.

He spends time praising the subject’s body, including “Thine eyes, and on thy forehead gaze” and “each breast.” In addition, he warns her that time marches onward. Therefore, her beauty will fade: “But at my back I always hear / Time’s winged chariot hurrying near.” According to Marvell, she should relent to his wants before she loses her appeal.

Conclusion

In his poem, Marvell wants experience his love’s carnal pleasures before they both get older. The boorish nature of this request is a satirical poke at the chasteness of society (or lack thereof). It is also lampooning the hastiness of love for baser desire. His sentiment certainly critiques courting lovers and how sex is often viewed in society. Similarly, during the time of society, marriage was sacrosanct, therefore lust was frowned upon. One wedded for honor and dignity. In this way, intercourse before marriage was a brutish desire.