The Grub Street Opera
The Grub-Street Opera is a play by Henry Fielding that originated as an expanded version of his play, The Welsh Opera. It was never put on for an audience and is Fielding's single print-only play. As in The Welsh Opera, the author of the play is identified as Scriblerus Secundus. Secundus also appears in the play and speaks of his role in composing the plays. In the The Grub-Street Opera the main storyline involves two men and their rival pursuit of women.
The play is Fielding's first truly political play and first ballad opera. Unlike The Welsh Opera, the play deals with morality from the beginning. Additionally, it linked to Fielding's previous attacks on the London theatre and inept writers. Fielding also used the virtue of female servants as a point of humor and to discuss morality, while using the effeminacy and dominance by women to mock various characters and discuss the issue of gender roles. Critics viewed The Grub-Street Opera positively, noting it to be a definite improvement on The Welsh Opera.
Read more about The Grub Street Opera: Background, Cast, Plot, Themes, Sources, Response, See Also
Famous quotes containing the words grub, street and/or opera:
“The Anglo-American can indeed cut down, and grub up all this waving forest, and make a stump speech, and vote for Buchanan on its ruins, but he cannot converse with the spirit of the tree he fells, he cannot read the poetry and mythology which retire as he advances. He ignorantly erases mythological tablets in order to print his handbills and town-meeting warrants on them.”
—Henry David Thoreau (1817–1862)
“I marched in with the men afoot; a gallant show they made as they marched up High Street to the depot. Lucy and Mother Webb remained several hours until we left. I saw them watching me as I stood on the platform at the rear of the last car as long as they could see me. Their eyes swam. I kept my emotion under control enough not to melt into tears.”
—Rutherford Birchard Hayes (1822–1893)
“If music in general is an imitation of history, opera in particular is an imitation of human willfulness; it is rooted in the fact that we not only have feelings but insist upon having them at whatever cost to ourselves.... The quality common to all the great operatic roles, e.g., Don Giovanni, Norma, Lucia, Tristan, Isolde, Brünnhilde, is that each of them is a passionate and willful state of being. In real life they would all be bores, even Don Giovanni.”
—W.H. (Wystan Hugh)