The dispute lasted until 1753 and involved many of London's periodicals. It eventually resulted in countless essays, poems, and even a series of mock epic poems starting with Smart's The Hilliad. Although it is unknown what actually started the dispute, it resulted in a divide of authors who either supported Fielding or supported Hill, and few in between.
Background
Fielding started a "paper war" in the first issue of The Covent-Garden Journal (4 January 1752) by declaring war against "hack writers".[1] In response, John Hill claimed in the London Daily Advertiser (9 January 1752) Fielding had met with him prior to January and proposed what would be a fake paper war that would involve London writers "giving Blows that would not hurt, and sharing the Advantage in Silence."[2] Such a meeting between Fielding and Hill to discuss the proposed war is believed to have occurred (if it occurred) on 28 December 1751.[3] It is known that Hill met Fielding for legal business between 26 and 28 December 1751 after Hill was robbed.[4]
Before Hill had revealed this information, he attacked Fielding's Amelia in the London Daily Advertiser on 8 January 1752. The book's title character, Amelia, was involved in an accident that damaged her face, and Hill, mocking the way Fielding described the scene, claimed that she "could charm the World without the Help of a Nose."[5] In response to both the revelation and personal attacks, Fielding wrote on 11 January 1752: "If the Betrayer of a private Treaty could ever deserve the least Credit, yet his Lowness here must proclaim himself either a Liar, or a Fool. None can doubt that he is the former, if he hath feigned this Treaty, and I think few would scruple to call him the latter, if he had rejected it."[6][7] Regardless of the merits of Hill's claim, a war was soon started: by the third issue of The Covent-Garden Journal, Fielding narrowed his satire upon John Hill.[1]
Although Hill, Fielding, Smart, Thornton, Kenrick, Murphy, and Smollett were all involved in the dispute, not all of them used their actual names; instead, many preferred to use pseudonyms along with attacks under their own name:[2] Fielding wrote as "Sir Alexander Drawcansir"; Hill wrote as "The Inspector"; Thornton wrote as "Madam Roxanna"; and Smart wrote as "Mrs. Mary Midnight".[2] It was under these pseudonyms that various authors soon responded to Fielding's attacks and to Fielding's plan for a "Universal Register Office", a planned center of advertisement of jobs, goods for sale, and other items.[8] If this was not enough, Fielding started a dispute, just a few months before, with Philip D'Halluin, a former employee who established the competing "Public Register Office" in King Street, Covent Garden, who hired Bonnell Thorton, a friend of Smart, to attack Fielding and Hill.[8][9] However, Hill had previously aided Fielding in this matter.[9]
Later, Hill attacked both Fielding and Smart, 13 August 1752, in the only issue of The Impertinent to be produced.[1] Although the work was published anonymously, it was commonly known that it was produced by Hill, and he soon followed up the pamphlet with his 25 August 1752 The Inspector column in the London Daily Advertiser.[1] With the column, he harshly criticized Smart's Poems on Several Occasions.[1] Fielding eventually left the dispute after the sixth issue of The Covent-Garden Journal was published.[10]
Event
Although it is quite possible that the first work in the "war" was produced by Smart on 29 April 1751,[11] it is also possible that the origins of the dispute could be traced even further back to Hill's publications between February and March 1751.[1] Fielding's first paper in the "war" was also the first issue of The Covent-Garden Journal on 4 January 1752.[9] In it, Fielding attacked all of the writers of Grub Street, which brought a quick response.[9] Hill responded twice and claimed that Fielding was planning a fake dispute on 9 January 1752, Smollet attacked Hill's piece on 15 January 1752, and Thornton soon responded against Fielding in Have At You All: or, The Drury Lane Journal on 16 January 1752.[9]
During this time, personal works, such as Fielding's Amelia, became targets.[12] On 11 January 1752, Fielding responded to Hill and those who supported his view of Amelia in The Covent-Garden Journal by stating:
a famous Surgeon, who absolutely cured one Mrs Amelia Booth, of a violent Hurt in her Nose, insomuch, that she had scarce a Scar left on it, intends to bring Actions against several ill-meaning and slanderous People, who have reported that the said Lady had no Nose, merely because the Author of her History, in a Hurry, forgot to inform his Readers of that Particular.[13]
Hill was not the only one to attack the work; Thornton wrote satires of Amelia in the Drury-Lane Journal.[5] Thornton's satires were first published on 16 January 1752 and included a fake advertisement for a parody novel called "Shamelia", playing off of title of Fielding's parody Shamela.[5] He later parodied Amelia again on 13 February 1752 in a piece called "A New Chapter in Amelia."[12] Tobias Smollett joined in and published the pamphlet Habbakkuk Hilding anonymously on 15 January 1752.[13] Although there were many attacks against Fielding's novel, there was some support for the work, and an anonymous pamphlet was written to attack "Hill and 'the Town'" while praising Amelia.[14] On 25 January 1752, Fielding defended his work again by bringing the novel before the imaginary "Court of Censorial Enquiry", in which Hill and the other critics are the prosecutors and it is they, not Amelia, that are truly put on trial.[14]
The Covent-Garden Journal served Fielding well and he used it in his attacks upon Hill and Hill's supporters in the Journal piece called "Journal of the present Paper War between the Forces under Sir Alexander Drawcansir, and the Army of Grub-street".[15] The work was modelled after Jonathan Swift's The Battle of the Books and Fielding pretended to be a military leader that would lead "English VETERANS" against those who were compared to characters from the Greek and Roman classics along with those from modern French literature.[15] However, he changed roles on the fourth issue, produced on 14 January 1752, and transformed himself into a "judge".[15] By February, Kenrick joined in and "dramatized" the "Paper War" in a production called Fun and proceeded to defend Fielding.[16] Charles Macklin followed suit by holding a benefit on 8 April 1752 at the Covent Garden with a two-act play called The Covent Garden Theater, or Pasquin Turn'd Drawcansir; the play portrayed Fielding attacking the Hill and his followers, the "Town".[16]
A pamphlet in the London Daily Advertiser published on 29 January 1752 called The March of the Lion links various authors involved in the war and is the first to introduce Smart via a reference to his "Mrs. Mary Midnight" pseudonym, although Smart was not yet a participant.[17] However, Smart did begin directly participating in the matter 4 August 1752 with the publication in The Midwife of a parody on Hill's "Inspector" persona.[18] In the piece, Smart responded to Hill's attack on Smart's "Old Woman's Oratory" show and Hill's claim that the show was dead.[18] Hill was quick to respond; he attacked both Fielding and Smart in a piece published on 13 August 1752 in the only issue of The Impertinent.[1][18] In the work, Hill claimed that authors either write because "they have wit" or "they are hungry".[18][19] He further claimed that Smart,
wears a ridiculous comicalness of aspect, that makes people smile when they see him at a distance: His mouth opens, because he must be fed; and the world often joins with the philosopher in laughing at the insensibility and obstinancy that make him prick his lips with thistles."[18][19] The work was published anonymously. Some tried to claim that Samuel Johnson was the author and Hill tried to hide his authorship by attacking the essay in the 25 August 1752 "The Inspector" (No. 464).[20] However, he was soon exposed and it became commonly known that Hill produced both and he soon followed up the pamphlet in the London Daily Advertiser.[1]
With his 25 August 1752 The Inspector column, Hill harshly criticised Smart's Poems on Several Occasions.[1] Although Hill claimed to praise Smart, he did so in a manner, as Betty Rizzo claims, "that managed to insult and degrade Smart with patronizing encouragement."[21] Arthur Murphy responded to this essay, and to Hill, in the 21 October 1752 edition of the Gray's Inn Journal.[22] Following Murphy, Thornton attacked both Hill and Fielding in The Spring-Garden Journal on 16 November 1752.[22] The Gentleman's Journal issue of November 1752 came out with a quick retort and claimed that those who supported Hill "espoused the cause of Gentleman" and those who sided with Fielding espoused the cause "of the comedian."[23] This essay accomplished little but to polarise both sides even more.[23] Hill then responded to Murphy, and their dispute was printed in a supplement of the December issue of the Gentleman's Journal.[1]
On 1 February 1753, Smart published The Hilliad, an attack upon Hill that one critic, Lance Bertelsen, describes as the "loudest broadside" of the war.[22] The response to The Hilliad was swift: Samuel Derrick responded directly with his The Smartiad, Arthur Murphy criticized Smart for his personally attacking Hill, and Rules for Being a Wit tried to provoke further response from Smart.[24] However, Smart stopped responding to either of these assaults.[24] Soon after, Hill ended his attacks with the final shot in December 1752.[1]
Henry Fielding was an English writer and magistrate known for the use of humour and satire in his works. His 1749 comic novel The History of Tom Jones, a Foundling was a seminal work in the genre. Along with Samuel Richardson, Fielding is seen as the founder of the traditional English novel. He also played an important role in the history of law enforcement in the United Kingdom, using his authority as a magistrate to found the Bow Street Runners, London's first professional police force.
This article contains information about the literary events and publications of 1752.
This article contains information about the literary events and publications of 1753.
This article contains information about the literary events and publications of 1757.
Samuel Foote was a Cornish dramatist, actor and theatre manager. He was known for his comedic acting and writing, and for turning the loss of a leg in a riding accident in 1766 to comedic opportunity.
John Brown was an English Anglican priest, playwright and essayist.
Christopher Smart was an English poet. He was a major contributor to two popular magazines, The Midwife and The Student, and a friend to influential cultural icons like Samuel Johnson and Henry Fielding. Smart, a high church Anglican, was widely known throughout London.
Thomas Hardy was a British shoemaker who was an early Radical, and the founder, first Secretary, and Treasurer of the London Corresponding Society.
Elizabeth Canning (married name Treat; 17 September 1734 – June 1773) was an English maidservant who claimed to have been kidnapped and held against her will in a hayloft for almost a month. She ultimately became central to one of the most famous English criminal mysteries of the 18th century.
Sir John Hill was an English composer, actor, author and botanist. He contributed to contemporary periodicals and engaged in literary battles with poets, playwrights and scientists. He is remembered for his illustrated botanical compendium The Vegetable System, one of the first works to use the nomenclature of Carl Linnaeus. In recognition of his efforts, he was created a knight of the Order of Vasa in 1774 by Gustav III of Sweden and thereafter called himself Sir John Hill.
Until the early 19th century, Grub Street was a street close to London's impoverished Moorfields district that ran from Fore Street east of St Giles-without-Cripplegate north to Chiswell Street. It was pierced along its length with narrow entrances to alleys and courts, many of which retained the names of early signboards. Its bohemian society was set amidst the impoverished neighbourhood's low-rent dosshouses, brothels and coffeehouses.
Amelia is a sentimental novel written by Henry Fielding and published in December 1751. It was the fourth and final novel written by Fielding, and it was printed in only one edition while the author was alive, although 5,000 copies were published of the first edition. Amelia follows the life of Amelia and Captain William Booth after they are married. It contains many allusions to classical literature and focuses on the theme of marriage and feminine intelligence, but Fielding's stance on gender issues cannot be determined because of the lack of authorial commentary discussing the matter. Although the novel received praise from many writers and critics, it received more criticism from Fielding's competition, possibly resulting from the "paper war" in which the author was involved.
Nationality words link to articles with information on the nation's poetry or literature.
The Hop-Garden by Christopher Smart was first published in Poems on Several Occasions, 1752. The poem is rooted the Virgilian georgic and Augustan literature; it is one of the first long poems published by Smart. The poem is literally about a hop garden, and, in the Virgilian tradition, attempts to instruct the audience in how to farm hops properly.
The Hilliad was Christopher Smart's mock epic poem written as a literary attack upon John Hill on 1 February 1753. The title is a play on Alexander Pope's The Dunciad with a substitution of Hill's name, which represents Smart's debt to Pope for the form and style of The Hilliad as well as a punning reference to the Iliad. In "Book the First" of The Hilliad, Hillario is seduced by a Sibyl to give up his career as an apothecary and instead becomes a writer. However, his fortune quickly descends with Hillario ultimately turning into the "arch-dunce".
Abimelech is an oratorio in three acts written by Christopher Smart and put to music by Samuel Arnold. It was first performed in the Haymarket Theatre in 1768. A heavily revised version of the oratorio ran at Covent Garden in 1772. Abimelech was the second of two oratorio librettos written by Smart, the first being Hannah written in 1764. Just like Hannah, Abimelech ran for only one night, each time. It was to be Smart's last work dedicated to an adult audience.
William Kenrick was an English novelist, playwright, translator and satirist, who spent much of his career libelling and lampooning his fellow writers.
The Actor Rebellion of 1733 was an event that took place at the Theatre Royal, Drury Lane in London, England, when the actors who worked there, disapproving of the changes in the management, attempted to seize control. Before the rebellion, the theatre was controlled by the managers Theophilus Cibber, John Ellys, and John Highmore. When Theophilus lost his share and was denied a bid to run the theatre, he, along with other actors, attempted to take over the theatre by controlling the lease. When the shareholders found out, they refused to admit the actors to the building and the theatre was closed for several months. The fight spilled over to the contemporary newspapers, which generally sided with the managers.
The Covent-Garden Journal was an English literary periodical published twice a week for most of 1752. It was edited and almost entirely funded by novelist, playwright, and essayist Henry Fielding, under the pseudonym, "Sir Alexander Drawcansir, Knt. Censor of Great Britain". It was Fielding's fourth and final periodical, and one of his last written works.
Major Owen Hatteras (1912–1923) is a composite personage and pseudonym created and employed by H. L. Mencken and George Jean Nathan for The Smart Set literary magazine and adapted by Willard Huntington Wright during his short tenure as editor. The pseudonym was used to critique American (“Puritan”) traditions and ideals, such as marriage, religion, and academe, while protecting Mencken and Nathan's own reputations. First with the “Pertinent & Impertinent” column and eventually the “Americana” column, Hatteras observed and denigrated American institutions, frivolity and sentimentalism, materialism, racism, censorship, and conservatism.
References
Battestin, Martin. Henry Fielding: A Life. New York: Routledge, 1989. ISBN9780415014380.
Bertelsen, Lance. "'Neutral Nonsense, neither False nor True': Christopher Smart and the Paper War(s) of 1752–53." In Christopher Smart and the Enlightenment, edited by Clement Hawes, 135-52. New York, NY: St. Martin's, 1999. ISBN9780312213695.
Goldgar, Bertrand. "Fielding's Periodical Journalism." In The Cambridge Companion to Henry Fielding, edited by Claude Rawson, 94–108. Cambridge, UK: Cambridge University Press, 2007. ISBN9780521854511.
Mahony, Robert and Rizzo, Betty. Christopher Smart: An Annotated Bibliography 1743–1983. New York: Garland, 1984. ISBN9780824092269.
Mounsey, Chris. Christopher Smart: Clown of God. Lewisburg: Bucknell University Press, 2001. ISBN9780838754832.
Rizzo, Betty. "Notes on the War between Henry Fielding and John Hill, 1752–53," The Library 6, vii (1985). pp.338–353. doi:10.1093/library/s6-VII.4.338.
Sabor, Peter. "Amelia." In The Cambridge Companion to Henry Fielding, edited by Claude Rawson, 94–108. Cambridge, UK: Cambridge University Press, 2007. ISBN9780521854511.
Smart, Christopher. The Poetical Works of Christopher Smart, IV: Miscellaneous Poems English and Latin. Ed. Karina Williamson. Oxford: Clarendon, 1987. ISBN9780198127680.
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