Lord Chesterfield and the Licensing Act of 1737
Disciplines
European History
Abstract (300 words maximum)
The history of theatrical censorship in Britain is extensive and encompasses nearly 400 years of imperial, political, social, and cultural evolution. The shifting attitudes of authority toward artistic expression have shaped the development of theater, and at the center of this scholarship lies Robert Walpole. As Britain's first Prime Minister, Walpole played a pivotal role in institutionalizing theatrical censorship, using his political influence to suppress satirical and oppositional works that directly criticized his government. Using the Licensing Act of 1737 to censor theater and curb the growing influence of political discourse in the theatrical arena, Walpole forced playwrights and theater managers to submit their works for approval before public performance. Philip D. Stanhope, the 4th Earl of Chesterfield, stood against the Act as the sole prominent Parliamentary opponent, denouncing it as a dangerous encroachment on civil liberties.
My research explores why Lord Chesterfield (Philip Dormer Stanhope, 4th Earl of Chesterfield) was the only major opponent of the Licensing Act of 1737. Through analysis of primary sources such as pamphlets, newspapers, legislation, Chesterfield’s literary works, speeches, and periodical essays from the period, my research seeks to uncover the political, ideological, and personal motivations behind Chesterfield’s opposition. Secondary scholarship on the topic will also help bolster my argument, and by examining the works of individuals such as Vincent Liesenfeld, Leonard W. Connolly, P.J. Crean, and Julia Swindells, I aim to contextualize the reasons behind Chesterfield’s opposition to the Licensing Act of 1737 within the broader framework of eighteenth-century British politics and society.
Academic department under which the project should be listed
RCHSS - History & Philosophy
Primary Investigator (PI) Name
Dr. Amy Dunagin
Lord Chesterfield and the Licensing Act of 1737
The history of theatrical censorship in Britain is extensive and encompasses nearly 400 years of imperial, political, social, and cultural evolution. The shifting attitudes of authority toward artistic expression have shaped the development of theater, and at the center of this scholarship lies Robert Walpole. As Britain's first Prime Minister, Walpole played a pivotal role in institutionalizing theatrical censorship, using his political influence to suppress satirical and oppositional works that directly criticized his government. Using the Licensing Act of 1737 to censor theater and curb the growing influence of political discourse in the theatrical arena, Walpole forced playwrights and theater managers to submit their works for approval before public performance. Philip D. Stanhope, the 4th Earl of Chesterfield, stood against the Act as the sole prominent Parliamentary opponent, denouncing it as a dangerous encroachment on civil liberties.
My research explores why Lord Chesterfield (Philip Dormer Stanhope, 4th Earl of Chesterfield) was the only major opponent of the Licensing Act of 1737. Through analysis of primary sources such as pamphlets, newspapers, legislation, Chesterfield’s literary works, speeches, and periodical essays from the period, my research seeks to uncover the political, ideological, and personal motivations behind Chesterfield’s opposition. Secondary scholarship on the topic will also help bolster my argument, and by examining the works of individuals such as Vincent Liesenfeld, Leonard W. Connolly, P.J. Crean, and Julia Swindells, I aim to contextualize the reasons behind Chesterfield’s opposition to the Licensing Act of 1737 within the broader framework of eighteenth-century British politics and society.
