"the law was executed without the least
trouble; all the plays since have been quietly heard, and either
succeeded or not according to their merits."

When Garrick visited Paris he declined to be introduced to the Abbe Le
Blanc, "on account of the irreverence with which he had treated
Shakespeare." There can, indeed, be no doubt that the Abbe, although
he wrote amusing letters, was a very prejudiced person, and his
evidence and opinions touching the English stage must be received with
caution. So far as can be ascertained, especially by study of the
"History of the Stage" (compiled by that industrious clergyman, Mr.
Genest, from the playbills in the British Museum), but few new plays
were produced in the course of the season immediately following the
passing of the Licensing Act; certainly no new play can be found
answering the description furnished by the Abbe with due regard to the
period he has fixed for its production. Possibly he referred to the
"Beaux' Stratagem," in which appear a French officer and an
Irish-French priest, and which was certainly represented some few
nights after the condemnation of Mr. Jacob's "Nest of Plays."
Farquhar's comedy was then thirty years old, however. Nor has the Abbe
done full justice to the public opposition offered to the Licensing
Act. At the Haymarket Theatre a serious riot occurred in October,
1738, fifteen months after the passing of the measure. Closed against
the English actors the theatre was opened by a French company, armed
with a license from the Lord Chamberlain. A comedy, called "L'Embarras
de Richesses," was announced for representation "by authority." The
house was crowded immediately after the opening of the doors. But the
audience soon gave evidence of their sentiments by singing in chorus
"The Roast Beef of Old England." Then followed loud huzzas and general
tumult. Deveil, one of the Justices of the Peace for Westminster, who
was present, declared the proceedings to be riotous, and announced his
intention to maintain the King's authority. He stated, further, that
it was the King's command that the play should be acted, and that all
offenders would be immediately secured by the guards in waiting. In
opposition to the magistrate it was maintained "that the audience had
a legal right to show their dislike to any play or actor; that the
judicature of the pit had been acquiesced in, time immemorial; and as
the present set of actors were to take their fate from the pub