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 admiration for the “glorious Woman” in whose cause he had drawn his pen was genuine, or whether—to use Johnson’s convenient euphemism concerning Hooke—“he was acting only ministerially,” are matters for speculation. His father, however, had served under the Duke, and there may have been a traditional attachment to the Churchills on the part of his family. It has even been ingeniously suggested that Sarah Fielding was her Grace’s god-child; [Footnote: Memoirs of Sarah, Duchess of Marlborough, etc., by Mrs. A. T. Thomson, 1839.] but as her mother’s name was also Sarah, no importance can be attached to the suggestion.

Miss Lucy in Town, as its sub-title explains, was a sequel to the Virgin Unmask’d, and was produced at Drury Lane in May 1742. As already stated in chapter ii., Fielding’s part in it was small. It is a lively but not very creditable trifle, which turns upon certain equivocal London experiences of the Miss Lucy of the earlier piece; and it seems to have been chiefly intended to afford an opportunity for some clever imitation of the reigning Italian singers by Mrs. Clive and the famous tenor Beard. Horace Walpole, who refers to it in a letter to Mann, between an account of the opening of Ranelagh and an anecdote of Mrs. Bracegirdle, calls it “a little simple farce,” and says that “Mrs. Clive mimics the Muscovita admirably, and Beard Amorevoli tolerably.” Mr. Walpole detested the Muscovita, and adored Amorevoli, which perhaps accounts for the nice discrimination shown in his praise. One of the other characters, Mr. Zorobabel, a Jew, was taken by Macklin, and from another, Mrs. Haycock (afterwards changed to Mrs. Midnight), Foote is supposed to have