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 his day—is brought on the stage as Mr. Auctioneer Hen (a part taken by Mrs. Charke). His wares, “collected by the indefatigable Pains of that celebrated Virtuoso, Peter Humdrum, Esq.,” include such desirable items as “curious Remnants of Political Honesty,” “delicate Pieces of Patriotism,” Modesty (which does not obtain a bid), Courage, Wit, and “a very neat clear Conscience” of great capacity, “which has been worn by a Judge, and a Bishop.” The “Cardinal Virtues” are then put up, and eighteen-pence is bid for them. But after they have been knocked down at this extravagant sum, the buyer complains that he had understood the auctioneer to say “a Cardinal’s Virtues,” and that the lot he has purchased includes “Temperance and Chastity, and a Pack of Stuff that he would not give three Farthings for.” The whole of this scene is “admirable fooling;” and it was afterwards impudently stolen by Theophilus Cibber for his farce of the Auction. The Historical Register concludes with a dialogue between Quidam, in whom the audience recognised Sir Robert Walpole, and four patriots, to whom he gives a purse which has an instantaneous effect upon their opinions. All five then go off dancing to Quidam’s fiddle; and it is explained that they have holes in their pockets through which the money will fall as they dance, enabling the donor to pick it all up again, “and so not lose one Half-penny by his Generosity.”

The frank effrontery of satire like the foregoing had by this time begun to attract the attention of the Ministry, whose withers had already been sharply wrung by Pasquin; and it has been conjectured that the ballet of Quidam and the Patriots played no small part in precipitating the famous “Licensing Act,” which was