The Welsh Opera

The play served as a tribute to Scriblerians (satirists and members of the informal Scriblerus Club), as such it allowed Fielding to satirise politics.

The first mention of The Welsh Opera in production comes from a Daily Post announcement on 6 April 1731 that the play would be postponed.

[2] On 26 June 1731, the Daily Journal announced that E. Rayner and H. Cook published an edition of The Welsh Opera, which was followed by an announcement in the 28 June 1731 Daily Post: Wheras one Rayner hath publish'd a strange Medley of Nonsense, under the Title of the Welch Opera, said to be written by the Author of the Tragedy of Tragedies; and also hath impudently affirm'd that this was a great Part of the Grub-Street Opera, which he attempts to insinuate was stopt by the Authority: This is to assure the Town, that what he hath publish'd is a very incorrect and spurious Edition of the Welch Opera, a very small Part of which was originally written by the said Author; and that it contains scarce any thing of the Grub-street Opera, excepting the Names of some of the Characters and a few of the Songs: This later Piece hath in it above fifty entire new Songs; and is so far from having been stopt by Authority (for which there could be no manner of Reason) that it is only postponed to a proper Time, when it is not doubted but the Town will be convinced how little that Performance agrees with the intolerable and scandalous Nonsense of this notorious Paper Pyrate.

However, Scriblerus storms off stage after he is informed that one of his actresses requires a drink before performing in The Welsh Opera that evening.

Fielding also adds many praises of the pastoral life along with favourably portraying roast beef and tobacco while mocking anything foreign.

[10] Part of satire originates from the events surrounding the feud between Walpole and William Pulteney, 1st Earl of Bath that gained intensity during the creation of the Treaty of Seville and during the Civil List debate.

Although no one was hurt, the fighting continued in the form of pamphlet attacks until 1 July 1731 when King George II removed Pulteney from the Privy Council.

[11] The contemporary view of The Welsh Opera was split: the common people enjoyed the show, but the members of the government did not.

"[14] Likewise, the Battestins point out that "the play cannot have been acceptable to the authorities; it is too impudent in making a public spectacle of the foibles of the Royal Family".