Henry Fielding, often celebrated for his novels such as Joseph Andrews and Tom Jones, initially made his mark on the literary world as a playwright. During the bustling theatrical scene of London between 1730 and 1737, Fielding emerged as the city's most popular and renowned playwright. His plays, known for their satirical brilliance and comedic flair, both entertained audiences and challenged the theatrical norms of his day.

Early Successes and Satirical Edge

Fielding's theatrical journey began with a remarkable success in 1730, when four of his plays were staged in London. Among them were The Temple Beau, The Author’s Farce, Tom Thumb: A Tragedy, and Rape upon Rape: Or, Justice Caught in His Own Trap. The Author’s Farce and Tom Thumb marked Fielding's forte in farce burlesques, where he satirized everything from notable London actors to the popular genre of heroic tragedy. These plays, blending humor with sharp social commentary, captivated audiences, with Tom Thumb enjoying an impressive run of nearly forty nights—a testament to Fielding's skill in engaging the theatergoers of his time.

Theater and Politics: A Double-Edged Sword

Fielding's satirical prowess, while popular with audiences, eventually led to unintended consequences. His play, The Historical Register for the Year 1736, was noted for its incisive satire, which played a part in the enactment of the Licensing Act of 1737. This legislation, perceived as a measure to control the theater's political influence, ultimately led to the closure of Fielding’s Little Theatre in the Haymarket. This closure marked the end of his flourishing career as a playwright, ushering him into novel writing, where he would find both critical and enduring success.

The Evolution of The Tragedy of Tragedies

Among Fielding’s plays, The Tragedy of Tragedies stands out as a masterful evolution of his earlier work, Tom Thumb. Originally conceived as a short "afterpiece," Tom Thumb poked fun at the grandiose style of heroic tragedy, which was known for prioritizing spectacle over substance. The original play's humor lay in its exaggerated portrayals and witty dialogue, drawing laughs from its deliberate incongruities, such as a hero compared to a sparrow amongst turkeys. These comedic devices, combined with a clever nod to Shakespeare’s Hamlet through multiple stage deaths, made the play a favorite among audiences.

Expanding Satire with Scholarly Mockery

Fielding revisited and expanded Tom Thumb, transforming it into The Tragedy of Tragedies in 1731. This new version was not only longer but also more complex, designed for both reading and performance. Fielding enriched the play by introducing new characters and conflicts while adding a satiric preface and extensive footnotes. These annotations were penned by the fictional character H. Scriblerus Secundus, a pompous figure whose pseudo-scholarly commentary served as a satire on pedantry and false erudition. By integrating this layer of satire, Fielding targeted the pretentiousness associated with academic over-analysis, extending his critique to the conventions of heroic tragedy.

The Wider Scope of Fielding's Satirical Attack

The Tragedy of Tragedies represents Fielding's broader attack on the genre of heroic tragedy. A meticulous editor counted over forty specific plays referenced in Fielding's work, most dating from the late seventeenth century, a period synonymous with heroic tragedy's popularity. Fielding’s approach involved extracting the inflated language typical of these plays and placing it within a comedic framework where it could be ridiculed. Through the absurd commentary of Scriblerus Secundus, Fielding amplified the satire, using verbose footnotes to parody the kind of academic pretentiousness that critiques often suffered from.

Political Undertones and Interpretations

While some suggest that The Tragedy of Tragedies carries political undertones, evidence to support a coherent political...