SOURCE: Belden, Mary Megie. “Criticism.” In The Dramatic Work of Samuel Foote, pp. 167-93. New Haven, Conn.: Yale University Press, 1929.

In the essay which follows, Belden argues that, compared to the works of his contemporaries, many of Foote's works were a departure from the typical theatrical fare of the day.

In his own day Foote was extravagantly praised. The Dramatic Censor¹ declared that his ‘peculiarity of genius, strength of judgment, knowledge of life, selection of characters, application of satire, vivacity of sentiment, and terseness of dialogue, place him distinct from any other writer, past and present.’ For the Minor particularly extreme claims were made, as, for example, this: ‘It cannot be deemed an error of judgment, or partial favour, to pronounce this comedy, one of the most entertaining, original, and useful pieces, now in possession of the stage.’² One of the foremost dramatists of the period, Richard Cumberland...