George Lillo’s The London Merchant: Public Fame versus Literary Setbacks

Abstract

The London Merchant is always considered the first Bourgeois Drama, written by George Lillo, a tradesman in England. It first performed at the Drury Lane Theatre on June 21, 1731; soon after, it became one of the most popular plays of the century. After the failure of his two earlier plays, Lillo industriously studied the theatric market and strove to include in his new play all the factors that ensure success, such as catering to the expectations and trends of middle class particularly the tradesmen and apprentices, breeding an innovative and appealing dramatic theory, making use of the popularity of criminal literature, and holding in high esteem the fundamentals of Puritanical faith. In doing so, he attained tremendous success and public fame. However, its public success does not square with the literary merit and specifications of a domestic tragedy. This study is meant to mark a number of setbacks the play endures. Among the major setbacks are first, a hazy plot and characterization; second, shaky claim of naturalness and abundant debt, third, over-abundance moralizing that often suspends and rather breaks down the dramatic build up.