Chapter 1 concentrates on the Seven Years’ War (1756–63) and the performance of Shakespeare at the Theatres Royal in London to show how several prominent productions construct a triumphant narrative of the conflict and commemorate Britain’s participation through the figure of the monarch. This period of war involved a number of widely celebrated victories that were seen to solidify Britain’s dominance as a global power, imparting a retrospective unity to the conflict that was marked by growing war weariness, escalating costs, and uncertainty about its justification and aims. This chapter concentrates on John Rich’s Henry V at Covent Garden and David Garrick’s Henry VIII at Drury Lane in 1761, both of which incorporate replicas of George III’s recent coronation, establishing a connection between the histories of the plays and contemporary royal spectacle. It shows how the use of Shakespeare seems to authorize an approving view of British conquests, despite George III’s own interest in peace negotiations and the disparate aims of production and reception agents connected to these performances.

This chapter is partly contextual, considering the political changes ushered in by the unexpected death of Henry Pelham in 1754, and partly textual, as it deals with Hume’s last essay on party (‘Of the Coalition of Parties’, 1758) and Edmund Burke’s first, unpublished essay on party (1757). Both essays were commentaries on high politics at the beginning of the Seven Years’ War, as well as wider reflections on the meaning of partisanship and its problems for historical writing, the place of party in a constitutional system, and, in the case of Burke, the distinction between party and faction.