Byron's satire of Robert Southey's Vision of Judgment, a Poet Laureate elegy and political settling of scores, upends Southey's Tory preening with liberal political satire, but also supplements this anti-type with unexpected twinning, especially against the unnamed figure of pure principle, the pseudonymous Junius.

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.

An Estimate of the Manners and Principles of the Times (2 vols., 1757–8) by John Brown (1715–66) has rarely been studied in depth by intellectual historians, incongruent to its own initial popularity at publication. The Estimatewas written in a declinist voice, following hard on the heels of Britain’s defeat by France at the Battle of Minorca in 1756. Brown was convinced that Britain’s initial bad fortunes in war against France were related to a general decline in manners and principles, exemplified by the spirit of party. Even more understudied is Brown’s final contribution on the subject: his Thoughts on Civil Liberty: On Licentiousness and Faction, published in 1765, one year before he committed suicide. In this work, Brown tried to do what many political writers, including the principal ones discussed in this book, had held to be impossible: to demonstrate how a free state could exist without the internal conflict exemplified by party.

This chapter considers Burke’s most famous text in defence of party: Thoughts on the Cause of Present Discontent (1770). With political life having been essentially purged of Jacobitism, an unapologetic case for party was now possible. This party, posing as the Whig party, viewed itself as the protector of Britain’s Revolution Settlement and its mixed and balanced constitution in opposition to what was perceived as a revived Toryism supporting George III and his favourite Bute’s ‘court system’. Burke viewed men and measures as interlinked and believed that a party had to seek office and negotiate with the monarch as a corps. This was diametrically opposed to the earlier ‘not men, but measures’ slogan at the heart of John Brown’s writings and the Pittite patriot platform.

In the 1760s, an alternative vision of party emerged: Edmund Burke’s party of principle. This chapter considers the formation of Burke’s party, the Rockingham Whigs, in the context of George III’s accession to the throne and the conclusion of the Seven Years’ War. Burke’s close friend and writing collaborator William Burke introduced him to the circle of the Marquess of Rockingham, and when Rockingham took office as First Lord of the Treasury in July 1765, Burke became his private secretary. At the end of that year, Burke was elected as MP for Wendover and in the following years he emerged as the leading publicist of the Rockingham Whigs. This chapter considers Burke’s early writings in service of his party, especially his understudied Observations on a Late State of the Nation (1769).