Two contemporaries also quote a last minute addition that is not in the manuscript of the play. Foote's Englishman, Buck, probably dressed similarly to Foote who played the role, appears on stage to say: "O Yes! I grant you there has been an _imposter_ about town, who with easy familiarity and assurance, has stolen my writings, &c.; and not only thus treacherously robbed, but impudently dared to assume my very name even to my face; but I am the true Charles Buck, I assure you."[6] The manuscript too makes a reference to Foote's plagiarism when Bob Wildfire and Harry Foxchase ask Jack if he had seen Buck in his travels. This part too is probably a late insertion for it is irrelevant to the plot and the characters. [6] Cooke, I, 74-75; and Tate Wilkinson, _Memoirs of His Own Life_ (York, 1790), II, 71-72. Interestingly enough, Murphy's sequel is based on different characters from those appearing in Foote's play, but it is closer in spirit to the original than Foote's own sequel. Murphy's is an ironic and gentle comedy that at first glance seems to be chauvinistically anti-French and pro-English, reflecting public sentiment prior to the outbreak of the Seven-Years' War with France. Though the climax of the plot is the fop's rejection of French affectations (and Murphy made sure that the French dogs did not get the best of it), English brutality and intolerance are also exposed; and care is taken that nothing irrevocable is done so that there is room for reformation on both sides. Foote's sequel, unlike his original, is a fast-paced, almost brutal farce that depends on slapstick and whimsy for belly laughs. Foote did pay some lip service to the superiority of English manners and morals, but he was more interested in getting his audience to laugh than to applaud. Murphy's play is more serious, more sensible, and more tolerant than Foote's, but it would suffer in comparison with the livelier play. Murphy's realization of this inevitable comparison would probably be a strong reason for him to disown his play. Murphy's attitude is exemplified by his characters. Except for Florid, none of them is truly treacherous or malicious; though some may be foolish and intolerant, they are not beyond redemption. Characters that represent simple-minded patriotic attitudes--such as Quicksett, Roger, and The Mob--were likely to be cheered by the galleries; but the more judicious part of the audience would have been able to recognize their naivety and inflexibility. Quicksett as a no-nonsense John Bull squire may serve to draw Jack Broughton out to his foppish worst, but he is also too set in his ways to appreciate anything beyond his own narrow views of property and propriety. Roger, the servant, is sincere in hating his French compeers, and his thrashing of the French servants undoubtedly elicited applause; but his limited understanding is also held up to ridicule.