DOCSLIB.ORG

BOWLING GREEN U11ÏV. LIBRARY It

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
BOWLING GREEN U11ÏV. LIBRARY It THE CAREER OF MARY ANN DUFF THE AMERICAN SIDDONS 1810 - 1839 Penny Maya Landau A Dissertation Submitted to^ the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 1979 Approved by Doctoral Committee: y ■ iif'W'bG Ad visor S/hool oP/SpeechM Communication Graduate college Kepresentative BOWLING GREEN U11ÏV. LIBRARY It © 1979 Penny Maya Landau All Rights Reserved il ABSTRACT Mary Ann Duff, an early nineteenth century American actress, was born in London in 1794, and came to the United States in 1810 with her husband, actor John R. Duff. They performed with various acting companies in Boston, New York and Philadelphia. After several years as a secondary actress, Mrs. Duff began to develop her talents, emerging as the more popular of the two, which earned her the title, the "American Siddons." Her career continued until 1839, when she retired to New Orleans, converted to Methodism, and eventually died in New York in 1857. Mrs. Duff performed with several great actors of the time, including Edmund Kean, Edwin Forrest and Junius Brutus Booth, all of whom praised her talents as a great tragic actress. Although Mrs. Duff was highly regarded by her peers and her audiences, she has been overlooked in the chronicle of American Theatre History. The major objective of the study was to explore and prepare a chronicle of the acting career of Mrs. Duff, through an investigation of her life, focusing on the aspects of her professional career, from her debut as Juliet in Boston in 1810 to her final performances in New Orleans in 1839. During her twenty-nine year career, Mrs. Duff played over two hundred characters, and was one of the earliest examples of the actresses of the Classic school. She possessed the ability to move her audiences to tears with her portrayals, creating believable and sympathetic characters, thus establishing herself as an outstanding and highly respected actress. Ill The study contends Mrs. Duff's neglect in the chronology of history is due, not to a lack of talent, but to her judgmental errors in the area of management, failure to make necessary social contacts that would have furthered her career, her establishment as a star on stages other than in New York, her early retirement, and the fact that she left no memoirs of her life or career. IV ACKNOWLEDGEMENTS There have been several people who have been instrumental in the creation of this study. I would like to express my thanks to those who have been of assistance to me: to Dr. Norman Myers for his advice and counseling; to Dr. Briant H. Lee for his editorial assistance; to Dr. Lois A. Cheney for her constant support and encouragement; to Dr. Ramona Cormier for her guidance and moral support; to Dr. Allen S. White for making this a reality; to Carol Lashuay for easing my mind; and to Paula Geyser who was always there. Penny Maya Landau Portsmouth, New Hampshire 1979 V TABLE OF CONTENTS Page CHAPTER I INTRODUCTION ................................ 1 The Early Years 1794-1810 5 CHAPTER II THE CAREER YEARS ............................ 12 1810-1817.................. 12 1818-1831.............. 19 1831-1839 51 CHAPTER III THE POST CAREER YEARS...................... 73 1839-1857 73 CHAPTER IV THE ACTING STYLE OF MARYA NN DUFF.......... 86 Roles Portrayed........................... 86 Seven Determining Factors ................. 103 CHAPTER V SUMMARY AND CONCLUSION ...................... 134 BIBLIOGRAPHY ................................................ 144 APPENDIX I CHRONOLOGY OF MRS. DUFF’S CAREER........... 152 APPENDIX II SHAKESPEAREAN ROLES PORTRAYED ............. 155 APPENDIX III NON-SHAKESPEAREAN ROLES PORTRAYED .......... 156 APPENDIX IV COURT TRANSCRIPT, Notices of Mrs. Duff . 162 APPENDIX V LETTERS OF JOSEPH NORTON IRELAND, Notices of Mrs. Duff........ ....................... 170 vi ILLUSTRATIONS Page John Duff as Hamlet.......................................... 7 Mary Ann Duff as Mary in Superstition....................... 31 John Duff as Marmion............................. .......... 41 Playbill of Jane Shore, Walnut Street Theatre ........ ... 52 Mrs. Duff in later life...................................... 78 Mrs. Duff and J.W. Wallack in a scene from Adelgitha . 121 CHAPTER I INTRODUCTION Mary Ann Duff performed with the noted actor Edmund Kean in Boston in 1821, playing Ophelia to his Hamlet, Cordelia to his Lear and Hermione to his Orestes. So great was her success, that Kean de­ clared she was "superior to any actress on the British stage.Mrs. 2 Duff, reputed to be "one of the greatest tragic actresses of her time," was hailed as the "American Siddons" for it was said that, upon viewing her performance in the title role of Jane Shore, the audience "could al- 3 most imagine Mrs. Siddons" standing before them. In later years, George C. D. Odell, in his Annals of the New York Stage, was to refer to Mrs. 4 Duff as "...one of the shining lights of our theatrical history." Mary Ann Duff was born in London in 1794, and came to the United States in 1810 with her husband, actor John R. Duff. They both performed with various acting companies in Boston, Philadelphia and New York, with Mrs. Duff eventually becoming the more popular of the two. She performed not only with Kean, but also with the elder Booth, Thomas Abthorpe Cooper and Edwin Forrest, all of whom praised her talents as a great tragic actress. Although Mrs. Duff was a nineteenth century American actress who was highly regarded by her peers and her audiences, she has been generally overlooked in the chronicle of American theatre history. The major objective of this study, therefore, is to specifically explore and pre­ pare a chronicle of the acting career of Mary Ann Duff, through an investigation of her personal and professional life. The study will 1 2 focus on the professional aspects of Mrs. Duff’s life, from her debut as Juliet in Boston in 1810 to her final performances in New Orleans in 1839, the last recorded dates of her formal career. The reason for selecting the career of Mrs. Duff as the subject of the study is the apparent stature of the woman as an actress. She was respected by her peers and was in demand as a performer with the greats of the time, but her place in the history of the American theatre has not been established. Little has been written about the career of Mary Ann Duff, and, with the exception of an article by Garff Wilson in the March 1955 issue of Educational Theatre Journal, no previous scholarly work has been produced on this "undisputed queen of the American stage.Only one work, Mrs. Duff by Joseph Norton Ireland, published in 1882 as part of the "American Actor Series," gives an overview of her life and her career.Ireland also prepared a manuscript entitled Notices of Mrs. Duff, which contains background information on Mrs. Duff and other information heretofore unpublished.? Ireland secured his information from various news sources and a series of personal interviews, but neither of his works is annotated, and their reliability rests solely on the reputation of their author, a noted writer whose other books g include Records of the New York Stage 1750-1860, and a biography of 9 actor Thomas Abthorpe Cooper. This particular study reviews the career of Mrs. Duff, examining the events of her career as well as her most important and successful roles. The remainder of Chapter I pertains to Mrs. Duff’s early years, her performances in Dublin and her voyage to the United States with her 3 husband, John R. Duff. Chapter II, "The Career Years," focuses on Mrs. Duff’s professional life, and is divided into three sections: 1810 to 1817, from her arrival in America and her humble theatrical beginnings to the time when her career took a sudden turn upward, surpassing that of her husband 1818 to 1831, from the period when Mrs. Duff was the main support of her family and became known as the "American Siddons," until the time of John Duff's death in April of 1831; and 1831 to 1839, from Mrs. Duff's return to the stage following her husband's death until the time of her retirement in New Orleans. Each section includes a discussion of both audience and peer reaction to her performances, criticism of her acting and any changes that occurred in her acting style or ability. Chapter III covers the post-career years of 1840 to 1857, including Mrs. Duff's retirement in New Orleans, her subsequent conversion to Methodism, her final years in obscurity and the unusual circumstances surrounding her death in 1857. In Chapter IV, divided into two sections, Mrs. Duff's specific characterizations are discussed. Her roles of greater and lesser importance are explored, as well as the criticism that each received. The second section of this chapter focuses on the "Seven Determinants of Style" as discussed by Garff Wilson in A History of American Acting. The seven factors that Wilson lists as determinants of style (the actor's physical endowments, spiritual and mental abilities, manners and customs of the period, aesthetics of the period, the force of training and ex­ perience, the repertory of the period and the playhouses and settings of the period) are investigated and related to the specific factors per­ 4 taining to Mrs. Duff as a representative of the classic school of . 10 actors. Included in the appendices are a brief chronology of Mrs. Duff’s life, listings of Mrs. Duff’s Shakespearean and non-Shakespearean roles copies of a section from Ireland’s Notices of Mrs. Duff pertaining to a court case involving Mr. and Mrs. Duff and a New York theatre manager. Also included is previously unpublished correspondence between Joseph Ireland and family and friends of Mary Ann Duff.
Load more

Recommended publications
  • Shearer West Phd Thesis Vol 1
    THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON (VOL. I) Shearer West A Thesis Submitted for the Degree of PhD at the University of St. Andrews 1986 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2982 This item is protected by original copyright THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON Ph.D. Thesis St. Andrews University Shearer West VOLUME 1 TEXT In submitting this thesis to the University of St. Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the I work may be made and supplied to any bona fide library or research worker. ABSTRACT A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between ca745 and 1800 : painting, print and book illustration.
    [Show full text]
  • Dictionary of Norfolk Furniture Makers 1 700-1 840
    THE DICTIONARY NORFOLK FURNITURE MAKERS 1700-1840 ABEL, Anthony, cm, 5 Upper Westwick Street, Free [?by purchase] 21/9/1664. Norwich (1778-1802). P 1734 (sen.). 1/12/1778 Apprenticed to Jonathan Hales, King’s ALLOYCE, Abraham jun., tur, St Lawrence, Lynn, £50 (5 yrs). Norwich (1695-1735). D1802. Free 4/3/1695 as s.o. Abraham Alloyce. ABEL, Daniel, up, Pottergate Street; then Bedford P 1710, 1714. 1734 (jun.). 1734/5 - supplement Street, Norwich (1838-1868). (Aloyce). These entries may be for A.A. sen. apart Apprenticed to Thomas Bennett. Free 25/7/1838. from 1734 where both are entered. D 1852, 1854 - cm up, Pottergate St. 1864, 1868 ALLURED, John, up, Market Place, Yarmouth - Bedford St., St Andrews. (1783-1797). ABEL, Thomas, cm, Pitt Street, Norwich App to William Seaman 19/3/1783* (James (1839-1842). D 1839, 1842. Allured), free 15/6/1790. ADCOCK, John, joi, St. Andrew, Norwich Took app William Lyall, 25/12/1790, £40 (5 yrs); (1715-1735). George Allured, 15/12/1792, £20. 28/4/1715 Apprenticed to Charles King, £4. Free NC 5/8/1797: ...John Allured, the younger, of 15/8/1722 as son of Thomas Adcock, tailor. Great Yarmouth...Upholsterer...declared a P 1734, 1734/5 supplement. Bankrupt. ALDEN, James, cm, Norwich (1814). NC 23/9/1797: Auction...Sept. 26, 1797...[4 NM 3/12/1814: Sunday last was married, at St. d ays]...All the genuine Stock in Trade and Giles’s, Mr. James Alden, cabinet-maker, to Miss Household Furniture of Mr. John Allured, Steavens, both of this city.
    [Show full text]
  • [, F/ V C Edna Hammer Cooley 1986 APPROVAL SHEET
    WOMEN IN AMERICAN THEATRE, 1850-1870: A STUDY IN PROFESSIONAL EQUITY by Edna Hammer Cooley I i i Dissertation submitted to the Faculty of the Graduate School of the University of Maryland in parti.al fulfillment of the requirements for the degree of Doctor of Philosophy ~ /, ,, ·' I . 1986 I/ '/ ' ·, Cop~ I , JI ,)() I co uI (~; 1 ,[, f/ v c Edna Hammer Cooley 1986 APPROVAL SHEET Title of Dissertation: Women in American Theatre, 1850-1870: A Study in Professional Equity Name of Candidate: Edna Hammer Cooley Doctor of Philosophy, 1986 Dissertation and Approved: Dr. Roger Meersman Professor Dept. of Communication Arts & Theatre Date Approved: .;;Jo .i? p ,vt_,,/ /9Y ,6 u ABSTRACT Title of Dissertation: Women in American Theatre, 1850- 1870~ A Study_ in Professional Equi!:Y Edna Hammer Cooley, Doctor of Philosophy, 1986 Dissertation directed by: Dr. Roger Meersman Professor of Communication Arts and Theatre Department of Communication Arts and Theatre This study supports the contention that women in the American theatre from 1850 to 1870 experienced a unique degree of professional equity with men in the­ atre. The time-frame has been selected for two reasons: (1) actresses active after 1870 have been the subject of several dissertations and scholarly studies, while relatively little research has been completed on women active on the American stage prior to 1870, and (2) prior to 1850 there was limited theatre activity in this country and very few professional actresses. A general description of mid-nineteenth-century theatre and its social context is provided, including a summary of major developments in theatre in New York and other cities from 1850 to 1870, discussions of the star system, the combination company, and the mid-century audience.
    [Show full text]
  • The Hamlet of Edwin Booth Ebook Free Download
    THE HAMLET OF EDWIN BOOTH PDF, EPUB, EBOOK Charles H Shattuck | 321 pages | 01 Dec 1969 | University of Illinois Press | 9780252000195 | English | Baltimore, United States The Hamlet of Edwin Booth PDF Book Seward, Lincoln's Secretary of State. I mean—. Melania married Donald Trump in to become his third wife. Kennedy and was later inspired by Ronald Reagan. Born as Michelle LaVaughn Robinson, she grew up in a middle-class family and had a conventional upbringing. So exactly as you said, he ran away with her to America, leaving his wife, Adelaide Booth, and his son, Richard, in a mansion in London. Americans are as divided as ever. Because many people held up John Wilkes Booth as a great actor. He would never learn his lines, so in order to generate excitement on stage, he would improvise a lot of physical violence. Booth personally, but I have always had most grateful recollection of his prompt action on my behalf. Her sense of fashion has become a great source of inspiration for many youngsters across the world. Grant, also wrote to Booth to congratulate him on his heroism. He had a volatile emotional life. It was a decision he soon came to regret. Jimmy Carter was the 39th President of America and aspired to establish a government which was both, competent and compassionate. Goff Robert Lincoln. You're right that he was volcanic and that he was like a lightning bolt. Edwin and John Wilkes Booth would have quarrels over more than just politics, as well. Bon Jovi has also released two solo albums.
    [Show full text]
  • Proquest Dissertations
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, som e thesis and dissertation copies are in typewriter face, while others may be from any type of com puter printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. Bell & Howell Information and Learning 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 800-521-0600 UMI EDWTN BOOTH .\ND THE THEATRE OF REDEMPTION: AN EXPLORATION OF THE EFFECTS OF JOHN WTLKES BOOTH'S ASSASSINATION OF ABRAHANI LINCOLN ON EDWIN BOOTH'S ACTING STYLE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Michael L.
    [Show full text]
  • Memoirs of the Life of Sir Walter Scott, Bart
    * a MEMOIRS OF THE LIFE OF SIR WALTER SCOTT, BART. BY J. G. LOCKHART VOL. II. BOSTON: V OTIS, BROADERS, AND COMPANY. 1837 CONTENTS OF THE SECOND VOLUME CHAPTER I. Page. Contributions to the Edinburgh Review—Progress of the Tristrem—and of the of the Last Minstrel—Visit of Wordsworth—Publication of " Lay Sir Tristrem."—1803-1804, 1 CHAPTER II. Removal to Ashestiel—Death of Captain Robert Scott—Mungo Park— Completion and Publication of the Lay of the Last Minstrel—1804-1805, 26 CHAPTER III. with — of Partnership James Ballantyne Literary Projects 5 Edition the British Poets Edition of the ; Ancient English Chronicles, &c. &c— Edition of Dryden undertaken—Earl Moira Commander of the Forces in Scotland—Sham Battles—Articles in the Edinburgh Review—Com- mencement of Waverley—Letter on Ossian—Mr. Skene's Reminis- cences of Ashestiel—Excursion to Cumberland—Alarm of Invasion— Visit of Mr. Southey—Correspondence on Dryden with Ellis and Words- worth— 180o ; 54 CHAPTER IV. Affair of the Clerkship of Session—Letters to Ellis and Lord Dalkeith— Visit to London—Earl Spencer and Mr. Fox—Caroline, Princess of Wales—Joanna Baillie—Appointment as Clerk of Session—Lord Mel- ville's Trial—Song on his Acquittal—1806, 86 CHAPTER V. Dryden—Critical Pieces—Edition of Slingsby's Memoirs, &c.—Mar'mion begun—Visit to London—Ellis—Rose—Canning—Miss Seward—Scott Secretary to the Commission on Scotch Jurisprudence—Letters to Southey, &c.—Publication of Marmion—Anecdotes—The Edinburgh Review on Marmion—1806-1808, 107 CHAPTER VI. Edition of Dryden published—And criticised by Mr. Hallam—Weber's —Editions of Carleton's Memoirs Romances Quecnlioo-hall ; Captain ; of Robert Earl of The Sadler The Memoirs Cary, Monmouth ; Papers 3 and the Somers' Tracts—Edition of Swift begun—Letters to Joanna Baillie and George Ellis on the affairs of the Peninsula—John Struthers —James Hogg— Visit of Mr.
    [Show full text]
  • They Were Always Doing Shakespeare: Antebellum Southern
    They Were Always Doing Shakespeare: Antebellum Southern Actresses and Shakespearean Appropriation Robin O. Warren, University of Georgia Abstract Antebellum actresses performed in a wide variety of plays meant to appeal to the diversity of spectators who attended the nineteenth-century theater. Theater historians agree, though, that plays by William Shakespeare dominated standard repertory offerings. No one has recognized, however, that many of the non-Shakespearean plays actually appropriate Shakespearean plots, a phenomenon that may partly account for the popularity of these dramas. While many plays popular on Old South stages appropriated Shakespearean plots, four especially stand out for paralleling closely their early modern inspirations. Evadne (1819), by Richard Lalor Sheil, draws on Much Ado About Nothing (1600); Virginius (1820), by James Sheridan Knowles, uses Titus Andronicus (1592) as a guide; The Wife (1833), also by Knowles, follows the plot of Othello (1603); and The Honey Moon (1805), by John Tobin, corresponds to The Taming of the Shrew (1592). Evadne and Virginius stress the necessity of protecting a young, unmarried woman's purity while The Wife and The Honey Moon emphasize the importance of wifely fidelity and deference. As the experience of antebellum actresses Eliza Logan, Jane Placide, Frances Denny Drake, and Julia Dean Hayne shows, however, women who performed the lead female parts in these plays did not always live up to the expectations espoused in their stage roles; instead, they often exposed the artificiality of rigidly prescribed gender roles in their daily lives by transgressing against the very norms they affirmed on stage. In 1820, Jane Placide, a young actress from Charleston, South Carolina, debuted with Charles Gilfert's Virginia Company in John Tobin's The Honey Moon (1805), an appropriation of William Shakespeare's The Taming of the Shrew (1592).
    [Show full text]
  • Charlotte Cushman Papers
    Charlotte Cushman Papers A Finding Aid to the Collection in the Library of Congress Manuscript Division, Library of Congress Washington, D.C. 2008 Revised 2010 April Contact information: http://hdl.loc.gov/loc.mss/mss.contact Additional search options available at: http://hdl.loc.gov/loc.mss/eadmss.ms008027 LC Online Catalog record: http://lccn.loc.gov/mm77017525 Prepared by Audrey Walker Revised and expanded by Margaret McAleer Collection Summary Title: Charlotte Cushman Papers Span Dates: 1823-1941 Bulk Dates: (bulk 1861-1875) ID No.: MSS17525 Creator: Cushman, Charlotte, 1816-1876 Extent: 10,000 items ; 21 containers plus 1 oversize ; 5.5 linear feet ; 1 microfilm reel Language: Collection material in English Location: Manuscript Division, Library of Congress, Washington, D.C. Summary: Actress. Correspondence; biographical and genealogical material; annotated scripts and texts of plays, poetry, and readings; newspaper clippings; reviews; and souvenir programs relating chiefly to Cushman's career in the theater. Selected Search Terms The following terms have been used to index the description of this collection in the Library's online catalog. They are grouped by name of person or organization, by subject or location, and by occupation and listed alphabetically therein. People Bellows, Henry W. (Henry Whitney), 1814-1882--Correspondence. Bigelow, John, 1817-1911--Correspondence. Booth, Edwin, 1833-1893--Correspondence. Browning, Elizabeth Barrett, 1806-1861--Correspondence. Carlyle, Jane Welsh, 1801-1866--Correspondence. Chorley, Henry Fothergill, 1808-1872--Correspondence. Crow, Wayman, 1808-1885--Correspondence. Cushman, Charles Augustus, 1818-1896--Correspondence. Cushman, Charlotte, 1816-1876. Cushman, Edwin Charles, 1838- --Correspondence. Cushman, Emma Crow, 1840?- --Correspondence. Cushman, Mary Eliza, 1793-1866--Correspondence.
    [Show full text]
  • Little Masterpieces of Autobiography: Actors
    LITTLE MASTERPIECES OF AUTOBIOGRAPHY: ACTORS George Iles, editor This public-domain (U.S.) text was scanned and proofed by Ron Burkey. The Project Gutenberg edition (“aauto10”) was subse- quently converted to LATEX using GutenMark software, and modified (principally to correct formatting problems). The frontispiece, which was omitted from the Project Gutenberg edi- tion, has also been restored. Report problems to [email protected]. Revision B3 differs from B2 in that “—-” has everywhere been replaced by “—”. Revision: B3 Date: 01/30/2008 Contents PREFACE 1 JOSEPH JEFFERSON 5 HOW I CAME TO PLAY RIP VAN WINKLE . 6 THE ART OF ACTING . 14 PREPARATION AND INSPIRATION . 15 SHOULD AN ACTOR “FEEL” HIS PART 18 JOSEPH JEFFERSON IN MONTREAL: PLAYWRIGHTS AND ACTORS . 22 THE JEFFERSON FACE . 23 EDWIN BOOTH 25 TO HIS DAUGHTER . 26 TO HIS DAUGHTER . 27 TO HIS DAUGHTER . 29 TO HIS DAUGHTER . 30 TO HIS DAUGHTER . 31 TO HIS DAUGHTER . 32 TO HIS DAUGHTER . 34 TO MISS EMMA F. CARY . 36 TO MISS EMMA F. CARY . 37 TO MR. NAHUM CAPEN . 39 ADVICE TO A YOUNG ACTOR . 41 CHARLOTTE CUSHMAN 43 AS A CHILD A MIMIC AND SINGER . 44 i ii FIRST VISITS TO THE THEATRE . 45 PLAYS LADY MACBETH, HER FIRST PART . 47 TO A YOUNG ACTRESS [PART OF A LETTER] . 49 TO A YOUNG MOTHER . 51 EARLY GRIEFS. ART HER ONLY SPOUSE . 52 FAREWELL TO NEW YORK . 55 CLARA MORRIS 57 SOME RECOLLECTIONS OF JOHN WILKES BOOTH . 57 THE MURDER OF PRESIDENT LINCOLN . 64 SIR HENRY IRVING 83 THE STAGE AS AN INSTRUCTOR . 84 INSPIRATION IN ACTING . 86 ACTING AS AN ART.
    [Show full text]
  • Diverse Scholarship on Lincoln's Life, and His Death
    Civil War Book Review Spring 2016 Article 2 LOOK AT LINCOLN: Diverse Scholarship on Lincoln's Life, and His Death Frank J. Williams Follow this and additional works at: https://digitalcommons.lsu.edu/cwbr Recommended Citation Williams, Frank J. (2016) "LOOK AT LINCOLN: Diverse Scholarship on Lincoln's Life, and His Death," Civil War Book Review: Vol. 18 : Iss. 2 . DOI: 10.31390/cwbr.18.2.02 Available at: https://digitalcommons.lsu.edu/cwbr/vol18/iss2/2 Williams: LOOK AT LINCOLN: Diverse Scholarship on Lincoln's Life, and His D Feature Essay Spring 2016 Williams, Frank J. LOOK AT LINCOLN: Diverse Scholarship on Lincoln's Life, and His Death. A Close Look at America’s Most Infamous Assassin Fortune’s Fool: The Life of John Wilkes Booth by Terry Alford Publisher: Oxford University Press Retail Price: $29.95 ISBN:9780195054125 Of the 16,000 books and pamphlets written about Abraham Lincoln since his assassination, over 2,000 of them relate to his death and the military trial and execution of the assassins. Along with Michael W. Kauffman’s American Brutus: John Wilkes Booth and the Lincoln Conspiracies (2004), Fortune’s Fool provides a comprehensive view of Booth. Clearly enigmatic, his dastardly deed shocked the country. He was well liked and occasionally lazy. But at heart, he was obsessed with the Confederacy and its search for independence. Alford describes in great breath and detail Booth’s trajectory in finally accepting the fact that the Confederacy was about to end in April 1865. He Published by LSU Digital Commons, 2016 1 Civil War Book Review, Vol.
    [Show full text]
  • 'A' That's Past Forget – Forgie': National Drama and the Construction of Scottish National Identity on the Nineteenth
    Studies in Scottish Literature Volume 44 Article 5 Issue 2 Reworking Walter Scott 12-31-2018 ‘A’ that’s past forget – forgie’: National Drama and the Construction of Scottish National Identity on the Nineteenth-Century Stage Paula Sledzinska University of Aberdeen Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the Literature in English, British Isles Commons, and the Theatre History Commons Recommended Citation Sledzinska, Paula (2019) "‘A’ that’s past forget – forgie’: National Drama and the Construction of Scottish National Identity on the Nineteenth-Century Stage," Studies in Scottish Literature: Vol. 44: Iss. 2, 37–50. Available at: https://scholarcommons.sc.edu/ssl/vol44/iss2/5 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. “A’ THAT’S PAST FORGET—FORGIE”: NATIONAL DRAMA AND THE CONSTRUCTION OF NATIONAL IDENTITY ON THE NINETEENTH-CENTURY STAGE Paula Sledzinska For centuries, theatre has provided a space for a discussion of social, cultural and political affairs. The link between theatre and politics is of a particularly critical kind, as it is often within the dramatic texts, and on the stage, that the turmoil of revolutionary transformations, historical tragedies, and future visions were portrayed or challenged, and the shapes and images of communities, or indeed nations, explored.1 The
    [Show full text]
  • The Career of Lola Montez in the American Theatre
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1994 The aC reer of Lola Montez in the American Theatre. Sara Elizabeth Gotcher Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Gotcher, Sara Elizabeth, "The aC reer of Lola Montez in the American Theatre." (1994). LSU Historical Dissertations and Theses. 5727. https://digitalcommons.lsu.edu/gradschool_disstheses/5727 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps.
    [Show full text]