DOCSLIB.ORG

ABSTRACT Title of Dissertation: out of the FORREST

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
ABSTRACT Title of Dissertation: out of the FORREST ABSTRACT Title of dissertation: OUT OF THE FORREST AND INTO THE BOOTH: PERFORMANCE OF MASCULINITY ON THE AMERICAN STAGE, 1828-1865 Karl M. Kippola, Doctor of Philosophy, 2003 Dissertation Directed by: Professor Heather S. Nathans Depar tment of Theatre My dissertation seeks to understand how and why the performance of American masculinity changed so dramatically from 1828 to 1865 and the gradual process of transition from Edwin Forrest’s rugged masculinity to Edwin Booth’s almost effe te intellectualism. Within the scope of my dissertation, I seek not merely to construct an isolated theatrical history but rather a history of cultural formations inextricably linked to the dynamic political, cultural, and social changes of this period. In Chapter One, I examine evolutions in manly rhetoric and oratory, and a brief survey of nineteenth -century advice literature, to better understand the performance of masculinity in the public sphere. In the second chapter, I investigate the masculine performance of Edwin Forrest (America’s first great actor) on- and off -stage and examine his adaptation of Robert T. Conrad’s Jack Cade as an example of his consciously constructed manly identity. In Chapter Three, I explore the wide range and variety of actors between Forrest and Booth (artistically and chronologically), as well as performances and representations of immigrant, Indian, Black, and working- class males as alternate visions of masculinity. In Chapter Four, I look at the Astor Place Riot (May 19, 1849) as a theatrical and political spectacle that suggests the incompatability of working-class individualism and the gentility of the emerging middle class and elite. In the final chapter, I explore Booth’s restrained image of masculinity and passiv e acceptance of personal tragedies as a reflection of the “invisible,” middle -class performance of ideal manhood. In the forty -year period that marked the complex evolution from Forrest’s debut to Booth’s triumph as Hamlet, the American definition of mascu linity fragmented along lines of class, race, and politics. I suggest that the national stage not only mirrored but magnified this process through the creation of physical characters upon which contemporary ideals of masculinity could be inscribed. Each splintered group demanded the reflection of their own values and models of behavior unique to their respective situations, and each searched for a sense of masculine, communal belonging. OUT OF THE FORREST AND INTO THE BOOTH: PERFORMANCE OF MASCU LINITY ON THE AMERICAN STAGE, 1828-1865 by Karl M. Kippola Dissertation submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Doctor of Philosophy 2003 Advisory Committee: Professor Heather Nathans, Chair Professor Jackson Bryer Professor David Grimsted Professor Franklin Hildy Professor Robert Levine Professor Catherine Schuler Copyright by Karl M. Kippola 2003 ii ACKNOWLEDGME NTS Many people deserve thanks for their assistance on my doctoral journey. First and foremost, I would like to thank the members of my committee, especially Dr. Heather Nathans whose encouragement, mentorship, and enthusiasm made this project possible. I would like to thank all of the people at the Library Company of Philadelphia and the Historical Society of Pennsylvania, especially Jim Green, for the Mellon Fellowship that allowed me to explore a wide range of materials in their collections. I also would like the thank the staffs of the Library of Congress, the rare book division of the University of Pennsylvania library, the Harvard Theatre Collection, and the New York Public Library. I would like to thank my colleagues Korey Rothman and Stacey Stewart for their support and inspiration. Finally, I must thank my wife Antoinette for her boundless patience and understanding. iii TABLE OF CONTENTS ACKNOWLEGMENTS……………………………………………………. ii LIST OF FIGURES………………………………………………………… vi INTRODUC TION………………………………………………………….. 1 Chapter Structure…………………………………………………… 6 Contrasting Manhoods in Colonial America and the Early Republic………………………………………………………….. 10 Conclusion………………………………………………………….. 24 CHAPTER ONE Learning to Play the Man: Images and Rhetoric of “Reconstructed Manhood”………………………….. 26 Masculinity’s Evolution…………………………………………….. 28 Developing an American Masculine Speech……………………….. 29 The Presidential Elections of 1828: A Masculine Revolu tion……… 33 Competing Masculinities of the “Great Triumvirate”……………… 48 Abraham Lincoln: An Unlikely Masculine Model…………………. 61 Henry Ward Beecher: A Softer Religion and Manhood……………. 71 Teaching Nationality and Manhood: Nineteen th -Century Advice Literature…………………………………………………………. 80 Conclusion………………………………………………………….. 100 CHAPTER TWO “A Glorious Image of Unperverted Manhood:” Edwin Forrest as America’s Masculine Ideal………. 102 The Forrestonian Ethos……………………………………………… 102 Strenuous Realism: Forrest’s Acting Style…………………………. 117 Forrest as Political Animal and Champion of the Masses………….. 125 iv Forrest as a Father of American Drama…………………………….. 131 Jack Cade: A Case Study………………………………………….… 135 Conclusion………………………………………………………….. 166 CHAPTER THREE Imitators and Innovators: The Spectrum of Masculine Models…………………………………… 170 The State of the Art: Romantic vs. Classical Acting……………….. 171 Founding Fathers of American Actin g: British Stars in America’s Heavens…………………………………………………………… 179 Romantic Redux: Emulating Forrest……………………………….. 197 Classical Copycats: Looking for the High Road……………………. 205 Comic Mockeries: The Lighter Side of American Manhood………. 212 Indians, Immigrants, Yankees, and Slaves: Alternate Masculine Visions…………………………………………………………… 220 Metamora and Perceptions of the Native American Indian… 220 Minstrelsy to Uncle Tom’s Cabin : Visions of Black Masculinity………………………………………………. 229 Immigrant Masculinity: Sobering the Irishman…………….. 242 Yankee to Mose: A Lower -Class Image to Embrace……….. 246 Conclusion………………………………………………………….. 250 CHAPTER FOUR The Astor Place Riot: A Masculine Identity Worth Dying For…………………………………………… 252 The Astor Place Riot, a Drama in Five Acts………………………… 257 The Characters: (Anti)Hero – Edwin Forrest……………….. 257 (Anti)Hero – William Charles Macready…………… 259 The Setting: Astor Place Opera House……………………… 262 v ACT ONE: Eminence in Yankeeland – Macready’s First American Tour (1826-1827)……………………………… 264 ACT TWO: Savage Invasion – Forrest’s First Tour of England (1836-37)……………………………………….. 267 ACT THREE: Democracy vs. Ar istocracy – Macready’s Second Trip to America (1834-1844)……………………. 270 ACT FOUR: Much Ado About a Hiss; or, Forrest’s Final Trip to London (1845-1846)……………………………… 276 ACT FIVE: Masculine Showdown; or, Macready Last Trip to Amer ica (1848-1849)…………………………….. 282 Epilogue: Clearing the Rubble and Assigning the Blame….. 291 Conclusion………………………………………………………….. 294 CHAPTER FIVE “Sanctified by the American Bourgeoisie:” The Genteel Manliness of Edwin Booth……………. 299 Changing Audiences: The Feminization of the American Stage…… 303 Booth the Man: “Darling of Misfortune”…………………………… 310 Booth the Actor: “Nature’s sweet interpreter”……………………… 315 Booth’s Hamlet: “a nineteenth -century gentleman”………………... 319 Beyond Hamlet: “a man beneath whose calm exterior sleeps a hellish tempest of passion”………………………………………. 335 Out of the Forrest and Into the Booth: “Two stars keep not their motion in one sphere”……………………………………………. 342 Conclu sion………………………………………………………….. 354 CONCLUSION A Multitude of Masculinities……………………….. 356 BIBLIOGRPAHY…………………………………………………………… 361 vi LIST OF FIGURES Figure Page 1. George Washington………………………………………………………… 19 2. Thomas Wignell as Darby in Darby’s Return …………………………..… 20 3. John Quincy Adams……………………………………………………... 36 4. Andrew Jackson……………………………………………………...….. 43 5. John C. Calhoun…………………………………………………...…….. 50 6. Henry Clay……………………………………………………...……….. 53 7. Daniel Webster……………………………………………..………….… 57 8. Abraham Lincoln………………………………………..…………….… 62 9. Henry Ward Beecher………………………………..………………….… 72 10. Edwin Forrest at 21……………………………..…………………….…. 103 11. Edwin Forrest as Spartacus………………..………………………….…. 110 12. Cartoon of Edwin Forrest as Spartacus………………………………...… 112 13. Edwin Forrest at 45………………………………………………..……... 126 14. Edwin Forrest as Jack Cade…………………………………..………….. 135 15. Robert T. Conrad…………………………………………..…………….. 143 16. Cartoon of Andrew Jackson defeating the United States Bank…..…….... 147 17. Thomas Abthorpe Cooper……………………………………..……….… 181 18. George Frederick Cooke…………………………………..………….…. 185 19. Edmund Kean as Richard III…………………………..…………….…… 187 vii 20. Junius Brutus Booth as Richard III………………..……………….…….. 190 21. William Charles Macready as Macbeth………..………………….…….. 191 22. John McCullough as Coriolanus…………..……………………….……. 198 23. James E. Murdoch as Petruchio………..………………………….…….. 205 24. Edward L. Davenport as Brutus…..……………………………….…….. 207 25. Laurence Barrett as Cassius……………………..……………….……… 210 26. James H. Hackett as Falstaff………………..………………….………… 213 27. James H. Hackett………………………..……………………..…………. 215 28. William Evans Burton as Bob Acres in The Rivals…………...………… 217 29. Edwin Forrest as Metamora……………………………………….…….. 221 30. John Vanderlyn’s The Death of Jane McCrea ……..………………….… 224 31. Thomas D. Rice as Jim Crow……………………………..……………... 229 32. Cartoon of Urban African American……………………………..…….... 232 33. Uncle Tom and Little Eva………………………………………………... 236 34. Frederick Douglass………………………………………………………. 240 35. John Brougham as Sir Lucius O’Trigger in The Rivals……………….….. 2 45 36. Francis S. Chanfrau as Mose………………………………………………
Load more

Recommended publications
  • In Nineteenth-Century American Theatre: the Image
    Burlesquing “Otherness” 101 Burlesquing “Otherness” in Nineteenth-Century American Theatre: The Image of the Indian in John Brougham’s Met-a-mora; or, The Last of the Pollywogs (1847) and Po-Ca-Hon-Tas; or, The Gentle Savage (1855). Zoe Detsi-Diamanti When John Brougham’s Indian burlesque, Met-a-mora; or, The Last of the Pollywogs, opened in Boston at Brougham’s Adelphi Theatre on November 29, 1847, it won the lasting reputation of an exceptional satiric force in the American theatre for its author, while, at the same time, signaled the end of the serious Indian dramas that were so popular during the 1820s and 1830s. Eight years later, in 1855, Brougham made a most spectacular comeback with another Indian burlesque, Po-Ca-Hon-Tas; or, The Gentle Savage, an “Original, Aboriginal, Erratic, Operatic, Semi-Civilized, and Demi-savage Extravaganza,” which was produced at Wallack’s Lyceum Theatre in New York City.1 Both plays have been invariably cited as successful parodies of Augustus Stone’s Metamora; or, The Last of the Wampanoags (1829) and the stilted acting style of Edwin Forrest, and the Pocahontas plays of the first half of the nineteenth century. They are sig- nificant because they opened up new possibilities for the development of satiric comedy in America2 and substantially contributed to the transformation of the stage picture of the Indian from the romantic pattern of Arcadian innocence to a view far more satirical, even ridiculous. 0026-3079/2007/4803-101$2.50/0 American Studies, 48:3 (Fall 2007): 101-123 101 102 Zoe Detsi-Diamanti
    [Show full text]
  • John Mccullough As Man, Actor and Spirit
    John McCullough AS Man, Actor and Spirit BY SUSIE C. CLARK Author of "A Look Upward," "Pilate's Query," etc. " Thou art " mighty yet! Thy spirit walks abroad." Julius C&sar WITH ILLUSTRATIONS BOSTON MURRAY AND EMERY COMPANY 1905 VIRGINIUS FA/ . Copyright in 1905 by SUSIE C. CLARK. All rights reserved. INSCRIBED WITH REVERENT LOVE TO THE FA.DELESS MEMORY OF Cental 3nlftt CONTENTS. Chapter I. Introductory 9 II. The Dawn 15 III. The New World 23 IV. The Open Door 29 V. The Golden Gate 39 VI. The Golden Gate (Continued) 53 VII. In Other Fields 61 VIII. McCullough in Boston ' 75 IX. In the Metropolis 92 X. In the Metropolis (Continued) 104 XI. His Greatest Role Ill XII. His Wide Travels 124 XIII. Four Notable Banquets 136 XIV. A Sketch from His Pen 153 XV. Twilight 167 XVI. Sunrise 182 XVII. Impressive Obsequies 200 XVIII. Further Tributes 221 XIX. Final Honors 229 XX. Beyond the Bar 249 XXI. The Next Act in Life's Drama 259 XXII. His Public Work 269 XXIII. Class Work 286 XXIV. As Message Bearer 302 XXV. Reminiscences 310 XXVI. Spiritual Reveries 323 XXVII. Personal 334 XXVIII. The Voice of the Stars. 345 ILLUSTRATIONS. Virginius Frontispiece Coriolanus 82 Spartacus 174 McCullough Memorial 232 Virginius 266 JOHN McCuLLoucH AS MAN, ACTOR AND SPIRIT CHAPTER I. INTRODUCTORY. The harp that once thro' Tara's halls The soul of music shed Now hangs as mute on Tara's walls As if that soul were fled. So sleeps the pride of former days, So glory's thrill is o'er, And hearts that once beat high for praise Now feel that pulse no more." Thomas Moore, Fair Emerald Isle! In verdure clad, thy banks and hills still cheer the eyes of "weary, homesick men far out at sea." Fain would they, as Columbus did of yore, on a Western shore, kneel and kiss thy fair, green sod, which affords the first welcome glimpse of land.
    [Show full text]
  • Selected Bibliography of American History Through Biography
    DOCUMENT RESUME ED 088 763 SO 007 145 AUTHOR Fustukjian, Samuel, Comp. TITLE Selected Bibliography of American History through Biography. PUB DATE Aug 71 NOTE 101p.; Represents holdings in the Penfold Library, State University of New York, College at Oswego EDRS PRICE MF-$0.75 HC-$5.40 DESCRIPTORS *American Culture; *American Studies; Architects; Bibliographies; *Biographies; Business; Education; Lawyers; Literature; Medicine; Military Personnel; Politics; Presidents; Religion; Scientists; Social Work; *United States History ABSTRACT The books included in this bibliography were written by or about notable Americans from the 16th century to the present and were selected from the moldings of the Penfield Library, State University of New York, Oswego, on the basis of the individual's contribution in his field. The division irto subject groups is borrowed from the biographical section of the "Encyclopedia of American History" with the addition of "Presidents" and includes fields in science, social science, arts and humanities, and public life. A person versatile in more than one field is categorized under the field which reflects his greatest achievement. Scientists who were more effective in the diffusion of knowledge than in original and creative work, appear in the tables as "Educators." Each bibliographic entry includes author, title, publisher, place and data of publication, and Library of Congress classification. An index of names and list of selected reference tools containing biographies concludes the bibliography. (JH) U S DEPARTMENT Of NIA1.114, EDUCATIONaWELFARE NATIONAL INSTITUTE OP EDUCATION THIS DOCUMENT HAS BEEN REPRO DUCED ExAC ICY AS RECEIVED FROM THE PERSON OR ORGANIZATIONORIGIN ATING IT POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILYREPRE SENT OFFICIAL NATIONAL INSTITUTEOF EDUCATION POSITION OR POLICY PREFACE American History, through biograRhies is a bibliography of books written about 1, notable Americans, found in Penfield Library at S.U.N.Y.
    [Show full text]
  • The New York City Draft Riots of 1863
    University of Kentucky UKnowledge United States History History 1974 The Armies of the Streets: The New York City Draft Riots of 1863 Adrian Cook Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Cook, Adrian, "The Armies of the Streets: The New York City Draft Riots of 1863" (1974). United States History. 56. https://uknowledge.uky.edu/upk_united_states_history/56 THE ARMIES OF THE STREETS This page intentionally left blank THE ARMIES OF THE STREETS TheNew York City Draft Riots of 1863 ADRIAN COOK THE UNIVERSITY PRESS OF KENTUCKY ISBN: 978-0-8131-5182-3 Library of Congress Catalog Card Number: 73-80463 Copyright© 1974 by The University Press of Kentucky A statewide cooperative scholarly publishing agency serving Berea College, Centre College of Kentucky, Eastern Kentucky University, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky State College, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. Editorial and Sales Offices: Lexington, Kentucky 40506 To My Mother This page intentionally left blank Contents Acknowledgments ix
    [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]
  • Actor, Assassin, Patriot, Pawn; What You Think You Know About John Wilkes Booth”
    April 14, 2016 The Civil War: April 12, 1861 - May 9, 1865 “Actor, Assassin, Patriot, Pawn; What you think you know about John Wilkes Booth” It was sad news to hear of Don “Duffy” Forsyth’s pass- ing last month. His gentle smile has been missed the last few months. His efforts in getting the speaker for our last luncheon were important to the success of the event. I was pleased to hear from his wife, Nancy, about how much he enjoyed the time he spent with Old Baldy. We are grateful that the family listed Old Baldy as an organization to which a donation could be made to honor Don. Bob Hanrahan, Jr. told us all about the battle between the Kearsarge and the Alabama last month. This month Joanne Hulme, a Booth descendant, will inform us what we do not know about John Wilkes Booth. Next month our vice-president Bob Russo will share his research on Arlington National Cemetery. Be sure to tell others about Joanne Hulme our great programs and activities. Ticket sales for our Iwo Jima print are going well. Pick up a flyer at the meeting to display in your area. Join us at 7:15 PM on Thursday, April 14th, at Camden Planning for our October Symposium is coming along well. County College in the Connector Building, Room 101. At our meeting on the 14th, we will present opportunities This month’s topic is "Actor, Assassin, Patriot, Pawn; for some members to assist on the project. Some tasks we What you think you know about John Wilkes Booth" have identified so far include contacting local businesses presented by Joanne Hulme.
    [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]
  • 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]
  • Community and Politics in Antebellum New York City Irish Gang Subculture James
    The Communal Legitimacy of Collective Violence: Community and Politics in Antebellum New York City Irish Gang Subculture by James Peter Phelan A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in History Department of History and Classics University of Alberta ©James Phelan, 2014 ii Abstract This thesis examines the influences that New York City‘s Irish-Americans had on the violence, politics, and underground subcultures of the antebellum era. During the Great Famine era of the Irish Diaspora, Irish-Americans in Five Points, New York City, formed strong community bonds, traditions, and a spirit of resistance as an amalgamation of rural Irish and urban American influences. By the middle of the nineteenth century, Irish immigrants and their descendants combined community traditions with concepts of American individualism and upward mobility to become an important part of the antebellum era‘s ―Shirtless Democracy‖ movement. The proto-gang political clubs formed during this era became so powerful that by the late 1850s, clashes with Know Nothing and Republican forces, particularly over New York‘s Police force, resulted in extreme outbursts of violence in June and July, 1857. By tracking the Five Points Irish from famine to riot, this thesis as whole illuminates how communal violence and the riots of 1857 may be understood, moralised, and even legitimised given the community and culture unique to Five Points in the antebellum era. iii Table of Contents Introduction ...................................................................................................................................
    [Show full text]
  • Martin's Bench and Bar of Philadelphia
    MARTIN'S BENCH AND BAR OF PHILADELPHIA Together with other Lists of persons appointed to Administer the Laws in the City and County of Philadelphia, and the Province and Commonwealth of Pennsylvania BY , JOHN HILL MARTIN OF THE PHILADELPHIA BAR OF C PHILADELPHIA KKKS WELSH & CO., PUBLISHERS No. 19 South Ninth Street 1883 Entered according to the Act of Congress, On the 12th day of March, in the year 1883, BY JOHN HILL MARTIN, In the Office of the Librarian of Congress, at Washington, D. C. W. H. PILE, PRINTER, No. 422 Walnut Street, Philadelphia. Stack Annex 5 PREFACE. IT has been no part of my intention in compiling these lists entitled "The Bench and Bar of Philadelphia," to give a history of the organization of the Courts, but merely names of Judges, with dates of their commissions; Lawyers and dates of their ad- mission, and lists of other persons connected with the administra- tion of the Laws in this City and County, and in the Province and Commonwealth. Some necessary information and notes have been added to a few of the lists. And in addition it may not be out of place here to state that Courts of Justice, in what is now the Com- monwealth of Pennsylvania, were first established by the Swedes, in 1642, at New Gottenburg, nowTinicum, by Governor John Printz, who was instructed to decide all controversies according to the laws, customs and usages of Sweden. What Courts he established and what the modes of procedure therein, can only be conjectur- ed by what subsequently occurred, and by the record of Upland Court.
    [Show full text]
  • From Wall Street to Astor Place: Historicizing Melville's `Bartleby'
    Barbara From Wall Street to Astor Place: Historicizing Foley Melville's "Bartleby" In recent years critics have been calling for a re­ grounding of mid-nineteenth-century American li terature-of the ro­ mance in particular- in politics and history. John McWilliams ap­ plauds the contemporary "challenge to the boundaqless and abstract qualities of the older idea of the Romance's neutral territory." George Dekker notes that recent attempts to "rehistoricize the American ro­ mance'' have entailed an "insist[ence] that our major romancers have always been profoundly concerned with what might be called the men­ tal or ideological 'manners' of American society, and that their seem­ ingly anti-mimetic fictions both represent and criticize those man­ ners. " 1 But Herman Melville's "Bartleby. the Scrivener: A Story of Wall Street" (1853) has to this point been exempted from a thorough­ going historical recontextualization; its subtitle remains to be fully explained. Not all readings of the tale, to be sure, have been "boundaryless and abstract." Critics interested in the tale's autobiographical dimen­ sion have interpreted it as an allegory of the writer's fate in a market society. noting specific links with Melville's own difficult authorial career. Scholars concerned wilh the story's New York setting have discovered some important references to contemporaneous events. Marxist critics have argued that "Bartleby" offers a portrait of the increasing alienation of labor in the rationalized capitalist economy that took shape in the mid-nineteenth-century United States.2 But such critical enterprises have remained largely separate, with the result that biography.
    [Show full text]
  • C. of the Late Charles I. Bushnell, Esq., Comprising His Extensive Collections
    .^:^ ^-^^ .'';";if^A*' ^^^ ^^^:r i* iififc' ^•i-^*'im v<*^ 5:?^:'/; x^ 11^1 'M QJarttell Unitteraitg Hthtatg Jtljara, New gork FROM THE BENNO LOEWY LIBRARY COLLECTED BY BENNO LOEWY 1854-1919 BEQUEATHED TO CORNELL UNIVERSITY CATALOGUE OK THE LIBRARY, AUTOGRAPHS, EXGRAVINGS, &c. OF THE lATE CHARLES I. BUSH NELL, Esq. TO, BE SOLD BY Bangs & Co. Monday, April 2d, and four following days. 1883. Jln^^ ijj K.h .Jiali I Cornell University j Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924031351798 CATALOGUE OF THE LIBRARY, &e. OF THE LATE CHARLES L BUSHNELL, Esq, COMPRISING HIS EXTENSIVE COLLECTIONS OF RARE AND CURIOUS AMERICANA, OF Engravings, Autographs, Historical Relics, Wood-Blocks Engraved by Dr. Anderson, &c., &c. Compiled by ALEX'R DENHAM. TO BE SOLDAT AUCTION, Monday, April 2d, and four following days. Commencing at 3 P. M. and 7.30 P. M., each day, BY Messrs. BANGS & CO., Nos. 739 and 741 Broadway, New York. Gentlemen unable to attend the Sale, may have purchases made to their order by the Auctio?ieers. 1I^"A11 bids should be made by the Volume, and not by the set. NO T E. The late Mr. Charles I. Bushnell was widely known, not only as a persevering collector of rare and quaint books, but also as a diligent student of American history ; whose thorough knowledge of those minutiae which escape the notice of all but the painstaking specialist had been proved by his original essays and scholarly annotations to various books.
    [Show full text]