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Patronage and Professionalism in the Writings of Hannah More, Charlotte Smith and Ann Yearsley, 1770-1806
Patronage and Professionalism in the writings of Hannah More, Charlotte Smith and Ann Yearsley, 1770-1806. Kerri Louise Andrews Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of English November 2006 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 1 Abstract This thesis examines the changes which were occurring in the literary marketplace at the end of the eighteenth century. The place of the traditional aristocratic patrons was gradually being taken by publishers and book sellers, who were increasingly dealing with writers direct. This move away from patronage towards a new form of professionalism took place during two decades of intense political upheaval and questioning of national identity, and at a point where women writers were being seen increasingly as a natural part of literary culture. The argument is focused on three case studies of women who came to prominence in the 1780s, and explores their different experiences of life as professional writers, patrons and protegees. Their work is placed within the context of two significant political and social events; the beginnings of the movement to abolish the slave trade in 1788, and the French Revolution. In particular, the thesis enagages with the Revolution's descent into the Terror in the 1790s, and the response of British writers to this most brutal phase. -
'So Persuasive an Eloquence'? Roles for Women on the Eighteenth-Century Stage
CORE Metadata, citation and similar papers at core.ac.uk Provided by The University of Sydney: Sydney eScholarship Journals online 'So Persuasive an Eloquence'? Roles for Women on the Eighteenth-Century Stage. PENNY GAY The question which has engaged my research interest for the last couple of decades might be summarised as: how does drama make meaning for the contemporary society on which-more than any other type of literary endeavour-it depends for its very survival? With a book called As She Likes It: Shakespeare's Unruly Women (Routledge, 1994) I ventured onto the sacred high ground of Shakespeare criticism to explore the particular eloquence of women's voices in comedy. When I later wrote Jane Austen and the Theatre (Cambridge University Press, 2002) I was following a hunch-that Austen, with her strong dramatic talent for comedy, knew that quasi-theatrical 'scenes' provided a medium for exploring women's roles and lives through their speech. Austen was, in fact, fascinated by theatre, and delighted 1 by I real acting, good hardened real acting', despite the unthinking common notion that she disapproved of theatre because the young people in Mansfield Park got into trouble for indulging in amateur theatricals. My research into the plays that Austen knew, and the theatrical productions that we know she attended, demonstrated that she was a discriminating and enthusiastic theatre-goer and play-reader; and that most of what she saw and read was contemporary drama. Writing that book left me with many further questions to pursue about the quality of eighteenth-century drama-and, in particular, I wondered if there was more to be known and understood about this drama than is acknowledged by the histories written in the twentieth century. -
Introduction
Notes Introduction 1. In Romantic Liars: Obscure Women Who Became Imposters and Challenged an Empire (2006), Debbie Lee chronicles the exploits of six Romantic-era women whose impostures subverted class and gen- der boundaries. Among the women she examines is Mary Bateman (1768–1809), the so-called Witch of Leeds, who pretended to possess supernatural powers and necromantic assistants. Bateman cheated her superstitious victims out of money and, in some cases, poisoned them. 2. See, for example, the passage from Samuel Richardson’s Clarissa (1747–48) excerpted later in this introduction. 3. Objectionable figures were also compared to air-feeding chameleons. For example, a character in Hannah Cowley’s play The Runaway, a Comedy (1776) describes “a Court Dangler” as “one whose ambi- tion is to be fostered with the cameleon food of smiles and nods” (IV.52). 4. Although a postmortem autopsy in 1810 revealed that the Chevalier D’Eon was biologically a man, he succeeded in convincing his con- temporaries that he was female and lived as a woman for decades. 5. Wahrman’s conception of the modern self is heavily influenced by the philosopher Charles Taylor, who argues that during the early Romantic period a stable, unitary, and interiorized notion of self- hood emerged and became normative. For Taylor, “the modern identity” is characterized by inwardness, uniqueness, and moral agency: “Something fundamental changes in the late eighteenth century. The modern subject is no longer defined just by the power of disengaged rational control but by [the] new power of expres- sive self-articulation as well—the power which has been ascribed since the Romantic period to the creative imagination. -
Entertaining Crisis in the Atlantic Imperium, 1770–1790 O'quinn, Daniel
Entertaining Crisis in the Atlantic Imperium, 1770–1790 O'Quinn, Daniel Published by Johns Hopkins University Press O'Quinn, Daniel. Entertaining Crisis in the Atlantic Imperium, 1770–1790. Johns Hopkins University Press, 2011. Project MUSE. doi:10.1353/book.1868. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/1868 [ Access provided at 3 Oct 2021 03:51 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. Entertaining Crisis in the Atlantic Imperium 1770– 1790 This page intentionally left blank Entertaining Crisis in the Atlantic Imperium 1770– 1790 daniel o’quinn The Johns Hopkins University Press Baltimore © 2011 The Johns Hopkins University Press All rights reserved. Published 2011 Printed in the United States of America on acid- free paper 2 4 6 8 9 7 5 3 1 The Johns Hopkins University Press 2715 North Charles Street Baltimore, Mary land 21218- 4363 www .press .jhu .edu Library of Congress Cataloging- in- Publication Data O’Quinn, Daniel, 1962– Entertaining crisis in the Atlantic imperium, 1770– 1790 / Daniel O’Quinn. p. cm. Includes bibliographical references and index. ISBN- 13: 978- 0- 8018- 9931- 7 (hardcover : alk. paper) ISBN- 10: 0- 8018- 9931- 1 (hardcover : alk. paper) 1. En glish drama— 18th century— History and criticism. 2. Mascu- linity in literature. 3. Politics and literature— Great Britain— History—18th century. 4. Theater— England—London—History— 18th century. 5. Theater— Political aspects— England—London. 6. Press and politics— Great Britain— History—18th century. 7. United States— History—Revolution, 1775– 1783—Infl uence. -
Field List: the Long Eighteenth Century • Joseph Addison And
Field list: The Long Eighteenth Century Joseph Addison and Richard Steele, The Spectator 1, 2, 3, 4, 10, 11, 26, 34, 50, 57, 66, 69, 81, 88, 106, 108, 109, 112, 113, 117, 119, 122, 130, 132, 137, 174, 189, 251, 261, 182, 203, 266, 276, 324, 335, 454, 517, 519 (1711-12) Joseph Addison, Cato (1713) Penelope Aubin, Charlotta du Pont (1722) Mary Astell, A Serious Proposal to the Ladies (1694) Anna Barbauld, Poems (1773) Jane Barker, The Galesia Trilogy, Part 1 (i.e./aka, “Love Intrigues,” 1719) William Beckford, Vathek (1782-French, 1786-English) Aphra Behn, Oroonoko (1678); The Rover (1677-81); Love Letters Between a Nobleman and His Sister (1684-87); poems: “The Disapointment,” “On Her Loving Two Equally,” and “To the Fair Clarinda” James Boswell, The London Journal (1762-3); Life of Johnson (1791) Frances Brooke, The Excursion (1777) Edmund Burke, A Philosophical Enquiry Into the Origin of Our Ideas of the Sublime and Beautiful (1756) Frances Burney, Evelina (1778) Margaret Cavendish, Blazing World (1666) Susannah Centlivre, A Bold Stroke for a Wife (1718) Mary, Lady Chudleigh, “The Ladies Defence” (1700), “To the Ladies,” “The Inquiry,” “On the Death of My Honoured Mother,” Essays in Prose and Verse: “Of Knowledge,” “To the Ladies,” “Of Friendship,” John Cleland, Fanny Hill (1748) William Congreve, The Way of the World (1700) Hannah Cowley, The Belle’s Stratagem (1780) William Cowper, The Task: “Expostulation,” “Conversation,” “Retirement,” “The Castaway” (1785) Daniel Defoe, Robinson Crusoe (1719) John Dryden, All For Love (1678); “Absalom and Achitophel” (1681); “Mac Flecknoe” (1684); “To the Pious Memory of .. -
Gender, Genre, and Gossip in Burney's the Witlings And
ABSTRACT GENDER, GENRE, AND GOSSIP IN BURNEY’S THE WITLINGS AND SHERIDAN’S THE SCHOOL FOR SCANDAL This thesis focuses on a comparison between Richard Sheridan’s The School for Scandal and Frances Burney’s unpublished play The Witlings to reveal how female satire writers such as Burney were marginalized in London society. Sheridan, because of his position in society as a male, was not limited in his success because he was able to publish and direct his play The School for Scandal without encountering the same barriers as Burney. The considerable differences in these playwrights’ access to the theater world can be revealed in an analysis of gender and genre in their plays. Additionally, a comparison of gossip, reveals that Burney and Sheridan used satire throughout The School for Scandal and The Witlings, with the hope of ridding London of its scandalmongers. Burney wanted to expose London of gossipmongers to show that the literati elite were snobs among London society. Sheridan had a satirical perspective on gossip to reveal that the refined women lowered their own status through spreading gossip throughout London. Kristen Michelle Johnson December 2012 GENDER, GENRE, AND GOSSIP IN BURNEY’S THE WITLINGS AND SHERIDAN’S THE SCHOOL FOR SCANDAL by Kristen Michelle Johnson A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English in the College of Arts and Humanities California State University, Fresno December 2012 APPROVED For the Department of English: We, the undersigned, certify that the thesis of the following student meets the required standards of scholarship, format, and style of the university and the student's graduate degree program for the awarding of the master's degree. -
MIAMI UNIVERSITY the Graduate School
MIAMI UNIVERSITY The Graduate School Certificate for Approving the Dissertation We hereby approve the Dissertation of Eleni Siatra Candidate for the Degree: Doctor of Philosophy ------------------------------ Laura Mandell, Director ------------------------------ Cindy Lewiecki-Wilson, Reader ------------------------------ James Bromley, Reader ------------------------------ Glenn Platt, Graduate School Representative ABSTRACT A CRITICAL EDITION OF HANNAH MORE'S PERCY: A TRAGEDY By Eleni Siatra This critical edition of Percy: A Tragedy provides a carefully collated text of the best- known drama written by Hannah More. Despite her large literary output and the fame accorded her during her lifetime, More has not received the attention she deserves from literary historians and critics for her dramatic works. Today, her plays are not easily accessible to students of eighteenth century drama because they have not been printed since the early part of the nineteenth century. Percy, first produced in 1777, constitutes an important text in the history of women's contribution to eighteenth century English drama. More's tragedies, particularly Percy, draw on the tradition established by the `she-tragedies' of the late seventeenth century and the historical dramas of the eighteenth century. Elwina's celebrated monologue in Act II against the horrors of war connects More to the evangelical tradition, which grew exponentially during the nineteenth century. The critical introduction also considers the sources of Percy. Here I examine the play in relation to thirteenth century French medieval romances, such as Le Roman du Castelain de Couci et de la dame de Fayel, to eighteenth century French drama, such as Gabrielle de Vergy, in an attempt to establish a connection between those texts and the popular revival of historical romance in eighteenth century English drama. -
1 Sheridan and Women Marianna D'ezio Born Into a Family Whose Reputation and Income Were Anchored in Literature and the Theatr
1 Sheridan and Women Marianna D’Ezio Born into a family whose reputation and income were anchored in literature and the theatre, Richard Brinsley Sheridan’s predisposition to theatrical activity was not unexpected. His father Thomas Sheridan was an actor and a manager, and Sheridan himself had always been surrounded by talented women writers, from his mother Frances Chamberlaine—a gifted authoress and playwright, albeit her work and biography still lack a comprehensive critical study—to his first wife Elizabeth Linley, a singer who managed to make a living from her public performances and contribute to realizing her family’s financial independence. Furthermore, there was another society of women around Sheridan besides his family connections, comprising professional and amateurish playwrights who were pursuing their own way into the highly male-dominated arena of commercial theatres. Of the plays that premiered at Drury Lane during Sheridan’s part-ownership of the theatre and his father’s management in 1778–1781, twenty-six were written by women, including a whole generation of distinguished female playwrights like Hannah Cowley, Elizabeth Inchbald, and Elizabeth Griffith, as well as authoresses like Frances Burney who wanted to try their hand at writing for the stage.1 Official biographies of Sheridan have generally suggested that his role with regard to female theatrical productions was that of mentor.2 At the time of Frances Burney’s early attempts at writing for the stage, for example, when Sheridan had become the manager of Drury -
A Study Guide by Assistant Director Nicholas Leno
A Study Guide by Assistant Director Nicholas Leno Belles Stratagem. A Spoiled Brat Romance by Hannah Cowley: A Study Guide Department of Dramatic Arts, Marilyn I. Walker School of Fine and Performing Arts, November 2014 Page 1 of 19 Table of Contents Study Guide by Nicholas Leno, assistant director Company of The Belle’s Stratagem 2014 Production ................. 3 Hannah Cowley - An Eighteenth Century Dramatist ................. 4 Hannah Cowley’s London ......................................................... 4 Who was Hannah Cowley? ....................................................... 4 The Belle’s Stratagem ............................................................... 6 Cultural tropes and plot coupons ............................................ 10 What are they?....................................................................... 10 How does Cowley’s play utilize tropes? ................................. 11 What happens –the tropes revealed! .................................... 11 How did tropes inform the adaptation? ................................. 13 Jean Baudrillard ....................................................................... 14 Belles Stratagem. A Spoiled Brat Romance by Hannah Cowley: A Study Guide Department of Dramatic Arts, Marilyn I. Walker School of Fine and Performing Arts, November 2014 Page 2 of 19 Company of The Belle’s Stratagem 2014 Production Nicole Titus ……………………………………………………….Stage Manager Kelsey Tuttell……………………………………....assistant stage manager Oriana Marrone…………………………………..assistant stage manager