Appendix: Chronology of Pirate Plays in Britain

Home , Anne Bonny, Black Jack Anderson, Black Pirate, Captain Blood (novel), Captain Hook, Captain Singleton

Heywood, Thomas.Fortune by Land at Sea (ca. 1607–1609). Daborne, Robert. A Christian Turn’d Turk (Most likely Whitefriars Hall, ca. 1609–1612). Fletcher, John, and Philip Massinger. The Double Marriage (King’s Men, ca. 1621). Fletcher, John and Philip Massinger. The Sea Voyage (King’s Men, 22 June 1622). Massinger, Philip. The Renegado; or, The Gentleman of Venice (Cockpit Theatre, 17 April 1624). Massinger, Philip. The Unnatural Combat (Globe Theatre, ca. 1625). Heywood, Thomas.The Fair Maid of the West; or, A Girl Worth Gold, Parts I and II (first performance of part 1 unrecorded; revived with part 2, Cockpit Theatre, 1630). Davenant, John. The History of Sir Francis Drake (Cockpit Theatre, 1658–59). [Music: Matthew Locke.] Behn, Aphra. The Rover; or, The Banish’d Cavaliers(Duke’s Theatre, 24 March 1677). Behn, Aphra. The Rover, Part II (Dorset Gardens, January 1681). Johnson, Charles. The Successful Pyrate (Drury Lane, 7 November 1712). Gay, John. The Beggar’s Opera (Lincoln Inn Fields, 29 January 1728). Anon. Love with Honour; or, The Privateer (Ipswich, 1753). Brown John. Barbarossa, a Tragedy (Drury Lane, 17 December 1754). Gay, John. Polly (Haymarket, 9 June 1777). Cobb, James. The Pirates (Haymarket, 21 November 1792). Cross, John Cartwright. Blackbeard; or, The Captive Princess (Royal Circus, April 1798). Cross, John Cartwright. The Genoese Pirate; or, Black Beard (Covent Garden, 15 Octo- ber 1798; 15 October 1809). Cross, John Cartwright. Sir Francis Drake, and Iron Arm (Royal Circus, 4 April 1800). [Music: Sanderson.] Astley, Philip, Jr. The Pirate; or, Harlequin Victor (Royal Amphitheatre, 25 August 1800; Royalty, 19 October 1801). Arnold, Samuel James. The Veteran Tar; or, A Chip of the Old Block (Drury Lane, 29 January 1801). Farley, Charles P. The Corsair; or, The Italian Nuptials (Haymarket, 29 July 1801). [Music: Arnold.] 162 ● Appendix

Astley, Philip P., Jr. The Pirate; or, Harlequin Victor (Royal Amphitheatre, 25 August 1800; Royalty, 19 October 1801). Farley, Charles. The Corsair; or, The Italian Nuptials (Haymarket, 29 July 1801). [Music: Arnold.] Cross, John Cartwright. The Corsican Pirate; or, The Grand Master of Malta (Royal Circus, 18 June 1803). Reynolds, Frederic. The Caravan; or, The Driver and His Dog (Drury Lane, 5 Decem- ber 1803; East London Theatre, 20 September 1816). Moore, George T. Montbar; or, The Buccaneers (1804). [Jean-Baptiste Picquenard, Monbars l’exterminateur, ou, Le dernier chef des flibustiers: anecdote du nouveau monde. Paris: Chez Galland, 1807.] Anon. The Neapolitan Pirate (Royal Amphitheatre, 15 April 1807). Anon. The Seven Capes; or, The Pirate of Algiers (Royal Amphitheatre, 1 October 1808; Pavilion, 13 February 1809). Anon. Alzira; or, The Algerine Corsair (Pavilion, 6 November 1809). Dibdin, Thomas John.Rokeby Castle; or, The Spectre of the Glen (Sadler’s Wells, 19 April 1813). Dibdin, Thomas John. Kaloc; or, The Slave Pirate (Sadler’s Wells, 9 August 1813). [Music: Reeve.] Dibdin, Charles. The Corsair (Sadler’s Wells, 1 August 1814.) [Music: Reeve.] O’Sullivan, Michael. The Corsair; or, The Pirate’s Isle (Crow-street, Dublin, 1814). [Music: Jonathan Blewitt.] Thompson, C. Pelham.Rokeby; or, The Buccaneer’s Revenge (Dublin, W. H. Tyrrell, 1814). Maturin, Charles Robert. Bertram; or The Castle of St. Aldobrand (Drury Lane, 9 May 1816). Dibdin, Thomas John.The Sicilian; or, The Prince and the Pirate (Royal Circus, 1 July 1816). Payne, John Howard. Slaves in Barbary; or, British Vengeance (Surrey, 29 July 1816; Royal Circus, 16 September 1816; also billed as Slaves in Barbary; or, The Bom- bardment of Algiers). Dimond, William. The Bride of Abydos (Drury Lane, 5 February 1818). [Music: M. Kelly.] Smith, O. Lolonois; or, The Bucaniers of 1660 (Royal Circus and Surrey, 10 August 1818). Barrymore, William. The Pirate of the Isles; or, The Siege of Abydos (Royal Amphithe- atre, 13 August 1821). Planché, James Robinson. The Corsair’s Bride; or, The Valley of Mount Etna (Adelphi, 22 October 1821). [Originally titled The Pirate’s Bride.] Anon. The Corsair’s Son; or, The Fall of Otranto (Royalty, 10 December 1821). Dibdin, Thomas John.The Pirate; or, The Wild Woman of Zetland (Surrey, 7 January 1822). Planché, James Robinson. The Pirate (Olympic, 14 January 1822). [Music: Reeve.] Dimond, William. The Pirate (Drury Lane, 15 January 1822). Girard, H. B. The Dutch irateP ; or, Charles de Voldeck: A Grand Historical Military Spectacle in Two Acts (Sadler’s Wells, 27 May 1822). Anon. Black Beard, the Revengeful Pirate; or, The Captive Princess (Coburg, 10 June 1822). Appendix ● 163

Moreton, Thomas.Sea Devil; or, The False Beacon (Surrey, 25 November 1822). Jerrold, Douglas William. The Island; or, Christian and His Comrades (Sadler’s Wells, 1823). Dibdin, Charles, Jr. The Female Freebooter; or, The Mysterious Host (Royal Amphithe- atre, 21 April 1823). Anon. [adapted from Maturin]. Count Bertram; or, The Pirates (Coburg, 29 Septem- ber 1823). McClaren, Archibald. A Chip of the Old Block; or, The Pirates Repulsed. An Interlude. (December, 1823). [See Arnold, The Veteran Tar; or, A Chip of the Old Block (Drury Lane, 29 January 1801).] Calcraft [Cole], John William. The Pirate; or, The Reimkennar of Zetland (Edinburgh, 29 March 1824). Anon. The Weird Woman of the Isles; or, Scotland’s Ancient Days (Coburg, 19 April 1824). Raymond, Richard John. The Buccaneers (Lyceum, 2 June 1824). Haines, John Thomas.The Haunted Hulk, or, The Rebel’s Heir (Coburg, 26 July 1824). Anon. The Kocuba; or, The Indian Pirate’s Vessel (Surrey, 4 October 1824). Moreton, Thomas.Abdellac, the Barbary Corsair; or, The English Fisherman of Algiers. (Surrey, 27 December 1824). Walker, C. E. The Fall of Algiers (Drury Lane, 19 January 1825). [Music: Bishop. Libretto also attributed to John Howard Payne.] Fitzball, Edward. The Pirate King; or, The Children of the Island (Coburg, 21 February 1825). Milner, H. M. Sir Francis Drake and Iron Arm (Coburg, 4 April 1825). Haines, John Thomas. Elsie Glendining; or, The Witch of the Coast (Regency, 3 May 1825). Almar, George. Sea Lion; or, The Corsairs of Cuba (Coburg, 9 May 1825). Fitzball, Edward. The Pilot; or, A Tale of the Sea (Adelphi, 31 October 1825). Bernard, William Bayle. The Pilot: A Tale of the Sea (Coburg, 17 July 1826). Milner, H. M. The Ocean Fiend; or, The Wreck of the Raven (Coburg, 13 November 1826). Fitzball, M. D. The Flying Dutchman; or, The Phantom Ship (Adelphi, 1 January 1827). [Music: Rodwell.] Somerset, C. A. The Spectre Hulk; or, The Haunted Bay (Surrey, 29 January 1827). Dibdin, Thomas John.Paul Jones; or, The Solway Mariner (Adelphi, 12 February 1827); renamed The Pirate’s Doom; or, The Solway Mariner (Adelphi, 19 February 1827). Fitzball, Edward. The Flying Dutchman; or, The Phantom Ship (Coburg, 9 July 1827). Anon. The Pilot; or, A Tale of the Sea (Coburg, 6 August 1827). Anon. The Freebooters (English Opera House, 20 August 1827). Moncrieff, William Thomas. The Shipwreck of the Medusa; or, The Fatal Raft (Coburg, 2 August 1827). Anon. A Tale of the O’Hara Family; or, Captain John Rock (Coburg, 14 August 1826; October 2, 1827). Milner, H. M. Coast Blockade; or, The Band of Free Traders (Coburg, 8 October 1827). Bernard, William Bayle. Casco Bay; or, The Mutineers of 1727 (Olympic, 3 December 1827). Pennie, J. F. Ethelwolf; or, The Danish Pirates (Coburg, 10 December 1827). 164 ● Appendix

Raymond, R. J. The Wreck of the Leander Frigate; or, The Fatal Sandbank (Coburg, 21 July 1828). [Music: T. Hughes.] Jerrold, Douglas William. Descart, the French Buccaneer; or, The Rock of Annaboa (Coburg, 1 September 1828). Weigl, Joseph. The Pirate of Genoa (English Opera House, 5 September 1828). [Gli amori marinara; English libretto by Wade.] Anon. Divan of Blood; or, The Demon of Algiers (Royal Pavilion, 8 September 1828). Dibdin, Thomas J.Poor Jack; or, Tom Bowling’s Will (Coburg, 1 February 1829). [With naval songs of Charles Dibdin.] Fitzball, Edward. The Red Rover; or, The Mutiny of the Dolphin (Adelphi, 9 February 1829; Surrey, 7 September 1829). Weaver, R. T. The Red Rover; or, The Mutiny of the Caroline: A Nautical Burletta, in Three Acts (London, 1829). Milner, H. M. Pedrillo del Campo; or, The Spanish Rover (Coburg, 16 February 1829). [Music: T. Hughes.] Milner, H. M. The Money Diggers; or, The Devil’s Ship and the Pirates of the Charmed Life (Coburg, 20 April 1829). [Music: T. Hughes.] Anon. The Spectre Pilot (Royal Pavilion, 25 May 1829). Anon. The Lord of the Maelstrom; or, The Elfin Sprite of the Norwegian Seas (Coburg, 6 July 1829). Barrymore, William. The Tartar Woman and Spectre Crew (Surrey, 20 July 1829). [Music: Blewitt.] Barrymore, William. Kisil Irmak; or, The Pirate of Ladrone (Coburg, 21 September 1829). [Music: Blewitt.] Milner, H. M. The Devil’s Ship; or, The Ferryman of Hell-Gate (Coburg, 5 October 1829). [Same as Money Diggers (Coburg, 20 April 1829).] Jerrold, Douglas William. The Flying Dutchman; or, The Spectral Ship (Surrey, 15 October 1829). Nantz, Frederic Coleman. The Brown Devil; or, Chi Chue Ali, the Charmed Pirate: A Nautical Burletta in Two Acts (16 January 1830). Campbell, Andrew V. Tom Bowling (Sadler’s Wells, 1 February 1830). Raymond, Richard John. The Spectre Boat; or, The Weird Woman of Glenfillen (Totten- ham-street Theatre, 12 April 1830). Fitzball, Edward. Koeuba; or, The Indian Pirate’s Vessel (Coburg, 27 September 1830). Anon. The Water Witch; or, The Skimmer of the Sea (Adelphi, 15 November 1830). [Burletta.] Anon. The Pilot; or, A Tale of the Thames (Adelphi, 6 December 1830). [Burlesque of Fitzgerald.] Anon. The Skimmer of the Sea; or, The Water Witch (Sadler’s Wells, 27 December 1830). Nantz, Frederic Coleman. Chi Chu Ali, the Charmed Pirate (Garrick, 7 February 1831). Dibdin, Thomas J.P aul Jones, the Pirate (Coburg, 31 May 1831). [Altered and com- pressed into Two Acts, by the author.] Fitzball, Edward. The Haunted Hulk (Adelphi, 12 July 1831). Appendix ● 165

Fitzball, Edward [?]. The Red Rover (Coburg, 5 December 1831). Haines, John Thomas. The Wizard Skiff; or, The Pirate Boy (Coburg, 26 December 1831; Surrey, 23 July 1832). Anon. Blackbeard, the Pirate of the Indian Seas: A Grand Nautical Drama, in Two Acts: As Performed at the London Theatres (London: J. & H. Purkess, 1832). Anon. Lord Byron in Athens; or, The Corsair’s Isle (Sadler’s Wells, 6 February 1832). Anon. The Blue Anchor; or, Neptune the Smuggler’s Friend (Coburg, 23 April 1832). Anon. Roderick of Ravenschiff; or, The Black Pirate (Royal Pavilion, 11 June 1832). Fitzball, Edward [?]. The Red Rover (Sadler’s Wells, 23 July 1832). Anon. The Devil’s Ship; or, The Pirate of the Charmed Life (Royal Pavilion, 6 August 1832). Bernard, William Bayle. Rip van Winkle; or, The Helmsman of the Spirit Crew (Adelphi, 1 October 1832). Fitzgerald, Edward [?]. The Red Rover (Surrey, 12 March 1833). Haines, John Thomas.The Demon Ship; or, The Buccaneers of Malta (Sadler’s Wells, 10 February 1834). Lemon, Mark. The Pacha’s Bridal (English Opera House, 8 September 1836). [Music: Frank Romer.] Grattan, Henry P. The Corsair’s Revenge (Royal Pavilion, 25 August 1834; Victoria, 15 July 1835; English Opera House, 9 July 1840). Anon. The Corsair! (Drury Lane, 20 March 1836). [Music of Ferdinand Hérold, Zampa; ou La fiancée de marbre.] Fitzball, Edward. The Wood Devil; or, The Vampyre Pirate of the Deep Dell (Sadler’s Wells, 9 May 1836). Haines, John Thomas.The Phantom Ship; or, The Demon Pilot (Surrey, 1 July 1839). Anon. The Sea Witch; or, The Pirate’s Wife (Royal Pavilion, 10 July 1839). Anon. Amalderac, the Black Pirate; or, The Rock of Death (Royal Pavilion, 13 January 1840). Anon. The Black Eagle; or, The Female Captain (Royal Amphitheatre, 19 April 1841). Anon. The Water Witches (English Opera House, 6 June 1842). Anon. The Siege of Abydos; or, The Pirate of the Isles (Apollo, 15 March 1844). Pitt, George Dibdin. The Greek Brothers; or, The Pirate of the Gulph(Queen’s, 4 November 1844). Amherst, J. H. The Pirate Minister; or, The Tiger Crew (Marlybone, 2 December 1844). Atkyns, Samuel. Montrano, the Pirate Lord of Sicily (Albert, 22 March 1845). Pitt, George Dibdin. Pauline the Pirate; or, The Female Buccaniers (Britannia, 24 October 1845). Prest, Thomas Peckett.The Death Ship; or, The Pirate’s Bride and the Maniac of the Deep: A Nautical Romance (1846). Anon. The Bride of Abydos (Royal Amphitheatre, 5 April 1847). Pitt, George Dibdin, The Pirate Smuggler; or, The Mad Girl of St. Martin’s (Britannia, 14 April 1847). Verdi, Giuseppe. Il corsaro (Teatro Grande,Trieste, 25 October 1848). [Libretto: Fran- cesco Maria Piave.] Atkyns, Samuel D. The Corsair; or, The Greek Pirates of the Gulph (L. C. Albert, 2 April 1849). 166 ● Appendix

Amherst, J. H. The Witch of the Waters (Queen’s, September 1849). Jones, Joseph Stevens. Captain Kyd; or, The Wizard of the Sea (Boston, 1856). [Music: J. Friedham.] Gilbert, W. S., The Pirates of Penzance; or, The Slave of Duty (Fifth Avenue Theatre, New York, 31 December 1879). [Music: Arthur Sullivan.] Stevenson, Robert Louis. Treasure Island (1883). [Stage adaptation, St. James’s Theatre (1947).] Barrie, James. Peter Pan; or, The Boy Who Wouldn’t Grow Up (Duke of York’s Theatre, 27 December 1904). Brecht, Bertolt. The Threepenny Opera (Die Dreigroschenoper) (Theater am Schiffbau- erdamm, Berlin, 31 August 1928). [Music: Kurt Weill.] Notes

Introduction 1. Henry Barton Baker, History of the London Stage and Its Famous Players (London: George Routledge and Sons, 1904; rpt. New York: Benjamin Blom, 1969), 253. The Ville de Paris surrendered at the Battle of the Saintes (12 April 1782), when the British fleet under Admiral Sir George Rodney defeated the French. 2. Charles Dibdin, Songs Naval and National of the Late Charles Dibdin (London: John Murray, 1841); and Sea Songs: A New Edition (London: H. G. Clarke & Hayward and Adam, 1846). 3. H. B. Girard, The Dutch Pirate; or, Charles de Voldeck: A Grand Historical Military Spectacle in Two Acts (London: Hodgson & Co., 1825). 4. “Scarborough Cameos: The Old Theatre Royal, by Hapchance,”Scarborough Evening News (1957). Built by the Rev. Thomas Haggett, Church of England, in 1767, the theater “remained under his control for about 40 years, and it was then bought by Stephen George Kemble.” See also Theakston,Theakston’s Guide to Scarborough (1840), 63. 5. C. Meadley, Memorials of Scarborough: A Compilation of Historic Sketches, Anec- dotes, Remarkable Occurrences, Reminiscences of Olden Times, Etc. (London: Simp- kin, Marshall, Hamilton, Kent & Co., 1890), 282. 6. Andrew Cherry, The Soldier’s Daughter: A Comedy in Five Acts (London: W. Flint, 1804). 7. Philip H. Highfill, Kalman A. Burnim, and Edward A. Langhan, “Kemble, Henry Stephen. 1789–1836,” A Biographical Dictionary of Actors, Actresses, Musi- cians, Dancers, Managers, and Other Stage Personnel in London, 1660–1800 (Car- bondale: Southern Illinois University Press, 1982), 8:333. 8. “Kemble.” A Biographical Dictionary, 8:334. 9. “Kemble.” A Biographical Dictionary, 8:335. 10. Frederick Burwick, “Glenarvon on Stage: Impersonating Byron,” in Playing to the Crowd (New York: Palgrave, 2011), 71–86. 11. Review of Korastikan, Prince of the Assassins (Coburg, May 7, 1821), The Cornu- copia; or, Literary and Dramatic Mirror (June 1821) 1:91. 12. John Howard Payne, Charles the Second; or, The Merry Monarch (Covent Garden, May 27, 1824); founded on Alexandre Duval’s La jeunesse de Henri V. 13. “Kemble.” A Biographical Dictionary, 8:333–35. 168 ● Notes

14 William Page, “The Borough of Scarborough,”A History of the County of York North Riding (London: Constable and Co., 1923), 2:538–60. 15. Barrie Farnill, Robin Hood’s Bay: The Story of a Yorkshire Community (Skipton, North Yorkshire, UK: Dalesman Publishing Co. Ltd., 1966), 12. See also Arthur Nevile Cooper, “Facts and Fancies of the Yorkshire Cliffs,” in Across the Broad Acres (London: A. Brown & Sons, 1909). 16. Farnill, Robin Hood’s Bay, 22. 17. Farnill, Robin Hood’s Bay, 22. 18. Farnill, Robin Hood’s Bay, 34. 19 Meadley, Memorials of Scarborough, 281. 20. Joseph Brogden Baker, The History of Scarborough (London: Longman & Co, 1882), section 13. See also Arthur Rowntree, ed., The History of Scarborough (London: J. M. Dent & Sons Ltd., 1931). 21. Baker, The History of Scarborough, section 16. 22. William P. Russell, The Present War Is or Will Be the Most Popular That Was Ever Wag’d by Great Britain against the Domineering Insolence of France . . . Of Course It Follows That the Aid of Press Gangs (That National Disgrace!) May Well Be Dis- pensed With (London: Sold by the author, 1803). 23. David J. Starkey, “Pirates and Markets,” in C. R. Pennell, ed., Bandits at Sea: A Pirates Reader (New York: New York University Press, 2001), 107–124; see also John Anderson, “Piracy in Eastern Seas 1750–1850: Some Economic Implica- tions,” in David J. Starkey, E. S. A. Van Eyck van Hesslinga, and J. A. de Moor, eds. Pirates and Privateers: New Perspectives on the War on Trade in the Eighteenth and Nineteenth Centuries (Exeter: University of Exeter Press, 1997), 87–105; Charles P. Kindleberger, Mariners and Markets (New York: New York University Press, 1992), 83. 24. Barbara Fuchs, “Faithless Empires: Pirates, Renegadoes, and the English Nation,” ELH 67.1 (2000): 45–69, esp. 48–49. 25. British Library, C 13137. Playbills 287. 26. British Library, C 13137. Playbills 287. 27. British Library, C 12137. Playbills 287, Weymouth. 28. Alethea Hayter, The Wreck of the Abergavenny: The Wordsworths and Catastrophe (London: Macmillan, 2002), on the ship’s cargo, 45–52; on the salvaging, 115–25. 29. Richard E. Matlak, Deep Distresses: William Wordsworth, John Wordsworth, Sir George Beaumont: 1800–1808 (Newark: University of Delaware Press; London: Associated University Presses, 2003), 93, 103. 30. See, for example, Benerson Little, The Sea Rover’s Practice: Pirate Tactics and Tech- niques, 1630–1730 (Washington, DC: Potomac Books, 2005), 111–19.

Chapter 1 1. Alternatively, pirates may simply be declared dead; Daborne’s A Christian Turn’d Turk depicted the tragic demise of the renegade John Ward in 1612; Ward himself survived another ten years. Various fictional texts began declaring John Avery Notes ● 169

dead in the 1720s, although no one then or now is really certain what had become of him. 2. See Peter Earle, The Pirate Wars (London: Methuen, 2003), 212–17; Angus Kon- stam, The History of Pirates (Guilford, CT: Lyons Press, 1999), 148–63. Another pirate-generating problem was the mass naval and privateering unemployment that inevitably followed Napoleon’s final defeat. The new Atlantic pirates also included men and ships from the United States, who obviously had not existed as such in the seventeenth and early eighteenth centuries. 3. Margaret Anne Doody, The True Story of the Novel (New Brunswick, NJ: Rutgers University Press, 1996), 45. 4. The term and the concept ofnationless men did have real legal weight and presence. For example, in the trial of Stede Bonnet and his men, the attorney general resorted immediately to customary rhetoric that asserted, “Pirates prey upon all Mankind, their own Species and Fellow-Creatures, without Distinction of Nation or Religions; English, French, Spaniards, and Portuguese, and Moors and Turks, are all alike to them” (The Tryals of Major Stede Bonnet, and Other Pirates [London: Benj. Cowse, 1719], 8). 5. Arne Bialuschewski, “Jacobite Pirates?” Histoire sociale/Social History 44.87 (2011): 149. 6. The Lady’s Magazine 4 (1773): 95. 7. On the lawsuit and its outcome, see Richard Frohock, Buccaneers and Privateers: The Story of the English Sea Rover, 1675–1725 (Newark: University of Delaware Press, 2012), 63–68. 8. Robert C. Ritchie, Captain Kidd and the War against the Pirates (Cambridge, MA: Harvard University Press, 1986), 107–08, 214–16. 9. In The Privateer’s Man both “true” pirates and legal privateers are featured promi- nently and criticized for their similarities. The protagonist, Alexander Musgrave (in true romantic form, a man of excellent family who ran away in disgust when his widower father married a local dairymaid), opens the novel as a privateersman and gradually grows more disenchanted with the profession, attempting to leave it several times before finally retiring triumphantly to a baronetcy and marriage to the woman of his choice. 10. Earle, The Pirate Wars, 19–21. 11. Earle, The Pirate Wars, 59. During the Golden Age, Marcus Rediker calculates that 9.8 percent of pirates were “in some manner Irish” (Marcus Rediker, Villains of All Nations: Atlantic Pirates in the Golden Age [Boston: Beacon Press, 2004], 52). 12. Christopher Hill, “Radical Pirates?” The Collected Essays of Christopher Hill, Vol- ume III: People and Ideas in Seventeenth-Century England (Amherst: University of Massachusetts Press, 1987), 165. 13. The text’s authorship has not been satisfactorily established but is sometimes assigned to Daniel Defoe or to Nathaniel Mist. Rejecting the first attribution and interested in but not convinced of the second, this volume’s authors have opted to refer to the author as “Charles Johnson,” although this was most probably a pseudonym. TheGeneral History of the Pyrates was attributed to Defoe in John 170 ● Notes

Robert Moore’s Defoe in the Pillory and Other Studies (1939); that attribution is now largely disallowed following Furbank and Owens’s The Canonization of Daniel Defoe (1988) and Defoe De-attributions (1994), which vociferously chal- lenge Moore. For the argument in favor of Mist, see Arne Bialuschewski, “Daniel Defoe, Nathaniel Mist, and the General History of the Pyrates,” Papers of the Bib- liographical Society of America 98.1 (2004): 21–38. 14. TheGeneral History first appeared on 15 May 1724, and was already in its fourth edition by 1726, adding a second volume by 25 July 1728. (It was also, predict- ably if ironically, very often pirated.) It has remained in print in various forms since. 15. Neil Rennie, Treasure Neverland: Real and Imaginary Pirates (Oxford: Oxford University Press, 2013), 33. 16. An exception might be the early twentieth century’s loudly anti-Jacobite Captain Blood (1922); Sabatini’s well-received yarn begins with the doomed Monmouth Rebellion and ends with the triumphant assertion of Hanoverian justice. 17. On Charlotta du Pont’s dashing Jacobite pirate captain, see chapter 6. The Priva- teer’s Man, a tale of brothers unjustly banished from their rightful inheritance, is set in the 1740s, making pointed reference to Culloden and the ’45; the British government’s attempt to root out Jacobites through both violence and espionage contributes several important plot points. Our narrator is a Protestant, but sym- pathetic to both Jacobites and Catholics—a sympathy that serves him well, for it provides him with powerful friends when in South America, and even within his own government when he has been imprisoned. 18. Initially, the upsurge in piracy was caused not by Jacobitism but by a Spanish treasure fleet that sunk near Florida in 1715—Caribbean vessels rushed to plunder it and, failing that, anyone else in the area (Bialuschewski, “Jacobite Pirates” 150). 19. Bialuschewski, “Jacobite Pirates,” 154. 20. Joel Baer, “The Complicated Plot of Piracy: Aspects of English Criminal Law and the Image of the Pirate in Defoe,” Eighteenth Century: Theory and Interpretation 23.1 (1982): 14n36. 21. Bialuschewski, “Jacobite Pirates,” 152–53. 22. But Ireland and piracy had a checkered history: in the seventeenth century, Mediterranean pirates commonly hid in and traded with the inhabitants of Irish harbors, while in 1631 Algerian corsairs, aided by renegados, shockingly raided the Irish coast (Adrian Tinniswood, Pirates of Barbary: Corsairs, Conquests, and Captivity in the Seventeenth-Century Mediterranean [New York: Penguin, 2010], 3–4, 134–39). See also Barbara Fuchs, Mimesis and Empire: The New World, Islam, and European Identities (Cambridge: Cambridge University Press, 2004), 121. 23. See Erin Mackie, who argues that more than other literalized criminals, pirates show “how dominant culture exploits the powers and structures of authority that it officially renounces” (Erin Mackie,Rakes, Highwaymen, and Pirates: The Mak- ing of the Modern Gentleman in the Eighteenth Century [Baltimore: Johns Hopkins University Press, 2009], 114). Notes ● 171

24. Kenneth J. Kinkor, “Black Men under the Black Flag,” in Bandits at Sea: A Pirates Reader, ed. C. R. Pennell (New York: New York University Press, 2001), 200; Peter T. Leeson, The Invisible Hook: The Hidden Economics of Pirates (Princeton, NJ: Princeton University Press, 2009), 170. 25. W. Jeffrey Bolster,Black Jacks: African American Seamen in the Age of Sail (Cam- bridge, MA: Harvard University Press, 1997), 15; Ritchie, 110. 26. Earle, The Pirate Wars, 115; Ritchie, 37–38. 27. Earle, The Pirate Wars, 167. 28. Rediker, Slave Ship, 176, 250. 29. Readers ought to question the extent to which “joyous camaraderie” and “an ethic of justice” (Rediker, Villains of all Nations, 9) really existed among pirate communities—see for example Leeson’s contrary sense that “most sailors who became pirates did so for a more familiar reason: money” (11). Yet Rediker’s connection between pirates and the heroic pursuit of justice in authority is unquestionably present in many of the legends that surround the exploits of John Avery with which this chapter concludes. 30. Defoe, The Review 107 (18 October 1707), 425–26. 31. Baer, “The Complicated Plot of Piracy,” 7. 32. Daniel Defoe, “A True Account of the Design and Advantages of the South-Sea Trade: With Answers to All the Objections Rais’d against It” (London: J. Mor- phew, 1711), 10, 20–21. 33. Madagascar; or, Robert Drury’s Journal (1729) details nearly 14 years of royal slavery among the Tandroy people of Madagascar. For Drury’s fellow midship- man-turned-royal-slave Nick Dove, pirates meant salvation, for Dove was able to escape slavery by canoeing to a pirate ship. Piracy is continually noted as a presence on the island, although pirates are clearly not the ones in charge. There are at least 12 different mentions of pirates and pirate ships within Drury’s narrative; the most common context involves pirates behaving badly and angering the Malagasy, thereby making Drury’s life harder; some pirates, like Samuel Burgess and John Pro, are there to work in the slave trade. 34. While their trade with and around Madagascar was clearly important enough to justify English concerns over its potential disruption by “pirate” communities, the notion that every pirate who landed there could set himself up as king of a threatening new nation was far more myth than reality; Madagascar was by no means a no-man’s-land or an Eden ripe for the colonizing. On the contrary, as Jane Hooper notes, “These pirates did not wash up on the shores of an unpopu- lated Madagascar. Rather they had to work with Malagasy elites and fight for survival on the island” (Jane Hooper, “Pirates and Kings: Power on the Shores of Early Modern Madagascar and the Indian Ocean,” Journal of World History 22.2 [2011]: 225). 35. According to Marina Carter, most pirates in the region were active slave traders (Marina Carter, “Pirates and Settlers: Economic Interaction on the Margins of Empire,” in Fringes of Empire: Peoples, Places, and Spaces in Colonial India, ed. Sameetah Agha and Elizabeth Kolsky [Oxford: Oxford University Press, 2009], 172 ● Notes

51). Carter here pointedly rejects Jan Rogoziński’s “romanticized” depiction of the pirates’ openness to Malagasy culture and customs, arguing the main differ- ence between the pirates of Madagascar and Europeans on the mainland seems to be that the pirates either had the sense not to, or lacked the strength to try to enslave the populations among whom they immediately lived. 36. While Misson is a figure of romance, Tew was perfectly real; by advancing Mis- son’s impossible dream and then dismissing its existence by reasserting the historical timeline in Tew, Johnson experiments in a surprisingly early example of fictional counterfactual writing. 37. Rediker, Villains of all Nations, 9. 38. He evaded capture partly due to the connivance of colonial governments, and almost none of his 260-odd men were ever tried or convicted, either. One of his pirates married the daughter of Philadelphia’s governor. The first attempt to try 6 of his men in England ended in jury nullification—though they were eventually executed in 1696 (Joel Baer, Pirates of the British Isles [Stroud, UK: Tempus, 2005], 106). 39. Moreover, trial records suggest Every stayed aboard the Fancy, neither joining with nor attempting to restrain his abusive men (Baer, Pirates of the British Isles, 102). 40. Samuel Annesley, “Samuel Annesley and Ephraim Bendall at Surat to Bombay 12 November 1695,” in Armenian Merchants of the Seventeenth and Early Eighteenth Centuries: English East India Company Sources, ed. Vahé Baladouni and Margaret Makepeace (Philadelphia: American Philosophical Society, 1998), 212. 41. Post Boy #199, 13–15 August 1696. See also Joel Baer, “Popular Ballads,” in Brit- ish Piracy in the Golden Age, vol. 4, ed. Joel H. Baer (London: Pickering and Chatto, 2007), 365. 42. Joel Baer, “Bold Captain Avery in the Privy Council: Early Variants of a Broad- side Ballad from the Pepys Collection,” Folk Music Journal 7.1 (1995): 13. 43. The line also appears verbatim in the “Memoirs Concerning That Famous Pyrate” (350). 44. The variation in 1709 is very minor: “one that might advance as far upon the Sur- face of the Ocean, and make as signal Discoveries, as his Predecessors, the Admi- rals Drake and Hawkins, who had both, like him, been Inhabitants of Plymouth” (19–20). 45. See John Richetti, Popular Fiction before Richardson: Narrative Patterns 1700– 1739 (Oxford: Clarendon Press, 1992), 65–70. Notably, Richetti makes the argument that the appeal of the General History of the Pyrates lies primarily in its colorful and outsize characters, not its accuracy or scrupulous attention to facts: it thus functions as a compelling experiment upon legend. 46. This Charles Johnson penned 19 plays and was, in the words of Matthew Kin- servik, “one of the most diverse playwrights of the time” (Matthew Kinservik, Disciplining Satire: The Censorship of Satiric Comedy on the Eighteenth-Century Stage [Cranbury, NJ: AAUP, 2002], 46). 47. The play’s first run lasted four nights; the author received an additional benefit on 16 December (London Stage, 290). Aspects of the play were adapted from Lodo- wick Carlell’s Arviragus and Philicia (1639), but the central conceit, of a captive Notes ● 173

princess held by a pirate empire in Madagascar, originated with popular cultural obsession over the 1694 attack in East Indian waters of a ship belonging to the mogul of India by the pirate John Avery. The subplot about De Sale’s treachery comes from the 1709 van Broeck text. 48. On the utopian imagery of the pirate nation in this play, see Gunda Windmüller, Rushing into Floods: Staging the Sea in Restoration and Early Eighteenth Century English Drama (Goettingen: Bonn University Press, 2012), 131–39. 49. Bridget Orr notes that the sheer masculinity of the play and its semimerito- cratic monarchy is unusual for a period that preferred its utopias to celebrate the female imagery of Queen Anne’s rule (Bridget Orr, Empire on the English Stage, 1660–1714 [Cambridge: Cambridge University Press, 2001], 188). Turley, in contrast, reads the play as warning against “too-strong monarchy” during a period of national concern over Queen Anne’s unsettled succession (Hans Turley, Rum, Sodomy, and the Lash: Piracy, Sexuality, and Masculine Identity [New York: New York University Press, 1999], 65). 50. John Dennis, The Critical Works of John Dennis, Volume 2: 1711–1729, ed. E. N. Hooker (Baltimore: Johns Hopkins University Press, 1943), 398. 51. “The Tryals of Joseph Dawson, Edward Forseith, William May, William Bishop, James Lewis, and John Sparks: For Several Piracies and Robberies,” A Compleat Collection of State-Tryals, and Proceedings upon Impeachments for High Treason, and other Crimes and Misdemeanours; from the Reign of King Henry the Fourth, to the End of the Reign of Queen Anne, vol. 4 of 4 (London: 1719), 224–25. 52. He also kept slaves. According to Carter, “A considerable number of the men on Indian Ocean pirate ships were black . . . Avery and other pirates who captured Indian ships kept the native crews, known as lascars, on board for considerable periods of time” (51). 53. Muhammad Háshim, Muntakhabu-l Lubáb Muhammad Sháhí (Táríkh-i Kháfí Khán), trans. and ed. H. M. Elliot and John Dowson, in The History of India as Told by Its Own Historians: The Muhammadan Period, Vol. 7 (New York: AMS Press, 1966), 350. Kháfí Khán’s account also invokes the romantic tradition of death before dishonor, stating, “Several honourable women, when they found an opportunity, threw themselves into the sea, to preserve their chastity, and some others killed themselves with knives and daggers” (350–51). 54. For example, according to Linda Colley, there are no documented cases of British women being forced into seraglios after the 1720s, and while it was not the norm for literature to represent Barbary captivity as sexually threatening to women before the 1720s, the reverse very quickly became true afterward (Linda Colley, Captives: Britain, Empire, and the World, 1600–1850 [New York: Anchor Books, 2002], 128).

Chapter 2 1. Stephen Storace, The Pirates: An Opera in Three Acts, as Performed at the Theatre Royal Drury Lane. Libretto by James Cobb (London: Printed and sold by J. Dale, No. 19 Cornhill and No. 132 Oxford Street opposite Hanover Square, 1792). 174 ● Notes

2. William H. Husk, “Storace, Stephen,” Grove’s Dictionary of Music and Musicians, 10 vols, ed. Eric Blom (New York: St. Martin’s Press, 5th ed., 1961), 8:103–104. Storace and Cobb collaborations at Drury Lane include The Doctor and the Apoth- ecary (25 October 1788), The Haunted Tower (24 November 1789), The Siege of Belgrade (1 January 1791), The Pirates (21 November 1792), The Cherokee (20 December 1794); Storace also composed the music to George Colman’s The Iron Chest (12 March 1796). 3. Weigl’s opera was performed under several titles: Gli Amori Marinari; Der Korsar, oder, Die Liebe unter den Seeleuten; L’Amor marinaro, Amor als Matrose. In addition to its premiere at the Burgtheater Vienna (15 October 1797), it was performed at Dresden (1798), Ljubljana (1799), Mannheim (1800), Berlin (1800), Budapest (1800), Breslau (1801), Hannover (1805), Bologna (1805), Florence (1810), Milan (1811), Prague (1814), Kärntnertor-Theater Vienna (1821 and 1833), Königstädtisches Theater Berlin (1827). http://www.operone.de/kom- ponist/weigl.html (accessed 22 September 2012). 4. Theodore Fenner,Opera in London: Views of the Press, 1785–1830 (Carbondale: Southern Illinois University Press, 1994), 492–94. The work of Joseph Hawes is misattributed by Fenner to Joseph Augustine Wade. Hawes also arranged the London performance of another pirate opera, The Freebooters (English Opera House, 20 August 1827; repeated in 1828). This was Fernando Paer’sI fuorusciti di Firenzi (Dresden 1802), libretto by Angelo Anelli. 5. British Library, Playbills 326. Lyceum [English Opera House] 1827–35. 5 Sep- tember 1828, The Pirate of Genoa. Giovanni De Gamerra, Songs, Duets, Trios, &c. in the New Grand Comic Opera, Called “The Pirate of Genoa!” The Music Composed by Weigl, the Whole Arranged and Adapted to the English Stage by W. Hawes (Lon- don: Printed for the proprietor, 1828). 6. Michael Williams, Some London Theatres Past and Present (London: Sampson, Low, Marston, Searle & Rivington, 1883), 145 and “Three Lyceums,” 117ff. John Ebers, Seven Years of the King’s Theatre (London: W. H. Ainsworth, 1828; rpt. New York: Benjamin Blom, 1969). 7. Patrick Colquhoun, A Treatise on the Police of the Metropolis: Containing a Detail of the Various Crimes and Misdemeanors by which Public and Private Property and Security Are, at Present, Injured and Endangered: And Suggesting Remedies for Their Prevention, 5th ed., rev. (London: H. Fry, 1797), vii–xi. 8. E. P. Thompson,The Making of the English Working Class (London: V. Gollancz, 1963), 59–60. 9. Patrick Colquhoun, A Treatise on the Commerce and Police of the River Thames: Containing an Historical View of the Trade of the Port of London; and Suggesting Means for Preventing the Depredations Thereon, by a Legislative System of River Police (London: J. Mawman, 1800). 10. Johnson, The Successful Pyrate (1713); based on Arviragus and Philicia by Lodo- wick Carlell. 11. Alan Cunningham, “Miles Colvine, the Cumberland Mariner,” Traditional Tales of the English and Scottish Peasantry (London: F. & W. Kerslake, 1874), 188–212. Notes ● 175

12. British Library, Playbills 174–75. Rob Roy’s Wife (Coburg, 31 October 1825). 13. British Library, Playbills 174–75. Glenarvon (Coburg, 3 December 1821). 14. Aimeé Boutin, “Shakespeare, Women, and French Romanticism,” MLQ 65.4 (2004): 505–29. 15. British Library, Playbills 174–75. Jack Sheppard the Housebreaker (Coburg, 18 April 1825); Wat Tyler and Jack Straw; or, The Life and Death of Richard II (Coburg, 25 April 1825). 16. The conclusion in the smugglers’ cavern is Milner’s alteration of the plot. In Cun- ningham’s tale, Miles, armed with sword and pistol, throws open the door and dispatches Killydawke and his mate at his threshold. Milner also presents his melodrama in chronological sequence, whereas Cunningham relies on narrative flashback, telling the episode with the daughter first and then relating the story of the kidnapping and shipwreck. 17. The Cinque Ports Act 1811 (51 Geo 3 c 36); the Cinque Ports Act 1821 (1 and 2 Geo 4 c 76); the Cinque Ports Act 1828 (9 Geo 4 c 37); see Edward Hinings, History People and Places in the Cinque Ports (Buckinghamshire, UK: Spurbooks, 1975). 18. British Library, Playbills 174–75. Preventive Service; or, Romance of the Coast (Coburg, 23 February 1823). 19. Clarkson Stanfield,Stanfield’s Coast Scenery: A Series of Views in the British Chan- nel, from Original Drawings Taken Expressly for the Work (London: Smith, Elder and Co., 1836), 43. 20. Cross, Blackbeard; or, The Captive Princess (1830). 21. Sanderson, Blackbeard; or, The Captive Princess, original score (1798, 1809). 22. Sanderson, Songs, Duets, Glees, Chorusses, . . . Black Beard; or, The Captive Princess (1799). 23. Bolster, Black Jacks: African American Seamen, 4, 69: Piracy “became one of the most common male occupations” for Africans and African-Americans in the early nineteenth century. Ships could employ more than one hundred thousand black men per year. Black sailors also filled about one-fifth of the populations at various sea havens. Piracy “provided opportunities for blacks to escape the prevailing racism of other occupations” for African-Americans “and to improve their condi- tion”; of the enslaved, many understandably “hungered for that mite of liberty” that piracy could offer; 12–13. 24. Cross, Blackbeard; or, The Captive Princess (1830). 25. British Library, Playbills 291. “Grand Heroic Pantomime Ballet in Action,” Black-Beard, The Pirate; or, The Captive Princess (Huddersfield, 27 June 1800). 26. Broadwell, ed., Blackbeard; or, The Captive Princess, in Romantic-Era Songs, with Sanderson’s sheet music and audio recordings: http://www.sjsu.edu/faculty/douglass/music/album-blackbeard.html. 27. John Grainger, The Amiens Truce: Britain and Bonaparte 1801–1803 (Wood- bridge, NJ: Boydell Press, 2004). The preliminary treaty of 1 October 1801, was followed by the Peace of Amiens on 27 March 1802. 28. British Library, Theatre, Stockport. Playbills 284 (1). 176 ● Notes

29. The exploits of Captain Henry Morgan were celebrated on the stage as late as 1925 when The Buccaneer by Maxwell Anderson and Laurence Stallings pre- miered at the Plymouth Theatre, New York (renamed the Gerald Schoenfeld The- ater in 2005). Frank Richard Stockton, Buccaneers and Pirates of Our Coasts (New York: Macmillan, 1898; rpt. Fairford, Glostershire, UK: Echo Library, 2006), 59. 30. Harry Kelsey, Sir Francis Drake: The Queen’s Pirate (New Haven, CT: Yale Univer- sity Press, 1998), 63–64. 31. Derek Hughes, Versions of Blackness: Key Texts on Slavery (Cambridge: Cambridge University Press, 2007), 307–12. 32. Kenneth R. Andrews, Trade, Plunder and Settlement: Maritime Enterprise and the Genesis of British Empire, 1480–1630 (Cambridge: Cambridge University Press, 1984), 131. 33. Cross, Sir Francis Drake, and Iron Arm. Music: Sanderson (1809). In addition to Blackbeard, see also Cross, The Corsican Pirate; or, The Grand Master of Malta (Royal Circus, 18 June 1803). 34. Leonard W. Connolly, The Censorship of British Drama, 1737–1824 (San Marino, CA: Huntington Library, 1976), 43, 106. 35. Burwick, “Heroic Rebels and Highwaymen,” Playing to the Crowd: London Popu- lar Theatre, 117–39. 36. R. B. Ross, “A Liverpool Sailor’s Strike in the 18th Century,” Transactions of the Lancastershire and Chestershire Antiquarian Society 69 (1958). 37. Thompson,Making of the Working Class, 59–60, 63–66. 38. Roy Adkins, Trafalgar: The Biography of a Battle (New York: Little Brown, 2004). 39. Cumberland, The Victory and Death of Lord Viscount Nelson (Drury Lane, 11 November 1805); Thomas John Dibdin,Nelson’s Glory (Covent Garden, 7 November 1805). Fitzball, Nelson: The Life of a Sailor (Adelphi, 19 November 1827). 40. Old Royal Naval College, Greenwich. http://www.ornc.org/ (accessed 4 Septem- ber 2012). 41. Anne Petersen, “‘You Believe in Pirates, Of Course . . .’: Disney’s Commodifica- tion and ‘Closure’ vs. Johnny Depp’s Aesthetic Piracy of Pirates of the Carib- bean,” Studies in Popular Culture 29.2 (Apr. 2007): 63–81. 42. Hakeem Kae-Kazim as Gentleman Jocard. Walt Disney Pictures’ Pirates of the Caribbean: At World’s End (2007). http://pirates.wikia.com/wiki/Jocard (accessed 22 August 2014). 43. Love Is but an April Day, a favorite ballad sung with the utmost applause, by Mr. Benson, At Sadler’s Wells Theatre in KALOC, the slave pirate, written by C. Dib- din Jun Composed by W. Reeve. (London: Printed by Button and Whitaker), 75. St. Pauls Church Yard. 44. The European Magazine, and London Review 73 (May 1818): 434. Review of Kaloc (Sadler’s Wells, 3 April 1818). 45. The European Magazine, 434. “The interestingmelo-drama of Kaloc, was this evening revived for a few nights, and exhibited Mr Grimaldi to great advantage in the character of the Pirate. His delineation of the part was just, and his execution Notes ● 177

vigorous and impressive—it was destitute of that rant and bombast too often resorted to in serious pantomime, and established his right to a very eminent station in this department of the drama—the sailor received due justice from the hands of Mr. Campbell, who faithfully represented the intrepidity, honesty, and benevolence of a British tar. Mr. Slader, as an overseer of slaves was very effective, and paid a compliment to the British fair which they truly deserve—giving as reason for a Turks plurality of wives, that the graces an Englishman finds in one woman, a Turk is obliged to look for in twenty. Miss Tunstall sings a pretty song, and played a trifling part very neatly.” See also Charles Dickens, Memoirs of Joseph Grimaldi (London: Richard Bentley, 1846), 118. 46. Philip Gould, Barbaric Traffic: Commerce and Antislavery in the 18th-Century Atlantic World (Cambridge, MA: Harvard University Press, 2003), 50. 47. Hugh Thomas.The Slave Trade: The Story of the Atlantic Slave Trade: 1440–1870 (New York: Simon & Schuster, 1997, 2006), 591. 48. Marcus Rediker, The Slave Ship: A Human History (New York: Viking Penguin, 2007), 340. 49. Obi, ed. Charles Rzepka, Romantic Circles Praxis (August 2002). http://www. rc.umd.edu/praxis/obi/index.html (accessed 4 September 2012). 50. Cross, King Caesar; or, The Negro Slaves (1801). Cross represented the Slave Insur- rection of 1741 in New York. 51. Morton, The Slave: A Musical Drama, . . . Musick by Mr. Bishop (1816). 52. Joshua Marsden, Sketches of the Early Life of a Sailor (1812?; 3rd ed. 1821). 53. Thompson,Making of the English Working Class, 62. 54. Rediker, Villains of All Nations, 50, 66–68. 55. Paul A. Gilje, Liberty on the Waterfront (Philadelphia: University of Pennsylvania Press, 2004), 13. 56. Payne, The Sicilian; or, The Prince and the Pirate (Royal Circus, 1 July 1816); Jerrold, Descarte, the French Buccaneer; or, The Rock of Annaboa (Coburg, 1 Sep- tember 1828); anon. The Neapolitan Pirate (Royal Amphitheatre, 15 April 1807); Girard, The Dutch Pirate (Sadler’s Wells, 27 May 1822); The Pirates; or, The Shipwreck’d Seamen and the Cannibals (Royalty, 10 March 1823); Count Bertram; or, The Pirates (Coburg, 29 September 1823); The Buccaneers (Lyceum, 2 June 1824); Ethelwolf; or, The Danish Pirates (Coburg, 10 December 1827); Roderick of Ravenschiff; or, The Black Pirate (Royal Pavilion, 11 June 1832). 57. David Cordingly, Under the Black Flag: The Romance and Reality of Life among the Pirates (New York: Harcourt, 1995), 183–187. 58. Jones, Captain Kyd; or, The Wizard of the Sea (1856); music by J. Friedham (1840). J. S. Jones, Plays, 6 vols. (New York: S. French, 1840). 59. Alexandre Olivier Exquemelin, The Bucaniers of America; or, A True Account of the Most Remarkable Assaults Committed of Late Years upon the Coasts of the West- Indies [De Americaeneche Zee Roovers (Amsterdam, 1678)] (London: Printed for William Crooke, 1684), 79–119. 60. John Fawcett (1768–1837) gained his acting success at Haymarket under the management of George Colman, who wrote parts especially for talents; Fawcett 178 ● Notes

was best known as Dr. Pangloss in The Heir at Law (1797) and as Dr. Ollapod in The Poor Gentleman (1798). 61. Miss Taylor also performed the title role in Coleridge’s Zapolya, and she was Rebecca in Ivanhoe. 62. Exquemelin, Bucaniers of America (1684). Smith may have also consulted Jean- François André, L’Olonais, fameux et célèbre capitaine (1812). 63. Peake, Presumption; or, the Fate of Frankenstein (1823), ed. Stephen Behrendt. Romantic Circles, http://www.rc.umd.edu/editions/peake/. 64. Christopher Murray, Robert Elliston, Manager: A Theatrical Biography (London: The Society for Theatre Research, 1975), 131–32. 65. Planché, The Vampire; or, The Bride of the Isles (1826). 66. Frederick Burwick, “Romantic Drama: From Optics to Illusion,” in Literature and Science: Theory and Practice, ed. Stuart Peterfreund (Boston: Northeastern University Press, 1990), 167–208. 67. Revived as The Devil’s Ship; or, The Pirate of the Charmed Life (Royal Pavilion, 6 August 1832); see also The Brown Devil; or, The Charmed Pirate (16 January 1830). 68. Washington Irving, Tales of a Traveller, by Geoffrey Crayon, Gent (London: John Murray, 1824). 69. Ben Harris McClary, ed, Washington Irving and the House of Murray: Geoffrey Crayon Charms the British, 1817–1856 (Knoxville: University of Tennessee Press, 1969), 64–67. 70. Robert Louis Stevenson, Treasure Island, ed. John Seelye (New York: Penguin Books, 1999), 194. 71. George Barrington, Voyage to Botany Bay (1795), ed. Suzanne Rickard (Leicester: Leicester University Press, 2001). See also Jonathan Eyers, Don’t Shoot the Alba- tross! Nautical Myths and Superstitions (London: A & C Black, 2011); and Horace Beck, “Spectre Ships,”Folklore and the Sea (Middletown, CT: Marine Historical Association, Wesleyan University Press, 1973), 455–77. 72. British Library, Sadler’s Wells, Playbills 165. 73. Edward Howard, Rattlin the Reefer, 3 vols. (London: Richard Bentley, 1836). 74. Haines, Rattlin the Reefer; or, The Tiger of the Sea (1836). 75. William Bayle Bernard, The Freebooter’s Bride; or, The Black Pirate of the Medi- terranean, Including The Mystery of the Morescoes: A Romance, Interspersed with Historical Allusions to the Reign of Charles V, 5 vols. (London: A. K. Newman, 1829). 76. Bernard also wrote a more faithful dramatic adaptation of Irving’s tale: Rip van Winkle; or, The Legend of the Catskill Mountains: A Romantic and Domestic Drama in 2 Acts (1833). James Henry Hackett’s manuscript prompt books, Hackett Col- lection, Victoria and Albert Museum. 77. Anon. [Student of the Inner Temple] The Criminal Recorder; or, Biographical Sketches of Notorious Public Characters Including Murderers, Traitors, Pirates, Muti- neers, Incendiaries . . . and Other Noted Persons Who Have Suffered the Sentence of the Law for Criminal Offenses, 4 vols. (London: J. Cundee, 1809–11). 78. Thompson, Making of the English Working Class, 63–66. Notes ● 179

Chapter 3 1. William Roberts, Memoirs of the Life and Correspondence of Mrs. Hannah More, 4 vols. (London: R. B. Seeley and W. W. Burnside, 1834). 2. William Roberts, “The Bride of Abydos, a Turkish Tale. By Lord Byron. London. 1813.” British Review 5 (Feb. 1814): 391–400. 3. Immanuel Kant, Kritik der Urteilskraft (1790). Werke, 6 vols., ed. Wilhelm Weischedel. (Darmstadt, Germany: Wissenschaftliche Buchgesellschaft, 1975), 5:410–13. 4. For a listing of performances of Byron’s plays, see the bibliography in Peter Cochran, ed., Byron at the Theatre (Newcastle: Cambridge Scholar’s Press, 2008), 193–211. 5. Frederick Burwick, “Lord Byron’s Faustian Plays: Manfred (1816), Cain (1821), and The Deformed Transformed (1822),” in Lorna Fitzsimmons, ed., Faust in European Literature (West Lafayette, IN: Purdue University Press, 2015). 6. Earle, The Pirate Wars, 79–80, 251–52. 7. Harem scenes are prominent in pornographic novels of the period, such as The Lustful Turk (1828). See Steven Marcus, The Other Victorians: A Study of Sexuality and Pornography in Mid-Nineteenth-Century England (New York: Basic Books, 1964; rpt. New Brunswick, NJ: Transaction Publishers, 2008), 195–217. 8. Byron, The Corsair: A Tale (1814). 9. When The Corsair was again adapted for melodramatic production, it was pre- sented as if it were autobiography. The name “Conrad” was replaced by Byron’s own name as the hero of the adventure: Lord Byron in Athens; or, The Corsair’s Isle (Sadler’s Wells, 6 February 1832). 10. Lord George Gordon Byron, journal, 10 March 1814, Byron’s Letters and Jour- nals, 12 vols., ed. Leslie Marchand (Cambridge, MA: Harvard University Press, 1974–82), 3:250. 11. Peter Thorslev,The Byronic Hero: Types and Prototypes (Minneapolis: University of Minnesota Press, 1962), 156–59. 12. Heike Steinhoff,Queer Buccaneers: (de)Constructing Boundaries in the Pirates of the Caribbean (Münster, Germany: Lit Verlag, 2011), 45–47. 13. Charles Dibdin, Jr., Songs, &c. with a Description of the Scenery, in the New Aqua- Drama, Called “The Corsair,” as Performed at the Aquatic Theatre, Sadler’s Wells, Founded on Lord Byron’s Poem (London: 1814). 14. Joan Del Plato, Multiple Wives, Multiple Pleasures: Representing the Harem, 1800– 1875 (Cranbury, NJ: Associated University Presses, 2002), 58–60. F. Millingen, “The Circassian Slaves and the Sultan’s Harem,”Journal of the Anthropological Society of London (London: Royal Anthropological Institute of Great Britain and Ireland, 1870–71), cix–cxx. 15. British Library, Playbills 244–45. Liverpool, 3 March 1819. 16. R. J. Broadbent, Annals of the Liverpool Stage (Liverpool: Edward Howell, 1908), 131–33. 17. British Library, Playbills 170–71. Astley’s Royal Amphitheatre, 13 August 1821. William Barrymore, The Pirate of the Isles: A Romantic Drama in Two Acts (New York: S. French, 1864). 180 ● Notes

18. HMS Royal George; launched in 1756, her sinking in 1782 was one of the worst disasters in Royal Navy history—around eight hundred lives were lost; HMS Ocean; launched in 1805 as flagship of Lord Collingwood; HMS Macedonian; a frigate of 1809, captured by USS United States during the War of 1812; HMS Beagle; first setting sail in 1820, used on naturalist Charles Darwin’s five-year voyage, October 1831 to October 1836. 19. British Library, Playbills 289. Woolich, 4, 8, 9, and 10 April 1839. 20. British Library, Playbills 165. Sadler’s Wells, 13 February 1832. 21. John Joseph Knight, “Fitzwilliam, Fanny Elizabeth,” Dictionary of National Biog- raphy (1885–1900), vol. 19; Oxberry’s Dramatic Biography, 2/32 (1825), 267–76. 22. University of Bristol Theatre Collection, Mander & Mitchison: Lyceum Box 398 (1809–78). British Library, Playbills 326. Lyceum, 14 September 1836. 23. Lemon and Romer also collaborated on Rob of the Fen (English Opera House, 7 July 1838), an adaptation of Heinrich Marschner’s Des Falkners Braut. 24. Mark Lemon, The Pacha’s Bridal! An Opera in Three Acts. The Only Edition Correctly Marked, by Permission, from the Prompter’s Book. To which is Added a Description of the Costume, Cast of the Characters, the Whole of the Stage Busi- ness, Situations, Entrances, Exits, Properties, and Directions. Embellished with a Fine Engraving by Mr. Findlay from a Drawing Taken Expressly in the Theatre (London: J. Duncombe, 1836). 25. Apparently a complete musical score for The Pacha’s Bridal was not published. Sheet music was published for Medora’s solo “There Is a Lone Acacia Tree”; Con- rad’s air, “Greece! Beloved Greece”; the duet by Medora and Conrad, “There’s a Spell”; Pasha Seyd’s solo, “I’ve Watched with Thee”; the duet by Seyd and Gulnare, “Thy Brow Is Drest in Sadness”; and Conrad’s air with the Pirate Cho- rus, “Up, up Ye Sturdy Mariners” (London: J. Duff & Co., 1836). Among the songs reprinted throughout the nineteenth century, “O Would I Were a Boy Again” was included in Blackmar’s Selection of Favorite Songs (1860). See Mark Lemon (lyricist) and Frank Romer (composer), Johns Hopkins University, Lester Levy Sheet Music Collection, Box 094, Item 066. 26. Thorslev,The Byronic Hero, 153–56. 27. Byron, Works of Lord Byron: Letters and Journals, 2:309; Byron to Lady Mel- bourne, 25 November 1813, Byron’s Letters and Journals, 3:175n. 28. William Dimond, The Bride of Abydos: A Tragick Play in Three Acts (London: R. White and T. Earle, 1818). The Bride of Abydos (Drury Lane, 5 February 1818) was revived 11 years later (Surrey, 12 February 1829). 29. John Genest, Some Account of the English Stage (London: Carrington, 1832), 8:642. 30. Theatrical Inquisitor, and Monthly Mirror (12 February 1818), 125. 31. Edward Ziter, “Kean, Byron, and Fantasies of Miscegenation,” Theatre Journal 54.4 (Dec. 2002): 607–26. 32. Byron to Lady Melbourne, 17 October 1814, Byron’s Letters and Journals, 4:212. 33. Ziter, “Kean, Byron, and Fantasies of Miscegenation,” 613. “In the aftermath of Kean’s success as Richard III, Byron was asked to contribute verses on the subject of the actor’s performance. Byron reportedly responded by quoting lines from the Notes ● 181

first canto ofThe Corsair, which describe the poem’s title character. In doing so, Byron implicitly linked the actor with himself, for that poem was significant in spreading the idea that Byron’s characters were an extension of himself.” 34. Raymund Fitzsimons, Edmund Kean, Fire from Heaven (London: Hamish Ham- ilton, 1976), 184–85, 233–38. 35. Goethe, Faust, Teil I, line 1112, p. 41: “Zwei Seelen wohnen, ach! in meiner Brust.” 36. Paul Douglass, Lady Caroline Lamb (Basingstoke, UK: Palgrave, 2004), 220–22; Paul Douglass, “The Madness of Writing: Lady Caroline Lamb’s Byronic Identity,” Pacific Coast Philology 34.1 (1999): 53–71. Duncan Wu, “Appropriating Byron: Lady Caroline Lamb’s A New Canto,” The Wordsworth Circle 26.3 (1995): 140–46. 37. Mirror of the Stage, 6 October 1823. Cited in The Adelphi Theatre, 1806–1900, http://www.emich.edu/public/english/adelphi_calendar/m21s.htm. 38. Lord George Gordon Byron, The Corsair: A Tale. Byron: The Complete Poetical Works, ed. Frederick Page (Oxford: Oxford University Press, 1970), 277. 39. Mel Campbell, “Pirate Chic: Tracing the Aesthetics of Literary Piracy,” in Pirates and Mutineers of the Nineteenth Century: Swashbucklers and Swindlers, ed. Grace Moore (Burlington, VT: Ashgate, 2011), 11–22. 40. “Lord Byron’s The Bride of Abydos and The Corsair,” Antijacobin Review 120.46 (March 1814): 209–37. 41. Byron, Poetical Works, 277. 42. Byron’s Letters and Journals, 9:87.

Chapter 4 1. Anon., The Lady’s Monthly Museum 15 (Jan. 1822): 107–108. 2. Cole, The Bride of Lammermoor(1823); Cole, Ivanhoe (1823); Cole; The Battle of Bothwell Bridge [based on Old Mortality] (1823); Cole, Kenilworth (1823); Cole, Waverley (1824). Later in his career Cole authored A Defence of the Stage (1839). 3. Murray, Robert Elliston, Manager, 85–86. 4. Murray, Elliston, 95–96. 5. William Hazlitt, “Review of The Conquest of Taranto (Covent Garden, 17 April 1817),” in A View of the English Stage: The Complete Works of William Hazlitt, 21 vols., ed. P. P. Howe (London: J. M. Dent & Sons, 1930–34), 5:366–8; see also 18:209–10, 406. 6. Edgar Johnson, Sir Walter Scott: The Great Unknown (New York: Macmillan, 1970), 440–57. 7. Walter Scott, The Waverley Novels (Philadelphia: John D. Morris, 1892), 13:10, 507. 8. Samuel Menefee, “Gow, John,” Oxford Dictionary of National Biography (Oxford: Oxford University Press, 2004), 23:92–93; see also An Account of the Conduct and Proceedings of the Pirate Gow (The Original of Sir Walter Scott’s Captain Cleveland), by Daniel Defoe, Author of “Robinson Crusoe.” Reprinted from the original edition [An Account of the Conduct and Proceedings of the Late John Gow Alias Smith, (London: 1725)], with preface and notes. (London: H. Sotheran & Co., 1890). 182 ● Notes

9. See also chapter 1, note 13, pp 169–70. 10. Gow’s execution on 11 August 1729, The New Gate Calendar, http://www.exclassics.com/newgate/ng182.htm (accessed 12 September 2014). 11. Johnson, Sir Walter Scott, 446, 769–71, 816–21. Scott visited Sumburgh in 1814. 12. Mackie, Rakes, Highwaymen, and Pirates, 102–08. 13. Elizabeth M. Cuddy, “Salvaging Wreckers: Sir Walter Scott, The Pirate, and Morality at Sea,” SEL: Studies in English Literature, 1500–1900 53.4 (2013): 793–807. 14. Johnson, General History, 365. 15. James Robinson Planché, The Pirate: A Musical Drama in Three Acts (London: J. Lowndes, 1822). 16. Tyrone Power (1914–58), known for his swashbuckling roles in The Black Swan (1942), The Captain from Castile (1947), The Prince of Foxes (1949), and The Black Rose (1950), was the third member of a four-genera- tion family of actors with the same name, the great-grandson of Tyrone Power (1797–1841). 17. James Winston, theatrical autograph album of James Winston, 1804–42. A collection of letters addressed mainly to Winston as acting manager of the Haymar- ket Theatre, the Olympic Theatre, and Drury Lane Theatre, and, in addition, of several receipts, checks, theater tickets, newspaper clippings, playbills, an engraving, and miscellaneous signatures and notes. Folger Shakespeare Library, Acces- sion Number: 263096363. 18. Joseph Knight, “Cooper, John (1793–1870),” rev. Nilanjana Banerji, Oxford Dic- tionary of National Biography (Oxford: Oxford University Press, 2004). 19. Playbill, Theatre Royal Edinburgh: “This present evening, Wednesday, March 31, 1824, will be performed, 2d time, a new melo-dramatic play in five acts, founded upon the celebrated novel of The Pirate, and licensed for this theatre . . . under the title of The Pirate; or, The Reimkennar of Zetland.” University of Aberdeen, Accession Number: 614662608. 20. C. Pelham Thompson,Rokeby; or, The Buccaneer’s Revenge: A Drama in Three Acts (Dublin: W. H. Tyrrell, 1814). 21. Stephen Kemble managed the Newcastle Theatre Royal from 1790 to 1806, William Macready from 1806 to 1818, and Vincent De Camp from 1818 to 1824.

Chapter 5 1. James Fenimore Cooper, “Preface,” The Pilot, The Novels, 25 vols. (New York: The Co-operative Publication Society, n.d.), 11:7–8. 2. Scott, The Waverley Novels, 12:461. 3. British Library, Playbills 353. Adelphi Theatre, 1806–1900. http://www.emich. edu/public/english/adelphi_calendar/m25d.htm#Label003. Notes ● 183

4. For a comparison of Henry Kemble as Glenarvon in Barrymore’s version (Coburg, 13 July 1819) and H. H. Rowbotham as Glenarvon in Amherst’s adaptation (Coburg, 3 December 1821), see Burwick, Playing to the Crowd, 71–83. 5. Thomas John Dibdin,Paul Jones: A Melo-dramatic Romance in Three Acts (Lon- don: J. Cumberland, 1828); T. J. Dibdin, Pirate’s Doom, British Library Add. Ms. 42882 (13). 6. Armstrong Wells Sperry, John Paul Jones: Fighting Sailor (New York: Random House, 1953), 106. 7. The interesting life, travels, voyages, and daring engagements, of that celebrated and justly notorious pirate Paul Jones (London, 1803; New York, 1807). History of Paul Jones, the pirate (Glasgow, n.d; Newcastle, n.d.); The History of Paul Jones, the notorious sea pirate, during the American War (Falkirk, 1808); The life of Paul Jones, the pirate: one of the principal characters in the celebrated novel, “The pilot,” by Sir Walter Scott, Bart. [sic!] With some highly interesting particulars of Captain Gustavus Cunningham, another pirate, contemporary with Paul Jones (1826); The life, voyages & sea battles of that celebrated pirate Commodore Paul Jones still remembered by some of the old inhabitants now living in Wapping (1829, 1830); The Life and history of Paul Jones, the English corsair, giving an account of the extraordinary perils, escapes, & voyages, of that bold and determinate pirate and smuggler (London, n.d.). 8. James Fenimore Cooper, The Pilot: A Tale of the Sea (New York: Charles Wiley, 1823); Cunningham, Paul Jones: A Romance (Edinburgh, 1826). 9. W. H. Wallack, Paul Jones; or, The Pilot of the German Ocean: A Melodrama in Three Acts (New York: Elton’s Dramatic Repository and Print Store, 1828). 10. Faye E. Dudden, Women in the American Theatre: Actresses and Audiences, 1790– 1870 (New Haven, CT: Yale University Press, 1994), 73. 11. British Library, Playbills. The Pilot; or, A Tale of the Sea was performed at Adelphi, 31 October 1825; Coburg, 17 July 1826; Royal Pavilion, popular for Newgate drama, 15 October 1830; the smuggling port of Hastings, 27 October 1826, 6 November 1826, 18 December 1826, 9 July 1827; Edinburgh Theatre Royal, 1828 and 1829; the New Shakespearean Theatre, Stratford-on-Avon, 29 December 1828, and 13 February 1829; the port theater of Southampton, where T. P. Cooke appeared as Frankenstein’s Monster as well as Long Tom Coffin, 12 January 1831; the Theatre of Arts, Lynn-Street, in the market town of Swaffham, 15 September 1834; the port theater of Swansea, with T. P. Cooke again as Frankenstein’s Monster and as Long Tom Coffin, 25 September 1834, and 30 September 1834; the market town of Hadleigh, Suffolk, 18 January 1836; the market town of Huntingdon, 31 August 1836. 12. Letter from T. P. Cooke to Charles Chubb. Private Collection of Frederick Burwick. 13. British Library, Playbills 175. Coburg, 21 November 1831. 14. Cooper, “Preface,” The Red Rover, The Novels, 12:7. Originally published in Paris (27 November 1827), Cooper’s The Red Rover was then published by Henry Colburn in London three days later (30 November 1827). The first American edition was not distributed until the beginning of the following year (Philadelphia, 9 January 1828). 184 ● Notes

15. Edward Fitzball, The Red Rover; or, The Mutiny of the Dolphin: A Nautical Drama, in Two Acts (London: John Dicks, 1828). 16. British Library, Playbills 311. Surrey, 7 September 1829. 17. British Library, Playbills 175. Coburg, 5 December 1831. 18. British Library, Playbills 165. Sadler’s Wells, 23 July 1832. 19. Henry Chapman, The Red Rover: A Drama, in Three Acts, Founded on the Popular Novel, by J. F. Cooper, Esq.: As Performed at the London Theatres (Philadelphia: F. Turner, 1828). 20. R. T. Weaver, The Red Rover; or, The Mutiny of the Caroline: A Nautical Drama, in Three Acts (London: J. Duncombe, 1829). 21. Fuchs, “Faithless Empires,” 45–69. 22. John D. Gordan, “The Red Rover Takes the Boards,”American Literature 10.1 (Mar. 1938): 66–75.

Chapter 6 1. Mackie, Rakes, Highwaymen, and Pirates, 115. Mackie speaks neither out of ignorance nor contrariness; what she means is that we need to be willing to consider pirate masculine identity as coming from practices other than sexual intercourse. 2. Stipulates Hans Turley, whose work is much invested in pirate masculinity, even though they were very rarely at sea with them, “women were always a part of the buccaneer mythos” (29). 3. John C. Appleby, Women and English Piracy, 1540–1720: Partners and Victims of Crime (Woodbridge, UK: The Boydell Press, 2013), 88. 4. On this theme, see also discussion of The Successful Pyrate, chapter 1 (29–30). 5. The General History also contains a fairly detailed account of the rise and reign of that pirate, delivered as an object lesson in “how dangerous it is to Governments to be negligent, and not take an early Care in suppressing these Sea Banditti, before they gather Strength” (30). 6. Van Lennep, The London Stage, 459. It reappeared for another four-night run on 31 December 1754–3 January 1755. 7. In 1755, Barbarossa was staged 1, 4, 11, and 15 February and 27 May. (This was the season ender for Drury Lane that year.) In 1776, it was revived by China Hall (Friday, 27 September 1776). In 1779, Covent Garden produced Barbarossa twice: on 2 and 11 February; it later appeared several times at Covent Garden in December 1804–05 and sporadically in the next decade. It was also popular in print, having been issued in 1755 (London, two editions), 1756 (Dublin), 1757 (Dublin), 1760 (Dublin), 1762 (London), 1770 (Dublin and London), 1771 (London), 1774 (Edinburgh), 1777 (London), 1788 (London), and 1790 (London). 8. On his particular appeal to would-be gentlemen, see Mackie 85–96. 9. Robert Dryden has argued that it is partly Macheath’s decision to abjure polygamy that leads to his downfall in Polly (Robert Dryden, “John Gay’s Polly: Unmasking Notes ● 185

Pirates and Fortune Hunters in the West Indies,” Eighteenth-Century Studies 34.4 [2001]: 546–48); rather, though, the problem comes from an incompatibility between piracy and marriage (polygamous or monogamous) full stop. 10. Also called The Genoese Pirate in its second staging at the Theatre Royal Covent Garden, 12 October 1798. 11. However, as Benerson Little argues, there is little reason to think pirates were more prone to rape than regular soldiers or other bands of men in chaotic times, and at least some crews seem to have not only ordained but enforced strictures against the abuse of female prisoners (Little 202–03). 12. Appleby, Women and English Piracy, 161. 13. Little, quoting Ned Ward, 208. 14. Similarly, Exquemelin records that at the Cape of Gracias a Dios, “when any Pirats arrive, every one has liberty to buy himself an Indian Woman, at the Price of a Knife, or any old Ax, Wood-Bill, or Hatchet” (165). 15. The same line appears verbatim in the 1708 “Memoirs Concerning that Famous Pirate” (352). 16. On the treatment of African women in particular, see Appleby, Women and Eng- lish Piracy, 180–83. In contrast to the negative reading of such relationships, Jan Rogoziński argues that at least in Madagascar they were beneficial to tribal men, bringing them wealth and armed reinforcements, but the preferences of the women themselves are not addressed, except in the troubling remark that “for their part, the wives gained a virile partner and a more luxurious way of life” (Rogoziński 64). 17. Dampier himself would later purchase the “painted Prince” Jeoly and his mother in the hopes of exhibiting them at home; the latter sickened and died en route. 18. Aubin’s brother-in-law, David Aubin, lived in Barbados and was attacked by pirates. Their brother Philip was shipwrecked in Guinea; Philip may also have been involved with slave ships (Debbie Welham, “Delight and Instruction? Women’s Political Engagement in the Works of Penelope Aubin” [PhD dissertation, University of Winchester, 2009], 90, 95–96). 19. Joel Baer, “Penelope Aubin and the Pirates of Madagascar: Biographical Notes and Documents,” Eighteenth-Century Women 1 (2001): 49. 20. Baer, “Pirates of Madagascar,” 50–52. 21. On David’s communications about his pirate problems and his letters’ appear- ance in the language of both The Noble Slaves and Charlotta du Pont, see Welham 150–52. 22. Actually, this was historically true as well: the attempts of Justice Robert Sneed to bring several members of Avery’s crew to justice in Philadelphia were thwarted by women who had married the former pirates and opted to protect them, spurning Sneed as a despicable informer (Appleby, Women and English Piracy, 105). 23. Eve Tavor Bannet, Transatlantic Stories and the History of Reading: Migrant Fic- tions 1720–1810 (Cambridge: Cambridge University Press, 2011), 48. 24. In a curious geographical collapse, Charlotta encounters her version of Avery “not many Leagues from the desired Port” of Virginia (34), when a “Pirate-Ship came up with them in forty five Degrees of Latitude” (35); 45 degrees latitude 186 ● Notes

would put Charlotta’s French ship much nearer the coast of northern New York than Virginia, which is closer to the thirty-fifth line of latitude. This may simply be an error, of course (Aubin is capricious in her cartography), but either way the effect is to spread the threat of the piratical menace all the way from almost the Canadian border to the British West Indies. 25. Even here, though, romance cliché (the reverent tidiness characteristic of romance endings) may serve a dual purpose: the chance meetings and reunifications that dominate romance plots and end by restoring the disenfranchised but deserving characters to home, wealth, and happiness may also work as a Jacobite dog whistle. 26. Rennie 242. In twentieth-century film, he argues, women are the real treasure (“not treasure, nor treasure island, but treasure woman” [246]): note that this is a total reversal of Defoe’s position in King of Pirates, that it is treasure, not women, that pirates value—but in both cases, Defoe and modern film, the presence of women is disruptive to piracy and causes strife. 27. This opera was successful in large part because of its vivid scenery and mag- nificent new costumes; even positive reviews admitted the characterization was rather thin. 28. Larpent Collection #2250; Huntington Library, San Marino, CA. 29. No obvious reason for the character’s second name change presents itself. Pos- sibly “Loredano” had been suggested—or disqualified—by another lover of the same name in the 1819 French tragedy Les Vêpres Siciliennes (The Sicilian Vespers) by Casimir Delavigne. This play had done well in Paris and would be discussed extensively in The New Monthly Magazine of 1822; its topic, a 1282 rebellion, would also soon be the subject of a Hemans drama (The Vespers of Palermo, 1823) and later a Verdi opera (1855). 30. See chapter 3, n37, 181. 31. The magazine, dedicated to the Duchess of Kent, was directed toward upper-class women readers; Camilla Toumlin may have been an editor.

Chapter 7 1. The reader in question was responding to portions of the novel Lynch had prere- leased online. 2. O’Malley and Cheng are largely outside the scope of this project, but both were highly interesting, unusual women. O’Malley (Gráinne Ní Mháille, ca. 1530– 1603) was the powerful, hands-on leader of the Ó Máille clan, whose shipping business was not above dabbling in piracy; one popular story holds that a mere day after giving birth at sea she led her men successfully in battle against Algerine pirates (Anne Chambers, Granuaile: Grace O’Malley—Ireland’s Pirate Queen, c. 1530–1603 [Dublin: Gill & Macmillan, 1998], 65). Cheng I Sao (Ching Shih, 1775–1844), a prostitute, became the wife of a pirate captain and eventually a commander in her own right of a huge Chinese pirate fleet. See also John C. Appleby, “Women and Piracy in Ireland: From Gráinne O’Malley to Anne Bonny,” in Bandits at Sea: A Pirate Reader, ed. C. R. Pennell (New York: New Notes ● 187

York University Press, 2001), 283–98, and Dian Murray, “Cheng I Sao in Fact and Fiction,” in Bandits at Sea: A Pirate Reader, ed. C. R. Pennell (New York: New York University Press, 2001), 283–98. 3. Henry Louis Mencken, Prejudices: First Series (New York: Alfred A. Knopf, 1919), 90. 4. The exchange was covered inThe Guardian. Alison Flood, 11 December 2012, “Fantasy Author Scott Lynch Shows He’s a Gentleman, Not a Bastard: The Creator of The Lies of Locke Lamora Lays into a Reader Calling Him out over the Women in His PC Pirate Brigade.” http://www.guardian.co.uk/books/ booksblog/2012/dec/11/scott-lynch-gentleman-bastards-republic-thieve. 5. Jo Stanley has located references to two female privateers, one in 1741 and one in 1805, but there seems to be no further information about these women (Jo Stanley, Bold in Her Breeches: Women Pirates across the Ages [San Francisco: Pan- dora, 1995], 143). The cross-dressed Mary Anne Talbot may have had a brief, accidental tour aboard a French privateer (Julie Wheelwright, “Tars, Tarts, and Swashbucklers,” in Bold in Her Breeches: Women Pirates across the Ages, ed. Jo Stan- ley [San Francisco: Pandora, 1995], 189). Stanley believes there must have been other pirating women, but the fact remains that we have no record that there was widespread public knowledge of any such figures. Kris Lane places Read and Bonny “among only four or five female pirates on record for the early modern period,” but does not identify the other two to three supposedly “on record;” pre- sumably they may be Stanley’s privateers (Kris Lane, Pillaging the Empire: Piracy in the Americas, 1500–1750 [London: M. E. Sharpe, 1998], 186). 6. Earle, The Pirate Wars, 94, 199. 7. Approximately 25 percent of new plays contained breeches roles. 8. Fraser himself seems to accept the account as true, but academic rigor was likely not his particular priority in researching the comic novel. 9. Whatever fiction writers like Fraser thought, otherwise valuable pirate historians, such as David Cordingly, Marcus Rediker, and Linda Grant De Pauw, have evinced a distressing tendency to swallow as wholesome the obviously romanticized biographies of Anne Bonny and Mary Read from Johnson’s General His- tory. More problematically, as Rennie has shown, historical accounts of Bonny and Read sometimes fill in blanks left by Johnson with pieces taken, knowingly or not, from John Carlova’s 1964 novel, Mistress of the Seas (Rennie 262–68). Wheelwright, who is carefully alert to the unverifiability of much of Johnson’s account, is the only major writer on Bonny and Read to emerge from Rennie’s reckoning unscathed. John Carlova’s novelization turns out to be the ultimate source of several “facts,” notably, as Cordingly claims, that Anne Bonny’s father helped her find pardon, reform, and settle into quiet married life in the Americas (Rennie 267). 10. Worth noting is that the famous midcentury “female soldier” Hannah Snell was actually a marine and spent years at sea. 11. David Cordingly, Seafaring Women: Adventures of Pirate Queens, Female Stow- aways, and Sailors’ Wives (New York: Random House, 2007), 82. Cordingly does not indicate who makes this suggestion; it is not one that appears directly in any 188 ● Notes

eighteenth-century source. It is not recorded in the trial documents, and Johnson is quite clear that Bonny’s sexual interest in Read ends once Read reveals her bio- logical secret. Following Cordingly, Jo Stanley intones, “The lesbian imputation put on Read and Bonny may have been a way to devalue them further, though their lesbianism may also have been real and an additional reason for hauling them before the bench” (Bold in Her Breeches, 155). The trial of Read and Bonny, at least as recorded in the 1721 pamphlet, contains no such imputations. Wheel- wright finds an 1813 chapbook,The Daring Exploits of Henry Morgan, which calls Bonny Read’s “lover,” but neither Cordingly nor Stanley makes reference to it or any other source for the lesbian rumors they propagate (“Tars, Tarts, and Swash- bucklers,” 192). 12. Ulrike Klausman, Marion Meinzerin, and Gabriel Kuhn, Women Pirates and the Politics of the Jolly Roger (Montreal: Black Rose Books, 1998), 178–88. Undaunted by a complete lack of evidence, the authors declare, “The pictures that show Bartholomew Roberts with a thick moustache are products of fantasy. The only authentic depiction shows a slender, beardless person with a grim look, fashionable knickers, and thigh muscles like Martina Navratilova” (179). On their unacknowledged use of Carlova, see Rennie 266. 13. Rediker, Villains of All Nations, 120–21. See also Rob Canfield, “Something’s Mizzen: Anne Bonny, Mary Read, ‘Polly,’ and Female Counter-Roles on the Imperialist Stage,” South Atlantic Review 66.2 (2001): 45–63. 14. See Diane Dugaw, Warrior Women and Popular Balladry, 1650–1850 (Chicago: University of Chicago Press, 1996), 24, 31–45. 15. Qtd. Dugaw, Warrior Women, 40. 16. The Tryals of Captain John Rackham, and Other Pirates [1721]. British Piracy in the Golden Age: History and Interpretation, 1660–1730, ed. Joel H. Baer, vol. 3 (London: Pickering & Chatto, 2007), 18. The story reported in theGeneral History, that no one on board, not even, initially, the women themselves, knew each other’s sex, seems to have been invented by Johnson, but it has been widely repeated as truth, however improbably. As Rennie points out, Johnson himself must have known he was veering from the truth, for parts of his account are too faithful not to have come from The Tryals of Captain John Rackham, while other parts, such as the women’s disguises and fierce violence, too flatly contradictThe Tryals to be reconciled (Rennie 79). 17. Although she draws no connection to the Ambree tradition. 18. Long Meg was a balladry female soldier contemporary to Mary Ambree; her afterlife, though it also lasted to the eighteenth century, was mostly in chapbooks (Dugaw, Warrior Women, 33n44). 19. The black flag also telegraphs the complicated racial implications of leaving one’s motherland to take up the profession managed so well by Barbary corsairs. 20. As Claire Jowitt has pointed out, Bess is acting fully as a pirate here, attacking ships that surely do not contain Spencer’s corpse and without any privateering documents to authorize her actions (Claire Jowitt, The Culture of Piracy, 1580– 1630: English Literature and Seaborne Crime [Burlington, VT: Ashgate, 2010], 122). Notes ● 189

21. See Katherine Anderson’s analysis of this odd novel, which connects Fanny’s story to Dugaw’s work and the tendency of female soldiers and mariners to justify their heroic exploits in the name of love (Katherine Anderson, “Female Pirates and Nationalism in Nineteenth-Century American Popular Fiction,” in Pirates and Mutineers of the Nineteenth Century: Swashbucklers and Swindlers, ed. Grace Moore [Burlington, VT: Ashgate, 2011], 100). 22. Rudolf M. Dekker and Lotte C. van de Pol, The Tradition of Female Transvestism in Early Modern Europe (New York: St. Martin’s, 1989), 9. The authors note that marine occupations may be overrepresented in such studies precisely because women were more likely to be found out on ships compared to almost any other occupation (10). On the other hand, Wendy Nielsen suggests, not illogically, that the often desperate need for naval recruits may have been a factor in tempt- ing women to try their hands as sailors and might have made it easier for them to pass as boys (Wendy Nielsen, Women Warriors in Romantic Drama [Newark: University of Delaware Press, 2013], 100). 23. Dekker and van de Pol 11–12. 24. Dugaw, Warrior Women, 16. 25. The Craftsman, 3 February 1728. 26. Kinkor 202. 27. This is complicated by the apparent (and semivoluntary) castration of Bess’s ser- vant Clem, as Fuchs, Howard, and Jowitt have noted, but Clem has nothing like Macheath’s dominance or sex appeal. See also the long critical dialog between Barbara Fuchs and Jean Howard concerning the play. 28. Polly was well received and ran for a decent, but hardly legendary, ten nights at the Little Theatre in Haymarket. For more on its revival, see Peter Reed, “Conquer or Die: Staging Circum-Atlantic Revolt in Polly and Three-Fingered Jack,”Theatre Journal 59.2 (2007): 241, 245–51. The Larpent manuscript held at the Hunting- ton Library gives the title as Polly an Opera: Alter’d from Gay (15th April 1777). No changes were made or asked for, although Colman, as stated in the title, had already made a considerable number of “alterations,” largely cutting various airs, and the published “as acted” version cuts even more. The curtailments seem to be mostly in the interest of time; no thematic or political motivation is obvious. 29. Nielsen 125. 30. Citations refer to the Oxford edition, which is based on the original 1729 incar- nation of the play. 31. Polly’s decision to risk herself to protect Cawwawkee, but, as she must convince him, not at the expense of his own honor, may also echo Mary Read’s preemptive duel, which she fights to save her lover’s life and reputation in one blow. 32. The London Stage, 49. 33. Citations refer to the Henry Marsh printing. 34. Essentially the novel uses for its beginning the events that occur near the end of Fair Maid of the West Part II, Heywood’s much later and far less joyful sequel. 35. See Five Novels: Translated from the French of M. Segrais, Author of Zayde and The Princess of Cleves. The Beautiful Pyrate; or, The Constant Lovers (London, 1725). This is an English version ofAdelaïde , one of the Nouvelle françaises, ou les 190 ● Notes

Divertissements de la Princesse Aurélie, by Jean Regnault de Segrais (1656). While the author of Zayde and The Princess of Cleves is thought to be Marie-Madeleine Pioche de La Vergne, Comtesse de La Fayette, and not her amanuensis and fellow author Segrais, she had published her novels under Segrais’s name to avoid scandal, which explains why the three titles are roped together to advertise this volume. 36. J. Hillis Miller, “Narrative,” Critical Terms for Literary Study, 2nd Edition, ed. Frank Lentricchia and Thomas McLaughlin [Chicago: University of Chicago Press, 1995], 72. 37. Rediker, Villains of all Nations, 117–19. 38. Oddly, the Pirates Own Book reverses the order in Johnson and presents Bonny’s story before Read’s—so in context, this remark actually makes no sense to the new reader, but it does suggest how emphatic the editor seems to have been about differentiating between the two. 39. Turley 97. 40. For some connections between the long Irish history with piracy and Bonny’s Irishness, see Appleby, “Women and Piracy in Ireland,” 292–94. Appleby seems to put stock in the story of Bonny’s male transvestite “disguise,” despite being aware of “Johnson’s occasional tendency to mix fact with fiction” and quoting from Dorothy Thomas’s contradictory testimony (293–94). 41. Little 245. 42. Cordingly claims in the Oxford Dictionary of National Biography that “evidence provided by the descendants of Anne Bonny suggests that her father managed to secure her release from gaol and bring her back to Charles Town, South Carolina, where she gave birth to Rackam’s second child. On 21 December 1721 she married a local man, Joseph Burleigh, and they had eight children. She died in South Carolina, a respectable woman, at the age of eighty-four and was buried on 25 April 1782.” Unfortunately, the exact nature of this evidence is not specified and not publicly available for evaluation. See Oxford Dictionary of National Biography, Oxford University Press, 2004; online ed., Jan. 2008, http://www.oxforddnb. com/view/article/39085 (accessed 23 February 2014). 43. See Hal Gladfelder, “Introduction.” The Beggar’s Opera and Polly (Oxford: Oxford University Press, 2013), xxxi–xxxii. 44. Nancy and William are very generic figures, even down to their names. “Nancy and William” is a common pairing of dramatic lovers: both names are quintessen- tially “English.” See, for example, Sheridan’s The Camp (1778), in which Nancy is a breeches role; Nancy and Bill Sykes in Oliver Twist. 45. The Harmonica for 1828, 238. 46. La Belle Assemblée, or the Court and Fashionable Magazine 8 (London: July–Dec. 1828), 178–79. 47. See Dror Wahrman, The Making of the Modern Self: Identity and Culture in Eigh- teenth-Century England (New Haven, CT: Yale University Press, 2004), especially 7–82. 48. See the Decameron, Day 2, Story 10. Notes ● 191

49. In 1934, James Bridie launched a play about Read and Bonny entitled Mary. See also Frank Shay’s Mary Read: The Pirate Wench (1934) and Mary Read, Buccaneer (Philip Rush, 1945). Steve Gooch wrote a play in 1978, The Women Pirates Ann Bonny and Mary Read, which used Carlova as well as the General History. 50. Rennie 253, 262. Consistently, notes Rennie, once Mary becomes feminine, she dies, her role as a pirate over. Both Shay and Rush decline to relate the historical detail of her pregnancy, retaining her chaste persona to the end. 51. We see this even as early as Cross’s Blackbeard, where the figure based on Mary Read is fondly nicknamed “Anne.” 52. Burg and Turley have suggested that at least among men, it does. 53. See Rennie’s discussion, 243–44.

Chapter 8 1. At the same time, as Richard Bond has pointed out, the scene’s total effect is less to establish an egalitarian pirate democracy than to demonstrate Peter Blood’s position as the source of ultimate, deserving authority over the men beneath him (Richard Bond, “Piratical Americans: Representations of Piracy and Authority in Mid-Twentieth-Century Swashbucklers,” The Journal of American Culture 33.4 [2010]: 313–14). 2. Even in the General History’s heavily fictionalized tale of Captain Misson, who literally becomes a pirate to fight for liberty for all, the first thing he and his men do upon setting up the colony of Libertalia is to create an orderly elective government. See Faller, who notes the less idealistic pirates ironically have more freedom than Misson’s gang (Lincoln Faller, “Captain Misson’s Failed Utopia, Crusoe’s Failed Colony: Race and Identity in New, Not Quite Imaginable Worlds,” The Eighteenth Century: Theory and Interpretation 43.1 [2002]: 4–6). 3. For likely sources of the piratical twists added to the article practice, see Little, especially 37–38. 4. Rediker, Villains of All Nations, 61. 5. According to Marcus Rediker, among merchant ships, literacy varied by rank: captains and mates were almost universally literate; highly skilled positions such as surgeon, boatswain, gunner, and carpenter only slightly less so; ditto the cook and quartermaster. Among common sailors, somewhere between two-thirds and 70 percent could read (Marcus Rediker, Between the Devil and the Deep Blue Sea: Merchant Seamen, Pirates, and the Anglo-American Maritime World, 1700–1750 [Cambridge: Cambridge University Press, 1997], 307). Among pirates, who drew most of their ranks from experienced seamen, rates were probably fairly compa- rable. Caveat: Literacy rate is notoriously difficult to assess. Rediker’s standard for assuming literacy, a common one, is the ability of men to sign their names properly instead of making a mark. But of course there may be a substantial gap between having a signature and having strong reading comprehension. 6. In Scott’s vision, his pirates clearly have some sort of agreed-upon code, although it is never listed explicitly. A possible source text for the legend of John Gow, 192 ● Notes

upon whom Scott bases both Cleveland and Goffe,An Account of the Conduct and Proceedings of the Late John Gow Alias Smith (1725), does actually list out articles agreed to by the pirate’s crew. 7. Joseph Roach, It (Ann Arbor: University of Michigan Press, 2007), 220. 8. For a quick rundown of typical sailors’ dress, pirates’ dress, and the continuities in between, see Konstam 184–85. 9. Victor Emeljanow, “Staging the Pirate: The Ambiguities of Representation and the Significance of Convention,” inPirates and Mutineers of the Nineteenth Cen- tury: Swashbucklers and Swindlers, ed. Grace Moore (Burlington, VT: Ashgate, 2011), 224. 10. Manushag N. Powell, “Women’s Speech, Haywood’s Parrot, and Its Anteced- ents,” Tulsa Studies in Women’s Literature 27.1 (2008): 68–69. 11. Cordingly, Black Flag, 8. 12. David Cordingly, Pirate Hunter of the Caribbean: The Adventurous Life of Captain Woodes Rogers (New York: Random House, 2012), 91. 13. Charles Belgrave, The Pirate Coast (New York: Roy, 1966), 122; Konstam 46. 14. According to Carolyn Eastman, the first illustrator for theGeneral History “exag- gerated the pirates’ caches of weapons to such an extent that one cannot ignore the possibility that he called forth phallic imagery” (Carolyn Eastman, “Blood and Lust: Masculinity and Sexuality in Illustrated Print Portrayals of Early Pirates of the Caribbean,” in New Men: Manliness in Early America, ed. Thomas A. Foster [New York: New York University Press, 2011], 107). 15. Laura Eidam, “Reexamining Illustration’s Role in Treasure Island: Do Images Pirate Texts?” English Literature in Transition, 1880–1920 55.1 (2012): 60–61. 16. Earle, The Pirate Wars, 174. 17. Cordingly, Black Flag, 117. 18. Avery’s ship was named the Fancy; in context the ballad probably intends some play on the idea of the mind’s fancy being captivated by the strange icon of the bloody flag. “Fanny,” then, seems to be an unfortunate and (albeit unintention- ally) very funny compositor’s error. 19. “Bold Captain Avery, ca. 1770,” in British Piracy in the Golden Age, vol. 4, ed. Joel H. Baer (London: Pickering and Chatto, 2007), 369. For more on the ballad history of Captain Avery, see Baer, “Bold Captain Avery in the Privy Council,” 4–26. 20. Little 113. On practices for nautical and piratical flags more generally, see Little 111–19. 21. Curiously, “Jolly Roger” was also not an uncommon name for horses in the middle of the eighteenth century. 22. Mel Campbell has argued of the General History’s several detailed descriptions of pirate flags that the ensigns are not “arbitrarily terrifying: there is a logic to their manufacture and display,” one that points to the text’s creation of a “pirate aesthetics,” a set of visual marks and performances that allows pirates to self-identify and interact with one another (13). 23. On the matter of pirate flags inPenzance , Monica Cohen argues that Gilbert’s “provocative pairing of the Union Jack and the Jolly Roger” probably implies Notes ● 193

a metonymic link between the Jolly Roger and the Stars and Stripes, as, while American culture purported to embrace transatlantic “sharing” of texts, the unre- munerated British authors were seldom convinced by this spirit of literary fra- ternity (Monica Cohen, “Noblemen Who Have Gone Wrong: Novel-Reading Pirates and the Victorian Stage in Gilbert and Sullivan’s The Pirates of Penzance,” Texas Studies in Literature and Language 51.3 [2009]: 350). 24. The music for the “Jolly Jolly Grog” is available thanks to Paul Douglass and Frederick Burwick at http://www.sjsu.edu/faculty/douglass/music/album-blackbeard.html. 25. Earle, The Pirate Wars, 167. Further, Leeson makes the perhaps odd proposition that musicians were often constrained to become pirates not only for quotidian entertainment, but also “for providing the soundtrack for pirate tortures that involved dancing or jigs” (141). 26. Bolster 217–18. 27. Bolster 32–34. 28. Noelle Chao, “Music and Indians in John Gay’s Polly,” in Ballads and Broadsides in Britain, 1500–1800, ed. Patricia Fumerton, et al. (Burlington, VT: Ashgate, 2010), 310–11. 29. Chao 312. 30. The novel version was also advertised in 1839 and published in London in 1842; the New York company performed the play at the Park Theater to great success in 1839. 31. Earle, The Pirate Wars, 222. David Cordingly dates the practice to 1829, using a similar Cuban account (130–31). 32. Earlier, Cleveland had complained that the wrecking community was stealing his cargo: “The rest of the property . . . is, I see, walking the plank” (78). 33. Johnson describes the practice in detail in the introduction to his General History, but only as a trick of ancient Roman-hating pirates, and not as a practice called “walking the plank” in as many words (they use a ladder) (29). 34. The essay is on pirates harassing Charleston, South Carolina; the article itself is dated 7 September. Interestingly, the article claims the problem is “privateers, which are called French, though in reality they are manned by Americans and renegadoes of every nation.” 35. However, the witness was spared, and no one actually walks the plank, the captain having been already murdered on board with a knife. 36. Douglas Botting, The Pirates (Alexandria, VA: Time Life Books, 1978), 54. 37. Geery also went by the aliases “Justice” and “Wood.” 38. Cited in Botting 58; the Account itself n.p. 39. Note here, once again, an explanatory gloss for “walking the plank”: the term was not yet common parlance for lubbers. 40. Rediker, Slave Ship, 250. 41. Rennie 108. 42. Peter Linebaugh and Marcus Rediker, The Many-Headed Hydra: Sailors, Slaves, Commoners, and the Hidden History of the Revolutionary Atlantic (Boston: Beacon Press, 2000), 144. 194 ● Notes

43. Linebaugh and Rediker 162. 44. Bonnet was one of the less successful members of Blackbeard’s fleet. Says Johnson, “He was afterwards rather pity’d than condemned, by those that were acquainted with him, believing that this Humour of going a Pyrating, proceeded from a Disorder in his Mind . . . which is said to have been occasioned by some Discom- forts he found in a married state” (95). In Bonnet’s trial, he claimed he really did intend to go privateering and that the crew forced him to lead them a-pirating. As the boatswain, Pell, testified, he was called the commander of the pirates, “but the Quarter-Master had more Power than he” (38). Judge Trott regarded this as an evasion; probably it was the truth. Whatever the real case, Bonnet was easily found guilty. He hanged near Charleston, 10 December 1718. 45. Leeson reads this episode as proof that pirates may have treated free black men as equal members of the crew, even trusting them with arms (162–63). 46. Mackie 132. 47. Linebaugh and Rediker, at least, also link the demise of piracy with the growing importance of the slave trade: the Asiento and the end of the regulation of the Atlantic slave trade meant that piratical incursions into the middle passage could no longer be tolerated while slavery was poised to become, as it did, a far more important factor to British global trade (170–72). Bibliography

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abduction drama, 1, 12, 31, 34, 35, 37, Antijacobin Review 39, 52 on The Bride of Abydos and The The Abergavenny; or, The Child of the Corsair, 71 Wreck, 8–9 Ariosto, Ludovico, 64, 75 Adelphi, 13, 36, 44, 51, 52, 55, 57, 64, Arnold, Samuel, composer, 48 66, 69, 70, 80, 82, 88, 89, 90, Arthur, Bea 91, 93, 94, 95, 96, 116 as Pirate Jenny in Brecht’s Threepenny The African; or, Slave Trade Cruelty, 48 Opera, 150 Alfieri, Vittorio Articles of Piracy, 8, 102, 114, 129, Mirra, 68 140, 141, 142, 148, 149, 151, Algerine corsairs, 57, 60, 108 156; see: Code Algiers, 1, 103, 111 Ashton-under Lyne, 42 bombarded (1816, 1820), 1 Assassins’s Creed IV: Black Flag First Barbary War (1801), 1 (2013,Ubisoft), video game, Second Barbary War (1815), 1 137 treaty (1683), 31 Astley, Philip, 1 Allison, Young Ewing Astley, Philip, Jr., 35 The Derelict, 149 Aubin, David Allman, George J. P. Captain of the Spence, taken by The Pirate of Genoa, 117, 118 pirates, 109 Alzira; or, The Algerine Corsair, 1 Aubin, Penelope, 106, 109 Ambree, Mary Charlotta du Pont, 21, 31, 108, 110, captain in the Battle of Ghent during 111, 153 war with Spain, 124, 125, 130, Madagascar scheme, 109 132, 135, 137 The Noble Slaves, 31 Amherst, Henry M Aurengzeb Glenarvon, 69 Mughal Emperor, 27 Angre, Kanhoji Austen, Jane chief of the Maratha Navy, 17 Northanger Abbey, 112 Anne of the Indies (1951; dir. Jacques Avery, John 12, 17, 19, 23–31, 109, Tourneur), 137 110, 117, 121, 123, 139, 143, Anstis, Thomas 154, 157, 159 captain of the Good Fortune, 10 £500 offered for his head, 27 214 ● Index

Avery, John (continued) performed at Sadler’s Wells, 45 Arviragus in The Sucessful Pyrate, 30, Beaufort, North Carolina, 40 34, 159 Behn, Aphra ballads, 27 Oroonoko, 48 hero to the poor, 104 The Rover, 16 in Defoe’s King of Pirates, Captain Bellamy, Samuel Singleton, 11, 23, 24, 25, 28, known as Captain Black Sam, 10, 22 109, 143 Bernard, William Bayle, 56 in Johnson’s General History, 154 The Haunted Hulk, 57 Memoirs, 158 The Pilot, A Tale of the Sea, 88 plunders the Ganj-i-sawai, 30 Rip van Winkle, 57 rape of women aboard the The Water Witch; or, The Skimmer of Ganj-i-sawai, 31 the Sea, 96 released Captain Gibson and crew, 30 Betty, Henry Thomas as Selim in Brown’s Barbarossa, 104 Baer, Joel Betty, William Henry West Bold Captain Avery, 27 as Selim in Brown’s Barbarossa, 104 Pirates of Madagascar, 108, 109 known as the Young Roscius, 104 Baillie, Joanna Bishop, Henry, composer, 48 Family Legend, 88 Black Beard, the Genoese Pirate, 42 Baker, J. B. Black Beard, The Revengeful Pirate; or, The History of Scarborough, 6 The Captive Princess, 42 Ballou, Maturin Murray Black Beard; or, the Spectre of the Galley Fanny Campbell, Female Pirate Cross’s play revised as nautical Captain, 126, 155 gothic, 42 Bannet, Eve Tavor Black Eagle, or, The Female Captain, 120 Transatlantic Stories, 109 Black Sails (2014) Barbarossa, 14, 103; see: Oruç Reis cable drama, 137 Barbary corsairs, 1, 11,31, 103, 112, Blackbeard, 57; see Teach, Edward 131, 144 Blackbeard, the Pirate; or, The Sea Barker, Jane Devil, 42 Exilius, 108, 113 Blackwood’s Edinburgh Magazine, 54 Barker, Robert Bland, James The Unfortunate Shipwright, 148 as Epaminondas in Pacha’s Bridal, 66 Barrie, James M. Blewitt, Jonathan Peter Pan, 21, 32, 158 music for The Corsair, 12, 60 Barrington, George Blood, Peter A Voyage to Botany Bay, 55 played by Errol Flynn in Captain Barrymore, William, 44 Blood, (1935), 154 Glenarvon, 3, 69 Boccaccio, Giovanni The Pirate of the Isles, 65 Decameron, Day 2, Story 10, 16, 136 Bath, 3, 40, 75, 88 Boden, Miss C. Battle of Trafalgar (21 October as Cecelia Howard in The Pilot, 36 1805), 45 as Lady Effie inThe Outlaw’s Oath, 36 Battle of Trafalgar as May Colvine in The Ocean Fiend, 36 Index ● 215

Bold Captain Avery Broadwell, Peter ballad, 147 on musical score to Blackbeard, 41 Bologna, John Peter Brown, John title role in Cross’s Sir Francis Drake, 43 An Account of Barbarossa, The Usurper Bologna, Louis of Algiers, 103 as Guillaume Le Testu in Cross’s Sir Barbarossa, 14, 103 Francis Drake, 43 Brown, Mather Bolster, W. Jeffrey Conrad in Prison, The Corsair, 61 Black Jacks: African American Bruns, George, and Xavier Atencio Seamen, 149 Yo ho / A Pirate’s Life for Me, 149 Bonhomme Richard, 87, 92 buccaneers, 15–19, 35–36, 43, 46, Bonnet, Stede 50–51,56, 57, 73, 84, 102, the Gentleman Pirate, 10, 21, 22, 105, 108, 114, 119, 141, 153, 155, 156 143, 155, 156 Bonny, Anne, pirate, 10, 14, 22, 101, Buckstone, J. B 119, 121–123, 128, 129, Dream at Sea; or The Cornish 132–138, 145 Wreckers, 80 Booth, Barton Bunce, Jack title role as Avery in The Successful strolling player turned-pirate in Pyrate, 30 Scott’s The Pirate, 10, 13, 83, Boswell, James 96, 116, 151 The Life of Johnson, 104 Burg, B. R. Botting, Douglas Sodomy and the Pirate Tradition, The Pirates, 152 102, 103 Bradley Burroughs, Watkins as Shakebag in Abby Lands as Lorenzo in Planché’s The Corsair’s as Jean-Paul Marat in Milner’s Reign Bride, 69, 117 of Terror, 44 The attleB of Trafalgar, 45 Braziliano, Roche, Dutch pirate, 20 Burrows, James Brazo de Hierro, 43 as John Hawkins in Cross’s Sir Francis Brecht, Bertolt Drake, 43 Threepenny Opera, 210, 136 Butler, James, Duke of Ormond, 21 Bretzner, Christoph Friedrich Byron, George Gordon, Lord, 13, 19, libretto for Entführung aus dem 59, 61, 62, 65, 66, 69, 71, 76, Serail, 66 116, 136 Bridges, Bess as model for Glenarvon Ruthven in in Heywood’s Fair Maid of the West, Glenarvon, 60 125, 135, 136 as model for Ruthven in The Bristol, 3, 37, 75, 153 Vampire, 60 Britannia, 120 Childe Harold, 71 British Journal, 148 The Bride of Abydos, 60, 67, 68, 70, British Review, 59 143, 153 Britomart Conrad and Selim as female warrior in Spenser’s Faerie autobiographical, 94 Queene, 124, 126 Conrad as author avatar, 70 216 ● Index

Byron, George Gordon, Lord (continued) as Lucille in Hawes’s The Pirate of Conrad as Byronic hero, 62 Genoa, 135 Conrad as descendent of Avery, 31 Cervantes, Miguel de The Corsair, 11, 12, 13, 26, 35, 60, Don Quixote, 124 64, 66, 67, 70, 71, 76, 81, 87, Chao, Noelle 95, 98, 99, 101, 114, 115, Music and Indians in John Gay’s 117, 139 Polly, 150 dedicatory epistle to Thomas Moore, Chapman, Henry, The Red Rover, 95, 98 The Corsair, 70, 71 Charles I, 144 The Deformed Transformed, 60 Charles II, 143, 153 Don Juan, 117, 118, 159 Charleston, South Carolina, 40 The Giaour, 70 charmed life of pirates, 53, 158 Heaven and Earth, 60 Chatham, 37 The Island, 60, 71, 72 Cheng I Sao, 119 Marino Faliero, 60, 75 Cherry, Andrew Mazeppa, 60 The Soldier’s Daughter, 2 Sardanapalus, 60, 115 Chichester, 37 scandal,13, 69 Christian, Fletcher, 8, 12, 61 Chubb, Charles, locks and safes, 94 Calcraft, John William Cibber, Susannah Maria The Pirate; or, The Reimkennar of as Zaphira in Brown’s Barbarossa, 104 Zetland, 74, 78, 80, 84 Cinque Ports, 37, 44 Caledonia Mercury, 104 Cinque Ports Act (1811, 1821, Caledonian Theatre, Edinburgh, 47 1828), 37 Campbell, Andrew, 44 circuits at Southampton and as Conrad in Lord Byron in Portsmouth, 2 at Sunderland Athens, 66 and Hull, 84 title role in Fitzball’s The Wood at Durham(North Shields, Devil, 55 Sunderland, South Shields, Tom Bowling, 55 Stockton, Scarborough), 88 Captain Blood (dir. Michael Curtiz, managed by Stephen Kemble 1935), 140 (Morpeth, Alnwick and Captain Hook Berwick, North Shields, in Barrie’s Peter Pan, 21, 143, Scarborough), 2 153, 158 Clarkson, Thomas Captain Jack Sparrow The Substance of the Evidence of in Pirates of the Caribbean, 26, 46, 62 Sundry Persons on the Captain Ward and the Rainbow Slave-Trade, 152 ballad, 154 Classical Dictionary of the Vulgar Caribbean pirates, 19, 20, 21, 31,156 Tongue, 151 Carlova, John Cleveland, Clement, in Scott’s The irateP , Mistress of the Seas, A Dramatic 11, 13, 71, 73, 75–84, 96, 101, Biography of Anne Bonny, 113, 114, 118, 142, 154, 158 122, 136 Cobb, James, and Stephen Storace Cawse, Harriet The Pirates, 12, 33, 35, 114, 150 Index ● 217

Cobham, Thomas, 44 as Scout, Hunter, Trapper in The Long as Arden in Abbey Lands, 35 Rifle, 94, 95 as Miles Colvine in The Ocean Fiend, as the Monster in Peake’s Presumption, 35 51, 93 title-role in Pocock’s Rob Roy, 35 as Vanderdecken in Jerrold’s The Coburg, 3, 4, 34, 35, 36, 38, 42, 45, Flying Dutchman, 44, 51, 93 48, 53, 56, 80, 84, 88, 89, 90, as William in Jerrold’s Black-Eyed 94, 95, 96, 114 Susan, 44, 51, 93 Cockpit Theatre, 43 letter to Charles Chubb, 94 Code of pirates, 49, 140, 141; see: Cooper, James Fenimore Articles autobiographical characters in the Cole, Benjamin Leatherstocking saga, 94 illustrator of General History, 145 The Last of the Mohicans, 94, 95 Cole, John William. See Calcraft, John The Pathfinder, 95 William The Pilot, A Tale of the Sea, 13, 55, Coleridge, Samuel Taylor 57, 66, 68, 87, 88, 89, 92, 93, Christabel, 124 95, 98, 99, 101, 114 Rime of the Ancient Mariner, 55, 57 The Pioneer, 94 Collier, Jeremy, 30 The Prairie, 94 Colman, George, 12, 44 The Red Rover,10, 11, 13, 16, 55, 87, abridged version of Polly, 128 94–98, 114 Inkle and Yarico, 48, 71 The ater-WitchW , 96 The Mountaineers, 2, 3 Cooper, John Colquhuon, Patrick, 34 as Antony in Julius Caesar, 83 commercial trade pirates as Cleveland in Dimond’s The Pirate, piracy in business amd 75, 83 manufacturing, 24 as Iago in Othello, 83 Conrad, in Byron’s The Corsair, 11, as Joseph in The School for 13, 16, 26, 31, 60–68, 70, Scandal, 83 94, 96, 101, 114–118, 139 as Richmond in Richard III, 83 Conrad, Joseph as Tullus Aufidius inCoriolanus , 83 The Rover, 16 title role in Marino Faliero, 75 Constable, Archibald Cordingly, David Scott’s publisher, 71, 76 Seafaring Women, 122 Cook, James corsairs, 17, 18, 57, 69, 71 explorer, navigator, cartographer, Covent Garden, 39, 48, 88, 93, 135 144 The Craftsman, 127 Cooke, Thomas Porter Cross, James Cartwright as Fid in Fitzball’s The Red Rover, Blackbeard, or, The Captive Princess, 94, 98 14, 39, 105, 123, 124, 134, as Long Tom Coffin in Fitzball’s 135, 148, 155 The Pilot, 44, 89, 90, The Corsican Pirate; or, The Grand 94, 98 Master of Malta, 43 as Lord Ruthven in Planché’s The The Genoese Pirate; or, Black Beard, Vampire, 44, 51 alternate title for Blackbeard, 39 218 ● Index

Cross, James Cartwright (continued) Davis, Howell, pirate, 140 King Caesar; or, The Negro Slaves, Davy Jones’s Locker; or, Black-eyed 43, 48 Susan, 35 Sir Francis Drake, and Iron Arm, 43 Davy Jones’s Locker; or, Harlequin and cross-dressing, 10, 31, 120, 121, 122, Black-eyed Susan, 35 127, 132, 135, 138 Dawson, Joseph Crow-street, Dublin, 12, 60 testimony in Tryals . . . For Several Cunningham, Allan Piracies and Robberies, 30, 31 Miles Colvine, the Cumberland Dearlove Mariner, 35 as the Pasha in The Corsair, 65 Paul Jones, a Romance, 92 Defoe, Daniel The King of Pirates, Being an Account Daborne, Robert of the Famous Enterprises of A Christian Turn’d Turk, 154 Captain Avery, the Mock King of Dalton, Miss Madagascar, 25, 109 as Gulnare in The Corsair, 64 The Life, Adventures and Piracies of the Dampier, William, 20 Famous Captain Singleton, 11, Memoirs of a Buccaneer, 107, 156 23, 27, 29, 109, 141 New Voyage Round the World, 19 New Voyage Round the World, 143 Darwin, Charles A Review of the State of the British Beagle Diary, 153 Nation, 24 Dauncey, John Robinson Crusoe, 20, 31 The English Lovers, 125, 130, 131 A True Account of the Design and Davenant, John Advantages of the South-Sea, The Cruelty of the Spaniards in 24, 25 Peru, 43 Dekker, Rudolf, and Lotte van de Pol The History of Sir Francis Drake, 43 The Tradition of Female Transvestism in David, Jacques-Louis Early Modern Europe, 127 Death of Marat, 60 Dennis, John Davidge, George Bolwell objections to The Successful Pyrate, 30 as aging father Brailsford in Milner’s Depp, Johnny Preventive Service, 38 as Captain Jack Sparrow, 46, 102 as Jack Sheppard, the Highwayman, 36 Deptford, 37 as Jack Straw in the Peasants Desertion, 7, 23 Revolt, 36 Dibdin, Charles, 1, 12, 70 as Joe Handfast in The Ocean Collection of Songs, 149 Fiend, 36 Yo, heave ho!, 149 manager of the Coburg, 114 Dibdin, Charles, the Younger Davidge, Mrs. George B. The Corsair, 62, 63, 64 as Katherine Plowden in Milner’s The The Female Freebooter, 120 Pilot, 90 Kaloc; or, The Slave Pirate, 47 Davies, Miss Rokeby Castle, 84 as Cabin Boy in Lord Byron in Dibdin, Thomas John, 12, 44, 84 Athens, 66 The Bride of Lammermoor, 74 Index ● 219

The Heart of Midlothian, 74, 75 The Pirate Wars, 149, 151 Ivanhoe, 74 earrings, 15, 144 Kenilworih, 75 East India Company, 9, 17, 21, 23, 27 Montrose, 74 Edinburgh Theatre Royal, 2, 73, 74, Old Mortality, 74 84, 88 Paul Jones; or, The Solway Egerton, Charles Mariner, 91 MP for Brackley, 109 retitled as Pirate’s Doom; or, The Eidam, Laura Solway Mariner, 88, 91, 92 Illustrations in Treasure Island, 145 The Pirate, 73, 78, 81, 83 Elizabeth I, 15, 17, 42, 102 Dimond, William Wyatt Elliston, Robert, 51, 114 actor and theatre manager, 12, 44, 75 manager of the Olympic, lessee of The Bride of Abydos, 12, 60, 68, 70 Drury Lane, 75 Foundling of the Forest, 88 Ellms, Charles The Heart of Midlothian, 75 The Pirates Own Book, 133 Kenilworth, 75 England, Edward The Pirate, 73, 75, 79, 81, 83 pirate, 140, 141, 153, 157 The Princess Bride, 157 English Opera House, 10, 34, 44, 51, Doody, Margaret Anne 66, 93 The True Story of the Novel, 16 Enscoe, Miss Douglas, James as Gulnare in Pirate of the Isles, 65 11th Earl of Morton, 109 in The Corsair, 64 Dover, 37 equestrian drama, 1, 60, 65 Downing, Clement, 141 eroticism, 13, 40, 50, 68, 104 History of the Indian Wars, with an Erskine, Thomas, composer, 74 Account of . . . Angria the Pyrate, European Magazine, 47 20, 29,157 Every, Henry, see Avery, John, 12 Drake, Sir Francis, 12, 17, 28, 42, 43, Examiner of Plays, 35, 44, 46, 104; see 57, 88, 125 Larpent, John Drury Lane, 3, 12, 29, 30, 34, 60, 68, excise service, 6 73, 75, 83, 103, 104, 114, 116 exoticism, 1, 34, 39, 41, 68, 111, 135 Drury, Robert Exquemelin, Alexandre Madagascar, or, Robert Drury’s Journal, The Buccaneers of America, 18, 20, 20, 25 106, 128, 141, 156 Dryden, John eyepatches, 144, 145 All for Love, 105 Tyrannick Love, or The Royal Martyr, 2 false flags Dugaw, Diane pirate deception, 10, 11, 147 Warrior Women and Popular Balladry, The Famous Adventures of Captain John 1650–1850, 124 Avery, of Plymouth, 29 Dundee, 91 Fawcett, John as Don Garcia, Governor of Earle, Peter Maracaibo in Lolonois, 50 The Corsairs of Malta and Barbary, 10 Obi; or, Three Finger’d Jack, 3, 48 220 ● Index

Fernando, Francis as Selim in Brown’s Barbarossa, 104 Jamaican pirate hunter, 22 Gay, John Fielding, Henry Beggar’s Opera, 11, 104, 123, Life of Mr. Jonathan Wild, the 127,128, 132 Great, 112 Polly, 11, 14, 104, 105, 116, 120, filibusters, 17 123–132, 134–136, 138, Fillingham, Mrs. 150, 155 in The Corsair, 64 Geery, George Fitzball, Edward, 12, 44, 51, 52, 55, 93 confession to piracy, 152 The Floating Beacon, 8, 80 Gentleman Pirate, 153, 155, 159 The Flying Dutchman, 51, 52, 55, George III, 33 57, 93 George IV, 45 The Inchcape Bell, 80 Gerrard, Thomas The Pilot, 44, 66, 88–94 pirate on trial with Stede Bonnet, 156 The Red Rover; or, The Mutiny of the Gilbert, Miss Dolphin, 13, 94–98 Chieftain in Pacha’s Bridal, 67 The Wood Devil, 55, 56 Gilbert, W. S., and Arthur Sullivan Fitzwilliam, Frances ‘Fanny’ Elizabeth, Pirates of Penzance, 32, 35, 135, 142, née Copeland 148, 153, 155 as Katherine Plowden in Fitzball’s The Girard, H. B. Pilot, 66, 89 The Dutch Pirate, 4, 5 as the Pasha’s favorite in Lord Byron in Giroux, Gabriel Athens, 66 choreographer and dance master, 50 joint manager of Sadler’s Wells, 65 Glasby, Harry Flint, J. on trial with Captain Roberts, 142 Captain of the Walrus, in Treasure Glover, Julia Island, 15 as Minna in Dibdin’s The Pirate, 73 Flynn, Errol, as Captain Blood, 102 Golden Age of Piracy (1650–1726), Ford, John 11, 15, 16, 19, 22, 28, 98, Tis Pity She’s a Whore, 68 102, 103, 119, 122, 124, 127, Fraser, George MacDonald 143, 144, 147, 150, 151, 154, The Pyrates, 122, 137 156, 157 Frederic Goldsmith Pirate Apprentice in Pirates of as Berthold in Almar’s Wake not the Penzance, 142, 155 Dead, 89 freebooters, 17, 46, 56, 120 as Captain Munson in Milner’s The French East India Company, 49, 50 Pilot, 89 Fuchs, Barbara as Franklin in The Abbey Lands, 89 theatrical aspects of piracy, 7, 8, 11 Gombo the slave, as Gentleman Jocard in At World’s End Gamerra, Giovanni de played by Hakeem Kae-Kazim, 46 L’amor marinaro ossia Il Corsaro, 34 Gomersal, Mrs. Gang-i-sawai, 34 Donna Rodriguez Grijalva in Garrick, David Lolonois, 50 Index ● 221

Gothic melodrama, 89; see: Nautical Hayter, Alethea Gothic melodrama The Wreck of the Abergavenny, 9 Gow, John, Orkney Pirate, 13, 57, 71, Haywood, Eliza 77, 80, 87, 95, 101, 121 Philidore and Placentia, 113 Gravesend, 37 Hazlitt, William Greenwich, 37, 45, 49, 65 on William Dimond, 75 Grimaldi, Joseph Hemans, Felicia title role in Kaloc, 47 The Bride of the Greek Isle, 14, 115 Groombridg, S. Henry VIII, 65 as Anselmo in The Corsair, 64 Herbert, George B., composer, 89 Heywood, Thomas Haines, John Thomas The Fair Maid of the West, 14, 19, Breakers Ahead; or, A Seaman’s Log, 123, 125, 126, 128, 130, 133, 57 137, 155 The Demon Ship; or, The Buccaneers of Hicks, James Malta, 56 title role in Campbell’s Tom Elsie Glendinning; or, The Witch of the Bowling, 55 Coast, 80, 84 highwaymen, 36, 44, 104, 127 The Freebooter’s Bride, 56 The History and Lives of all the Most The Haunted Hulk, 56 Notorious Pirates, and their The Ocean of Life, 57 Crews, 20, 145 The Phantom Ship; or, The Demon History of Paul Jones, the Pirate, 92 Pilot, 57, 84 Hobbes, T. R., composer, 84 Quentin Durward, 84 Hollander, Tom Rattlin the Reefer, 56 as Lord Cutler Beckett in Dead Man’s The Wizard Skiff; or, The Pirate’s Boy, Chest and At World’s End, 46 56, 84 Hood, Thomas, 56 Haitian Revolution, 15 Hooley, Ann Hands, Israel theatre manager, Woolwich, 65 member of Silver’s crew in Treasure Hornigold, Benjamin, 22 Island, 144 Howard, Edward, 57 member of Blackbeard’s crew in Rattlin the Reefer, 56 General History, 144 Howard, Pyle harlequinades, pirates, 1, 12, 33 Book of Pirates, 143 The Harmonica, 154 Buccaneers and Marooners of Háshim, Muhammad America, 143 History of India . . . by Its Own Huddersfield, 41 Historians, 30 Hunt, Leigh, 72 Hastings, 37 Hythe, 37 Hawes, Joseph English libretto, The Pirate of Genoa, impressment, 7, 93, 126, 134, 142, 155, 34, 135 156; see: press-gangs Hawkins, John, 17, 28, 43 Ingleby, Miss Haymarket, 2, 33, 48, 71 as Semina in The Corsair, 64 222 ● Index

Ireland Johnson, Charles Chieftain in Pacha’s Bridal, 67 The Country Lasses, 30 Irving, Peter The Successful Pyrate, 29, 30, 34, Giovanni Sbogarro, A Venetian 39, 159 Tale, 116 Johnson, Edgar Irving, Washington Sir Walter Scott, The Great Kidd the Pirate, 50 Unknown, 79 Tales of a Traveller, 53, 54, 55 Johnson, S. Islamic privateers, 17 title role in Lord Byron in Athens, 66 Jolly Roger, black flag, 8, 11, 14, 20, Jacobites, 21, 22, 108, 110, 150, 153 119, 126, 136, 145–148, 150; Jamaica, 16, 17, 91, 121 joli rouge, 147–148; skull and Jamaican buccaneers, 17 crossbones, 14, 145, 147 Jamaican Discipline, 140; see: Code Jolly Roger Twangdillo Jamaican Royal Gazette, 151 ballad, 148 James I, 19, 21, 154 Jones, John Paul, 6, 13, 17, 57, 87–95, James II, 21, 110 114, 139, 146, 154 Jarvis, Mrs., as Britannia with court in Jones, Joseph Stevens diaphanous silks, 42 Captain Kyd, 50 Jarvis, Mrs., recites Lines on the Peace, Stockport Theatre, 41 Kant, Immanuel Jennings, Henry, 22 disinterestedness, 59 Jenny Diver Kritik der Urteilskraft, 60 in Gay’s Beggar’s Opera and Polly, 104, Kean, Charles 105, 128–136, 150 as Selim in Brown’s Barbarossa, 104 in Brecht’s Threepenny Opera, 120, Kean, Edmund 136, 150 impersonates Byron as Salim in Jerrold, Douglas William The Bride of Abydos, 12, 60, 68, Black-Eyed Susan, 44, 51, 93 69, 70 Descart, the French Buccaneer, 14, Kelly, Michael 114–115, 159 actor, tenor, composer, 33, 68 The Flying Dutchman, 44, 51, 52, as Altador in Cobb’s The Pirates, 114 55, 93 Kemble, Charles, 2, 5 The Island, 12, 60, 61 as Hotspur, 2 Jervis, John Kemble, Elizabeth Satchell, 2 as Conrad in The Corsair, 64 Kemble, Henry Stephen, 44 Johnson, Charles (pseud.) as Arnolf in The eaS Devil, 5, 6 General History of the Pyrates, 10, 11, as child actor, age 4, 2 18, 19, 20, 21, 22, 23, 25, 26, as Fitzarden in Moncrieff’sLear of 28, 29, 32, 40, 41, 80, 95, 102, Private Life, 5 105, 106, 121, 122, 123, 125, as Gambia in Thomas Morton’sThe 129, 131, 132, 133, 134, 140, Slave, 5 141, 143, 144, 145, 148, as John Paul Jones in Milner’s The 153, 154 Pilot, 89 Index ● 223

at Scarborough, 6 Journal of an Expedition to explore the in Morton’s The Invincibles; or, The Course and Termination of the Female Soldiers, 5 Niger, 152 title role in Barrymore’s Glenarvon, 3 Larpent, John title role in Korastikan, 3 Examiner of Plays, 35, 44, 46, title role in Moncrieff’sThe 104,116 Vampire, 3 laterna magica, 33, 53 title role in Pocock’s Rob Roy, 5 Le Testu, Guillaume title role in The Dutch Pirate, 2, 4, 6 a French buccaneer, 43 title-role in Charles the Second; or the Leffler Merry Monarch, 5 as the Pasha Seyd in Pacha’s Bridal, 66 Kemble, John Philip Leigh, Vivien as Falstaff, 2 as Emma Hamilton in That Hamilton Kemble, Marie Thérèse, née Du Camp Woman, 145 The Day after the Wedding, 5 Lemon, Mark, 70 Kemble, Mary Freize, 2 founding editor of Punch, 66 Kemble, Stephen, 2, 4 The Pacha’s Bridal, 13, 66 circuit at Durham, 88 Lennox, Charlotte Kemble, Stephen and Henry The Life of Harriot Stuart, Written by The Lady of the Lake; or, The Knights Herself, 112 of Snowdon, 2 Lenya, Lotte Kidd, William, 10, 12, 17, 49, as Pirate Jenny in Brecht’s Threepenny 57, 121 Opera, 150 King’s Shilling, 7, 142 letter of marque, 17, 18, 45, 49 King’s Theatre, 33, 34 Libertalia Kipling, Rudyard pirate colony of Madagascar, 26 Captain Courageous, 125 Licensing Act (1737), 39, 44 Klausman, Ulrike, Marion Meinzerin, Little, Benerson and Gabriel Kuhn The Sea Rover’s Practice, 134 Women Pirates and the Politics of the Liverpool, 37, 64, 88 Jolly Roger, 122 Locke, Matthew, composer, 43 Knight, Thomas, 70 London Magazine, 54, 103 manager, Liverpool Theatre Long Meg of Westminster Royal, 64 folk heroine in ballads, fiction, Korastikan, Prince of Assassins! Or, The drama, 125 Dreaded Harem, 3 The Long Rifle, 94 Longus The Lady’s Monthly Museum, 73, Daphnis and Chloe, 16 76, 83 Lord Byron in Athens; or, The Corsair’s Lafitte, Jean, 17 Isle, 12, 61, 65 Lamb, Caroline Low, Edward, pirate, 140, 141, A New Canto, 69 145, 148 Glenarvon, 3, 69 Lowther, George, pirate, 140 Lander, Richard and John Lyceum, 1, 13, 66 224 ● Index

Lynch, Scott The Renegado, 31 Red Seas under Red Skies, 119, 120 Matlak, Richard, 8 Deep Distresses, 9 Macarty, Dennis, pirate, 158 Maturin, Charles Robert MacDonald, J. H. Bertram, 3 illustrations for The Pirate, 78 Manuel, 3 Macheath, in Gay’s Beggar’s Opera and Maynard, Robert Polly, 104, 105, 127–130, Lieutenant in Royal Navy, defeated 150, 154 Blackbeard, 40 Mack the Knife, in Brecht’s Threepenny Meinzerin, Marion. See Klausman, Ulrike Opera, 150 Mencken, Henry Louis Mackie, Erin Prejudices, First Series, 119, 120 Rakes, Highwaymen, and Pirates, 78, Metropolitan Magazine, 56 102, 103, 157 Miller, J. Hillis Macready, William Charles ‘Narrative’ in Critical Terms, 132 Marmion, 84 Millie, Bessie Rokeby, 84 Orkney wind merchant, 77 Madagascar, 11, 23, 24, 28, 42, 106, Milner, Henry M. 107, 108, 109, 110, 111 Barmecide; or, The Fatal Offspring, 3 as Avery’s fortress, 29, 30 Coast Blockade; or, The Band of Free as Blackbeard’s fortress, 40 Traders, 38 as pirate colony, 20–26, 31, 157 Mazeppa, 60 Mainwaring, Henry, privateer, 8, 11 The Money Diggers, 53–55, 158 Malta, 10, 53, 56 The Ocean Fiend; or, The Wreck of the Manley, Delarivier Raven, 35, 36, 37, 38, 89 Lady’s Pacquet of Letters Taken from The ilot;P or, A Tale of the Sea, 89 her by a French Privateer, 114 Preventive Service; or, Romance of the Maracaibo, 42, 50, 51 Coast, 38, 89 Mardyn, Charlotte Mirror of the Stage, 69 as Zuleika in The Bride of Abydos, 68 Misson, James Marley, Bob founder of Libertalia, a pirate colony Redemption Song, 157 in Madagascar, 23, 26 maroon, 8, 111, 140, 141, 145, Molatto Tom, pretended son of Captain 151, 152, 156, 157; see Avery, 157 keelhauling, 151 Moncrieff, William Thomas Marryat, Frederick, 56, 57 The Vampire, 3 Privateer’s Man, 18, 21 Lear of Private Life, 5 The Pirate, 22, 142, 155, 158 monkeys, 144 The Three Cutters, 139 Monthly Miscellany, or, Memoirs for the Marschner, Heinrich Curious, 28 Der Vampyr, 66 Monthly Review, 103 Marsden, Joshua Moore, Thomas, 70 Sketches of the Early Life of a Sailor, 48 Moreton, Thomas Massinger, Philip Sea Devil; or, The False Beacon, 4, 5 Index ● 225

Morgan, Henry, 12, 17, 18, 19, 42, 88, stage manager at Stockport, 41 106, 111, 120; lawsuit against Nicol, Miss Exquemelin, 18 as Medora in The Corsair, 64 Morpain, Pierre Nielsen, Wendy defender of Acadia, 20 Women Warriors in Romantic Morton, Thomas Drama, 128 The Invincibles; or, The Female Noble Outlaw, 62 Soldiers, 5 Norton, Richard The Slave, 3, 5, 48 Captain’s Negro and Drummer, 149 Mossop, Henry title role in Brown’s Barbarossa, 104 O’Driscoll, Sally Mozart, Wolfgang Amadeus The Pirate’s Breasts, 125, 137 ‘Alla Turca’, 41 O’Malley, Grace Die Entführung aus dem Serail, 66 known as Granuaile, 102, 119 Murray, John, 12, 54, 60 Olivier, Laurence commisioned illustrations of The as Horatio Nelson in That Hamilton Corsair, 62 Woman, 145 Murray, Miss Olympic, 1, 73, 75, 81, 82 as Zoe, Medora’s attendant in Pacha’s Oruç Reis Bridal, 66 known as Baba Oruç or Barbarossa, musical comedy, pirates, 12, 33 14, 103, 104, 108, 144 mutiny, 8, 23, 26, 27, 34, 77, 78, O’Sullivan, Michael 142, 148, 151, 152 The Corsair; or, The Pirate’s Isle, 12, 60 as revolutionary act, 45 Ottoman corsairs, 112 as workers’ strike, 45 Bounty, mutiny, 8, 61, 71 Panama City, 42, 106 Caroline, mutiny, 77, 96–97 Park, A., engraver Dolphin, mutiny, 13, 95–97 Paul Jones the Pirate, 89, 146 Parker, Dorothy Napoleon, 18, 45 Song of Perfect Propriety, 119 Napoleonic Wars, 1, 2, 7, 15, 44 parrots, 14, 143, 144, 145 National Theatre, Boston, 50 Parsons, Elisa Nau, Jean-David Castle of Wolfenbach, 112, 113 known as François l’Ollonais, 12, 17, Paterson, Neal 20, 50, 57 pirate on trial with Stede Bonnet, 156 Nautical Gothic melodrama, 33, 35, Payne, John Howard 51–57, 84 Charles the Second; or the Merry ghost ships, ghost pirates, 12, 52, 55 Monarch, 5 Naval Chronicle, 9 Pearson, Richard Nelson, Horatio, 45, 145 Captain of the HMS Serapis, 87, 92 New Monthly Belle Assemblée, 117 peg-leg, 143, 144 New Monthly Magazine, 56 Pennie, J. F Newcastle Theatre Royal, 84 Ethelwolf: Or, The Danish Pirates, 14, Nicholson 114, 115, 116 226 ● Index

Phillips, John, pirate, 140, 141 Plymouth, 27, 28, 31, 37 Phillips, Thomas Pocock, Isaac portrait of Byron, 62 Rob Roy, 5, 35 The Pilot; or, A Tale of the Thames Polly Peachum, in Gay’s Beggar’s Opera a burlesque directed at Fitzball, 93 and Polly, 11, 105, 123–136, The Pirate; or, Harlequin Victor, 35 138, 150, 155 pirate commerce and trade, 44–46, Portobello, 42 57,109; see: slave trade Portsmouth, 9, 37, 94 pirate federation; see: Republic of Pirates Post Boy as empire, 25 ballad of Avery’s adventures, 27 as nation, 49 Powell, Thomas pirate music, 6, 14, 149, 150, 155 The Children of the Wood, 2 pirate sex, 13, 14, 101–118 Power, Tyrone, 102 Pirates of the Caribbean as Captain Cleveland in Planché’s The Walt Disney Pictures, 149 Pirate, 82 Pirates of the Caribbean: On Stranger as corsair in Planché’s The Corsair’s Tides (2011), 46, 137 Bride, 70 Pirates of the Caribbean: The Curse of the press gangs, 6, 7 Black Pearl (2003), 140 Preventive Service, 12, 35, 38, 57, 89 Pitt, Eliza Pritchard, J. L. as Emilia de Bentivoglio in Planché’s as Cleveland in Calcraft’s The The Corsair’s Bride, 70 Pirate, 84 as Sophia Huckaback in Planché’s manager of circuit company, 84 Capers at Canterbury, 70 privateers, 8, 11, 17, 18, 19, 24, 26, 34, Pitt, George Dibdin, Pauline the Pirate, 42, 45, 49, 50, 57, 88, 98, 107, 120 112, 125, 135, 144, 149, 156 Pitt, Miss as Meka, wife to Conrad, in Lord Rackham, John Byron in Athens, 66 known as Calico Jack, 10, 22, 101, Planché, James Robinson, 12, 44, 83 121, 122, 133 Capers at Canterbury, 70 Rae, Alexander, 3 Kenilworth Castle, 70 Rahmah ibn Jabir al-Jalahimah, 144 The Corsair’s Bride, 69, 70, 82, Raleigh, Sir Walter, 17, 125 116, 155 rape, 27, 31, 37, 41, 59, 103, 106, 109, The Pirate, 73, 78, 81, 82, 83, 116 111, 112, 136, 153 The Pirate’s Bride, 14, 16; changed to Read, Mary, pirate, 10, 14, 119, 121, The Corsair’s Bride, 116 122, 123, 124, 127, 128, 129, The Vampire; or, the Bride of the Isles, 130, 132–138, 145 44, 51, 116 Rebellion of 1715, 21 Plantain, John (or James), pirate, 157 red flag, 147 playacting, 1, 6, 9, 10, 11, 34, 57, 89, sans quartier, 147; see: Jolly Roger 96, 97, 98, 99, 139 Red Sea pirates, 23 in Byron’s The Corsair, 96 Rediker, Marcus in Cooper’s Red Rover, 96 Villains of all Nations, 26, 123, in Scott’s The Pirate, 96 132, 141 Index ● 227

The Red Rover as Omrad, guard of the seraglio in Lafayette Circus, New York, 98 Pacha’s Bridal, 66 Park Theater, New York, 98 music for The Pacha’s Bridal, 13, 66 Reeve, William, composer, 47, Rooke (O’Rourke), William Michael 62, 81 composer, 75, 81 Regency, 80, 84 Rowbotham, H. H. Remetrieder, Mrs. as Bertrand Killydawke, The Ocean as Medora in Pirate of the Isles, 65 Fiend, 36 Rennie, Neil as Green in The Abbey Lands, 35, 90 Treasure Neverland, Real and as Lieutenant Barnstable in Milner’s Imaginary Pirates, 20, 113, The Pilot, 90 136 as Llewyllen in Milner’s The Republic of Pirates, 29, 45 Welshman, 35, 90 Revenuers, 35 as Woodville in The Gamblers, 35, 90 Reynolds, Frederic title-role in Amherst’s Glenarvon, The Exile, 3 36, 90 Ricote, Ana Felix Rowe, Nicholas she-pirate in Cervantes’s Don Tamerlane, 3 Quixote, 124 Royal Amphitheatre, 35, 60, 65, 120 Roach, Joseph Royal Circus, 39, 41, 43, 48, 50, 74, Cities of the Dead, 11 90, 105, 135 It, 143 Royal Hospital for Seamen, 45 Roberts, Bartholomew Royal Naval College, 46 known as Black Bart, 10, 22, 23, 121, Royal Navy, 1, 7, 37, 45, 46, 48, 57, 65, 122, 123, 140, 141, 142, 143, 97, 126, 142 148, 149, 157 Royal Pyrate Roberts, William performed aboard a pirate ship, 10 Memoirs of Mrs. Hannah More, 59 Royalty, 35 review of Byron’s Bride of Abydos, Rubens, Peter Paul 59, 60 Rape of the Daughters of Leucippus, Robespierre, Maximilien de, 45 59 Robin Hood, 5, 26, 28, 46 Robin Hood Bay Sadler’s Wells, 1, 2, 4, 12, 36, 42, 45, in local ballad, 5 47, 55, 56, 60, 61, 62, 65, local seamen vs. excise service, 6 84, 96 Rodwell, George H., composer, 91 Sanderson, James, composer, 39, 41, 43, Rogers, Woodes 50, 81 privateer, Governor of the Bahamas, Sandwich, 37 20, 23, 144, 156, 158 Sans Pareil, 35 Romantic irony, 33 Scarborough, 2, 5, 6, 7, 8 Romer, Emma Schiller, Friedrich as Liska in Marschner’s Der The Bride of Messina, 68 Vampyr, 66 Scott, Elizabeth as Agnes in Der Freischütz, 66 as Minna Troil in Planché’s The Romer, Frank Pirate, 81 228 ● Index

Scott, Jane as Medora in Pacha’s Bridal, 66 Glee and Pas Seul in Planché’s The Siddons, Henry, 88 Pirate, 81 Siddons, Sarah, 2 Scott, Sir Walter Siddons, Harriet Murray Bridal of Triermain, 71 as Minna in Calcraft’s The Pirate, 84 Heart of Midlothian, 88 Silver, Long John Kenilworth, 88 in Stevenson’s Treasure Island, Lady of the Lake, 2, 71, 76 144, 153 Lay of the Last Minstrel, 71,76 Simone, Nina Lord of the Isles, 84 as Pirate Jenny in Brecht’s Threepenny Marmion, 71, 76 Opera, 150 The Pirate, 10, 11, 13, 16, 21, 35, slave trade, 12, 20, 23, 47–49, 57, 68, 71, 72, 73–81, 84, 87, 151–157 92, 93,95, 98, 99, 101, 113, Slave Trade Act (1807), 47 114, 118, 142, 151, 153, 158 slavery, 1, 20, 23, 26, 40, 47–49, 63, Quentin Durward, 84 108, 111, 117, 128, 156, 159 Rokeby, 71, 76, 84–85 Slavery Abolition Act (1834), 48 The Vision of Don Roderick, 71 Smith, O., 44 Waverley, 71, 74, 76, 84 as Captain Ruthven, pirate and sea dogs, 125, 144 smuggler in Milner’s Preventive privateers under Elizabeth I, 17, 28 Service, 38 Seaman’s Life at Home & Abroad; or, The as Long Tom Coffin in Milner’sThe Murderer’s Fate, 65 Pilot, 90 Segrais, Jean Regnault de as Vanderdecken in The Flying Adelaïde, trans. The Beautiful Pyrate, Dutchman, 52 14, 131 title role in Lolonois, 50 self-reflexive metadrama, 33 Lolonois; or, The Bucaniers of 1660, Selkirk, Alexander, 144 50, 51 Serapis, 87, 92, 146 Smolett, Tobias, 95, 97 Serle, Cecilia Roderick Random, 55 as Gulnare in Pacha’s Bridal, 66 smugglers, 5, 6, 7, 8, 9, 35, 36, 37, 39, Seven Capes; or, The Pirate of Algiers, 1 44, 45, 53, 57, 80, 84, 96, 102, Shakespeare, William 106, 139 Hamlet, 19 Soane, George, Masaniello, 65 Henry IV, 2 Solway Firth, 35, 37 Richard III, 2 Some Memoirs Concerning that The Tempest, 88 Famous Pyrate Capt. Avery, 28 The Winter’s Tale, 88 Somerset, Charles, 55 Sharp, Bartholomew, 19 The Spectre Hulk, 53 Sheffield, 88 South Sea Bubble, 128, 154 she-pirates, 13, 99, 119–138 Southampton, 37 Sheppard, Jack Southerne, Thomas highwayman, 104 Oroonoko, 48 Shirreff, Jane South-Sea Company, 24, 25 Index ● 229

The Spanish Main (1945; dir. Frank Terry, Daniel Borzage), 137 as Antigonus in The Winter’s Tale, Spenser, Edmund 88 Faerie Queene, 124 as Antony Foster in Kenilworth, Spotswood, Alexander 88, 89 Governor of Virginia, 40 as Argyle in Baillie’s Family Spriggs, Francis, pirate, 140, 148 Legend, 88 St Paul’s Cathedral, 45 as Bertrand in Dimond’s Foundling of Stanfield, Clarkson the Forest, 88 Coast Scenery, 39 as David Deans in The Heart of Starkey, David J. Midlothian, 88 Pirates and Markets, 7 as Prospero in The Tempest, 88 Steele, Richard The Heart of Midlothian, 75, 88 The Conscious Lovers, 20 title role in Fitzball’s The Pilot, Sterne, Laurence 88, 89 Tristram Shandy, 134 Tew, Thomas Stevenson, Robert Louis the Rhode Island Pirate, 10, 17, Master of Ballantrae, 150 26, 153 Treasure Island, 15, 32, 54, 144, That Hamilton Woman (dir. Alexander 145, 149 Korda, 1941), 145 Stockport, 41 Theatrical Examiner, 104 Storace, Anna, 33 Theatrical Inquisitor, 3 as Fabulina in Cobb’s The Pirates, Thomas, Dorothy 114 witness in The Tryals of Captain John Storace, Stephen Rackham, 124, 136 composer: Gli equivoci, The Pirates, Thompson, C. Pelham 33, 35 Rokeby; or,The Buccaneers Stuart, James Francis Edward Revenge, 84 the Old Pretender, 21, 22 Thompson, E. P.The Making of the Surrey, 3, 4, 34, 44, 50, 51, 53, 56, 57, English Working-Class, 34, 48 73, 74, 75, 80, 83, 84, 93, 94, 95 Thorslev, Peter swashbuckling melodrama, 39, 45 The Byronic Hero, 62 Swift, Jonathan Tortuga, 16, 111 Gulliver’s Travels, 20, 76 trade in pirate plunder in Irish and American ports, 22 Tasso, Torquato, 75 True Briton, 151 tattoos, 143, 144 The Tryals of Captain John Rackham, and Taylor, Miss Other Pirates, 121, 122 Donna Clara, Governor’s Daughter in Turley, Hans Lolonois, 50 Rum, Sodomy, and the Lash, 102, Teach, Edward 103, 133 known as Blackbeard, 10, 12, 15, 21, Turner, J. M. W. 22, 26, 39, 121, 139, 145, 153 The Battle of Trafalgar, 45 Teatro Grande, Trieste, 13, 62 Slaveship, Typhon Coming On, 48 230 ● Index

Udal Law, 79, 80, 82 as Lady Malvina in The Vampire, 3 Waylet van Broeck, Adrian as Spoiletti in Planché’s The Corsair’s The Life and Adventures of Captain Bride, 70 John Avery, the Famous English as Tressilian in Planché’s Kenilworth Pirate, 28, 29, 107 Castle, 70 Vanbrugh, John, and Colly Cibber Weaver, R. T. The Provok’d Husband, 5 The Red Rover; or, The Mutiny of the Vane, Charles, pirate, 21, 22, Caroline, 95, 96 106, 122 Weber, Carl Maria von Verdi, Giuseppe Der Freischütz, libretto by Friedrich Il corsaro, 13, 62 Kind, 53, 66 Vestris, Lucia Elizabeth Weigl, Joseph as Minna Troil in The Pirate, The Pirate of Genoa, 10, 14, 33, 34, 75, 83 124, 150, 154 Victoria West, Sarah formerly the Coburg, 56, 57 as Doge’s wife in Marino Vikings, Norsemen, 16, 78, 115 Faliero, 75 Ville de Paris, French warship, 1 as Norna in The Pirate, 75 Whitehaven, 2, 91 Wahrman, Dror Wilkinson, Mrs. The Making of the Modern as Urilda in Campbell’s Tom Self, 135 Bowling, 55 walking the plank, 14, 15, 144, William III, 49 150–152, 155, 157 Williams, J. R. Wallack, W. H. as Seyd, the Pasha in Lord Byron in Paul Jones, or, The Pilot of the German Athens, 66 Ocean, 93 Williams, W. H., 65 Walpole, Horace as Jerry Durwalt in Lord Byron in The Mysteries of Udolpho, 20 Athens, 66, 70 Walpole, Robert joint manager of Sadler’s Prime Minister (1721–1742), 128 Wells, 65 Walsall, 42 Wilson Walt Disney Pictures, 46, 140 as Captain Baltrope in Milner’s The Ward, John, pirate, 154 Pilot, 90 Ward, Ned as Conrad in Pacha’s Bridal, 66 Nuptial Dialogues, 29 Winston, James Watson, Miss stage manager, Drury Lane, 75 as Alice Dunscombe in Milner’s The Wolski, Dariusz Pilot, 90 Director of Cinematography, On as Alicia in Abbey Lands, 36 Stranger Tides, 46 as Catherine in The Ocean Woolwich, 37, 65 Fiend, 36 Woolwich Dockyard, 65 as Desdemona, 36 Wordsworth, John, 9 Index ● 231

captain of the Earl of Abergavenny, 8 Wynn, Emanuel Wordsworth, William French pirate, 20 The Borderers, 8 wreckers, 8, 9, 10, 45, 80 Yates, Frederick H. The Wreckers of the Craig Foot, 80 title role in Fitzball’s The Red Rover, 94 Wren, Christopher, 45, 46 Wright, Captain of the Quedagh Ziter, Edward Merchant, 49 Kean, Byron, and Fantasies of Weymouth, 8 Miscegenation, 68