A Catalogue of the Dramatic Imprints of David and Thomas Longworth, 1802-1821
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Parody, Paradox and Play in the Importance of Being Earnest1
Connotations Vol. 13.1-2 (2003/2004) Parody, Paradox and Play in The Importance of Being Earnest1 BURKHARD NIEDERHOFF 1. Introduction The Importance of Being Earnest is an accomplished parody of the con- ventions of comedy. It also contains numerous examples of Oscar Wilde’s most characteristic stylistic device: the paradox. The present essay deals with the connection between these two features of the play.2 In my view, the massive presence of both parody and paradox in Wilde’s masterpiece is not coincidental; they are linked by a num- ber of significant similarities. I will analyse these similarities and show that, in The Importance of Being Earnest, parody and paradox enter into a connection that is essential to the unique achievement of this play. 2. Parody The most obvious example of parody in Wilde’s play is the anagnori- sis that removes the obstacles standing in the way to wedded bliss for Jack and Gwendolen. The first of these obstacles is a lack of respect- able relatives on Jack’s part. As a foundling who was discovered in a handbag at the cloakroom of Victoria railway station, he does not find favour with Gwendolen’s mother, the formidable Lady Bracknell. She adamantly refuses to accept a son-in-law “whose origin [is] a Termi- nus” (3.129). The second obstacle is Gwendolen’s infatuation with the name “Ernest,” the alias under which Jack has courted her. When she discovers that her lover’s real name is Jack, she regards this as an “insuperable barrier” between them (3.51). Both difficulties are re- moved when the true identity of the foundling is revealed. -
1835. EXECUTIVE. *L POST OFFICE DEPARTMENT
1835. EXECUTIVE. *l POST OFFICE DEPARTMENT. Persons employed in the General Post Office, with the annual compensation of each. Where Compen Names. Offices. Born. sation. Dol. cts. Amos Kendall..., Postmaster General.... Mass. 6000 00 Charles K. Gardner Ass't P. M. Gen. 1st Div. N. Jersey250 0 00 SelahR. Hobbie.. Ass't P. M. Gen. 2d Div. N. York. 2500 00 P. S. Loughborough Chief Clerk Kentucky 1700 00 Robert Johnson. ., Accountant, 3d Division Penn 1400 00 CLERKS. Thomas B. Dyer... Principal Book Keeper Maryland 1400 00 Joseph W. Hand... Solicitor Conn 1400 00 John Suter Principal Pay Clerk. Maryland 1400 00 John McLeod Register's Office Scotland. 1200 00 William G. Eliot.. .Chie f Examiner Mass 1200 00 Michael T. Simpson Sup't Dead Letter OfficePen n 1200 00 David Saunders Chief Register Virginia.. 1200 00 Arthur Nelson Principal Clerk, N. Div.Marylan d 1200 00 Richard Dement Second Book Keeper.. do.. 1200 00 Josiah F.Caldwell.. Register's Office N. Jersey 1200 00 George L. Douglass Principal Clerk, S. Div.Kentucky -1200 00 Nicholas Tastet Bank Accountant Spain. 1200 00 Thomas Arbuckle.. Register's Office Ireland 1100 00 Samuel Fitzhugh.., do Maryland 1000 00 Wm. C,Lipscomb. do : for) Virginia. 1000 00 Thos. B. Addison. f Record Clerk con-> Maryland 1000 00 < routes and v....) Matthias Ross f. tracts, N. Div, N. Jersey1000 00 David Koones Dead Letter Office Maryland 1000 00 Presley Simpson... Examiner's Office Virginia- 1000 00 Grafton D. Hanson. Solicitor's Office.. Maryland 1000 00 Walter D. Addison. Recorder, Div. of Acc'ts do.. -
The English-Speaking Aristophanes and the Languages of Class Snobbery 1650-1914
Pre-print of Hall, E. in Aristophanes in Performance (Legenda 2005) The English-Speaking Aristophanes and the Languages of Class Snobbery 1650-1914 Edith Hall Introduction In previous chapters it has been seen that as early as the 1650s an Irishman could use Aristophanes to criticise English imperialism, while by the early 19th century the possibility was being explored in France of staging a topical adaptation of Aristophanes. In 1817, moreover, Eugene Scribe could base his vaudeville show Les Comices d’Athènes on Ecclesiazusae. Aristophanes became an important figure for German Romantics, including Hegel, after Friedrich von Schlegel had in 1794 published his fine essay on the aesthetic value of Greek comedy. There von Schlegel proposed that the Romantic ideals of Freedom and Joy (Freiheit, Freude) are integral to all art; since von Schlegel regarded comedy as containing them to the highest degree, for him it was the most democratic of all art forms. Aristophanic comedy made a fundamental contribution to his theory of a popular genre with emancipatory potential. One result of the philosophical interest in Aristophanes was that in the early decades of the 18th century, until the 1848 revolution, the German theatre itself felt the impact of the ancient comic writer: topical Lustspiele displayed interest in his plays, which provided a model for German poets longing for a political comedy, for example the remarkable satirical trilogy Napoleon by Friedrich Rückert (1815-18). This international context illuminates the experiences undergone by Aristophanic comedy in England, and what became known as Britain consequent upon the 1707 Act of Union. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Foreign Infusion: Overseas Foods and Drugs in Seventeenth Century England Permalink https://escholarship.org/uc/item/1sg758sd Author Azevedo, Jillian Michelle Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Foreign Infusion: Overseas Foods and Drugs in Seventeenth Century England A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History by Jillian Michelle Azevedo June 2014 Dissertation Committee: Dr. Thomas Cogswell, Chairperson Dr. Jonathan Eacott Dr. Christine Gailey Copyright by Jillian Michelle Azevedo 2014 This Dissertation of Jillian Michelle Azevedo is approved: __________________________________________ __________________________________________ __________________________________________ Committee Chairperson University of California, Riverside Dedication To my Parents and Grandparents iv ABSTRACT OF THE DISSERTATION Foreign Infusion: Overseas Foods and Drugs in Seventeenth Century England by Jillian Michelle Azevedo Doctor of Philosophy, Graduate Program in History University of California, Riverside, June 2014 Dr. Thomas Cogswell, Chairperson During the seventeenth century, the English were integrating foreign foods into their lives at an unprecedented, and previously unacknowledged, rate. This is apparent in both English homes and popular culture, as foreign foods were featured in contemporary recipe books, medical manuals, treatises, travel narratives, and even in plays performed during the period. Their inclusion in the English home and in popular culture is important; it illustrates that there was a general fascination with these foods that went beyond just eating them. When written about in travel narratives or incorporated into plays, the English were able to mentally consume such products. -
BLACK LONDON Life Before Emancipation
BLACK LONDON Life before Emancipation ^^^^k iff'/J9^l BHv^MMiai>'^ii,k'' 5-- d^fli BP* ^B Br mL ^^ " ^B H N^ ^1 J '' j^' • 1 • GRETCHEN HOLBROOK GERZINA BLACK LONDON Other books by the author Carrington: A Life BLACK LONDON Life before Emancipation Gretchen Gerzina dartmouth college library Hanover Dartmouth College Library https://www.dartmouth.edu/~library/digital/publishing/ © 1995 Gretchen Holbrook Gerzina All rights reserved First published in the United States in 1995 by Rutgers University Press, New Brunswick, New Jersey First published in Great Britain in 1995 by John Murray (Publishers) Ltd. The Library of Congress cataloged the paperback edition as: Gerzina, Gretchen. Black London: life before emancipation / Gretchen Holbrook Gerzina p. cm. Includes bibliographical references and index ISBN 0-8135-2259-5 (alk. paper) 1. Blacks—England—London—History—18th century. 2. Africans— England—London—History—18th century. 3. London (England)— History—18th century. I. title. DA676.9.B55G47 1995 305.896´0421´09033—dc20 95-33060 CIP To Pat Kaufman and John Stathatos Contents Illustrations ix Acknowledgements xi 1. Paupers and Princes: Repainting the Picture of Eighteenth-Century England 1 2. High Life below Stairs 29 3. What about Women? 68 4. Sharp and Mansfield: Slavery in the Courts 90 5. The Black Poor 133 6. The End of English Slavery 165 Notes 205 Bibliography 227 Index Illustrations (between pages 116 and 111) 1. 'Heyday! is this my daughter Anne'. S.H. Grimm, del. Pub lished 14 June 1771 in Drolleries, p. 6. Courtesy of the Print Collection, Lewis Walpole Library, Yale University. 2. -
December 2019
Simon Beattie Some recent acquisitions From item 06 December 2019 AN UNUSUAL FORMAT 01. BENDEMANN, Eduard. [Cover title:] Der Fries im Thronsaale des Koeniglichen Schlosses in Dresden al fresco gemalt … Gezeichnet und radirt von Hugo Bürkner … Leipzig, Verlag von Georg Wigand [1846]. Oblong slim folio (260 × 685 mm), 16 tinted etchings by Bürkner after Bendemann; with the original printed front wrapper (stamped 1846) bound in; some scattered foxing, largely in the margins; contemporary cloth, the spine running along the upper edge, upper board lettered gilt; armorial bookplate of Edward Nicholas Hurt (1795–1867) of Lincoln’s Inn and his ink ownership signature to the wrapper. £450 First edition, the issue with the plates unfolded. Bendemann (1811– 1889) was appointed professor at the Dresden Academy of Fine Arts in 1838, and soon received a commission to paint the halls in the royal palace there. In the throne room, he created huge frescos featuring rulers and legislators from Moses to Henry the Fowler (d.936), and showing how the human soul progresses from an original state of innocence, through its earthly life, to salvation and Paradise. Wigand published Bürkner’s etchings of the frescos in two forms. As here, with the plates unfolded, printed on Chinese paper, and as an oblong 4to, prefaced by six pages of explanatory text, in German and English, with the etchings folded in half and mounted on stubs. Not in Rümann. COPAC locates a sole copy, of the folded-plate issue, at the V&A. ‘QUITE UNIQUE FOR ITS TIME’ 02. [BIOGRAPHICAL DICTIONARY.] MEUSEL, Johann Georg. Das gelehrte Teutschland, oder Lexikon der jetzt lebenden teutschen Schriftsteller. -
Executive. *1 General Post Office
EXECUTIVE. *1 GENERAL POS? OFFICE. P. Mast. Qen. Clks. kc. GENERAL POST OFFICE. Persons employed in the General Post Office, with the annual compensation ofeach> from the 1st day ofOcidber, 1829. NAMES AND OFFICES: POSTMASTER GENERAL. William T.Barry,.. ASSISTANT POSTMASTERS' GENERAL. Charles, K. Gardner,. S.elah R. Hobbie, .. CHIEF CLERK. Obadiab. B..Brown,........... CLERKS. Thomas B. Dyer,.:......, Joseph W. Haiid,. ; John Suter,.'.;; "... John McLeod, '....'. William G. Elliot, Michael T. Simpson,... Nicholas Tastet, David Saunders,... Rchard; Dement, Willing Blair, Thomas Arbuckle, Josiah f. Caldwell, "Joseph Haskell...... Samuel' Fitzhugh, William C.Ellison,.."... William Deming, Hyilliaift Cl'Lipscomb,. 'Thomas B; Addison,.:.'.' Matthias Ross, Davidj^oones, JfctitUy, Sinlpson,.....'.. A EXECUTIVE. GENERAL POST OFFICE. P Mast. Gen. Clks.kc. Compen NAMES AND OFFICES. sation &c. D. C. Grafton D. Hanson, 1000 00 Walter D. Addison,.. 1000 00 Andrew McD. Jackson,.... 1000 00 Arthur Nelson, 1000 00 John W. Overton, 1000 00 Henry S. Handy, Samuel Gwin, 1000 0® LemueLW. Ruggles, 1000 00 George S. Douglass, 1000 CO Preston S. Loughborough,. 1000 00 Francis G. Blackford, 1000 00 John G. Whitwell, 800 00 Thomas E. Waggoman,.... 800 0» John A Collins, Joseph Sherrill, 800 00 John F. Boone, 800 00 John G. Johnson, 800 0t John L. Storer, 800 0« William French, 800 09 James H. Doughty, 800 00 James Coolidge,., 800 00 Charles S. Williams, EdmundF. Brown, 800 00 Alexander H. Fitzhugh,.... 800 00 800 00 FOR OPENING DEAD LETTERS. 800 00 500 00 Charles Bell, 400 00 William Harvey,. 400 00 MESSENGER. Joseph Borrows, 700 0» ASSISTANT MESSENGERS.' Nathaniel Herbert,., 350 00 William Jackson,,. -
Aphra Behn's the Rover (1677) and Thomas Killigrew's Thomaso (1663)
1 Recycling the exile : Thomas Killigrew’s Thomaso, or the Wanderer (1664), Aphra Behn’s The Rover (1677) and the Critics J. P. Vander Motten Ghent University I On 16 April 1662, in one of the last letters of thanks he sent to Willem-Frederik, stadholder of Friesland, Thomas Killigrew graciously acknowledged the fact that in the gloomy days of the exile only his Frisian patron’s generosity had been able to soften what the writer called “les plus rudes chocs de la fortune qui persécutaient lors les gens de bien.”1 The allusion was to the favours which the stadholder, intent upon good relations with Charles II, had secured for the letter-writer in the latter half of the 1650s, including the relative security that came with a military appointment in the army of the States General. From around 1647 until the Restoration, Killigrew had shared with his Stuart masters the vicissitudes of a life in exile, in his different capacities as the duke of York’s groom of the bedchamber in The Hague in 1648, a member of Charles the Second’s household in Paris in 1649, the royal resident in Venice from late 1649 until 1652, the Duke of Gloucester’s servant in Paris (again) in 1653, and a soldier of fortune and liaison officer of sorts in the Low Countries from late 1654 until 16602. Such summary account does not even begin to do justice to the extent of the man’s peregrinations, let alone the worries, hardships and frustrations of all those who, for better or for worse, had thrown in their lots with the royalist cause. -
General Index for 1700-1711
General Index for 1700-1711 Abell, John Lucinda (Cares of Love) 237; Mrs Draul 1702 subscription proposal 53, 54 (Different Widows) 127; Urania (Fickle advertises availability for concerts 45 Shepherdess) 95 concert 29, 33, 35, 43, 57, 58, 61 shared benefit 172 dishonesty denounced by Congreve 16 Alloway, Mlle distributes multi-language libretti at concerts member of opera company 377 43 performs at Valentini’s benefit 428 Drury Lane concerts in 1702 60 salary 410 roles: Anna, Signora (singer) 91 Paris (Judgment of Paris) 83 Anne, Queen singing advertised 83 1704 proclamation on morality in theatres 139 song for Queen’s birthday 88 1711 command performance 616 Abingdon, Montague Bertie, second Earl of asked to suppress theatres in 1705 239 Haymarket building subscriber 103 attends inaugural concert at Haymarket 180, Abington, Joseph 196 benefit concert 629 birthday celebration 145, 412 Account of the Last Bartholomew Fair 65 birthday entertainment used as attraction 149 Ackroyde, Samuel command performances at court 116 song for Bath 30 enforces Passion Week restrictions 288 actors false report of contribution to Haymarket advertisement about a deserter 114 Theatre 178 contracts grants license to Vanbrugh and Congreve 200 Bullock’s in 1706 306; Cibber’s in 1704 192; lack of interest in theatre 126 Keene’s in 1706 306, 307; Mills’s in 1706 licenses LIF theatre 128 306; Norris’s in 1706 306; Oldfield’s in orders for actors at court performances 142 1706 306; Wilks’s in 1706 306 payment for plays acted at court in 1704 170 financially distressed -
The Absence of America on the Early Modern Stage by Gavin R. Hollis A
The Absence of America on the Early Modern Stage by Gavin R. Hollis A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (English Language and Literature) in The University of Michigan 2008 Doctoral Committee: Professor Valerie J. Traub, Chair Professor Michael C. Schoenfeldt Associate Professor Susan M. Juster Associate Professor Susan Scott Parrish © Gavin Hollis 2008 To my parents ii Acknowledgements In an episode of The Simpsons, Marge urges Bart not to make fun of graduate students because “they’ve just made a terrible life choice.” This may be true, but one of the many advantages of this “life choice” is that I have met, been inspired by, and become firm friends with an array of people on both sides of the pond. The first debt I owe is to my advisors at the University of Michigan, who have seen this project through its many stages of confusion and incoherence. Mike Schoenfeldt, Scotti Parrish, and Sue Juster have been supportive, critical, rigorous, inventive, and excellent company. My biggest debt of gratitude is owed however to Valerie Traub, the chair of my dissertation committee, whose influence on this project and has been, and I hope will continue to be, immense. I’m also indebted to faculty at Trinity Hall, Cambridge and at The Shakespeare Institute who have shaped me as a scholar before I made it these shores. I am especially grateful to Peter Holland, who, it is no exaggeration to say, taught me how to read Shakespeare. Thank you also to John Jowett, Drew Milne, and John Lennard. -
Punch and Judy’ and Cultural Appropriation Scott Cutler Shershow
Bratich z Amassing the Multitude 1 Popular Culture in History 2 Interpretational Audiences Bratich z Amassing the Multitude 3 1 ‘Punch and Judy’ and Cultural Appropriation Scott Cutler Shershow It is a drama in two acts, is Punch. Ah, it’s a beautiful history; there’s a deal of morals with it, and there’s a large volume wrote about it. (Mayhew, 1967 [1861–62] 3: 46) n The New Yorker magazine of 2 August 1993, a cartoon depicts two grotesque, hook-nosed figures, male and female, fighting with cudgels Iwhile sitting at a table at an elegant restaurant, while a waiter stands by asking, ‘Are you folks ready to order?’ The cartoon prompts me to ask: why should Punch and Judy still be recognizable icons of domestic violence and social trangression at the end of the twentieth century, even to readers who may have never seen an actual ‘Punch and Judy’ puppet show? Versions of this question have, of course, been asked before. In answering them, however, scholars typically claim a primeval or archetypal status for Punch, pointing to his alleged cultural descent from a whole constellation of ancient sources including, for example, ‘the religious plays of medieval England’, ‘the impro- vised farces of the Italian comedians’, and ‘the folk festivals of pagan Greece’ (Speaight, 1970: 230). I will take the opposite position, attempting to locate ‘Punch and Judy’ in the actual processes of social life and cultural transmis- sion in a particular period, and in the dynamic interaction of cultural practices and their discursive reinterpretation. Such an approach may do more justice to the cultural meaning of figures who still apparently embody, as they do in the cartoon, anxieties about status, class, gender, and relative social power. -
Appendix: Chronology of Pirate Plays in Britain
Appendix: Chronology of Pirate Plays in Britain 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).