Henry Fielding: Early Editions in the University of Arizona Libraries with an Appendix: Early Editions of Sarah Fielding
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FIELDING Henry Austin Dobson
FIELDING Henry Austin Dobson CHAPTER I. EARLY YEARS—FIRST PLAYS. LIKE his contemporary Smollett, Henry Fielding came of an ancient family, and might, in his Horatian moods, have traced his origin to Inachus. The lineage of the house of Denbigh, as given in Burke, fully justifies the splendid but sufficiently quoted eulogy of Gibbon. From that first Jeffrey of Hapsburgh, who came to England, temp. Henry III., and assumed the name of Fieldeng, or Filding, “from his father‟s pretensions to the dominions of Lauffenbourg and Rinfilding,” the future novelist could boast a long line of illustrious ancestors. There was a Sir William Feilding killed at Tewkesbury, and a Sir Everard who commanded at Stoke. Another Sir William, a staunch Royalist, was created Earl of Denbigh, and died in fighting King Charles‟s battles. Of his two sons, the elder, Basil, who succeeded to the title, was a Parliamentarian, and served at Edgehill under Essex. George, his second son, was raised to the peerage of Ireland as Viscount Callan, with succession to the earldom of Desmond; and from this, the younger branch of the Denbigh family, Henry Fielding directly descended. The Earl of Desmond's fifth son, John, entered the Church, becoming Canon of Salisbury and Chaplain to William III. By his wife Bridget, daughter of Scipio Cockain, Esq., of Somerset, he had three sons and three daughters. Edmund, the third son, was a soldier, who fought with distinction under Marlborough. When about the age of thirty, he married Sarah, daughter of Sir Henry Gould, Knt., of Sharpham Park, near Glastonbury, in Somerset, and one of the Judges of the King‟s Bench. -
Ballad Opera in England: Its Songs, Contributors, and Influence
BALLAD OPERA IN ENGLAND: ITS SONGS, CONTRIBUTORS, AND INFLUENCE Julie Bumpus A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 7, 2010 Committee: Vincent Corrigan, Advisor Mary Natvig ii ABSTRACT Vincent Corrigan, Advisor The ballad opera was a popular genre of stage entertainment in England that flourished roughly from 1728 (beginning with John Gay's The Beggar's Opera) to 1760. Gay's original intention for the genre was to satirize not only the upper crust of British society, but also to mock the “excesses” of Italian opera, which had slowly been infiltrating the concert life of Britain. The Beggar's Opera and its successors were to be the answer to foreign opera on British soil: a truly nationalistic genre that essentially was a play (building on a long-standing tradition of English drama) with popular music interspersed throughout. My thesis explores the ways in which ballad operas were constructed, what meanings the songs may have held for playwrights and audiences, and what influence the genre had in England and abroad. The thesis begins with a general survey of the origins of ballad opera, covering theater music during the Commonwealth, Restoration theatre, the influence of Italian Opera in England, and The Beggar’s Opera. Next is a section on the playwrights and composers of ballad opera. The playwrights discussed are John Gay, Henry Fielding, and Colley Cibber. Purcell and Handel are used as examples of composers of source material and Mr. Seedo and Pepusch as composers and arrangers of ballad opera music. -
Errors and Reconciliations: Marriage in the Plays and Early Novels of Henry Fielding
ERRORS AND RECONCILIATIONS: MARRIAGE IN THE PLAYS AND EARLY NOVELS OF HENRY FIELDING ANACLARA CASTRO SANTANA SUBMITTED FOR THE DEGREE OF PHD THE UNIVERSITY OF YORK ENGLISH AND RELATED LITERATURE SEPTEMBER 2013 ABSTRACT This thesis explores Henry Fielding’s fascination with marriage, and the importance of the marriage plot in his plays and early novels. Its main argument is twofold: it contends that Fielding presents marriage as symptomatic of moral and social evils on the one hand, and as a powerful source of moral improvement on the other. It also argues that the author imported and adapted the theatrical marriage plot—a key diegetic structure of stage comedies of the early eighteenth century—into his prose fictions. Following the hypothesis that this was his favourite narrative vehicle, as it proffered harmony between form and content, the thesis illustrates the ways in which Fielding transposed some of the well-established dramatic conventions of the marriage plot into the novel, a genre that was gaining in cultural status at the time. The Introduction provides background information for the study of marriage in Fielding’s work, offering a brief historical contextualization of marital laws and practices before the Marriage Act of 1753. Section One presents close readings of ten representative plays, investigating the writer’s first discovery of the theatrical marriage plot, and the ways in which he appropriated and experimented with it. The four chapters that compose the second part of the thesis trace the interrelated development of the marriage plot and theatrical motifs in Fielding’s early novels, namely Shamela (1741), Joseph Andrews (1742), Jonathan Wild (1743), and The Female Husband (1746). -
Tierneyhynes2018farcicalpolitic
Edinburgh Research Explorer Farcical politics Citation for published version: Tierney-Hynes, R 2018, Farcical politics: Fielding’s public emotion. in ED Jones & V Joule (eds), Intimacy and Celebrity in Eighteenth-Century Literary Culture: Public Interiors. Palgrave, Cham, pp. 139-163. https://doi.org/10.1007/978-3-319-76902-8_7 Digital Object Identifier (DOI): 10.1007/978-3-319-76902-8_7 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Intimacy and Celebrity in Eighteenth-Century Literary Culture Publisher Rights Statement: This extract is taken from the author's original manuscript and has not been edited. The definitive, published, version of record is available here: https://link.springer.com/chapter/10.1007%2F978-3-319-76902-8_7 General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 23. Sep. 2021 ‘Farcical Politics: Fielding’s Public Emotion’ Rebecca Tierney-Hynes University of Waterloo In what was to be his last production before the 1737 Licensing Act put paid to his theatre career, Fielding’s gentleman audience-member, Sowrwit, observes: ‘the Morals of a People depend … entirely on their publick Diversions.’1 As with all of Fielding’s pronouncements, Sowrwit’s observation ought to be taken with several grains of salt and an eye to what John O’Brien calls Fielding’s ‘self-ironizing’2 tendencies. -
Una-Theses-0312.Pdf
HEN R Y FIE L DIN G THE 0 R Y o F THE COM I C A thesis submitted to the faculty of the GRADUATE SChOOL of the UNIV~RSITY of - INN~SOTA by DAGMAR DONEGHY • In partial fulfillment of the requirements for ~he degree of Master of Arts . June 1916. RltPORT of Committee on Thesis The undersigned, acting as a Committee of the Graduate School, have r ead the accompanying thesis submttted by SD.~ ..~ . .!! . .~.~ .... ~ for the degree of .~. .~ .. ...... ~.. ..~ ...................... ............ They approve it as a thesis meeting tho require- menta of the Grad ate School of t h e Un iv@raity of :Minnesota, and recommend that it be accepted in partial fulfillment of the r e quirements for the degree of .~~ ...a. .. ~....... ..... ......... ....- .. .............. -.................... .-:.::d.@. _.. -.. -~........ ..... -....... -.... --~-.. ' _.... -_ ...... - ....- ..• _- ..... __ .-........_ ... _.. _.... .... _..... ........ __ ._ .. __ .............. __ ._ .. _.... _.......... _._ ...... _..... _.- BIB L lOG RAP H Y. Henry Fi elding : Love i n Several 4asgues. London, ~n ith ~ lder & co., 1882. Th e l' empl e Heau. London, Smith Elder & Co. 1882. The Justice Caught in his Own Trap. London, Smith Elder & Co., 1882. The ~odern Husband. London, ~mith Elder a co ., 1 882. ~~ he Debauch ees. London, Smith Elder & Co., 1882. Don Quixote in England . London, Smith Elder & Co., 1882. 'rhe Universal Gallan t. London, Smi th Elder ?r. Co., 1882. The 'I/ edci ing Day . London , :::;w i th .l!; l de r c~ Co., 1882. The Good-Natured Man . London. Smith Elder & Co., 1882. The Letter "lri ters or A New Way to Keep a 1/ife at Home , London, ~n ith ~ lder & co., 1882. -
NORTHWESTERN UNIVERSITY Ballad Opera, Imitation, and The
NORTHWESTERN UNIVERSITY Ballad Opera, Imitation, and the Formation of Genre A DISSERTATION SUBMITTED TO THE GRADUATE SCHOOL IN PARTIAL FULFILLMENT OF THE REQUIREMENTS for the degree DOCTOR OF PHILOSOPHY Field of English By Douglas Franklin O’Keefe EVANSTON, ILLINOIS June 2007 2 © Copyright by Douglas Franklin O’Keefe 2007 All Rights Reserved 3 ABSTRACT Ballad Opera, Imitation, and the Formation of Genre Douglas Franklin O’Keefe The enormous popularity of The Beggar’s Opera gave rise to a remarkable series of plays known as ballad opera, a form that dominated the eighteenth-century London stage during the 1730s, a crucial decade in the development of English theatre. Although virtually every major playwright of the period, including Colley Cibber, Henry Fielding and George Lillo, experimented with the form, ballad operas have been dismissed as artless and insignificant imitations. Arguing that the failure to understand these plays stems from an inability to conceptualize them as a coherent dramatic form, I propose a theory of genre that regards literary categories not as logical taxonomies but as social institutions that constitute texts. I also develop a method for exploring the process of literary imitation, showing how numerous acts of varying an exemplar text combine to create a stable literary form. Drawing on evidence from not only the plays themselves but also eighteenth-century periodicals, dedications, letters, and advertisements, I demonstrate how ballad opera developed into a genre unified by an insistent effort to reveal of the arbitrariness of legal and cultural norms. Unified in its insistence that money is the sole arbiter of virtue, ballad opera explored corruption if every phase of public life, and gleefully championed insincerity, acquisition, and self-promotion as the only logical response to the emerging marketplace economy. -
UC Berkeley Electronic Theses and Dissertations
UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Virtue Rewarded: Handel's Oratorios and the Culture of Sentiment Permalink https://escholarship.org/uc/item/65b4q1d2 Author Lee, Jonathan Rhodes Publication Date 2013 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee A dissertation submitted in partial satisfaction of the Requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Davitt Moroney, Chair Professor Mary Ann Smart Professor Emeritus John H. Roberts Professor George Haggerty, UC Riverside Professor Kevis Goodman Fall 2013 Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment Copyright 2013 by Jonathan Rhodes Lee ABSTRACT Virtue Rewarded: Handel’s Oratorios and the Culture of Sentiment by Jonathan Rhodes Lee Doctor of Philosophy in Music University of California, Berkeley Professor Davitt Moroney, Chair Throughout the 1740s and early 1750s, Handel produced a dozen dramatic oratorios. These works and the people involved in their creation were part of a widespread culture of sentiment. This term encompasses the philosophers who praised an innate “moral sense,” the novelists who aimed to train morality by reducing audiences to tears, and the playwrights who sought (as Colley Cibber put it) to promote “the Interest and Honour of Virtue.” The oratorio, with its English libretti, moralizing lessons, and music that exerted profound effects on the sensibility of the British public, was the ideal vehicle for writers of sentimental persuasions. -
Henry Fielding's Shamela and Joseph Andrews
English Studies ISSN: 0013-838X (Print) 1744-4217 (Online) Journal homepage: http://www.tandfonline.com/loi/nest20 Sham Marriages and Proper Plots: Henry Fielding's Shamela and Joseph Andrews Anaclara Castro-Santana To cite this article: Anaclara Castro-Santana (2015) Sham Marriages and Proper Plots: Henry Fielding's Shamela and Joseph Andrews , English Studies, 96:6, 636-653, DOI: 10.1080/0013838X.2015.1045728 To link to this article: http://dx.doi.org/10.1080/0013838X.2015.1045728 Published online: 16 Jun 2015. Submit your article to this journal Article views: 572 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=nest20 Download by: [Ankara Universitesi] Date: 20 August 2017, At: 08:33 English Studies, 2015 Vol. 96, No. 6, 636–653, http://dx.doi.org/10.1080/0013838X.2015.1045728 Sham Marriages and Proper Plots: Henry Fielding’s Shamela and Joseph Andrews Anaclara Castro-Santana This essay explores Henry Fielding’s development of the marriage plot in Shamela (1741) and Joseph Andrews (1742). Surveying theatrical echoes in these works, which are particularly apparent in their marriage plots, I make the case that Fielding’s first two novels are clearly indebted to his former career as a dramatist in the London stage of the late 1720s and early 1730s. I argue that, in writing Shamela and Joseph Andrews, Fielding was responding to Samuel Richardson’s Pamela in a way that corresponded to how his plays were reactions to other popular theatrical entertainments of his time. -
Century British Ballad Opera
I M. V/2- ASPECTS OF THE EIGHTEENTH CENTURY BRITISH BALLAD OPERA: A STUDY IN POPULAR THEATRE Timothy E. Scheurer A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillmènt of the requirements for the degree of DOCTOR OF PHILOSOPHY December 1976 Approved by Doctoral Committee KlAo- ABSTRACT C-0 ?<*X The purpose of this study was to examine in depth a specific genre of popular theatre: the ballad opera. In 1728 the success of John Gay’s The Beggar’s Opera spurred other playwrights to attempt this form of drama; as a result, a new dramatic genre developed and flourished for over twenty years. To understand the success of the ballad opera an investigation was made into the cultural and artistic climate during the early eighteenth century. Managers and playwrights at this time attempted different forms of drama and entertainment to accommodate the heterogeneous tastes of their audiences. The ballad opera proved to be the most popular of all these forms. The ballad opera's formula for success was based on its being a hybrid genre which drew heavily on farcical plots and devices, satire, and music for its basic structure. Ballad opera authors followed the tenets of Whig satire to ’’good-naturedly" attack two social vices: marriages arranged between people of differing ages or intellectual capabilities, and the "art of Thriving," which dealt with professional people or greedy parents seeking monetary interest or social preferment to the exclusion of virtue or benevolence. The folk ballads and popu lar songs used in the ballad opera reinforced the structure of the plays and provided a familiar musical idiom loved by the audience. -
6 X 10.5 Long Title.T65
Cambridge University Press 978-0-521-85451-1 - The Cambridge Companion to Henry Fielding Edited by Claude Rawson Frontmatter More information THE CAMBRIDGE COMPANION TO HENRY FIELDING Now best known for three great novels – Tom Jones, Joseph Andrews and Amelia – Henry Fielding (1707–1754) was one of the most controversial figures of his time. Prominent first as a playwright, then as a novelist and political journalist, and finally as a justice of the peace, Fielding made a substantial contribution to eighteenth-century culture, and was hugely influential in the development of the novel as a form, both in Britain and more widely in Europe. This collection of specially commissioned essays by leading scholars describes and analyses the many facets of Fielding’s work in theatre, fiction, journalism and politics. In addition it assesses his unique contribution to the rise of the novel as the dominant literary form, the development of the law, and the political and literary culture of eighteenth-century Britain. Including a Chronology and Guide to Further Reading, this volume offers a comprehensive account of Fielding’s life and work. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85451-1 - The Cambridge Companion to Henry Fielding Edited by Claude Rawson Frontmatter More information THE CAMBRIDGE COMPANION TO HENRY FIELDING EDITED BY CLAUDE RAWSON © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-85451-1 - The Cambridge Companion to Henry Fielding Edited by Claude Rawson Frontmatter More information CAMBRIDGE UNIVERSITY PRESS Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sa˜o Paulo Cambridge University Press The Edinburgh Building, Cambridge CB22RU,UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521670920 # Cambridge University Press 2007 This publication is in copyright. -
Political Farce on the London Stage, 1717-1737
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2005 Unshap'd Monsters: Political Farce on the London Stage, 1717-1737 Melissa Ann Bloom The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1634 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] UNSHAP’D MONSTERS: POLITICAL FARCE ON THE LONDON STAGE, 1717-1737 by Melissa Ann Bloom A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2005 Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. UMI Number: 3159201 Copyright 2005 by Bloom, Melissa Ann All rights reserved. INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. ® UMI UMI Microform 3159201 Copyright 2005 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code.