Notes I. Sheridan and Goldsmith: Heavenly Twins 1. Peter Davison (ed.), Sheridan: Comedies (Basingstoke: Macmillan, Casebook, 1986), p. 10. NB: Additional page references to Davison are provided in the notes below for some quotations; his selection of extracts offers an illuminating conspec­ tus of modern critical opinion. 2. Charles Lamb, 'On the Artificial Comedy of the Last Cen­ tury', London Magazine (April 1822), reprinted in Essays of Elia (1823; London: Dent, 1906), pp. 165-72. 3. Laurence Olivier, in Folio Society edition of The School for Scandal (London, 1949), pp. 5-11 (Davison, p. 151). 4. George Bernard Shaw, The Saturday Review, 27 June 1895; reprinted in Our Theatre in the Nineties, II (London: Constable, 1932), p. 168. 5. Louis Kronenberger, The Polished Surface: Essays in the Literature of Worldliness (New York: Knopf, 1969) (Davison, p. 176). 6. Marvin Mudrick, 'Restoration Comedy and Later', in K. Wimsatt, Jor (ed.), English Stage Comedy: Six Essays (New York: Columbia University Press, 1955), pp. 115-20 (Davison, p. 56). 7. Andrew Schiller, 'The School for Scandal: The Restoration Uorestored', PMLA, 71 (1956),694-704 (Davison, p. 157). 8. William Hazlitt, Lectures on the English Comic Writers (Ox­ ford University Press: World's Classics, 1907), pp. 233-244. 9. A. N. Kaul, 'A Note on Sheridan' in The Action of English Comedy (New Haven and London: Yale University Press, 1970) (Davison, p. 104). 158 Notes 159 10. Mark S. Auburn, 'The Pleasures of Sheridan's The Rivals: a Critical Study in the Light of Stage History', Modern Philology, 72 (February 1975) (Davison, p. 109). 11. J. R. de J. Jackson, 'The Importance of Witty Dialogue in The School for Scandal', Modern Language Notes, LXXVI (1961) (Davison, p. 169). 12. Henry James, The Scenic Art: Notes on Acting and the Drama, 1872-1901, ed. Allan Wade (New Brunswick, N.J.: Rut­ gers University Press, 1948) (Davison, p. 144). 13. Horace Walpole, letter of 27 March 1773 to William Mason; in Rousseau, Goldsmith, pp. 118-19. 14. Charles Lamb, 'Artificial Comedy', p. 171. 2. The Lives and the Plays 1. Tom Davis, introduction to New Mermaids edition of She Stoops to Conquer (1979), p. xiii. 2. John Ginger, The Notable Man: The Life and Times ofOliver Goldsmith (London: Hamilton, 1977), p. 1. 3. Abbreviations used in the text: B = Boswell, L = Balder­ stone, both detailed in the Bibliography. 4. Joshua Reynolds, quoted in Ginger, The Notable Man, p. 32. 5. A. N. Jeffares, Oliver Goldsmith, Writers and their Work series (London: Longman, 1959, rev. 1965), p. 8. 6. Quoted in Madeleine Bingham, Sheridan: the Track of a Comet (London: Allen & Unwin, 1972), p. 209. 7. Review of The Rivals in Morning Chronicle, 30 January 1775. See Cecil Price (ed.), The Dramatic Works of Richard Brinsley Sheridan (Oxford University Press, 1973) (Davison, p. 83). 8. Cecil Price (ed.), Sheridan's Plays (Oxford University Press, 1975), p. xv. 9. Thomas Linley is quoted in James Morwood, The Life and Works of Richard Brinsley Sheridan (Edinburgh: Scottish Academic Press, 1985), p. 48. 10. Morwood, Life and Works of Sheridan. 11. Arnold Hare, Richard Brinsley Sheridan, Writers and their Work series (Windsor, Berks: Profile Books, 1981), p. 25. 12. Lewis Gibbs, Sheridan (London: Dent, 1947), p. 136. 13. Jack Durant, 'Prudence, Providence and the Direct Road of Wrong: The School for Scandal and Sheridan's Westminster 160 Notes speech', Studies in Burke and his Time, xv (1973) (Davison, pp. 18~9). 3. The Plays in the Eighteenth-Century Theatre 1. For an illustrated account of the architecture and actors of the time, see lain MacKintosh, The Georgian Playhouse, cata­ logue of exhibition at Hayward Gallery (London: Arts Council of Great Britain, 1975). 2. For an account of these epilogues see K. Balderstone (ed.), Letters of Oliver Goldsmith (Cambridge University Press, 1928). 3. I am indebted to Christopher Bauer for information on this point. 4. See Michael Kelly, The Music of Pizarro, and the various notes on the music by Cecil Price in his editions of the play. 4. Questions of Taste: Sentimental Comedy: 'The Good Natur'd Man' and 'A Trip to Scarborough' 1. Oliver Goldsmith, An Enquiry into the Present State ofPolite Learning in Europe (1759), ed. A. Friedman (Oxford University Press, 1966), vol 1, pp. 154 ff. 2. Oliver Goldsmith, 'An Essay on the Theatre; or, A Compari­ son between Laughing and Sentimental Comedy' is reprinted in The Good Natur'd Man and She Stoops to Conquer, ed. George Pierce Baker, Mermaid Drama Book (New York: Hill & Wang, 1903), pp. 99-102. Also included is 'A Register of Scotch Mar­ riages'. 3. Ibid., p. 99. 4. Ibid., p. 102. 5. 'She Stoops to Conquer' 1. See note 13, chapter 1. 2. The uninhibited behaviour of the servants made at least one member of the contemporary audience uneasy. His letter to Gold­ smith included criticism of the 'drunken servant' called in by Marlow ('an unpleasing and surely an unnecessary character') and of the general 'impudence' of the servants, which, he said, was 'foolish and has a bad effect'. Notes 161 3. Goldsmith's correspondent wrote: 'The audience should be made clearly to understand that the chaise is only stuck fast in the horse pond and not overturned.' See K. Balderstone, Letters of Oliver Goldsmith (Cambridge University Press, 1928) for this letter. 6. Sheridan's Comedy of Masks: Harlequins and Thespians 1. The sword is another link with the Harlequin, who conven­ tionally carried a 'sword' (later known as a 'bat'). 7. 'The School for Scandal' 1. Benedict Nightingale, The Times, 25 April 1990. 2. Peter Lewis, Sunday Times, 22 April 1990. 3. Ambiguity surrounds this episode. The servant indicates that it is not her first visit: "Tis her ladyship, sir: she always leaves her chair at the milliner's in the next street.' 4. Lamb admired the ability of Sheridan, and of the original actor, John Palmer, to win sympathy for Joseph's 'downright, acted villainy'. Bibliography Notes on Editions The following editions of the works of Goldsmith and Sheridan have been used for quotation and reference: Oliver Goldsmith She Stoops to Conquer, ed. Tom Davis, New Mermaids edn (Lon­ don: Benn, 1979). Goldsmith: Two Plays, ed. George P. Baker, Mermaid Drama books edn (New York: Hill & Wang, 1931). Includes The Good Natur'd Man. Richard Brinsley Sheridan Plays, ed. Cecil Price (Oxford University Press, 1975). The Rivals, ed. Elizabeth Duthie, New Mermaids edn (London: Benn, 1979). The School for Scandal, ed. F. W. Bateson, New Mermaids edn (London: Benn, 1979). The Critic, ed. David Crane, New Mermaids edn (Black, 1989). The definitive editions of the playwrights' works are: The Works of Goldsmith, ed. Arthur Friedman, 5 vols (Oxford University Press, 1966). The Dramatic Works of Sheridan, ed. Cecil Price, 3 vols (Oxford University Press, 1973). See Bell's British Theatre (London, 1796) for False Delicacy and other plays of the period. 162 Bibliography 163 Plays of the Eighteenth-Century Theatre, Everyman series (Lon­ don: Dent, 1928) contains The Clandestine Marriage. Select Book List Balderstone, K. (L), Letters ofOliver Goldsmith (Cambridge Uni­ versity press, 1928). Bingham, M., Sheridan: the Track ofa Comet (London: Allen & Unwin, 1972). Boswell, J. (B), Life ofJohnson (London: Macmillan, 1893). Davison, P. (ed.), Sheridan's Comedies, Casebook Series (Basing­ stoke: Macmillan, 1986). Friedman,,A., Collected Works of Oliver Goldsmith, Vol. 3, 'The Citizen of the World' (Oxford University Press, 1966). Gibbs, L., Sheridan (London: Dent, 1947). Ginger, J., The Notable Man: The Life and Times ofOliver Gold­ smith (London: Hamilton, 1977). Loftis, J., Sheridan and the Drama of Georgian England (Oxford University Press, 1976). Morwood, J., The Life and Works of Richard Brinsley Sheridan (Edinburgh: Scottish Academic Press, 1985). Nicoll, A., A History of English Drama, Vol. III, 166(}-1900 (Cambridge University Press, 1952). Price, C., Letters of Richard Brinsley Sheridan, 3 vols (Oxford University Press, 1966). Rhodes, R. Crompton, Harlequin Sheridan (Basil Blackwell, 1933). Rousseau, G. S. (ed.), Goldsmith: the Critical Heritage (London: Routledge & Kegan Paul, 1974). Index Abington, Frances 53, 55 Cumberland, Richard 38, 55, 63, Adam, Robert 38 69, 76; The Fashionable Alfreds, Mike 66 Lover 67; The Note of Aristophanes 11 Hand 39, 68, 76; The West Asher, Jane 142 Indian 48,50,64,66-7, 76, Ayckbourn, Alan 59 150 Baker, Tom 96 Davis, Tom 13 Bannister, John 55 Davison, Peter 5 Beckett, Samuel 129, 151 Devonshire, Duchess of 30 Bickerstaffe, Isaac: Love in a Dickens, Charles 22 Village 13,90 Dodd, James William 56 Bingham, Madeleine 22 Donaghy, Philip 127 Boswell, James 16, 18-19,21 Durant, Jack 35 Bulkley, Mary 20,52-3,81,86 Burke, Edmund 21,34 Farquhar, George: The Beaux' Byron, Lord George 27 Stratagem 90 F1oy, Gregory 103 Catley, Anne 52-3 Foote, Samuel: The Maid of Chekhov, Anton 15 Bath 22 Cibber, Colley 69; Love's Last Ford, James 28 Shift 61, 87 Friedman, Arthur 11 Clinch, Laurence 25 Collier, Jeremy 60 Garrick, David 14, 2a-1, 27-8, Colman, George 17,20,52-3 30,37,48,50,52-3,68,76, Congreve, William: The Old 136, 142; The Country Girl 28 Bachelor 144 Garrick and Colman 50; The Contarine, the Rev. Thomas 14 Clandestine Marriage 48, 63-4, Courtenay, Tom 5,91, 102 7a-3 Cradock, Joseph 52 Gaskill, Bill 66 164 Index 165 Gay, John: The Beggar's Johnson, Dr Samuel 6, 10, 12, Opera 27 16-21, 23, 50,51 Gibbs, Lewis 35 Jordan, Dorothy (also Gielgud, Sir John 141 Dorothea) 33 Ginger, John 11,14,19,91 Goldsmith, Oliver Kelly, Hugh 48, 63-4, 69; False An Enquiry into the Present Delicacy 18,50, 60, 66, 73-7, State of Polite Learning in 146 Europe 16-17,62 Kemble, John Philip 33-4,57 'An Essay on the Theatre: or A King, Thomas 5, 32, 50, 53, 56, Comparison between 76 Laughing and Sentimental Kotzebue, August F.