Contents - BIBLIOGRAPHIC RECORD - INDEX TO CHAPTERS - INDEX TO BIBLIOGRAPHIES - INDEX TO AUTHORS

The Cambridge History of English and American Literature in 18 Volumes (1907–21).
Volume XI. The Period of the French Revolution.

XII. The Georgian Drama

Bibliography

I. MODERN AUTHORITIES ON THE THEATRE: Archer, W. Eminent Actors. Macready (by Archer, W.), Betterton (by Lowe, R. W.), Macklin (by Parry, E. A.). 1890–1.; —— Play-Making. 1912.; Armstrong, C. F. Shakespeare to Shaw. 1913.; Bernard, J. Retrospections of the Stage. 1830. [Posthumous: John Bernard, actor and manager in America and England, 1756–1828.]; Courtney, W. L. The Idea of Comedy. Lectures delivered to Royal Society of Literature. 1914.; Dibdin, T. J. Reminiscences of the Theatre Royal, Covent Garden, Drury Lane, etc. 2 vols. 1827.; Doran, J. Their Majesties Servants. Edn. revised by Lowe, R. W. 1888 Popular edn. 1897.; Dramaticus. An Impartial View of the Stage … of the Causes of its degenerated and declining State. 1816.; Fitzgerald, P. The Book of Theatrical Anecdotes. [1874?]; —— Romance of the English Stage. 1874.; —— The World behind the Scenes. 1881.; —— A new History of the English Stage from the Restoration to the Liberty of the Theatres. 1882.; —— Principles of Comedy. 1870.; —— Art of the Stage as set out in Lamb’s dramatic Essays. 1885.; —— Shakespearean Representation. 1908.; Gaiffe, F. Le Drame en France au Dix-huitième Siècle. 1910.; Gayley, C. M. Plays of our Forefathers. 1909.; Genest, J. Some account of the English Stage, 1660–1830. 10 vols. Bath, 1832.; Hale, E. E. Dramatists of To-Day. 6th edn. 1911.; Hazlitt, W. Lectures on the English Comic Writers. 1st edn. 1819. 3rd edn. by his son. 1841. Works. Edd. Waller, A. R. and Glover, A. Vol. VIII. 1903.; Jullien, A. L’Histoire du Costume au Théâtre. 1880.; Lawrence, W. J. The Elizabethan Playhouse and other Studies. Second Series. 1913.; Lee, Sir S. Shakespeare and the Modern Stage. Reissue. 1907.; Lowe, R. W. A Bibliographical Account of English Theatrical Literature. 1888.; Mantzius, K. History of Theatrical Art (transl. Cassel, L. von). Vol. V. 1909.; Matthew, Brander. Actors and Actresses of Great Britain and the United States. 1886.; Meredith, G. An Essay on Comedy and the Comic Spirit. 1897.; Nettleton, G. H. English Drama of the Restoration and Eighteenth Century (1642–1780). 1914.; Oliver, D. E. The English Stage. Its Origin and Developments. [1912.]; Palmer, J. The Future of the Theatre. 1913.; Poel, W. Shakespeare in the Theatre. 1913.; Russell, W. Clark. Representative Actors. n.d.; Scheurer, C. M. An early Sentimental Comedy. Anglia. Vol. XXXVII. Halle, 1913.; Schlegel, A. W. Dramatic Art and Literature. Trans. 1894.; Seccombe, T. The Age of Johnson. 1748–1798. 1900.; Sharp, B. F. Short History of the English Stage. 1909.; Spingarn, J. E. A Note on Dramatic Criticism. Essays and Studies by members of the English Association. Vol. IV. 1913.; Waterhouse, O. The Development of English Sentimental Comedy in the Eighteenth Century. Anglia. Vol. XXX. Halle, 1907.; Wyndham, H. S. The Annals of Covent Garden Theatre, 1732–1897. 1906.
II. CONTEMPORARY TREATISES AND COMMENTS ON THE THEATRE: Illustrating the antiquarian and academic interest in the theatre which accompanied its decadence.; Bellamy, T. The London Theatres; a poem.… 1795.; Berington, J. Miscellaneous Dissertations … on the Origin and Antiquity of Masquerades, Plays.… 1757.; Brooke, Mrs. Frances. Excursion. 1777. (Garrick attacked Bk. V., pp. 20–31.); Chetwood, W. R. The British Theatre. Containing the lives of the English dramatic poets; with an account of all their plays. Together with the lives of most of the principal actors.… To which is prefixed a short view of the rise and progress of the English Stage. 1750.; Churchill, C. See under Theatrical Pamphlets, sect. III.; Cooke, W. The Elements of dramatic criticism.… Containing an analysis of the Stage.… 1775.; Colman, G. and Thornton, B. The Connoisseur. No. 34, The Juggle of the Theatre. No. 43, A typical theatrical audience. No. 47, Suggestions for making the theatre a moral influence. All in 1754.; Cumberland, R. The Observer. No. 29, The merits and accomplishments of actors. [1785?]; Davies, T. Dramatic Miscellanies. 1784.; Derrick, S. A general view of the Stage. By Mr. Wilkes. 1759. [See Lowe, R. W., English Theatrical Literature, for attributing the work to S. D.]; Dibdin, C. A. A complete History of the English Stage. Introduced by a comparative and comprehensive review of the Asiatic, the Grecian, the Roman, the Spanish, the Italian, the Portuguese, the German, the French and other theatres.… [1800.]; Diderot, D. Paradoxe sur le Comédien. (Ed. Dupuy, E.) 1902. Transl. Pollock, W.H., with preface by Irving, H. 1883.; Dramaticus, Censor. A Complete History of the Drama. 1793.; Egerton, T. and J. The Theatrical Remembrancer, containing a complete list of all the dramatic performances in the English language … and a catalogue of such Latin plays as have been written by English authors, from the earliest production of the English drama to the end of the year 1787. To which are added Notitia Dramatica, being a chronological account of events relative to the English stage. 1788.; Fielding, H. Tom Jones, Bk. V., chap. I, Bk. VIII, chap. I.; Foote, S. The Roman and English Comedy consider’d and compar’d … and an examen into the merits of the present comic actors. 1747.; Goldsmith, O. The Citizen of the World. See ante, Vol. X, Chap. IX, bibliography.; Hill, J. The Actor: A treatise on the Art of Playing. 1750.; The Actor … a new work … adapted to the present State of the Theatres 1755.; Transl. Sticotti, A. F. David Garrick, ou les Acteurs anglais. 1769.; Hunt, Leigh. Critical Essays on the Performers of the London Theatres, including general observations on the Practice and Genius of the Stage. 1807. [See, also, by the same author: Autobiography, 1850, chaps. VI, VII.]; Hurd, R. A Dissertation on the Provinces of the Drama. Complete Works. 1811.; Johnson, S. The Idler. No. 25, New Actors. (1758.); Lessing, G. E. Hamburgische Dramaturgie. 1767–8.; Mackenzie, T. The Lounger. No. 6, Interruptions by the Audience. (1785.) No. 80, Turbulent applause. (1786.); Percy, Bp. An Essay on the Origin of the English Stage. 1793.; Shirley, W. Brief Remarks on the Original and present State of the Drama. 1758.; Simpson, D. A Dissertation on Stage Entertainments. Birmingham, 1788.; Smollett, T. Roderick Random. Chap. LXII. Peregrine Pickle. Chaps. LXI, XCIV. [After Garrick had accepted Reprisal (1757), the novelist relented, see his History of England, Book, III, chap. XVI, § XXVIII.]; Victor, B. The History of the Theatres of London and Dublin from the year 1730 to the present Time. 1761. [Author brought out sequel bringing history up to 1771. Record was continued to 1796 and then to 1817 by Oulton, W. C.]; Walpole, H. Letters, passim, esp. To the Earl of Hertford, 26 March, 1765, in which Walpole compares Garrick’s style with that of his most illustrious contemporaries. Ed. Toynbee, Mrs. Paget. Vol. VI, p. 202 f. Oxford, 1904.; Walwyn, B. An Essay on Comedy. 1782.; Wilkinson, Tate. The Wandering patentee; or, a history of the Yorkshire Theatres, from 1770 to the present time.… 1795.; Anon. A Letter to my Lord … on the present diversions of the Town. With the true reason of the decay of our dramatic entertainments. 1725.; Anon. A Companion to the Theatre; or a review of our most celebrated dramatic pieces.… 1747.; Anon. The present State of the Stage in Great-Britain and Ireland. And the theatrical characters of the principal performers … impartially considered. 1753.; Anon. The battle of the players. In imitation of Dean Swift’s Battle of the books.… 1763.; Anon. The new Thespian Oracle; containing original Strictures on oratory and acting. And a select collection of all the modern prologues and epilogues.… 1791.; Anon. Observations on the effect of Theatrical Representations. 1804.
III. THEATRICAL PAMPHLETS: Abridged list, showing how paper warfare, reminiscent of 16th century flytings, still raged round the public characters of the theatre, and supplying evidence of the grievances of authors against actors and managers. See Lowe, R. W., A Bibliographical Account of English Theatrical Literature, 1888.; The Case of Charles Macklin. 1743.; [Garrick and his fellow actors having seceded from Drury lane owing to Fleetwood’s extravagance, but failing to obtain a licence for another theatre, returned to their manager, though he specifically excluded Macklin, and though the actors had promised to hold together. The above pamphlet came out on the day on which Garrick appeared in the theatre (6 Dec., 1743) and a riot ensued. Garrick replied with]; Answer to Mr. Macklin’s Case. 1743.; An Essay on Acting, in which will be considered the Mimical behaviour of a certain fashionable, faulty actor.… 1744.; [Criticism by Garrick on his own Macbeth to disarm censure.]; Prologue and Epilogue at the opening of Drury Lane Theatre. 1747.; [The beginning of Garrick’s management. Prologue by Dr. Johnson.]; A Letter to Mr. G—k, relative to his treble capacity of manager, actor and author: with some remarks on Lethe. 1749.; [Unfavourable: answered by] Lethe rehearsed; or a critical discussion of the beauties and blemishes of that performance … 1749.; An Examen of the historical Play of Edward the Black Prince.… With a critical Review of Mr. Barry, in the character of Ribemont. 1750.; The Visitation; or, an interview between the Ghost of Shakespeare and D—v—d G—rr—k, Esq.… 1755. [Condemns dances and pantomimes.]; The Morality of Stage-plays seriously considered. 1757.; [Defence of Home’s Douglas. Attributed to Ferguson, A.]; The Theatrical Examiner: An enquiry into the merits and demerits of the present English performers in general.… 1757.; [Garrick, Barry, Mossop and others criticised.]; Case of Authors by Profession. 1758. [By Ralph, J.]; A Letter to Mr. Garrick on the opening of the theatre, with observations on the conduct of managers to actors, authors and audiences.… 1758.; Observations on Mr. Garrick’s Acting. 1758.; [By Pittard, J. Praises Garrick’s King Lear.]; An Estimate of the theatrical merits of the Two Tragedians of Crow Street.… 1760.; [Comparison of Barry with Mossop to the former’s advantage.]; An enquiry into the real merit of a certain popular performer. 1760.; [By Fitzpatrick, T., one of the bitterest enemies of Garrick, who retorted with]; The Fribbleriad. 1761.; The Rosciad. 1761.; [By Churchill, C. 9th edn., 1765, with names in full. Followed by]; The Apology. Addressed to the critical Reviewers. 1761.; [These two poems by Churchill occasioned about a dozen replies, Anti-Rosciads, Churchiliads, etc. As to Churchill, see, also, ante, Vol. X, Chap. XVII, bibliography.]; The Rosciad of Covent-Garden. 1762.; The Sick Monkey. n.d.; [By Garrick on himself to announce his return to England and to disarm criticism by anticipating it.]; An historical and succinct account of the late riot at the Theatres of Drury Lane and Covent Garden. 1763.; Theatrical disquisitions … with a short appendix, relative to the more flagrant disturbance committed at Covent Garden Theatre. 1763.; [Both pamphlets refer to demonstrations led by Fitzpatrick against Garrick, who again attacked his enemy in] Fitzgig, or the Modern Quixote, … 1763.; Miss C—y’s Cabinet of Curiosities; or the Green-Room broke open. By Tristram Shandy. 1765.; [Concerns Ann Catley, actress and singer.]; Thespis: or, a critical examination into the merits of all the principal performers belonging to Covent Garden. 1766.; [By Kelly, H., who followed up the pamphlet with]; Thespis: or … examination … of … Drury Lane. 1767.; [Both pamphlets provoked replies, especially]; The Kellyad. By Louis Stamma. 1767.; The Stage the high road to Hell: being an essay on the pernicious nature of theatrical entertainments.… With strictures on the vicious and dissolute characters of the most eminent performers of both sexes. 1767.; Momus, a poem; or, a critical examination into the merits of the performers and comic pieces at the Theatre Royal in the Haymarket. n.d.; [Attributed to Carey, G. S. Attack on Foote and his company.]; The Theatrical Campaign for MDCCLXVI and MDCCLXVII.; A Narration of the rise and progress of the disputes subsisting between the patentees of Covent Garden Theatre. 1768.; A true state of the differences subsisting between the proprietors of Covent Garden Theatre.… 1768.; [Harris attempted to compel Mrs. Lessingham to act unsuitable parts. Legal proceedings were taken and many other pamphlets produced on this dispute and H.’s management in general, especially.]; The Managers managed; or, the characters of the four Kings of Brentford.; An ode upon dedicating a building and erecting a statue to Shakespeare, at Stratford upon Avon. 1769.; [By Garrick. Among the pamphlets occasioned by the same event are]; Anti-midas: a Jubilee preservative for unclassical, ignorant, false, and invidious criticism. 1769.; Garrick’s Vagary: or, England run mad. With particulars of the Stratford Jubilee. 1769.; Trinculo’s trip to the Jubilee. 1769.; The Theatre licentious and perverted.… Inscribed to Samuel Foote. 1770.; [Foote’s Minor, an attack on methodists, was produced in Dublin, 1760, without success; but, on being expanded from two to three acts and produced at the Haymarket (summer of same year), it met with a good reception. The farce occasioned about two dozen pamphlets of which the above is one.]; Love in the Suds; being the Lamentation of Roscius for the loss of his Nyky. A Town Eclogue. 1772.; [Insinuations by Kenrick on Garrick’s moral character, when Bickerstaffe had to flee from London.]; A mob in the pit: or, lines addressed to the D—ch—ss of A—ll. 1773.; [Attack on the duchess of Argyll, born Gunning, for insisting on the expulsion of a man who occupied the theatre box which she relinquished to visit the pit.]; Resignation; or majesty in the dumps; an ode. Addressed to George Colman. 1774.; The Drama, a poem. 1775.; [Attributed to Pilon, F. and to Downman, H.]; The Contrast: or, New Mode of Management. Being a peep behind the curtain of the Salisbury Theatre in 1776.; [By Brownsmith, J. An attack on managers.]; A serious dissuasive from frequenting the play-house. 1776. [By Orton, J.]; Coalition: a farce … performed … under the joint inspection of the managers of both theatres. The Second edition. Dramatis personae: Brainsley senior, Brainsley junior, Harrass, Tickler, Lyric, a pragmatic poet, Servants, Bailiffs.… 1779.; [In 1778, the patentees of Drury lane and Covent garden coalesced and members of the two companies were exchanged. In the above pamphlet, Brainsley is Sheridan and Harrass is Harris.]; An Essay on the preeminence of comic genius: with observations on the several characters Mrs. Jordan has appeared in. 1786.; [Mrs. Jordan (born Bland) a famous comedienne in romp and “breeches” parts.]; A Review of the present Contest between the Managers of the Winter Theatres, the Little Theatre in the Hay-market and the Royalty Theatre in Well-Close Square. 1787.; [John Palmer, actor, opened the Royalty theatre in Well-Close square with licence from local magistrates but without authority of lord chamberlain. Theatre opened 20 June 1787, but performances were suspended; reopened 3 July, with irregular pieces. The episode occasioned many pamphlets, especially the above, which was favourable to Palmer and was answered (probably by Colman) with]; A very plain State of the Case, or the Royalty Theatre versus the Theatres Royal. 1787.; The Cap. A Satiric poem. Including most of the dramatic writers of the present day. By Peter Pindar, Esq.… Dedicated to Richard Brinsley Sheridan, Esq. n.d.; [Attack on contemporary dramatists. Cap of folly won by Boaden.]; A Vindication of a right in the public to a one shilling gallery either at the new Theatre Royal in Covent Garden, or somewhere else. 1792.; [Harris made 2s. the lowest admission but was forced to build a 1s. gallery.]; The Druriad: or, Strictures on the principal performers of Drury Lane Theatre. 1798.; The Histrionade: or, theatric tribunal; a poem descriptive of the principal performers at both houses. By Marmaduke Myrtle. 1802.; Observations on the effect of Theatrical Representations. 1804.; An Answer to some strictures on the profession of an Actor, published in the Morning Post, on the 19th August, by a gentleman under the signature of Crito. 1805.; [Crito, whose letter is quoted, complains amongst other things of actors intruding their private disputes on the public. See Lowe, R. W., ante.]; Bisset, J. Critical essays on the dramatic excellencies of the young Roscius, by gentlemen of distinguished literary talents and theatrical amateurs, opposed to the hypercriticisms of anonymous writers. n.d.; [A laudation of Betty, W. H. W. (1791–1874) the boy actor who took London by storm 1804–5 at both Drury lane and Covent garden. A virulent controversy arose for and against his merits of which the following are specimens.]; Harley, G. D. An authentic biographical sketch of the life, education and personal character of William Henry West Betty.… 1804.; Harral, T.… The Infant Roscius; or, an inquiry into the requisites of an actor. n.d.; Jackson, J. Strictures upon the merits of young Roscius. 1804.; [Eulogistic. Answered by]; Animadversions on Mr. J. Jackson’s Dramatic Strictures upon the merits of young Roscius. By the editor of The Glasgow Theatrical Register. 1804.; R., W. P. An easy cure for popular phrenzy in theatrical concerns. Having reference to the indecent plaudits and exhorbitant recompense bestowed … on that puerile performer, called the young Roscius.… 1804.; Woodward, G. M. The Bettyana, a poem, descriptive of the progress of the young Roscius. 1805.; [About ten other pamphlets on the subject extant.]
IV. MEMOIRS, ANECDOTES AND AUTOBIOGRAPHIES: Records which contain valuable side lights on the development of the stage and illustrate public interest in actors and the popular belief in their immorality.; Bellamy, George Anne, Apology for the Life of, late of Covent Garden Theatre. Written by herself. 1785. [Materials arranged by Bicknell at commission of Bell the bookseller.]; Biographia dramatica, or, a Companion to the playhouse: Containing historical and critical memoirs and original anecdotes.… 1782. [By Reed, I. Really 2nd edn. of The Companion to the play-houses.… 1764. By Baker, D. E. New edn. brought down to 1811. By Jones, S. 1812.]; C—y’s, Miss, Cabinet of Curiosities; or the Green-Room broke open. By Tristram Shandy. 1765. [Concerns Ann Catley.]; Catley, Miss Ann, The Life and memoirs of the late. n.d.; Cibber, T. The Lives and Characters of the most eminent actors and actresses of Great Britain and Ireland. 1753.; Colman the Younger. Random Records. 1830.; Cooke, G. F. Memoirs of the life of. By Dunlap, W. 2nd edn. 2 vols. 1815.; Dibdin, Mr., The professional Life of, written by himself. Together with the words of six hundred songs selected from his works.… 1803.; Edwin’s pills to purge melancholy: containing all the songs sung by Mr. Edwin of Covent Garden Theatre since his first appearance in London… 1788.; Edwin’s last legacy. Containing a Collection of his Oddities, Songs and various efforts of humour. n.d.; Foote, Samuel, Memoirs of the life and writings of. To which are added the bon-mots, repartees and good things said by that great wit and excentrical genius. n.d.; Garrick, David. See, also, sects. I, II and III, ante.; Lichtenberg, G. C. Ausgewählte Schriften. His account of Garrick written in 1775.; Memoirs of the Life of Garrick. 1780.; Davies, T. Life of Garrick. New edn. 1780.; Murphy, A. Life of Garrick. 2 vols. 1801. French trans. 1822.; Private Correspondence of David Garrick. Ed. Boaden, J. 1831–2.; Fitzgerald, P. The Life of David Garrick. 1868. Revised edn. 1899.; Hitchman, F. David Garrick. Eighteenth Century Studies. 1881.; Lamb, C. The Tragedies of Shakespeare, considered with reference to their fitness for stage representation. In The Art of the Stage as set forth in the dramatic essays of Charles Lamb. Ed. Fitzgerald, P. 1885.; Knight, J. David Garrick. 1894.; Gaehde, C. David Garrick als Shakespeare-Darsteller. Berlin, 1904.; Martin, Sir T. Monographs. 1906. [Collection of articles from Quarterly Review.]; Parsons, Mrs. C. Garrick and his Circle. 1906.; Baker, G. P. Unpublished Correspondence of David Garrick. 1907.; Hedgcock, F. A. David Garrick et ses Amis Français. Paris, 1911.; Green Rooms, The Secret history of the: containing authentic and entertaining memoirs of the actors and actresses in the Three Theatres Royal. Vol. I. Drury Lane. 1790. Vol. II. Covent Garden and Haymarket. 3rd edn. 1793.; Henderson, John, Letters and poems by the late. With anecdotes of his life. By Ireland, J. 1786.; Holcroft, Thomas, Memoirs of the late; written by himself and continued to the time of his death, from his diary, notes and other papers, by Hazlitt, W. 3 vols. 1816. Hazlitt’s Works. Edd. Waller, A. R. and Glover, A. Vol. II. 1902.; Inchbald, Mrs., Memoirs of, by Boaden, J. 1833.; Jordan, Mrs., Life of, by Boaden, J. 2 vols. 1831.; Kelly, Michael. Reminiscences. 2 vols. 1826.; Kemble, J. P., Memoirs of the life of. 2 vols. 1825.; Macklin, Charles, Memoirs of the life of, principally compiled from his own papers and memorandums; which contain his criticisms on and characters and anecdotes of Betterton, Booth, Wilks, Cibber, Garrick, Barry, Mossop, Sheridan, Foote, Quin … together with his valuable observations on the drama, on the science of acting and on various other subjects.… By Kirkman, J. 1799.; Munden, Joseph Shepherd, Memoirs of. By his son. 1844.; O’Keeffe, J. Recollections. 2 vols. 1826.; Palmer, Mr. John, A Sketch of the theatrical life of the late; containing an accurate and impartial summary of the incidents of his public life.… 1798.; [Palmer (1742–98) the creator of Joseph Surface.]; Siddons, Mrs., Memoirs of. Interspersed with anecdotes of authors and actors. By Boaden, J. 1827.; Tobin, Mr. John, Memoirs of, author of The Honeymoon. With a selection from his unpublished writings. 1820.; Wilkinson, Tate. Memoirs of his own Life. 1790.; Anon. Original anecdotes respecting the stage and the actors of the Old School.… 1805.
V. WRITERS FOR THE STAGE
A. Sheridan
1. Collected editions: Moore, T., Leipzig, 1833; Hunt, Leigh, 1840; S., G. G. (i.e. Sigmond), 1848 (rptd. 1902); Browne, J. P., 1873; Stainforth, F., 1874; Dircks, R., Camelot Classics, 1891; Matthews, B., The Rivals and The School for Scandal, 1885; Pollard, A. W., 1900; Rae, W. Fraser, 1902 (includes important textual corrections and his mother’s unpublished A Journey to Bath); Goose, E., Favourite Classics, 1905; Knight, J., World’s Classics, 1906; Nettleton, G. H., Athenaeum Press Series, 1906.; Transl. Duval, G. Paris, 1891.
2. Separate Plays: The Rivals, a Comedy. As it is Acted at the Theatre-Royal in Covent-Garden. 1775.; Innumerable rpts. and annotated edns. e.g. Short, J., Truchy’s edn.… with a key to the proper names of the dramatis personae .… French notes, Paris, 1861; Low, W. H., Tutorial Series, 1891; Aitken, G. A., Temple Dramatists, 1897; Adams, J. Q., The Riverside Literature Series, 1910; Balston, T., Clarendon Press, 1913.; See, also, Adams, J. Q., The Nation, vol. XC, no. 2337 on the Original Performances of The Rivals, and Modern Language Notes, vol. XXV, pp. 171–3 on the text of The Rivals; Brereton, A., Haymarket Theatre, A short history of … The Rivals, 1900.; Transls. Engelbrecht, J. A., Die Nebenbuhler in Schroeder, F. L.: Hamburgisches Theatre, Bd. 1, 1776; Béverlei, tragédie bourgeoise, 1813; Bertin, T. P., Délia ou les deux cousines, par Brinsley Sheridan … Traduction libre de l’anglais (in form of novel), 1817.; St. Patrick’s Day, or the Scheming Lieutenant; a comic piece in one act. Cumberland’s British Theatre. Vol. XXVIII. 1829. [Produced 1775.] Annotated edn. by G(eorge) D(aniel). Lacy’s Acting Edn. of Plays. Vol. CXIV. 1879.; The Duenna; or the Double Elopement. A Comic Opera; as it is acted at the Theatre, Smoke-alley, Dublin. 1785, 1794. [Produced 1775.]; Transl. Châteauneuf, A. H. La Duègne et le Juif Portugais. 1827.; A Trip to Scarborough. A Comedy altered from Vanbrugh’s Relapse. 1781, 1786. [Produced 1777.]; The School for Scandal, a Comedy, n.d. [1778?]. [Produced 1777.]; Rpts. 1781, 1782, 1783. A Volume of Plays … Containing The School for Scandal. Theatre Royal, Smoke-Alley, Dublin. 1785, etc.; Annotated edns. Lake, J. W., The School for Scandal … with a biographical sketch, critical notice, vocabulary of difficult words, a key to the proper names of the dramatis personae and of those mentioned in the course of the play, 1853; Westley, R. H., The School for Scandal, No. 5, Masterpieces of English Literature, 1861; Aitken, G. A., The School for Scandal, Temple Dramatists, 1897.; French Translations and Adaptations. 1788; Delille, Brunel, 1789; Famin, P. N., 1807; Villemain, A. F., Chefs-d’œuvre des Théâtres étrangers, tom. 1, 1822; L’École du Scandale … imitée … par Crosnier, Jouslin de Lasalle et Saint M[aurice], 1824; Châteauneuf, A. H., 1824; Pichot, M. A., 1852; Fougas, Tapon, 1863.; German Translations. Leonhardi, 1782; Meissner, C., 1863; No. 30 Classische Theater-Bibliothek aller Nationen, 1868; Klapperich, J., Zur Sprache des Lustspieldichters, R. B. Sheridan, 1892.; Italian Translations. Anno Teatrale. Anno Secondo, tom. III, 1796; Leoni, M., 1818.; The Critic, or, A Tragedy Rehearsed. A dramatic piece in three Acts, as it is performed at the Theatre Royal in Drury Lane. 1781. [Produced 1779.]; Rpts. Aitken, G. A. Temple Dramatists. 1897. Carr, P. Mermaid Repertory Theatre Acting Edn. 1905.; The Critick Anticipated; or, the Humours of the Green Room. A farce. 1779. [An imitation which anticipated Sheridan’s burlesque.]; The Critic: or, A Tragedy Rehearsed: a new dramatic piece in three acts; as it is performed by His Majesty’s Servants, with the greatest applause. By the author of the Duenna. 1780. [Really a political squib on the Government.]; Pizarro; a tragedy in five acts … taken from the German drama of Kotzebue and adapted to the English Stage. 1799.; Rpts. Kean, C. Sheridan’s Play of Pizarro … arranged for representation … with notes. 1856. Dicks, J. Dicks’ Standard Plays. No. XV. 1883.; Sheridan’s Address to the People, i.e. The Speech of Rolla in Pizarro, rptd. on the occasion of the threatened invasion. 1803.; Bahlsen, L. Kotzebue und Sheridan. 1889.; The Forty Thieves; a romantic drama in two acts by Sheridan, R. B. and Colman the younger. Duncombe’s edn. of the British Theatre. Vol. II. 1825.
3. Poems: Clio’s Protest, or the Picture Varnished. 1771, 1819.; The General Fast; a lyric ode. 1775.; Ode to Scandal. 1819.
4. Biography and Criticism: All the best edns. and commentaries quoted above have also appreciations.; Besser, R. R. B. Sheridan. Die Neueren Sprachen. Vol. XIX. Marburg, 1911–12.; Earle, W. Sheridan’s Life and Times, by an Octogenarian. 1859.; Fitzgerald, P. Lives of the Sheridans. 1887.; Moore, T. Life of Sheridan. 1825.; Oliphant, Mrs. Sheridan. (English Men of Letters Series.) 1883.; Pearson, C. H. Sheridan. Reviews and Critical Essays. 1896.; Rae, W. Fraser. Sheridan: a Biography. 1896.; Sanders, L. C. A life of Richard Brinsley Sheridan. (Great Writers Series.) 1890. [Contains a bibliography of Sheridan’s writings by Anderson, J. P.]; Sichel, W. Sheridan from new and original material: including a manuscript diary by Georgiana Duchess of Devonshire. 2 vols. 1909. [Contains a full bibliography of Sheridan’s works.]; Smyth, W. A Memoir of Mr. Sheridan. 1840.; Watkins, J. Life of Sheridan. 1816.
B. Minor Writers for the Stage: Abridged list. For comprehensive and fairly accurate record of theatrical activity from 1660 to 1830 see Genest, J., History of the English Stage, 1832. Most of the later eighteenth century plays never been rptd. The best are preserved by Inchbald, Mrs. E., in The British Theatre, 1806–9 (25 vols.); The Modern Theatre, 1809 (10 vols.); A Collection of Farces, 1809 (7 vols.). For early and mid eighteenth century plays see Bell’s British Theatre, 1797 (began to appear 4 May, 1796).; Baillie, Joanna. A Series of Plays; in which it is attempted to delineate the strange passions of the mind, each passion being the subject of a tragedy and a comedy, 1798 (includes De Montfort, which Kemble produced in 1800). Plays on the Passions, vol. II, 1802 (sequel to the above). Miscellaneous Plays, 1804. (On more conventional lines.) Family Legend, 1810. Plays on the Passions, vol. III, 1812. Miscellaneous Plays. 3 vols. 1836. See Dramatic and Poetical Works of Joanna Baillie; Annual Register, 1851. See, also, bibliography to Chap. X, ante.; Bentley, R. (youngest son of the scholar). The Wishes, acted Drury Lane, 1761. Philodamus (tragedy), 1767. The Prophet (comedy), acted posthumously, 1788.; Bickerstaff, Isaac. See bibliography to Vol. X, Chap. IV, ante.; Brand, Miss Hannah (d. 1821). Huniades (tragedy). Acted, 1792. Dramatic and Poetical Works, 1798. Dramatic and Poetical Works. 2 vols. 1808.; Burgoyne, General J. The Maid of the Oaks, 1774. Acted, Drury Lane, 1775. Lord of the Manor (comic opera), 1780. The Heiress, 1786.; Fonblanque, E. B. de. Political and military episodes from the life and correspondence of General Burgoyne. 1876.; Celesia, Dorothea (born Mallet). See bibliography to Vol. X. Chap. IV, sect. II, ante.; Cobb, J. The Contract, or Female Captain, 1779. The Humourist, 1785. Strangers at Home (opera), 1785. The Haunted Tower, 1789. Many other productions, mostly operatic.; Colman, G., the elder. See bibliography to Vol. X, Chap. IV, ante.; Colman, G., the younger. Two to One, 1784. Turk and no Turk, 1785. Inkle and Yarico (1787). The Battle of Hexham, acted 1789, ptd. 1808. The Surrender of Calais, acted 1791, ptd. 1808. The Mountaineers, 1793. The Iron Chest, 1796. The Heir at Law, acted 1797, ptd. 1808. John Bull, acted 1803, ptd. 1805.; Cowley, Hannah. See bibliography to Chap. VIII, ante.; Cradock, J. See bibliography to Vol. X, Chap. IV, sect. II, ante.; Cumberland, R. The Brothers (comedy), 1769. The West Indian (comedy), 1771. Timon of Athens (tragedy, adapted from Shakespeare), 1771. The Fashionable Lover (comedy), 1772. The Choleric Man (comedy), 1774. Arundel (novel), 1789. The Jew (comedy), 1794. Henry (novel), 1795. See Mudford, W., Critical Examination of the writings of R. Cumberland, 1812. Also, Paston, G., Richard Cumberland, Little Memoirs of the Eighteenth Century, 1901.; Delap, J. Hecuba, acted 1761, ptd. 1762. The Royal Suppliants, acted and ptd. 1781. The Captains, 1786. Dramatic Poems: Gunilda, Usurper, Matilda, and Abdalla, 1803.; Dibdin, C. Actor and dramatist. Best known for his sea songs. His innumerable farces and operettas almost worthless.; Foote, S. See bibliography to Vol. X, Chap. IV, ante.; Garrick, David. See bibliography to Vol. X, Chap. IV, ante.; Goldsmith, Oliver. See bibliography to Vol. X, Chap. IX, ante.; Griffith, Elizabeth. A Double Mistake, 1765. The School for Rakes, 1769. A Wife in the Right, 1772.; Hawkesworth, John (1715?–1773). Edgar and Emmeline, 1761.; Hayley, W. (1745–1820). Plays of three Acts and in Verse, written for a Private Theatre. 1784. See, also, bibliography to Chap. VIII, ante.; Hoare, P. Such Things Were (Trag.), 1788. No Song, No Supper (Farce), 1790. Many musical farces and operas.; Holcroft, T. The Crisis, acted 1778. Duplicity, 1781. The Road to Ruin, 1792, The Deserted Daughter, 1795. See, also, bibliography to Chap. XIII, post.; Home, J. Agis. (Trag.) completed 1747 but not acted. Douglas acted in Edinburgh 1756, London 1757. (Many pamphlets on subject of a minister writing plays.) Agis, acted 1758. Siege of Aquileia, acted 1760. The Tragedies. published 1760. Alfred, acted 1778. Collected Works, by Mackenzie, H., 1822.; Hoole, John. See bibliography to Vol. X, Chap. IV, ante.; Hull, Thomas (1728–1808). Henry the Second, or the Fall of Rosamond (tragedy), 1774. The History of Sir William Harrington (novel), 4 vols., 1771.; Inchbald, Mrs. E. The Mogul Tale, acted 1784, ptd. 1824. I’ll tell you What, acted 1785, ptd. 1786. Such Things Are, acted 1787, ptd. 1788. Everyone has his Fault, 1793. Wives as they Were, 1797. To Marry or not to Marry, 1805. See, also, bibliography to Chap. XIII, post.; Ireland, W. H. (1777–1835). Literary forger. Composed Vortigern and Rowena, also Henry II, alleging both to be by Shakespeare. Sheridan produced Vortigern and Rowena at Drury lane, 1795. Many pamphlets occasioned by the forgeries.; Jephson, Robert. Braganza, 1775. The Count of Narbonne, 1781. Julia, or the Italian Lover, 1787. Roman Portraits, 1794. The Conspiracy, 1796.; Kelly, Hugh. See bibliography to Vol. X, Chap. IV, ante.; Kemble, J. P. Belisarius, acted 1778. The Farm House, 1789. Love in Many Masks, 1790. For a full list of Kemble’s adaptations, chiefly from Shakespeare, see Biographia dramatica, ed. Jones, Stephen, vol. I, pt. II, 1812.; Kenrick, W. (1725?–1779). The Duellist, 1773. See, also, bibliography to Chap. XIV, sect. V. post.; Lewis, M. G. The Castle Spectre, 1797. The East Indian, 1799. Adelmorn. or, The Outlaw, 1801. Alfonso, King of Castile, 1802. Adelgitha, 1807, Venoni, or The Novice of St. Mark’s, 1808. (Partly transl. from Les Victimes Cloistrées and anticipates a situation in Monte Cristo.) Timour the Tartar, 1811. See, also, bibliography to Chap. XIII, post.; Macnally, L. Retaliation, 1782. Coalition, 1783. Fashionable Levities, 1785.; Mason, W. Elfrida. 1752 (dramatic poem). Caractacus, 1759. Sappho, 1797 (lyrical drama). See, also, bibliography to Vol. X, Chap. XVII.; More, Hannah. The Search after Happiness, 1762 (pastoral drama for children). The Inflexible Captive, 1774. Percy, produced by Garrick, 1777, published 1785. The Fatal Falsehood produced 1779. Sacred Dramas published 1782. Collected Works, 1834. See Meakin, A. M. B., Hannah More, a biographical study, 1911. See, also, Bibliography to Chap. XV, post.; Morton, T. Columbus, 1792. The Way to get Married, 1796. A Cure for the Heartache, 1797. Speed the Plough, 1798. The School for Reform, 1805.; O’Brien, W. Actor and dramatist. Cross Purposes, 1772. The Duel, 1773. Both adaptations from French.; O’Keeffe, J. Actor and dramatist. Composed about fifty musical pieces, of which the songs are the best part. Wild Oats, 1791.; Reynolds, F. Werter, 1785 (tragedy). Eloisa, 1786 (tragedy). The Dramatist, 1789 (comedy). Produced about a hundred other comedies and tragedies.; Tobin, John (1770–1804). The Honey Moon, 1805. The Curfew, 1807. The School for Authors, 1808.; Vaughan, T. Love’s Metamorphoses, acted 1776, ptd. as Love’s Vagaries, 1791. The Hotel, 1776.

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