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The Rivals and Polly Honeycombe revolve around young women who wish
the world would conform to novelistic convention. Unlike most
eighteenth-century heroines keen on novel reading, however, Lydia
Languish and Polly Honeycombe are neither deluded nor in any real
danger. Rather, they inhabit a world in which everyone is engaged
in some sort of quixotic performance; the more appealing characters
are just willing to admit it. Both farcical and wise, these plays
teasingly celebrate the perennial appeal of fiction, while never
letting us forget how much it relies upon the everyday rituals of
performance. The introduction to this Broadview edition explores
the interrelations between print and performance in the eighteenth
century, including a detailed and well-illustrated account of what
it was like to go to the theatre. Appendices include material on
the original casts, the often dubious reputation of novel reading
and circulating libraries, Sheridan's high-profile elopement with
Elizabeth Linley (which made him a celebrity before he ever staged
a word), and the narrative possibilities conjured up by setting The
Rivals in the resort city of Bath.
This is a reproduction of a book published before 1923. This book
may have occasional imperfections such as missing or blurred pages,
poor pictures, errant marks, etc. that were either part of the
original artifact, or were introduced by the scanning process. We
believe this work is culturally important, and despite the
imperfections, have elected to bring it back into print as part of
our continuing commitment to the preservation of printed works
worldwide. We appreciate your understanding of the imperfections in
the preservation process, and hope you enjoy this valuable book.
++++ The below data was compiled from various identification fields
in the bibliographic record of this title. This data is provided as
an additional tool in helping to ensure edition identification:
++++ Songs Duetts, Trios ... In The New Comedy Of Two To One George
Colman (the Elder)
This is a reproduction of a book published before 1923. This book
may have occasional imperfections such as missing or blurred pages,
poor pictures, errant marks, etc. that were either part of the
original artifact, or were introduced by the scanning process. We
believe this work is culturally important, and despite the
imperfections, have elected to bring it back into print as part of
our continuing commitment to the preservation of printed works
worldwide. We appreciate your understanding of the imperfections in
the preservation process, and hope you enjoy this valuable book.
++++ The below data was compiled from various identification fields
in the bibliographic record of this title. This data is provided as
an additional tool in helping to ensure edition identification:
++++ Die Eifersuchtige Ehefrau: Ein Lustspiel In 5 Aufzugen George
Colman (the Elder), Johann Joachim Christoph Bode
David Garrick, the leading actor of his time, was also one of its
most accomplished dramatists, and The Clandestine Marriage is
perhaps his finest play. Its story centres on the household of a
wealthy merchant, Mr. Sterling, whose main concern is that his two
daughters marry men of wealth. Fanny has defied her apprentice; her
sister Betsey is engaged to be married to Sir John Melvil. But
Melvil and his friend Lord Ogleby both fall in love with Fanny. It
is up to Lovewell to persuade both men that marriage to Fanny is
out of the question-without revealing to them that he has already
married her. The action of the play and also its setting (a
landscape garden designed after the fashion of the time to provide
artificial wildness and 'commanding' views) give ample scope for
Garrick and Coleman to satirize the mercantile mind-yet the play's
comic spirit holds appeal to those on all points of the political
compass. First produced in 1766, The Clandestine Marriage was
revived to great acclaim in 1995 in a London production starring
Nigel Hawthorne. Full-length plays of the late eighteenth century
were usually performed together with short plays (or 'afterpieces')
to form a full evening of entertainment. In accordance with that
tradition this edition is completed by two of the most interesting
examples of the genre: Charles Burney's The Cunning-Man (which in
fact was several times performed alongside The Clandestine Marriage
during the 1766-67 season) and The Rehearsal; or Bayes in
Petticoats by Catherine Clive (who played Mrs. Heidelberg in the
original production of The Clandestine Marriage).
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