The Castle Spectre


Book Description

The Castle Spectre was first performed at Drury Lane Theatre in London in 1797 and quickly became a dramatic standard during the late 18th and early 19th centuries. Lewis' Gothic play was one of the first to combine the action on stage with both music and special effects in order to evoke an emotional overload from theatre-goers. It was quite common, according to contemporary accounts, for members of the audience to pass out from fright during performances of The Castle Spectre. The Playwright, Matthew Lewis, was one of the originators of early Literary Gothic with his novel, The Monk. This edition includes the text of the original five-act play, a condensed three-act version, biographies of the original performers, newspaper adverts, contemporary reviews and critiques, the original musical score, and a critical introduction.




The Castle Spectre 1798


Book Description

F. PHIL. Nonsense! nonsense!--Why, pr'ythee, Alice, do you think that your Lady's ghost would get up at night only to sing Lullaby for your amusement?--Besides, how should a spirit, which is nothing but air, play upon an instrument of material wood and cat gut?




The Castle Spectre


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The Castle Spectre (Esprios Classics)


Book Description

The Castle Spectre is a 1797 dramatic romance in five acts by Matthew "Monk" Lewis. It is a Gothic drama set in medieval Conway, Wales. The Castle Spectre was first performed at the Theatre Royal, Drury Lane, on 14 December 1797. The original cast included William Barrymore, Richard Wroughton, Charles Kemble, John Palmer, James Aickin, William Dowton, Jane Powell and Dorothea Jordan. In a period when very few plays reached ten performances in a season, it was staged forty-seven times before June, when the theatre closed for the summer. The play had a long run also in the following year and remained in the repertoire until the late 1820s, and was revived until the end of the century.




The Castle Spectre


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Gothic Documents


Book Description

In the 1790s, while across the Channel a political revolution raged, Britain was struck by a reading revolution, a taste for terror fiction that seemed to know no bounds. Ann Radcliffe and "Monk" Lewis were only the most celebrated of a host of writers purveying a new brand of "Gothic" literature. How is it that the age of Enlightenment gave rise to the genre of the literary ghost story? This is a landmark in the study of Gothic writing: nowhere else is the historical location of Gothic more richly or vividly illustrated.




Wordsworth's Reading 1770-1799


Book Description

A directory of authors and books read by Wordsworth before the age of thirty.




British Romanticism and Continental Influences


Book Description

During the 1790s and 1800s, cultural critics became convinced that Britain was being 'inundated' by pernicious literary translations imported from the European Continent. British Romanticism and Continental Influences discusses Romantic writers' complex and ambivalent responses to this threatening literary invasion. Confronted with foreign texts that seemed both attractive and repulsive, Mortensen argues, Romantic writers such as Wordsworth and Coleridge publicly distanced themselves from European sensationalism, even as they assimilated and revised its conventions in their own writing.




A Cultural History of the Emotions in the Age of Romanticism, Revolution, and Empire


Book Description

Between 1780 and 1920, modern conceptions of emotion-conceptions still very much present in the 21st century-first took shape. This book traces that history, charting the changing meaning and experience of feelings in an era shaped by political and market revolutions, romanticism, empiricism, the rise of psychology and psychoanalysis. During this period, the word emotion itself gained currency, gradually supplanting older vocabularies and visions of feeling. Terms to describe feelings changed; so too did conceptions of emotions' proper role in politics, economics, and culture. Political upheavals turned a spotlight on the role of feeling in public life; in domestic life, sentimental bonds gained new importance, as families were transformed from productive units to emotional ones. From the halls of parliaments to the familial hearth, from the art museum to the theatre, from the pulpit to the concert hall, lively debates over feelings raged across the 19th century.




British Romantic Drama


Book Description

The present volume attempts a systematic explanation of various dimensions of Romantic drama by foregrounding both the theoretical and practical questions bearing on Romantic drama in its historical situation. In this effort, the volume intentionally gravitates toward discussion of lesser-known works of the period, rather than such major dramas as Manfred or Prometheus Unbound. This is because the poetic dramas by Byron and Shelley have already been the subject of many useful historicist investigations, and also because lesser-known works - for instance, the dramas of Scott, Wordsworth's Borderers, and the many revolutionary and counter-revolutionary dramas of the period - provide avenues into historical and ideological issues that cannot be adequately addressed by exclusive attention to dramas long recognized as canonical.