The Mirror of Taste, and Dramatic Censor Volume I, Number 1


Book Description

The Mirror of Taste, and Dramatic Censor Volume I, Number 1 By S. C. (Stephen Cullen) Carpenter The advantages of a correct judgment and refined taste in all matters connected with literature, are much greater than men in general imagine. The hateful passions have no greater enemies than a delicate taste and a discerning judgment, which give the possessor an interest in the virtues and perfections of others, and prompt him to admire, to cherish, and make them known to the world. Criticism, the parent of these qualities, therefore, mends the heart, while it improves the understanding. The influence of critical knowledge is felt in every department of social life, as it supplies elegant subjects for conversation, and enlarges the scope, and extends the duration of intellectual enjoyment. Without it, the pleasures we derive from the fine arts would be transient and imperfect; and poetry, painting, music, and that admirable epitome of life, the stage, would afford nothing more than a fugitive, useless, pastime, if not aided by the interposition of the judgment, and sent home, by the delightful process of criticism, to the memory, there to exercise the mind to the last of life, to be the amusement of our declining years, and, when all the other faculties for receiving pleasure are impaired by old age and infirmity, to cast the sunshine of delight over the last moments of our existence. We are delighted to publish this classic book as part of our extensive Classic Library collection. Many of the books in our collection have been out of print for decades, and therefore have not been accessible to the general public. The aim of our publishing program is to facilitate rapid access to this vast reservoir of literature, and our view is that this is a significant literary work, which deserves to be brought back into print after many decades. The contents of the vast majority of titles in the Classic Library have been scanned from the original works. To ensure a high quality product, each title has been meticulously hand curated by our staff. Our philosophy has been guided by a desire to provide the reader with a book that is as close as possible to ownership of the original work. We hope that you will enjoy this wonderful classic work, and that for you it becomes an enriching experience.




The Mirror of Taste, and Dramatic Censor


Book Description

The Mirror of Taste, and Dramatic Censor was a monthly periodical co-founded by Samuel T. Bradford and John Inskeep in 1810. It is noted as the most important theatrical journal of its time. It presented not only local reviews but also reviews of stage productions in London. The periodical also included biographies of theatre personalities, articles on theatre history, poetry, plays and book reviews. Stephen Cullen Carpenter (? -c1820) was an Irish journalist and critic. He served 14 years with the East India Service before settling in England. He began to write, and was made reporter of Debates in Commons by Edmund Burke. Around 1800 he travelled to America and worked on many American magazines. In Charleston, South Carolina, he edited the Courier and the Monthly Register, Magazine and Review of the United States and in Philadelphia he edited The Mirror of Taste, and Dramatic Censor.




Thomas Hamblin and the Bowery Theatre


Book Description

This book recounts the personal and professional life of Thomas Souness Hamblin (1800-1853), Shakespearean actor and Bowery Theatre manager. Primarily responsible for the popularity of “blood and thunder” melodramas with working class audiences in New York City, Hamblin discovered, trained and promoted many young actors and, especially, actresses who later became famous in their own right. He also epitomized the “sporting man” of mid-nineteenth century life, conducting a scandalous series of affairs and visits to Manhattan brothels, which cost him his marriage to Elizabeth Blanchard Hamblin (1799-1849) and made him the brunt of moralist, religious and journalistic crusades, notably that of James Gordon Bennett’s New York Herald. His machinations and perseverance through trying challenges, including several destructions of the Bowery Theatre by fire, extensive financial and legal complications, and the untimely deaths of several young protégées, earned him equal measures of admiration and opprobrium.







Time in Romantic Theatre


Book Description

The shift in temporal modalities of Romantic Theatre was the consequence of internal as well as external developments: internally, the playwright was liberated from the old imperative of “Unity of Time” and the expectation that the events of the play must not exceed the hours of a single day; externally, the new social and cultural conformance to the time-keeping schedules of labour and business that had become more urgent with the industrial revolution. In reviewing the theatre of the Romantic era, this monograph draws attention to the ways in which theatre reflected the pervasive impact of increased temporal urgency in social and cultural behaviour. The contribution this book makes to the study of drama in the early nineteenth century is a renewed emphasis on time as a prominent element in Romantic dramaturgy, and a reappraisal of the extensive experimentation on how time functioned.




Bloody Tyrants and Little Pickles


Book Description

Bloody Tyrants and Little Pickles traces the theatrical repertoire of a small group of white Anglo-American actresses as they reshaped the meanings of girlhood in Britain, North America, and the British West Indies during the first half of the nineteenth century. It is a study of the possibilities and the problems girl performers presented as they adopted the manners and clothing of boys, entered spaces intended for adults, and assumed characters written for men. It asks why masculine roles like Young Norval, Richard III, Little Pickle, and Shylock came to seem “normal” and “natural” for young white girls to play, and it considers how playwrights, managers, critics, and audiences sought to contain or fix the at-times dangerous plasticity they exhibited both on and off the stage. Schweitzer analyzes the formation of a distinct repertoire for girls in the first half of the nineteenth century, which delighted in precocity and playfulness and offered up a model of girlhood that was similarly joyful and fluid. This evolving repertoire reflected shifting perspectives on girls’ place within Anglo-American society, including where and how they should behave, and which girls had the right to appear at all.