Rizzo, Betty. “’Depressa Resurgam’: Elizabeth Griffith’s Playwriting Career”. Curtain Calls, edited by Mary Anne Schofield and Cecilia Macheski, Ohio University Press, pp. 120-42.
129
Connections
| Connections Sort descending | Author name | Excerpt |
|---|---|---|
| Reception | Elizabeth Griffith | |
| Reception | Frances Brooke | David Garrick
emphatically warned Marie-Jeanne Riccoboni
against using FB
as a translator again in the future. Garrick, David. Letters. Editors Little, David M. and George M. Kahrl, Belknap Press of Harvard University Press. 461 |
| Textual Features | Georgina Munro | A debauched earl is the narrator of this novel, which, typically for the genre, is peopled by characters from the gentry and the upper classes. Athenæum. J. Lection. 744 (1842):110 Blain, Virginia et al., editors. The Feminist Companion to Literature in English: Women Writers from the Middle Ages to the Present. Yale University Press; Batsford. |
| Textual Features | Frances Brooke | The periodical's theatre reports, provided by a little court of female criticism Brooke, Frances. “Introduction”. The Excursion, edited by Paula R. Backscheider and Hope D. Cotton, University Press of Kentucky, p. ix - xlix. xiv Brooke, Frances. “Introduction”. The Excursion, edited by Paula R. Backscheider and Hope D. Cotton, University Press of Kentucky, p. ix - xlix. xiv |
| Textual Features | Susan Smythies | In this third-person narrative (again well supplied with subsidiary, episodic stories) Lucy is a well-bred ideal orphan, who is discovered by Mrs Goodall, a benevolent widow of fifty-nine, living with the vulgar and unpleasant Searls... |
| Textual Production | Hannah More | HM
probably gave up the theatre (both writing for it and attending plays) less because of the loss of David Garrick
or the conflict with Hannah Cowley
than because of her religious belief, which presented... |
| Textual Production | Hannah More | More said she was drawn to Montagu less by the lustre of your understanding, than by the amiable qualities of your heart. More, Hannah. Essays on Various Subjects. J. Wilkie, T. Cadell. prelims |
| Textual Production | Hannah More | Dragon was David Garrick
's dog. |
| Textual Production | Frances Sheridan | In Garrick
's absence in France, it was produced by George Colman
. Sheridan, Frances. “Introduction”. The Plays of Frances Sheridan, edited by Richard Hogan and Jerry C. Beasley, University of Delaware Press, pp. 13-35. 24 |
| Textual Production | Carola Oman | After doingDavid Garrick in 1958, CO
published Ayot Rectory, a biography of the unknown Mary (Sneade) Brown
(1780-1858). British Books in Print. J. Whitaker and Sons. 1967 British Library Catalogue. http://explore.bl.uk/primo_library/libweb/action/search.do?dscnt=0&tab=local_tab&dstmp=1489778087340&vid=BLVU1&mode=Basic&fromLo. |
| Textual Production | Hannah Cowley | She was said to have begun it on impulse when her husband laughed at her claim that she could produce something better than another play which they had just seen and disliked. She finished it... |
| Textual Production | Elizabeth Griffith | Many of EG
's letters to Garrick
survive on film among Papers of David Garrick at the Victoria and Albert Museum
. A few of her holograph letters to other people are at Harvard
. |
| Textual Production | Charlotte Lennox | Lennox made the adaptation at Garrick
's suggestion, following an unsuccessful one by Robert Dodsley
decades earlier. Carlile, Susan. Charlotte Lennox. An Independent Mind. University of Toronto Press. 259 |
| Textual Production | Anna Seward | AS
wrote an elegy for David Garrick
after his death on 20 January 1779. Feminist Companion Archive. Stephen, Sir Leslie, and Sidney Lee, editors. The Dictionary of National Biography. Smith, Elder. |
| Textual Production | Carol Ann Duffy | They accompanied in performance all that remains of David Garrick
's ode written for his Shakespeare Jubilee of September 1769. After the Stratford performance the masque went on tour. Clements, Andrew. “Carol Ann Duffy’s life of Shakespeare tops a wigs’ n ’breeches blast from the past”. The Guardian, p. Review 29. |
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