Clark, Constance. Three Augustan Women Playwrights. Peter Lang, 1986.
49, 61
Connections
| Connections Sort descending | Author name | Excerpt |
|---|---|---|
| Intertextuality and Influence | E. B. C. Jones | This is a story of the difficult or tormented love-affairs of sensitive young people trying to construct their new and modern world. (Intellectually, they seek to reach back past the nineteenth century towards the eighteenth... |
| Intertextuality and Influence | Catharine Trotter | She had been working on it for two years, and saw it as an attempt to reform the stage. |
| Literary responses | Enid Bagnold | The play was a success with London audiences and critics. In The Observer, Kenneth Tynan
claimed that the West End Theatre justified its existence with this production of the finest artificial comedy to have... |
| Literary responses | Mary Pix | MP
, again with Trotter
, was attacked in Animadversions on Mr. Congreve
's Late Answer to Mr. Collier, probably by George Powell
. Greer, Germaine et al., editors. Kissing the Rod. Virago, 1988. 413 |
| Literary responses | Ivy Compton-Burnett | This novel made the best-seller list the month after publication; but at the end of the year it received the Bookseller's Glass Slipper award for books whose sales had not reflected their quality. Reviewers... |
| Literary responses | Frances Lady Norton | The reception of this volume, dictated by Gethin's position as her father's only child and heir, and as an exemplary pattern of female excellence, rather than by consideration of the literary quality of her work... |
| Literary responses | Catharine Trotter | This was CT
's greatest success. The young George Farquhar
much admired it; it was even praised by Charles Gildon
. Greer, Germaine et al., editors. Kissing the Rod. Virago, 1988. 406-7 |
| Occupation | Charlotte Lennox | |
| Occupation | Charlotte Lennox | This seems to have been the first of her few and scattered stage appearances. She played at Richmond in 1748 and at the Little Theatre, Haymarket
, as Almeria, heroine of Congreve
's The Mourning... |
| Occupation | Sarah Gardner | Sarah Cheney (later SG
) made her first appearance on the London stage, before her marriage, as Congreve
's Miss Prue in Love for Love: A Comedy at Drury Lane
. Highfill, Philip H. et al. A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and Other Stage Personnel in London, 1660-1800. Southern Illinois University Press, 1973–1993. 5: 463 |
| Performance of text | Catharine Trotter | There was no author's name on the title-page, but the dedication was signed in full. It had opened about a month earlier (scholars differ over the precise date) at Congreve
's theatre, Lincoln's Inn Fields |
| Reception | Elizabeth Inchbald | EI
's two-act farce The Hue and Cry appeared as an afterpiece to Congreve
's Love for Love in 1791, but was never performed again. The London Stage 1660-1800. Southern Illinois University Press, 1960–1968, 5 vols. 5: 1350 |
| Textual Features | Susanna Centlivre | The villain here is the heroine's father, Sir Philip Moneylove. His daughter runs away from home to avoid a forced marriage, calls herself Miranda, and in a gender-reversed echo of Congreve
's The Way of... |
| Textual Features | Judith Drake | Its boldness in argument—seeking to lift women to an Equallity [sic] Drake, Judith. An Essay in Defence of the Female Sex. A. Roper, E. Wilkinson, and R. Clavel, 1696, http://U of A, Special Collections. A2 |
| Textual Features | Margaret Holford | The prologue maintains that good men are still there to be found; the epilogue says wit is extinct in the male line and survives in ladies only. The play has an old-fashioned flavour of Congreve |
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