The London Stage 1660-1800. Southern Illinois University Press.
5: 934
Connections | Author name Sort ascending | Excerpt |
---|---|---|
Intertextuality and Influence | Mary Davys | MD
makes skilful use of letters to project character, political issues, and gender interaction. Her use of significant dates (All Saints' Day, November the fifth) links her with the prophetic tradition of Lady Eleanor Douglas |
Intertextuality and Influence | B. M. Croker | |
Textual Production | Hannah Cowley | HC
's comedy A School for Greybeards; or, The Mourning Bride opened at Covent Garden
. Its subtitle, confusingly, is the same as the title of William Congreve
's only tragedy, The Mourning Bride, 1697. The London Stage 1660-1800. Southern Illinois University Press. 5: 934 |
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... |
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... |
Intertextuality and Influence | Elizabeth Bury | Here she concludes by quoting, unascribed, eight lines of poetry by Congreve
beginning When Lesbia first I saw, so heavenly Fair. Bury, Elizabeth. An Account of the Life and Death of Mrs Elizabeth Bury. Editor Bury, Samuel, Printed by and for J. Penn and sold by J. Sprint. 189 |
Intertextuality and Influence | Eavan Boland | It does include a fragment from verse play, Femininity and Freedom. It concludes with two poems about the peace process in Northern Ireland. The last, Irish Poetry, written for Michael Hartnett
... |
Intertextuality and Influence | Patricia Beer | This poem's subject is the love-affair of Semele with Jove. Semele wished to see Jove in his true, not assumed form; when he complied and appeared as godhead she was burned to death in his... |
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... |
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