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The Theatre of Shelley

Jacqueline Mulhallen

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Sperry, Stuart M., Shelley’s Major Verse (Cambridge, MA: Harvard University Press, 1988)

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Stabler, Jane, Burke to Byron, Barbauld to Baillie 1790-1830 (Basingstoke: Palgrave, 2002)

Stanford, W.B., Introduction to The Frogs by Aristophanes (Basingstoke: Macmillan Education, 1958)

States, Bert O., ’Addendum: The Stage History of Shelley’s ”The Cenci”’, PMLA, 72 (1957), 633-644

Stendhal (Henri Beyle), Correspondances (1816-1820) (Paris: Le Divan, 1934)

Stirling, E., Old Drury Lane, 2 vols (London: Chatto & Windus, 1881)

Stocking, Marion Kingston, ed., The Clairmont Correspondence: Letters of Claire Clairmont, Charles Clairmont, and Fanny Imlay Godwin (Baltimore:

Johns Hopkins University Press, 1995)

—, ed., with the assistance of David Mackenzie Stocking, The Journals of Claire Clairmont (Cambridge, MA: Harvard University Press, 1968)

Stone, Geo. Winchester Jr., ed., The Stage and the Page: London’s ”Whole Show in the Eighteenth Century Theatre (Berkeley: University of California Press, 1981)

Sutcliffe, Barry, ed., Plays by George Colman the Younger and Thomas Morton (Cambridge: Cambridge University Press, 1983)

Swindells, Julia, Glorious Causes: The Grand Theatre of Political Change, 1789 to 1833 (Oxford: Oxford University Press, 2001)

Taylor, George, The French Revolution and the London Stage, 1789-1805 (Cambridge: Cambridge University Press, 2000

Temperley, Nicholas, ed., Music in Britain: The Romantic Age, 1800-1914, 6 vols (Oxford: Blackwell, 1988)

Tetreault, Ronald, ’Shelley and the Opera’, ELH, 48 (1981), 144-171

Tetreault, Ronald, The Poetry of Life: Shelley and Literary Form (Toronto: University of Toronto Press, 1987)

The Favourite Song of Timothy, as Sung by Mrs. Jordan… in the Farce of the Virgin Unmask’d as Revived at Drury Lane Theatre (London: S.A. & P. Thompson, [1790(?)])

Thompson, E.P., The Making of the English Working Class (Victor Gollancz, 1963; rev. Pelican Books, 1968; repr. with new preface Harmondsworth: Penguin, 1980)

Tidworth, Simon, Theatres: An Architectural and Cultural History (New York: Praeger, 1973)

Trussler, Simon, ed., Burlesque Plays of the Eighteenth Century (Oxford: Oxford University Press, 1969)

Tobin, John, The Honeymoon (London: Samuel French, with ’Remarks’ by D-G [George Daniel] [1827(?)])

Urlin, Ethel L., Dancing Ancient and Modern (London: Simpkin, Marshall, Hamilton Kent [1911(?)])

Vargo, Lisa, ’The Solitary Reformer: A Reading of Shelley’s Poetry’ (unpublished doctoral thesis, University of Toronto, 1983)

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Walker, Constance, ’The Urn of Bitter Prophecy: Antithetical Patterns in Hellas’ KSMB, 33 (1982), 36-48

Wallace, Jennifer, Shelley and Greece: Rethinking Romantic Hellenism (London: Macmillan, 1997)

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—, Shelley’s Prometheus Unbound’ (Baltimore: Johns Hopkins University Press, 1965)

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—, The Violet in the Crucible (Oxford: Oxford University Press, 1976)

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, and Timothy Webb, eds, The Unfamiliar Shelley (Farnham: Ashgate, 2009)

White, N.I., Shelley, 2 vols (London: Secker & Warburg, 1947)

, ’Shelley’s ”Swellfoot the Tyrant” in Relation to Contemporary Political Satires’, PMLA, 36 (September 1921), 332-346

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Williams, Raymond, Drama in Performance (Harmondsworth: Penguin, 1972)

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Wilson, Spence and Mawman, 1795)

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Woodings, R.B., ’Shelley’s Sources for ”Charles I”’, MLR, 64 (1969), 267-275

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Wyndham, Henry Saxe, The Annals of Covent Garden Theatre, 2 vols (London: Chatto & Windus, 1906)

Yost, George, Pieracci and Shelley: an Italian Ur-Cenci (Potomac: Scripta Humanistica, 1986)

Young, Art, Shelley and Non-Violence (The Hague: Mouton, 1975)

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Horsham Museum MS 333 X.2001.333.1 / 333.2/ 333.3/ 333.4/ 333.5/ 333.6/333.7/ 333.8/ 333.11/ 333.13/ 333.15/ 333.16/ 338.9/ 389.16.2 Ms. 289

La Gazzetta di Firenze, 9 October 1819

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Editions of plays and play collections

Apart from the contemporary editions of plays cited above and numerous others, I have consulted the following collections of plays, from which I have gained information about the performance of plays mentioned in the text: London: John Cumberland, [c. 1826-1831] un-numbered volumes of nonce-editions comprising items from various volumes of Cumberland’s British Theatre, c. 1826-1828, or Dolby’s British Theatre, c. 1824-1825, bound together, printed from the acting copy, edited and with remarks by George Daniel (D– G–), with ’description of the costume, cast of characters, entrances and exits, relative positions of the performers on stage, and the whole of the stage business’ and illustrated with engravings from drawings often made in the theatre:

  • William Shakespeare, Othello; Edward Moore, The Gamester; Thomas Otway, Venice Preserved; Thomas Southern, Isabella: Or the Fatal Marriage
  • Peter Bayley, Orestes in Argos; James Sheridan Knowles, Caius Gracchus; Auguste Kotzebue, Lovers’ Vows, trans. by Mrs. Inchbald; John Brown, Barbarossa; Joseph Addison, Cato; Auguste Kotzebue, The Stranger, trans. Benjamin Thompson; R.B. Sheridan, Pizzarro
  • Thomas Morton, The Children in the Wood; John Gay, Beggars’ Opera; Joseph Lunn, The Shepherd of Derwent Vale; R.B. Sheridan, The Duenna; R.B. Sheridan, The Rivals; George Farquhar, The Inconstant
  • Charles A. Somerset, Sylvana: An opera; George Colman, Who Wants a Guinea?; James Sheridan Knowles, William Tell; Thomas Cooke, Oberon: or The Charmed Horn; James Sheridan Knowles, Virginius; Carl Maria von Weber, Der Freischutz; Charles Dibdin, The Waterman
  • The Barber of Seville, adapted by John Fawcett; R.B. Sheridan, The Critic; John O’Keeffe, The Highland Reel; William Macready, The Irishman in London; George Daniel, The Disagreeable Surprise
  • Philip Massinger, A New Way to Pay Old Debts; R.B. Sheridan, The School for Scandal; William Shakespeare, The Merchant of Venice; William Shakespeare, As You Like It; William Shakespeare, Much Ado About Nothing; William Shakespeare, King Henry IV Pt. 1
  • James Kenney, The Alcaid: Or the Secrets of Office; Richard Cumberland, The West Indian; Oliver Goldsmith, She Stoops to Conquer; Thomas Southern, Isabella or The Fatal Marriage
  • Thomas Morton, The Children in the Wood; Richard Ayton, The Rendezvous; John Brown, Barbarossa; Charles Thompson, The Gambler’s Fate; W.T. Moncrieff, Giovanni in London; Thomas Morton, The School for Reform; Auguste Kotzebue, Lovers Vows, trans. by Mrs. Inchbald
  • William Shakespeare, Romeo and Juliet; Oliver Goldsmith, She Stoops to Conquer; William Shakespeare, Macbeth; R.B. Sheridan, Pizzarro; William Shakespeare, King Richard III; John Home, Douglas; Mr. Hoadley, The Suspicious Husband
  • William Shakespeare, King John; William Shakespeare, King Richard III; William Shakespeare, Hamlet; William Shakespeare, Julius Caesar; William Shakespeare, Cymbeline; William Shakespeare, Macbeth


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