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The Theatre of Shelley

Jacqueline Mulhallen

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Aeschylus, I: Oresteia, trans. by Richmond Lattimore (Chicago: Chicago University Press, 1953)

—, II: The Suppliant Maidens and The Persians, trans. by Seth G. Bernadete, Seven Against Thebes and Prometheus Bound, trans. by David Grene (Chicago: Chicago University Press, 1956)

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—, The Wasps, The Poet and the Women, The Frogs, trans. by David Barrett

(Harmondsworth: Penguin 1964)

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Baines, Paul and Edward Burns, eds, Five Romantic Plays 1768-1821 (Oxford: Oxford University Press, 2000)

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Behrendt, Stephen C., Shelley and His Audiences (Lincoln: University of Nebraska Press, 1989)

Bergman, Gösta, Lighting in the Theatre (Totowa: Rowman and Littlefield, 1977)

Bernard, John, Retrospections of the Stage, 2 vols (London: Henry Colburn, 1827)

Bishop, Sir H.R.,’The Celebrated Echo Song’ (William Reeve) (London and Dublin: Goulding, D’Almaine, Potter & Co. WM 1820) BL H.1654 pp. (24.) 004603022/004832989

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Bodleian Shelley Manuscripts, The, gen. ed. Donald H. Reiman, 22 vols (New York and London: Garland, 1986-1997); Index vol. (New York and London: Routledge, 2002): Volume IX: The Prometheus Unbound Notebooks: A Facsimile of Bodleian MSS. Shelley e. 1, e. 2, and e. 3, ed. by Neil Fraistat (New York: Garland, 1991); Volume XII,Charles the First’ Draft Notebook, A Facsimile of Bodleian MS Shelley adds. e. 17, ed. by Nora Crook (New York: Garland, 1991); Volume XVI: The Hellas Notebook, A Facsimile of Bodleian MS. Shelley adds. e. 7, ed. by Donald H. Reiman and Michael Neth (New York: Garland, 1994); Volume xix: The Faust Draft Notebook: A Facsimile of Bodleian MS. Shelley adds. e. 18, ed. by Nora Crook and Timothy Webb (New York: Garland, 1997)

Booth, Michael R., English Melodrama (London: Herbert Jenkins, 1965)

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Bradby, David, Louis James and Bernard Sharratt, eds, Performance and Politics in Popular Drama: Aspects of Popular Entertainment in Theatre, Film and Television, 1800-1976 (Cambridge: Cambridge University Press, 1980)

Bratton, Jacky, New Readings in Theatre History (Cambridge: Cambridge University Press, 2003)

Brown, R. Douglas, The Port of London (Lavenham: Terence Dalton, 1978)

Burley, Stephen, ’Shelley, the United Irishmen and the Illuminati’, KSR, 17 (2003), 18-26

Burroughs, Catherine B., Closet Stages: Joanna Baillie and the Theater Theory of British Romantic Women Writers (Philadelphia: University of Pennsylvania Press, 1997)

Burroughs, Catherine B., ed., Women in British Romantic Theatre: Drama,

Performance, and Society, 1790-1840 (Cambridge: Cambridge University Press, 2000)

Bush-Bailey, Gilli, ’Still Working it Out’ in Nineteenth Century Theatre and Film, 29.2 (2002)

Byron, George Gordon Noel, Byron’s Letters and Journals, ed. by Leslie Marchand, 12 vols (London: John Murray, 1973-1994)

—, Poetical Works, ed. by Frederick Page, new edn rev. by John Jump (Oxford: Oxford University Press, 1970)

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—, The Schism in England, trans. by Kenneth Muir and Ann L. Mackenzie (Warminster: Aris & Phillips, 1990)

Cameron, K.N., Shelley: The Golden Years (Cambridge, MA: Harvard University Press, 1974)

—, ’Shelley and the Reformers’, ELH, 12 (1945), 85

—, ’Shelley and the ”Conciones ad Populum”, Modern Language Notes, 57.8 (December 1942), 673-674.

—, and Horst Frenz, ’The Stage History of Shelley’s ”The Cenci”’, PMLA, 60 (1945), 1088

Carlson, Julie A., In the Theatre of Romanticism: Coleridge, Nationalism, Women (Cambridge: Cambridge University Press, 1994)

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Carroll, Lewis, Alice in Wonderland (London: Collins, [n.d.])

Cave, Richard, ed., The Romantic Theatre: An International Symposium (Gerrards Cross: Colin Smyth, 1986)

Cheeke, Stephen, ’Shelley’s The Cenci: Economies of a ”Familiar” Language’, KSJ, 57 (1998) 142-160

Chernaik, Judith, ed., ’Shelley’s Hellas’, BBC transcript, BBC Radio 3, 13 June 1976, 1810-1915

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Colman, George, the Elder, The Jealous Wife (London: T. Becket, 1777)

Colman, George, the Younger, Who Wants A Guinea? (London: Longman, Hurst, Rees, Orme, and Brown, 1808)

Conticello, Baldassare, Pompeii Archaeological Guide (Novara: Istituto Geografico de Agostini, 1989)

Cox Jeffrey N., ’Re-viewing Romantic Drama’, Literature Compass 1.1 (2004) <doi:10.1111/j.1741-4113.2004.00096.x>

—, and Michael Gamer, eds, The Broadview Anthology of Romantic Drama (Peterborough: Broadview Press, 2003)

—, ed., Seven Gothic Dramas 1789-1825 (Athens: Ohio University Press, 1992)

Cox, Philip, Reading Adaptations: Novels and Verse Narratives on the Stage, 1790-1840 (Manchester: Manchester University Press, 2000)

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Crook Nora, ed., The Boat on the Serchio, KSR, 7 (1992), 85-93

—, ’Calumniated Republicans and the Hero of ”Charles the First” ’, KSJ, 57 (2007), 141-158

—, and Guiton, Derek, Shelley’s Venomed Melody (Cambridge: Cambridge

University Press, 1986)

Curran, Stuart, ’The Political Prometheus’, SIR, 25.3 (Fall 1986), 429-455

—, Shelley’s Annus Mirabilis: The Maturing of an Epic Vision (San Marino: Huntington Library, 1975)

—, Shelley’s Cenci: Scorpions Ringed with Fire (Princeton: Princeton University Press, 1970)

Davis, Tracy C. and Ellen Donkin, Women and Playwriting in 19th Century Britain (Cambridge: Cambridge University Press, 1999)

Dawson, P.M.S., ’Shelley and the Improvvisatore Sgricci: An Unpublished Review’, KSMB, 32 (1981), 19-29

de Angelis, Marcello, et al., Lo spettacolo maraviglioso: il Teatro della Pergola, l’opera a Firenze (Florence: Archivio di Stato di Firenze, 6 ottobre-30 dicembre 2000)

de Marly, Diana, Costume on the Stage 1600-1940 (London: Batsford, 1982) dell’Ira, Gino, I teatri di Pisa (1773-1986) (Pisa: Giardini Editori, 1987)

Denford, Jocelyn, Programme Notes, Damned Poets Theatre Company production of The Cenci at the Lyric Studio, Hammersmith, August 1992

Dibdin, Thomas, The Reminiscences of Thomas Dibdin, 2 vols (London: H. Colburn, 1827; repr. New York: AMS Press, 1970)

—, The Cabinet: An Opera in Three Acts etc. (London: Longman, Hurst, Rees & Orme, 1805)

—, The Italian Wife. From H.H. Milman’s Fazio. No. 1998 Larpent Plays in the Huntington Library, British Library microfiches 254/.819, 254/.820

Dimond, William, The Bride of Abydos: A Tragick Play, in Three Acts; as performed at the Theatre Royal, Drury Lane (London: Richard White, 1818)

Dishman, Robert B., Burke and Paine on Revolution and the Rights of Man (New York: Scribner, 1971)

Donkin, Ellen, Getting into the Act (London: Routledge, 1995)

Donohue, Joseph W. Jr., Dramatic Character in the English Romantic Age (Princeton: Princeton University Press, 1970)

—, Theatre in the Age of Kean (Oxford: Blackwell, 1975)

Dowden, Edward, The Life of Percy Bysshe Shelley, 2 vols (London: Kegan Paul, Trench, 1886)

Downer, Alan S., ’Nature to Advantage Dress’d’, PMLA, 58 (1943), 1002- 1037

—, ’Players and the Painted Stage’, PMLA, 61 (1946), 522-570

Duchartre, Pierre Louis, The Italian Comedy, trans. by Randolph T. Weaver (New York: Dover, 1966)

Duthie, Peter, ed., Joanna Baillie’s Plays on the Passions (1798 edition) (Peterborough: Broadview Press, 2001), pp. 108-109.

Earl, John, ’The Rotunda; Variety Stage and Socialist Platform’ Theatre Notebook, 58.2, (2004), 71-90

Easterling, P.E., and J.V. Muir, Greek Religion and Society (Cambridge: Cambridge University Press, 1985)

Eaton, Charlotte Ann, Rome in the Nineteenth Century; Containing a Complete Account of the Ruins of the Ancient City, the Remains of the Middle Ages, and the Monuments of Modern Times with Remarks on the Fine Arts, on the State of Society, and on the Religious Ceremonies, Manners and Customs of the Modern Romans, in a Series of Letters Written During a Residence at Rome, in the Years 1817 and 1818, 3 vols (Edinburgh: James Ballantyne, 1820)

Erdman, David V., ’Byron’s Stage Fright: The History of his Ambition and Fear of Writing for the Stage’, ELH, 6 (1939), 219-243

Erkelenz, Michael, ’The Genre and Politics of Shelley’s ”Swellfoot the Tyrant”, The Review of English Studies, n.s. 47.188 (November 1996), 500- 520

Erne, Lukas, Shakespeare as Literary Dramatist (Cambridge: Cambridge University Press, 2003.

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Everest, Kelvin, ed., Shelley Revalued: Essays from the Gregynog Conference (Leicester: Leicester University Press, 1983)

Fielding, Henry, An Old Man Taught Wisdom: or The Virgin Unmask’d, A Farce (London: J. Watts, 1735)

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Fiske, Roger, English Theatre Music in the Eighteenth Century (Oxford: Oxford University Press, 1986)

—, ed., Reminiscences of Michael Kelly (London: Oxford University Press, 1975)

Fo, Dario, The Tricks of the Trade, trans. by Joe Farrell, ed. by Stuart Hood (London: Methuen, 1991)

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

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Wilson, Spence and Mawman, 1795)

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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