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The Theatre of Shelley

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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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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)

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

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

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

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

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

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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)

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

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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

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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

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—, The Georgian Playhouse (London: Pleiades, 1948)

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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