The Collected Letters of Joanna Baillie, 1. kötet

Első borító
Fairleigh Dickinson Univ Press, 1999 - 536 oldal
These annotated letters present the first personal glimpse of this Scottish playwright as she wrote and lived. It documents her problems with publishers, describes her encounters with Wordsworth, Byron, Southey, Berry and other literary figures, outlines a long relationship with Scott and places an active literary woman in the historical and social setting of early to mid-nineteenth century Britain.
 

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Tartalomjegyzék

To Family ?18211851
55
To George Thomson 18041842
91
To Mary Berry 18041833?
152
To William Sotheby 18041831
176
To Sir Walter Scott 18081829
228
To Anne Elliott 18091833
445
To Sir Thomas Lawrence 18121829
483
To Lady Davy 18131850?
494
Index Volume 1
528
Copyright

Más kiadások - Összes megtekintése

Gyakori szavak és kifejezések

Népszerű szakaszok

49. oldal - SIR EDWARD SEAWARD'S NARRATIVE OF HIS SHIPWRECK, and consequent Discovery of certain Islands in the Caribbean Sea: with a detail of many extraordinary and highly interesting Events in his Life, from 1733 to 1749. as written in his own Diary. Edited by Miss JANE PORTER.
31. oldal - Orpheus Caledonius, or a Collection of the best Scotch Songs set to Musick by W.

A szerzőről (1999)

Joanna Baillie was born in Glasgow, Scotland, in 1762, into a serious and religious family. She was educated in a girls' boarding school. Baillie moved to London in 1783, when her brother inherited the school of anatomy and museum founded earlier by their uncle, William Hunter. Although only five of her plays were produced during her lifetime, Joanna Baillie's 22 plays on the passions were published between 1798 and 1812, supposedly initiated a revival of the drama during the romantic period. Baillie's home in Hampstead, which she shared with her mother and unmarried sister, attracted the most famous writers in England, including Coleridge, Byron, Southey, Landor, and her staunchest advocate, Sir Walter Scott. According to the introduction that she wrote to the plays, each play was written to demonstrate the inner struggle of an individual with a dominating passion. Although actors may have found the opportunity in her plays to present emotions such as boundless anger, jealousy, pride, and revenge, plays about single passions were too monotonous, subtle, introspective, and philosophical for contemporary taste. While the plays were written in unfashionable blank verse, the psychology was interesting-to see how people with dominant passions respond to crises, the way in which they reveal or fail to reveal intense feelings in intimate situations. Baillie contributed to the development of a secular morality suited to a stage from which religion and religious texts had been banished. In addition, she translated contemporary theories of human behavior into drama. The mystery of Joanna Baillie was how anyone from such a sheltered environment and with such limited experience could conceive of the vast range of material from which she created her dramas.

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