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Harper's Encyclopedia of United States History (ed. Benson Lossing) 1 1 Browse Search
Edward L. Pierce, Memoir and letters of Charles Sumner: volume 3 1 1 Browse Search
Cambridge History of American Literature: volume 3 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.) 1 1 Browse Search
Southern Historical Society Papers, Volume 18. (ed. Reverend J. William Jones) 1 1 Browse Search
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Browsing named entities in Cambridge History of American Literature: volume 3 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.). You can also browse the collection for October 18th, 1858 AD or search for October 18th, 1858 AD in all documents.

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Cambridge History of American Literature: volume 3 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Book III (continued) (search)
es. None of them exploited deep-founded American characteristics, though they suggested the melodrama of American life. It was only by individualizing and localizing that the American drama, previous to 1860, became distinct. Only by these traditional marks could one recognize American drama of the early days. Until Howard's attempt at reality, New York society drama was either English or else crudely rustic, like Asa Trenchard in Taylor's Our American Cousin (Laura Keene's Theatre, 18 October, 1858). Over into this period of transition came the Yankee, the backwoodsman, the humorous lawyer of flush times. As Howard said, writing of the American drama, the native dramatists were concerned with American character, hence Solon Shingle, Colonel Sellers, Judge Bardwell Slote, and Mose the fire-boy. Without them, we should not have had Joshua Whitcomb, Davy Crockett, and Pudd'nhead Wilson. Perhaps one of the most typically American pieces produced in this period of the seventies was