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Henry Morton Stanley, Dorothy Stanley, The Autobiography of Sir Henry Morton Stanley 10 0 Browse Search
Rebellion Record: a Diary of American Events: Documents and Narratives, Volume 3. (ed. Frank Moore) 2 2 Browse Search
John G. B. Adams, Reminiscences of the Nineteenth Massachusetts Regiment 2 0 Browse Search
Cambridge History of American Literature: volume 1, Colonial and Revolutionary Literature: Early National Literature: Part I (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.) 2 0 Browse Search
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Browsing named entities in Cambridge History of American Literature: volume 1, Colonial and Revolutionary Literature: Early National Literature: Part I (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 Mose or search for Mose in all documents.

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Cambridge History of American Literature: volume 1, Colonial and Revolutionary Literature: Early National Literature: Part I (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Chapter 2: the early drama, 1756-1860 (search)
t that when F. J. Chanfrau made his great success in A Glance at New York in 1848, the public had been prepared to enjoy the type of play he furnished. The story of the building of this play is an interesting one. It was written by Benjamin A. Baker, the prompter at the Olympic Theatre, who when Mitchell, the manager, had refused to produce it, insisted on its production at his own benefit and had the satisfaction of witnessing the tumultuous reception that Chanfrau received in the part of Mose, the New York fireman. Chanfrau had made a number of imitations of firemen before on the stage, and the play was, therefore, a growth. It is melodramatic, but there is a reality about the scenes in the dives and streets that points forward rather than backward. Baker continued in New York as it is (1848) to exploit Mose, and the interest in that form of play was capitalized immediately by other writers and actors. Philadelphia as it is appeared in 1849, and in Boston George Campbell produ