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Browsing named entities in a specific section of 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.). Search the whole document.

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Brandywine (Maryland, United States) (search for this): chapter 2.12
every great event from the Boston Tea Party to the Battle of Yorktown was dramatized. The treason of Arnold and Andre's capture was a favourite theme and it is to our credit that Andre usually is a heroic figure. See Matthews, Brander, Int. to his reprint of Andre in Dunlap Soc. Pub., Ser. I, No. 4, 1887. Marion and Franklin were also favourites, but everyone else runs a bad second to Washington so far as the stage is concerned. One of the most interesting scenes occurs in Blanche of Brandywine (1858) by J. G. Burnett, in which Howe deliberately puts himself in Washington's power in order, apparently, to offer him a dukedom. After refusing in terms which are refreshingly human, considering the usual vocabulary allotted to the Father of his Country in literature, Washington calmly lets his antagonist depart in peace. Patriotism must have covered a multitude of sins in this class of drama, for it otherwise is difficult to explain the success of John Burk's Bunker Hill (1797), har
China (China) (search for this): chapter 2.12
d of our period and beyond, and there is little distinction, so far as type is concerned, to be made between them and such a later play as Augustin Daly's Under the Gaslight. Such titles as The dry goods clerk of New York (1851), The Seamstress of New York (1851), New York by Gaslight (1856), The poor of New York (1857), Life in Brooklyn, its lights and Shades, its virtues and vices (1858) illustrate the nature of the species perhaps sufficiently, while Mose in California (1849) and Mose in China (1850) show how cosmopolitan that gentleman became. Much more important from the artistic standpoint were the comedies proceeding by means of social satire. Here, too, we turn back to our first comedy, The contrast, for the beginning of the type, but while we note in 1841 the production of a cutting satire upon fashionable life Ireland, vol. II, p. 378. in the comedy of Saratoga springs, which was very successful, it was not until the production of Fashion by Anna Ogden Mowatt on 24
Dunlap (Tennessee, United States) (search for this): chapter 2.12
to England, where she dies. Of the colonial dramas, Barker's Superstition (1824) and R. P. Smith's William Penn (1829) seem the most significant. As was natural, the Revolution was the most appealing theme. Practically every great event from the Boston Tea Party to the Battle of Yorktown was dramatized. The treason of Arnold and Andre's capture was a favourite theme and it is to our credit that Andre usually is a heroic figure. See Matthews, Brander, Int. to his reprint of Andre in Dunlap Soc. Pub., Ser. I, No. 4, 1887. Marion and Franklin were also favourites, but everyone else runs a bad second to Washington so far as the stage is concerned. One of the most interesting scenes occurs in Blanche of Brandywine (1858) by J. G. Burnett, in which Howe deliberately puts himself in Washington's power in order, apparently, to offer him a dukedom. After refusing in terms which are refreshingly human, considering the usual vocabulary allotted to the Father of his Country in literat
New England (United States) (search for this): chapter 2.12
country which is now in existence, the satirical farce, Androborus, was printed, it is true, in 1714. It was by Governor Richard Hunter For a description of Androborus, see Ford, P. L., The Beginnings of American Dramatic Literature in The New England magazine, Feb., 1894, New Series, vol. IX., No. 6, p. 674. of New York, but as he was an Englishman, the interest in his work is limited to its representation of local conditions. Androborus was not acted, and had no influence in the developreference to the Tripoli pirates. In his dramatization of historical American life in The Indian Princess (1808), probably the first dramatic version of the Pocahontas story, and Superstition (1824), whose motif was the witchcraft delusion in New England, Barker represents the American playwright working with native material. Even in Marmion (1812) he put in King James's mouth a ringing speech which, while seeming to apply to Scottish conditions, actually reflected the feeling of America towa
Pennsylvania (Pennsylvania, United States) (search for this): chapter 2.12
Chapter 2: the early drama, 1756-1860 Arthur Hobson Quinn, Ph.D., Dean of the College, University of Pennsylvania. The origins of the drama in College exercises. influence of the early companies. Godfrey's Prince of Parthia, the first Amich deals with the invasion of England by the Danes. It was performed, according to Hopkinson's statement, See The Pennsylvania gazette, 20 and 27 Jan.; 3 and 10 Feb., 1757, for a detailed account of the Masque, giving Hopkinson's lines. several times during the Christmas holidays of 1756-7 in the College of Philadelphia. Now the University of Pennsylvania. Hopkinson's original lines number more than two hundred, besides a new prologue and epilogue, and new scenes are introduced so that time, but was acted on 24 April, 1767, at the Southwark Theatre, in Philadelphia, according to an advertisement in The Pennsylvania journal and weekly Advertiser of 23 April, which contains a list of the players who were to take part. Godfrey did no
McDonough (Georgia, United States) (search for this): chapter 2.12
significant on account of his laudable attempts to treat native material. At least fifteen of his plays were performed, eleven of which have been preserved in print or in manuscript. Of his tragedy Caius Marius, in which Forrest starred, we have only tradition and one scene. His national plays, The eighth of January, celebrating Jackson's victory at New Orleans, William Penn, his drama of colonial and Indian life, both played in 1829, and The triumph at Plattsburg (1830), concerned with McDonough's victory on Lake Champlain, are vigorous plays and were well received. Although Robert T. Conrad's historical play of Jack Cade, first acted in Philadelphia in 1835, was not written originally for Forrest, it was through his acting that it received its best interpretation. This play was a worthy rival of Bird's dramas for favour here and abroad. It has a deeper significance than appears at first glance, for it was made a vehicle for the expression of democratic ideals, and this stren
Milan, Sullivan County, Missouri (Missouri, United States) (search for this): chapter 2.12
fully produced in London. It was based on the killing, in 1828, by Colonel Beauchamp of Kentucky, of Colonel Sharpe, who had seduced Beauchamp's wife before their marriage. Trent, W. P., William Gilmore Simms, 1892, p. 117. W. G. Simms wrote two novels, Beauchampe (1842) and Charlemont (1856), upon this event, and C. F. Hoffman his Greyslaer (1840). Beauchampe was dramatized in 1856 by John Savage under the title of Sybil, which was frequently played. Mrs. Conner transferred the scene to Milan at the close of the fifteenth century. This preference for foreign scenes, especially in Spain or Italy, remains one of the significant features of this type of play. There has been a tendency to criticize these playwrights for failing to confine themselves to national themes, which in view of the existence of Hamlet, Julius Caesar, and Othello seems beside the point. But there is nothing so satisfactory in a review of our early drama as the steady progress in romantic tragedy from The P
Europe (search for this): chapter 2.12
1825-6, according to Ireland,2 was remarkable in the history of the New York stage, since it witnessed the first attempt to establish Italian opera with a fully organized company, the beginning of Hackett's career as a comedian, and the combination of Placide, Hilson, Barnes, and Miss Kelly in comedy at the Park Theatre. Most important, this year marked the real beginning of Edwin Forrest's career, both in Philadelphia and in New York. The very prominence of New York and its proximity to Europe, however much they added to its theatrical prestige, hindered the development of the drama. The succession of English actors who were brought over as stars resulted in little encouragement to native writers, while in Philadelphia, under the encouragement of Edwin Forrest and others, a group of dramatists arose whose work became widely known both at home and abroad. For the year 1829-30 Durang lists nine plays by American writers, among them Pocahontas by George Washington Custis and John K
Metamora (Illinois, United States) (search for this): chapter 2.12
ely known both at home and abroad. For the year 1829-30 Durang lists nine plays by American writers, among them Pocahontas by George Washington Custis and John Kerr's first draft of Rip Van Winkle. In 1829 Forrest produced the Indian play of Metamora by John Augustus Stone, an actor who lived during his creative period in Philadelphia. The play was a bit bombastic and the speeches of Metamora show a curious mixture of Indian and Ossian, but they are at times very effective and some of the peatrical history down to 1860 records performances of nearly two hundred plays with a national background, of which some forty are available for examination. First in point of time come the Indian dramas, of which the most important are Stone's Metamora, Bird's Oralloossa, and the series of plays dealing with the Pocahontas theme. The best of these are The Indian Princess by Barker (1808), Pocahontas or the settlers of Virginia by George Washington Custis, first played in Philadelphia, 16 Janu
Nicaragua (Nicaragua) (search for this): chapter 2.12
was immediately dramatized, and during the progress of the war, the spirit was kept up by the frequent production of pieces in honour of our naval victories. The Mexican War furnished its quota of plays, none, however, of special significance. Nor was the ready appeal to the stage limited to martial themes. We find the Anti-Masonic agitation represented in such a play as Captain Morgan or the Conspiracy Unveiled (1827), while toward the close of our period the adventures of Walker in Nicaragua, the Mormon emigration, and the California gold fever find dramatic expression. Most important, of course, was the great question of abolition, reflected in the run of G. L. Aiken's version of Uncle Tom's Cabin, which was first acted at the Museum in Troy, New York, in September, 1852, and after long runs there and elsewhere was performed almost nightly in New York City from 18 July, 1853, to 19 April, 1854. Though it was not the first See Brown, T. A., History of the New York stage,
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