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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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1800 AD (search for this): chapter 2.12
glish version, but the success of this led him to study German, and he adapted and produced at least thirteen plays of Kotzebue, the most significant being False Shame, played in 1799, and The Virgin of the sun and Fraternal Discord, both acted in 1800. He also adapted Zschokke's Abaellino in 1800 with great success, while his earlier adaptation of Schiller's Don Carlos in 1799 had been a failure. He did not neglect American themes, however, and one of his most popular plays, Andre; (1798), af1800 with great success, while his earlier adaptation of Schiller's Don Carlos in 1799 had been a failure. He did not neglect American themes, however, and one of his most popular plays, Andre; (1798), afterwards rewritten as The glory of Columbia (1803), represents the Revolutionary period. His career as manager of the American Company from 1796 to 1805 and the influence he had upon the development of the stage at that time make it fitting to close this period with the date at which financial difficulty forced him to shut his doors. He became connected with the theatre again from--806 to 1811 and wrote even after that, but his later contribution was comparatively unimportant. This period is
1801 AD (search for this): chapter 2.12
the most interesting records in this connection is that describing the production, in 1842, after the playwright's death, of the adaptation of the novel of The collegians by Louisa Medina. This play has not survived, but the cast Ireland, vol. II, p. 393. of characters is significant in view of the later dramatization of the same material in Dion Boucicault's Colleen Bawn. The Gothic melodrama, illustrated by Dunlap's Fontainville Abbey, played in 1795, or his Abaellino, performed in 1801, was popular and in it he had a number of followers, some of whom, like S. B. Judah, in his Rose of Aragon, played in 1822, preserved the original meaning of the word Gothic. More interesting, if not more artistic, was the melodrama that dealt with contemporary events, such as Woodworth's Lafayette or the Castle of Olmutz, played in 1824, the year of Lafayette's visit to this country. Dunlap's importation of the domestic drama of Kotzebue had also its effect. Some of the dramas of this cla
1803 AD (search for this): chapter 2.12
to study German, and he adapted and produced at least thirteen plays of Kotzebue, the most significant being False Shame, played in 1799, and The Virgin of the sun and Fraternal Discord, both acted in 1800. He also adapted Zschokke's Abaellino in 1800 with great success, while his earlier adaptation of Schiller's Don Carlos in 1799 had been a failure. He did not neglect American themes, however, and one of his most popular plays, Andre; (1798), afterwards rewritten as The glory of Columbia (1803), represents the Revolutionary period. His career as manager of the American Company from 1796 to 1805 and the influence he had upon the development of the stage at that time make it fitting to close this period with the date at which financial difficulty forced him to shut his doors. He became connected with the theatre again from--806 to 1811 and wrote even after that, but his later contribution was comparatively unimportant. This period is noteworthy also for the beginning of organized
1805 AD (search for this): chapter 2.12
dre; (1798), afterwards rewritten as The glory of Columbia (1803), represents the Revolutionary period. His career as manager of the American Company from 1796 to 1805 and the influence he had upon the development of the stage at that time make it fitting to close this period with the date at which financial difficulty forced himnd is a transition period. The third begins with the production of The contrast in 1787 and closes with the termination of Dunlap's first period of managership in 1805. It was a period of tentative effort, partly under the influence of German and French models. The fourth period from 1805 to 1825 is one of development, with con1805 to 1825 is one of development, with considerable native effort, but still largely under foreign influence, both English and Continental. The fifth was a significant and creative period, from 1825 to the Civil War, with its climax in Francesca da Rimini in 1855. This development was interrupted naturally by the Civil War. What would have been its course had the war
1806 AD (search for this): chapter 2.12
robably 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 toward England in 1812. Marmion was played as late as 1848. Payne, unlike Barker, represents foreign influence. From 1806 when his Julia, or The Wanderer, was acted in New York, his dramatic work consisted largely of adaptation from English, French, and German sources. His complete bibliography See Bibliography. records sixty-four plays, of which nineteen were published. His most significant work was done in the field of tragedy, such as his Brutus, first played in London in 1818, or in comedy like Charles II, first performed in London in 1824, while the bulk of his work is composed of melodrama or farce.
1807 AD (search for this): chapter 2.12
ter the play, wrote critiques in common, and secured their publication. The next period begins naturally with the work of James N. Barker of Philadelphia and John Howard Payne of New York. Barker's first play, Tears and Smiles, was produced in 1807. This comedy continued the representation of contemporary manners started in The contrast and reflected also the reproduction of recent events in the reference to the Tripoli pirates. In his dramatization of historical American life in The Indiat the most significant plays from the point of view of stage development evolved. In our first comedy, The contrast, Tyler developed the stage Yankee in Jonathan, and though J. Robinson's Yorker's Stratagem (1792) and Barker's Tears and Smiles (1807) contain Yankee characters, it was not till The forest Rose, by Samuel Woodworth, was placed on the stage in 1825 that a Yankee character was developed which permanently held the boards. The part of Jonathan Plowboy was played afterward by Henry
1808 AD (search for this): chapter 2.12
dy continued the representation of contemporary manners started in The contrast and reflected also the reproduction of recent events in the reference 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 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 January, 1830, Pocahontas, by Robert Dale Owen, acted first 8 February, 1838, in New York, with-Charlotte Cushman as Rolfe, and The forest Princ
1811 AD (search for this): chapter 2.12
lure. He did not neglect American themes, however, and one of his most popular plays, Andre; (1798), afterwards rewritten as The glory of Columbia (1803), represents the Revolutionary period. His career as manager of the American Company from 1796 to 1805 and the influence he had upon the development of the stage at that time make it fitting to close this period with the date at which financial difficulty forced him to shut his doors. He became connected with the theatre again from--806 to 1811 and wrote even after that, but his later contribution was comparatively unimportant. This period is noteworthy also for the beginning of organized dramatic criticism in New York in the work of a group headed by Peter Irving and Charles Adams, who met after the play, wrote critiques in common, and secured their publication. The next period begins naturally with the work of James N. Barker of Philadelphia and John Howard Payne of New York. Barker's first play, Tears and Smiles, was produc
1812 AD (search for this): chapter 2.12
presents 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 toward England in 1812. Marmion was played as late as 1848. Payne, unlike Barker, represents foreign iand Marion (1821). She would be a soldier was based on the battle of Chippewa in 1812. It proved popular; Forrest acted the Indian Chief in 1826, and it was repeatedalonica in the fourth century A. D. Dunlap's Leicester (1794), Barker's Marmion (1812), and Conrad's Jack Cade (1835) are the best of the dozen dealing with English h which is made a vehicle to express abolition sentiments in general. The War of 1812 was reflected in such popular plays as She would be a soldier of Noah (1819), anamas of this class, notably Noah's Wandering boys, played first in Charleston in 1812 under the title of Paul and Alexis, were vastly popular. Most important in this
August 31st, 1812 AD (search for this): chapter 2.12
ion of events upon the stage we find a statement in Durang Durang, First Series, Chap. XLIX. that on 8 December, 1812, there came news of the capture of the Macedonian by the United States and that on I December a patriotic sketch entitled The return from a Cruise was performed at the Chestnut Street Theatre, in Philadelphia, including a part for Captain Decatur. Almost as prompt had been the dramatization of the victory of the Constitution over the Guerriere. The fight occurred on 31 August, 1812. On 9 September, William Dunlap's Yankee Chronology was played in New York, while on 28 September, the opening night, a play was on the stage in both Boston and Philadelphia. Clapp tells us Clapp, W. W., Jr., Records of the Boston Stage, 1853, p. 134. that in the early days of the theatre, every public event of sufficient importance 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 vict
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