Book contents
- Frontmatter
- Contents
- Acknowledgments
- List of Illustrations and Tables
- Dedication
- Preface
- Chapter One A Sorcerer's Apprentice? John Weaver's Comic Music
- Chapter Two Theatre Wars: Harlequin Doctor Faustus at Drury Lane
- Chapter Three Lun Strikes Back: The Necromancer at Lincoln's Inn Fields
- Chapter Four Hocus-Pocus: Operas, Popular Culture, and Hogarth
- Chapter Five John Weaver's Last Dance with a Harlot
- Bibliography of Cited Works
- Index
Preface
- Frontmatter
- Contents
- Acknowledgments
- List of Illustrations and Tables
- Dedication
- Preface
- Chapter One A Sorcerer's Apprentice? John Weaver's Comic Music
- Chapter Two Theatre Wars: Harlequin Doctor Faustus at Drury Lane
- Chapter Three Lun Strikes Back: The Necromancer at Lincoln's Inn Fields
- Chapter Four Hocus-Pocus: Operas, Popular Culture, and Hogarth
- Chapter Five John Weaver's Last Dance with a Harlot
- Bibliography of Cited Works
- Index
Summary
I have quoted extensively in this study from various primary documents. I have retained the original orthography in all quoted passages, but in my own prose I have normalized orthography to modern practice (“performed” instead of “perform'd”) or to bibliographic authority (“Nivelon” instead of “Nevelon”). The single exception to retaining original orthography in my quoted passages is when there is a “long” or “medial” s(f) in the primary documents. I have converted these to a modern “s.”
The music examples have been prepared using finale ® software. My editorial policy has been essentially diplomatic, but I have corrected clear notational errors in the original sources, and indicated these interventions clearly in my examples. Original orthography has been retained in the song texts of my examples, including the use of the “long and medial s” forms. Any editorial intervention is clearly indicated through the use of square brackets. In Example 3.17 the Walsh print of 1724 confronted me with a standard eighteenth-century convention of notating “first” and “second endings”: the use of a “slur” over two or three measures of music, with a double bar line before the “second ending.” In my example I have converted this to a standard modern notation.
- Type
- Chapter
- Information
- Studies in the English Pantomime1712–1733, pp. ix - xPublisher: Boydell & BrewerPrint publication year: 2017