Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
Hostname: page-component-cd9895bd7-dzt6s Total loading time: 0 Render date: 2024-12-26T12:55:37.852Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  02 March 2021

James Harriman-Smith
James Harriman-Smith
Affiliation:
University of Newcastle upon Tyne
Get access

Summary

A summary is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content.
Image of the first page of this content. For PDF version, please use the ‘Save PDF’ preceeding this image.'
Type
Chapter
Information
Criticism, Performance, and the Passions in the Eighteenth Century
The Art of Transition
 , pp. 215 - 227
Publisher: Cambridge University Press
Print publication year: 2021

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Primary Sources

Aristotle’s Ars Poetica, ed. by Kassel, Rudolph (Oxford: Clarendon, 1966).Google Scholar
Austin, Gilbert, Chironomia, or A Treatise on Rhetorical Delivery (London: Cadell and Davies, 1806).Google Scholar
Avison, Charles, ‘An Essay on Musical Expression (1752)’, in Musical Aesthetics: A Historical Reader, ed. by Lippman, Edward, 4 vols (New York: Pendragon, 1986), i, pp. 185–99.Google Scholar
Batteux, Charles, Les Beaux Arts réduits à un même principe, revised ed. (Paris: Durand, 1747).Google Scholar
Beattie, James, Essays: On Poetry and Music, as They Affect the Mind, 3rd ed. (Edinburgh: Dilly and Creech, 1779).Google Scholar
Bell’s British Theatre, Consisting of the Most Esteemed English Plays, ed. by Gentleman, Francis, 20 vols (London: Bell and Etherington, 1776).Google Scholar
Boswell, James, ‘To the Printer of the Public Advertiser’, The Public Advertiser, 16 September 1769, 1–2.Google Scholar
Boswell, James, ‘On the Profession of a Player – Essay I’, in The London Magazine, or Gentleman’s Monthly Intelligencer for the Year 1770 (London: Baldwin, 1770), xxxix, 397–98.Google Scholar
Boswell, James, ‘On the Profession of a Player – Essay II’, in The London Magazine, or Gentleman’s Monthly Intelligencer for the Year 1770 (London: Baldwin, 1770), xxxix, 468–71.Google Scholar
Boswell, James, ‘On the Profession of a Player – Essay III’, in The London Magazine, or Gentleman’s Monthly Intelligencer for the Year 1770 (London: Baldwin, 1770), xxxix, 513–17.Google Scholar
Brown, John, A Dissertation on the Rise, Union, and Power, the Progressions, Separations, and Corruptions, of Poetry and Music (London: Davis and Reymers, 1763).Google Scholar
Burgh, James, The Art of Speaking (London: Longman, 1761).Google Scholar
Burgoyne, John, The Lord of the Manor (London: Evans, 1781).Google Scholar
Burke, Edmund, A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful (London: Dodsley, 1757).Google Scholar
Cibber, Theophilus, ‘The First Dissertation’, in Cibber’s Two Dissertations on the Theatres: With an Appendix, in Three Parts. The Whole Containing a General View of the Stage, With Many Curious Anecdotes and Remarks on the Laws Concerning the Theatres (London: Griffiths, 1756), pp. 1–76.Google Scholar
Cibber, Theophilus, ‘The Second Dissertation’, in Cibber’s Two Dissertations on the Theatres: With an Appendix, in Three Parts. The Whole Containing a General View of the Stage, With Many Curious Anecdotes and Remarks on the Laws Concerning the Theatres (London: Griffiths, 1756), pp. 1–47.Google Scholar
Cibber, Theophilus, The Lives and Characters of the Most Eminent Actors and Actresses of Great-Britain and Ireland: From Shakespear to the Present Time. Interspersed with a General History of the Stage (London: Griffiths, 1753).Google Scholar
Collins, William, ‘The Passions. An Ode for Music’, in Odes on Several Descriptive and Allegoric Subjects (London: Millar, 1746), pp. 46–52.Google Scholar
Condillac, Etienne Bonnot de, Essai sur l’origine des connaissances humaines, 2 vols (Amsterdam: Mortier, 1746).Google Scholar
Cooke, William, The Elements of Dramatic Criticism (London: Kearsly and Robinson, 1775).Google Scholar
Memoirs of Richard Cumberland, Written by Himself, Containing An Account of His Life and Writings, Interspersed with Characters of Several of the Most Distinguished Persons of His Time with Whom He Has Had Intercourse and Connection (Philadelphia: Bradford, 1806).Google Scholar
Daniel, George, ed., A Collection of Illustrations, Portraits, Newspaper Cuttings, Extracts from Books and Sale Catalogues, Advertisements, Manuscripts and Playbills, Relating Principally to the Shakespeare Jubilee of 1769, and in Particular to David Garrick’s Part Therein, British Library General Reference Collection, C.61.e.2.Google Scholar
Davies, Thomas, Dramatic Miscellanies, Consisting of Critical Observations on Several Plays of Shakespeare, with a Review of His Principal Characters, and Those of Various Eminent Writers, as Represented by Mr Garrick and Other Celebrated Comedians, 3 vols (London: Davies, 1783).Google Scholar
Davies, Thomas, Memoirs of the Life of David Garrick, 2 vols (London: Davies, 1780).Google Scholar
Dennis, John, The Advancement and Reformation of Modern Poetry (London: Parker, 1701).Google Scholar
Dennis, John, The Grounds of Criticism in Poetry (London: Strahan and Lintot, 1704).Google Scholar
Descartes, René, ‘Les Passions de l’âme’, in Œuvres de Descartes, 12 vols (Paris: Léopold Cerf, 1909), ix, pp. 288–498.Google Scholar
Dibdin, Charles, Queen Mab, or the Fairies’ Jubilee (London: Johnston, 1769).Google Scholar
Dickens, Charles, Great Expectations, ed. by Calder, Angus (London: Penguin, 1985).Google Scholar
Dryden, John, ‘Alexander’s Feast’, in John Dryden: The Major Works, ed. by Walker, Keith (Oxford: Oxford University Press, 2003), pp. 545–50.Google Scholar
Dryden, John, The Indian Emperour, or, The Conquest of Mexico by the Spaniards Being the Sequel of The Indian Queen (London: Herringman, 1667).Google Scholar
Dryden, John, The Major Works, ed. by Keith, Walker (Oxford: Oxford University Press, 2003).Google Scholar
Dryden, John, The Spanish Fryar, or The Double Discovery (London: Tonson and Tonson, 1681).Google Scholar
Dryden, John, The Spanish Fryar, or The Double Discovery (London: Tonson and Tonson, 1686).Google Scholar
Dryden, John, The Spanish Fryar, or The Double Discovery (London: Tonson and Tonson, 1690).Google Scholar
Dryden, John, The Spanish Fryar, or The Double Discovery (London: Tonson and Tonson, 1695).Google Scholar
Dryden, John, The Spanish Fryar; or, The Double Discovery (London: Tonson, 1733).Google Scholar
Dubos, Jean-Baptiste, ‘Réflexions critiques sur la poësie et sur la peinture (1719)’, in Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries, ed. by Huray, Peter le and Day, James, Cambridge Readings in the Literature of Music (Cambridge: Cambridge University Press, 1981), pp. 17–22.Google Scholar
An Exact Description of the Two Fam’d Entertainments of Harlequin Doctor Faustus (London: Payne, 1724).Google Scholar
Fitzpatrick, Thaddeus, An Enquiry into the Real Merit of a Certain Popular Performer in a Series of Letters, First Published in the Craftsman or Gray’s-Inn Journal; with an Introduction to D–D G––K, Esq. (London: Thrush, 1760).Google Scholar
Foote, Samuel, A Treatise on the Passions so Far as They Regard the Stage; with a Critical Enquiry into the Theatrical Merit of Mr. G-k, Mr. Q-n, and Mr. B-y (London: Corbet, 1747).Google Scholar
Garrick, David, ‘Aaron Hill, Zara, A Tragedy, 1754’, in The Plays of David Garrick, ed. by Pedicord, Harry William and Bergmann, Fredrick Louis, 6 vols (Carbondale: Southern Illinois University Press, 1982), vi, pp. 135–200.Google Scholar
Garrick, David, ‘Epilogue to the Clandestine Marriage’, in The Poetical Works of David Garrick, Esq., 2 vols (London: Kearsley, 1785), i, pp. 205–12.Google Scholar
Garrick, David, The Letters of David Garrick, ed. by Little, David M. and Kahrl, George M., 3 vols (London: Oxford University Press, 1963).Google Scholar
Garrick, David, An Ode upon Dedicating a Building, and Erecting a Statue, to Shakespeare (London: Becket and de Hondt, 1769).Google Scholar
Garrick, David, The Plays of David Garrick, ed. by Pedicord, Harry William and Bergmann, Fredrick Louis, 6 vols (Carbondale: Southern Illinois University Press, 1982).Google Scholar
Garrick, David, The Poetical Works of David Garrick, Esq. Now First Collected into Two Volumes. With Explanatory Notes, 2 vols (London: George Kearsley, 1785).Google Scholar
Garrick, David and Arne, Thomas, Ode upon Dedicating a Building to Shakespeare (London: Johnston, 1769).Google Scholar
Gentleman, Francis, ed., Bell’s British Theatre, Consisting of the Most Esteemed English Plays, 20 vols (London: Bell and Etherington, 1776).Google Scholar
Gentleman, Francis, The Dramatic Censor; or, Critical Companion, 2 vols (London: Bell and Etherington, 1770).Google Scholar
Gildon, Charles, The Life of Mr. Thomas Betterton, the Late Eminent Tragedian (London: Gosling, 1710).Google Scholar
Goethe, Johann Wolfgang von, ‘Noten und Abhandlungen zu besserem Verstandnis des West-Ostichen Diwans’, in Goethes Werke, 15 vols (Munich: Beck, 1981), ii, pp. 187–89.Google Scholar
Harris, James, ‘Three Treatises Concerning Art (1744)’, in Musical Aesthetics: A Historical Reader, ed. by Lippman, Edward, 4 vols (New York: Pendragon, 1986), i, pp. 177–84.Google Scholar
Havard, William, ‘Ode to the Memory of Shakespeare’, in William Shakespeare: The Critical Heritage 1753–1765, ed. by Vickers, Brian (London: Routledge, 2000), pp. 289–91.Google Scholar
Hazlitt, William, ‘Theatrical Examiner No. 193: Mr Kean’s Richard II’, The Examiner, 19 March 1815, 190–92.Google Scholar
Hill, Aaron, The Fatal Vision: Or, The Fall of Siam. A Tragedy: As It Is Acted at the New Theatre in Lincoln’s-Inn-Fields (London: Nutt, 1716).Google Scholar
Hill, Aaron, The Plain Dealer, 14 December 1724.Google Scholar
Hill, Aaron, The Plain Dealer, 18 January 1725.Google Scholar
Hill, Aaron, The Prompter, 12 November 1734.Google Scholar
Hill, Aaron, The Prompter, 19 November 1734.Google Scholar
Hill, Aaron, The Prompter, 13 December 1734.Google Scholar
Hill, Aaron, The Prompter, 6 June 1735.Google Scholar
Hill, Aaron, The Prompter, 13 June 1735.Google Scholar
Hill, Aaron, The Prompter, 27 June 1735.Google Scholar
Hill, Aaron, The Prompter, 4 November 1735.Google Scholar
Hill, Aaron, The Prompter, 26 December 1735.Google Scholar
Hill, Aaron, The Prompter, 3 February 1736.Google Scholar
Hill, Aaron, The Prompter, 14 May 1736.Google Scholar
Hill, Aaron, The Tragedy of Zara, As It Is Acted at the Theatre Royal in Drury-Lane (London: Watts, 1736).Google Scholar
Hill, Aaron, The Works of the Late Aaron Hill, Esq.; In Four Volumes, Consisting of Letters on Various Subjects, and of Original Poems, Moral and Facetious, with an Essay on the Art of Acting, 4 vols (London: 1753).Google Scholar
Hill, Aaron and Garrick, David, The Tragedy of Zara, ed. by Cumberland, Richard (London: Cooke, 1817).Google Scholar
Hill, John, The Actor: A Treatise on the Art of Playing (London: Griffiths, 1750).Google Scholar
Hill, John, The Actor; or, a Treatise on the Art of Playing (London: Griffiths, 1755).Google Scholar
Hogarth, William, The Analysis of Beauty (London: Reeves, 1753).Google Scholar
Home, Henry, Kames, Lord, Elements of Criticism, ed. by Jones, Peter, 2 vols (Indianapolis: Liberty Fund, 2005).Google Scholar
Hume, David, ‘Of Tragedy’, in Essays, Moral, Political and Literary, ed. by Miller, Eugene F. (Indianapolis: Liberty Fund, 1987), pp. 216–25.Google Scholar
Hume, David, A Treatise of Human Nature, ed. by Selby-Bigge, L. A. and Nidditch, P. H. (Oxford: Oxford University Press, 1978).Google Scholar
Johnson, Samuel, A Dictionary of the English Language, 2 vols (London: Knapton; Longman; Hitch and Hawes; Millar; and Dodsley, 1775).Google Scholar
Johnson, Samuel, ‘Preface to the Edition of Shakespeare’s Plays (1765)’, in Samuel Johnson on Shakespeare, ed. by Woudhuysen, Henry (Harmondsworth: Penguin, 1989), pp. 120–65.Google Scholar
Jonson, Ben, ‘To the Memory of My Beloved, the Author Mr. William Shakespeare: And What He Hath Left Us’, in Mr William Shakespeares Comedies, Histories, & Tragedies. Published According to the True Originall Copies (London: Blount and Jaggard, 1623), sigs A4r–A4v.Google Scholar
Knox, George, ‘Remarks on Collins’s Ode on the Passions’, The Edinburgh Magazine; or Literary Miscellany, March 1801, 206–10.Google Scholar
Lamb, Charles, ‘ART. IX.–THEATRALIA. No. 1.–On Garrick, and Acting; and the Plays of Shakspeare, Considered with Reference to Their Fitness for Stage Representation’, The Reflector, June 1811, 298–313.Google Scholar
Lessing, Gotthold Ephraim, Laokoon, oder über die Grenzen der Mahlerei und Poesie (Berlin: Voss, 1766).Google Scholar
Lichtenberg, Georg Christoph, ‘Briefe aus England’, in Vermischte Schriften, 9 vols (Goettigen: Dieterich, 1801), iii, pp. 239–372.Google Scholar
Locke, John, An Essay Concerning Human Understanding in Four Books (London: Dring and Manship, 1694).Google Scholar
Milton, John, ‘On Shakespeare’, in John Milton: The Major Works, ed. by Orgel, Stephen and Goldberg, Jonathan, revised ed. (Oxford: Oxford University Press, 2003), p. 20.Google Scholar
Milton, John, Paradise Lost, ed. by Orgel, Stephen and Goldberg, Jonathan (Oxford: Oxford University Press, 2004).Google Scholar
Montagu, Elizabeth, An Essay on the Writings and Genius of Shakespear, Compared with the Greek and French Dramatic Poets. With Some Remarks upon the Misrepresentations of Mons. de Voltaire (London: Dodsley, 1769).Google Scholar
Morgann, Maurice, An Essay on the Dramatic Character of Sir John Falstaff (London: Davies, 1777).Google Scholar
Murphy, Arthur, The Life of David Garrick, Esq., 2 vols (London: Wright, 1801).Google Scholar
Newton, Charles, Studies in the Science and Practice of Public Speaking, Reading, and Recitation (Norwich: Burke and Kinnebrook, 1800).Google Scholar
Newton, Isaac, Opticks: Or, A Treatise of the Reflections, Refractions, Inflexions and Colours of Light, 3 vols (London: Innys, 1718).Google Scholar
Otway, Thomas, ‘Venice Preserv’d’, in The Works of Thomas Otway, ed. by Ghosh, J. C., 2 vols (Oxford: Oxford University Press, 1968), ii, pp. 197–290.Google Scholar
A Poetical Epistle from Shakespear in Elysium to David Garrick at Drury Lane, to Which Is Added a View from Heymon Hill near Shrewsbury, A Solitudinarian Ode (London: Newberry and Owen, 1752).Google Scholar
Popple, William, The Prompter, 27 December 1734.Google Scholar
Pursuit after Happiness: A Poem. To Which is Added, An Ode to Mr Garrick, On his Quitting the Stage. Also an Elegy on the Death of Mr Barry (London: Kearsley, 1777).Google Scholar
Quintilian with an English Translation, trans. by Harold Edgeworth Butler (London: Heinemann, 1922).Google Scholar
Richardson, William, Essays on Shakespeare’s Dramatic Characters of Richard the Third, King Lear, and Timon of Athens, To Which Are Added, an Essay on the Faults of Shakespeare, and Additional Observations on the Character of Hamlet (London: Murray, 1784).Google Scholar
Richardson, William, Essays on Shakespeare’s Dramatic Character of Sir John Falstaff, and on His Imitation of Female Characters (London: Murray, 1789).Google Scholar
Richardson, William, A Philosophical Analysis and Illustration of Some of Shakespeare’s Remarkable Characters (London: Murray, 1774).Google Scholar
Rousseau, Jean-Jacques, Dictionnaire de Musique (Paris: Duchesne, 1768).Google Scholar
Rowe, Nicholas, The Plays and Poems of Nicholas Rowe: The Late Plays., ed. by Bernard, Stephen and van Hensbergen, Claudine, 5 vols (London: Routledge, 2016).Google Scholar
Rowe, Nicholas, ‘Some Account of the Life, &c. of Mr William Shakespear’, in The Works of Mr. William Shakespear, ed. by Rowe, Nicholas, 6 vols (London: Tonson, 1709), i, pp. i–xl.Google Scholar
Rowe, Nicholas, The Tragedy of Jane Shore (London: Lintot, 1714).Google Scholar
The Critical Works of Thomas Rymer, ed. by Zimansky, Curt (New Haven: Yale University Press, 1956).Google Scholar
Sainte-Albine, Pierre Rémond de, Le Comédien (Paris: Desaint & Saillant, 1747).Google Scholar
Shakespeare, William, The Arden Shakespeare Complete Works, ed. by Proudfoot, G. R., Thompson, Ann, and Kastan, David Scott, revised ed. (London: Thomson Learning, 2007).Google Scholar
Shakespeare, William, Bell’s Edition of Shakespeare’s Plays, ed. by Gentleman, Francis, 9 vols (London: Bell and Etherington, 1773–74).Google Scholar
Shakespeare, William, Mr William Shakespeares Comedies, Histories, & Tragedies. Published According to the True Originall Copies (London: Blount and Jaggard, 1623).Google Scholar
Shakespeare, William, The Plays of William Shakespeare in Eight Volumes, ed. by Samuel, Johnson, 8 vols (London: Tonson, 1765).Google Scholar
Shakespeare, William, True Chronicle History of the Life and Death of King Lear and His Three Daughters (London: Butter, 1608).Google Scholar
Shakespeare, William, The Works of Mr. William Shakespear, ed. by Rowe, Nicholas, 6 vols (London: Tonson, 1709).Google Scholar
Sheridan, Thomas, A Course of Lectures on Elocution: Together with Two Dissertations on Language and Some Other Tracts Relative to Those Subjects (London: Strahan, 1762).Google Scholar
Smith, Adam, Essays on Philosophical Subjects (London: Cadell and Davies, 1795).Google Scholar
Steele, Joshua, An Essay towards Establishing the Melody and Measure of Speech to Be Expressed and Perpetuated by Peculiar Symbols (London: Almon, 1775).Google Scholar
‘The Stratford Jubilee’, The Scots Magazine, September 1769.Google Scholar
Steele, Richard, The Tatler, 2 May 1710.Google Scholar
Steevens, George, ‘Shakespeare’s Feast’, The Public Advertiser, 5 August 1769, 2.Google Scholar
Talma, François-Joseph, Réflexions sur Lekain et sur l’art dramatique (Paris: Tenré, 1825).Google Scholar
Tate, Nahum and Garrick, David, The History of King Lear, A Tragedy; As It Is Now Acted at the King’s Theatres (London: Hitch, Hawes, Brindley, Hodges, Longman, Corbett, King, Reeve, Cooper, Noble, 1756), British Library General Reference Collection C.119.dd.22.Google Scholar
Theobald, Lewis and Rich, John, The Vocal Parts of an Entertainment Call’d The Necromancer: Or, Harlequin Doctor Faustus (London: Dodd, 1723).Google Scholar
Thurmond, John, Harlequin Doctor Faustus: With the Masque of the Deities (London: Chetwood, 1724).Google Scholar
Voltaire, , Letters Concerning the English Nation (London: Tonson, 1728).Google Scholar
Voltaire, , ‘Zaïre’, in Zaïre – Le Fanatisme ou Mahomet le Prophète – Nanine ou l’Homme sans préjugé – Le Café ou l’Ecossaise, ed. by Goldzink, Jean (Paris: G. F. Flammarion, 2004), pp. 47–132.Google Scholar
Ward, Ned, The Dancing Devils, or the Roaring Dragon (London: Bettesworth, Bately, and Brotherton, 1724).Google Scholar
Warton, Joseph, An Essay on the Writings and Genius of Pope, 2 vols (London: Cooper, 1756).Google Scholar
Weaver, John, The Loves of Mars and Venus (London: Mears and Browne, 1717).Google Scholar
Webb, Daniel, Observations on the Correspondence Between Poetry and Music (London: Dodsley, 1769).Google Scholar
Webb, Daniel, Remarks on the Beauties of Poetry (London: Dodsley, 1753).Google Scholar

Secondary Sources

Diary or Woodfall’s Register, 13 January 1792.Google Scholar
The Edinburgh Magazine; or Literary Miscellany, March 1801.Google Scholar
Entertainer, 12 November 1754.Google Scholar
The Examiner, 19 March 1815.Google Scholar
Gazetteer and New Daily Advertiser, 26 November 1765.Google Scholar
Gazetteer and New Daily Advertiser, 14 December 1765.Google Scholar
Gazetteer and New Daily Advertiser, 25 August 1787.Google Scholar
General Advertiser, 13 October 1786.Google Scholar
General Evening Post, 16 January 1777.Google Scholar
London Daily Advertiser and Literary Gazette, 2 November 1751.Google Scholar
London Daily Advertiser and Literary Gazette, 4 November 1751.Google Scholar
London Daily Post and General Advertiser, 15 January 1743.Google Scholar
London Daily Post and General Advertiser, 27 December 1743.Google Scholar
London Evening Post, 19 January 1762.Google Scholar
Morning Chronicle, 15 May 1773.Google Scholar
Morning Chronicle, 23 July 1774.Google Scholar
Morning Chronicle, 26 November 1774.Google Scholar
Morning Chronicle and London Advertiser, 5 August 1774.Google Scholar
Morning Post and Daily Advertiser, 2 October 1778.Google Scholar
Morning Post and Daily Advertiser, 31 July 1786.Google Scholar
The Plain Dealer, 14 December 1724.Google Scholar
The Plain Dealer, 18 January 1725.Google Scholar
The Prompter, 12 November 1734.Google Scholar
The Prompter, 19 November 1734.Google Scholar
The Prompter, 13 December 1734.Google Scholar
The Prompter, 27 December 1734.Google Scholar
The Prompter, 6 June 1735.Google Scholar
The Prompter, 13 June 1735.Google Scholar
The Prompter, 27 June 1735.Google Scholar
The Prompter, 4 November 1735.Google Scholar
The Prompter, 26 December 1735.Google Scholar
The Prompter, 3 February 1736.Google Scholar
The Prompter, 14 May 1736.Google Scholar
Public Advertiser, 5 July 1763.Google Scholar
Public Advertiser, 5 August 1769.Google Scholar
Public Advertiser, 16 September 1769.Google Scholar
Public Advertiser, 25 September 1776.Google Scholar
Public Advertiser, 17 September 1778.Google Scholar
Public Advertiser, 16 October 1783.Google Scholar
The Reflector, June 1811.Google Scholar
The Scots Magazine, September 1769.Google Scholar
St James’s Chronicle, 15 September 1761.Google Scholar
St James’s Chronicle, 15 May 1764.Google Scholar
St James’s Chronicle or the British Evening Post, 22 January 1788.Google Scholar
St James’s Chronicle or the British Evening Post, 20 September 1800.Google Scholar
The Tatler, 2 May 1710.Google Scholar
World and Fashionable Advertiser, 25 January 1788.Google Scholar
Hogarth, William, David Garrick as Richard III, c. 1745, oil on canvas, 190.5 × 250.8 cm, Walker Art Gallery, Liverpool.Google Scholar
Reynolds, Joshua, Garrick Between Tragedy and Comedy, 1761, oil on canvas, 148 × 183 cm, Waddesdon Manor, Buckinghamshire.Google Scholar
Sly, Evan, Garrick and Hogarth or the Artist Puzzled, 1845, lithograph print, 25 × 26.7 cm, Victoria and Albert Museum, London.Google Scholar
Zoffany, Johan, David Garrick as Jaffeir and Susannah Cibber as Belvidera in ‘Venice Preserv’d’ by Thomas Otway, c. 1763, oil on canvas, 101.5 × 127 cm, Holburne Museum, Bath.Google Scholar
Ainslie, Donald C., ‘Hume’s Reflections on the Identity and Simplicity of Mind’, Philosophy and Phenomenological Research, 62.3 (2001), 557–78.Google Scholar
Alexander, Catherine, ‘Province of Pirates: The Editing and Publication of Shakespeare’s Poems in the Eighteenth Century’, in Reading Readings: Essays on Shakespeare Editing in the Eighteenth Century, ed. by Gondris, Joanna (London: Associated University Presses, 1998), pp. 345–65.Google Scholar
Allanbrook, Wye J., The Secular Commedia: Comic Mimesis in Late Eighteenth-Century Music, ed. by Taruskin, Richard and Smart, Mary Ann (Oakland: University of California Press, 2014).Google Scholar
Ashfield, Andrew and De Bolla, Peter, eds, The Sublime: A Reader in British Eighteenth-Century Aesthetic Theory (Cambridge: Cambridge University Press, 1996).Google Scholar
Barnett, Dene and Massy-Westropp, Jeanette, The Art of Gesture: The Practices and Principles of 18th Century Acting (Heidelberg: Carl Winter, 1987).Google Scholar
Bate, Jonathan, Shakespeare and the English Romantic Imagination (Oxford: Oxford University Press, 1986).Google Scholar
Bate, Jonathan, Shakespearean Constitutions: Politics, Theatre, Criticism 1730–1830 (Oxford: Oxford University Press, 1989).Google Scholar
Bergmann, Fredrick Louis, ‘Garrick’s Zara’, PMLA, 74.3 (1959), 225–32.Google Scholar
Bradley, Lynne, Adapting King Lear for the Stage (London: Routledge, 2016).Google Scholar
Brooks, Helen E. M., Actresses, Gender, and the Eighteenth-Century Stage: Playing Women (Basingstoke: Palgrave Macmillan, 2015).Google Scholar
Burnim, Kalman A., David Garrick, Director (Pittsburgh: University of Pittsburgh, 1961).Google Scholar
Caines, Michael, Shakespeare and the Eighteenth Century, Oxford Shakespeare Topics (Oxford: Oxford University Press, 2013).Google Scholar
Cole, David, Words for the Theatre (Milton: Routledge, 2019).Google Scholar
Cordner, Michael and Holland, Peter, eds, Players, Playwrights, Playhouses: Investigating Performance, 1660–1800 (Basingstoke: Palgrave Macmillan, 2007).Google Scholar
Culler, Jonathan, Theory of the Lyric (Cambridge: Harvard University Press, 2015).Google Scholar
Cunningham, Vanessa, Shakespeare and Garrick (Cambridge: Cambridge University Press, 2008).Google Scholar
‘David & Eva Garrick’, Westminster Abbey, 2020, www.westminster-abbey.org/abbey-commemorations/commemorations/david-eva-garrick#i13816 [accessed 2 June 2020].Google Scholar
Del Balzo, Angelina, ‘The Sultan’s Tears in Zara, an Oriental Tragedy’, Studies in English Literature, 1500–1900, 55.3 (2015), 501–21.Google Scholar
Delehanty, Anne T., ‘Mapping the Aesthetic Mind: John Dennis and Nicolas Boileau’, Journal of the History of Ideas, 68.2 (2007), 233–53.Google Scholar
Dobson, Michael, The Making of the National Poet: Shakespeare, Adaptation and Authorship, 1660–1769 (Oxford: Oxford University Press, 1992).Google Scholar
Domingo, Darryl P., The Rhetoric of Diversion in English Literature and Culture, 1690–1760 (Cambridge: Cambridge University Press, 2016).Google Scholar
Donnelly, Phillip J., ‘Enthusiastic Poetry and Rationalized Christianity: The Poetic Theory of John Dennis’, Christianity and Literature, 54.2 (2005), 235–64.Google Scholar
Eger, Elizabeth, ‘“Out Rushed a Female to Protect the Bard”: The Bluestocking Defense of Shakespeare’, The Huntington Library Quarterly, 65.1 (2002), 127–51.Google Scholar
Eron, Sarah, Inspiration in the Age of Enlightenment (Newark: University of Delaware Press, 2014).Google Scholar
Fairer, David, ‘“Love Was in the Next Degree”: Lyric, Satire, and Inventive Modulation’, Journal for Eighteenth-Century Studies, 34.2 (2011), 147–66.Google Scholar
Fisher, Philip, The Vehement Passions (Princeton: Princeton University Press, 2002).Google Scholar
Flage, Daniel E., David Hume’s Theory of Mind (London: Routledge, 2019).Google Scholar
Forster, Antonia, ‘Shakespeare in the Reviews’, in Shakespeare in the Eighteenth Century, ed. by Ritchie, Fiona and Sabor, Peter (Cambridge: Cambridge University Press, 2012), pp. 60–77.Google Scholar
Franklin, Colin, Shakespeare Domesticated: The Eighteenth-Century Editions (Aldershot: Scholar Press, 1991).Google Scholar
Freeman, Lisa A., Character’s Theater: Genre and Identity on the Eighteenth-Century English Stage (Philadelphia: University of Pennsylvania Press, 2002).Google Scholar
Gavin, , Paul, J., Shakespeare and the Imprints of Performance, History of Text Technologies (New York: Palgrave Macmillan, 2014).Google Scholar
Genette, Gérard, ‘The Architext (1979; Trans. 1992)’, in The Lyric Theory Reader: A Critical Anthology, ed. by Jackson, Virginia and Prins, Yopie (Baltimore: Johns Hopkins University Press, 2014), pp. 17–29.Google Scholar
Gerrard, Christine, Aaron Hill: The Muses’ Projector 1685–1750 (Oxford: Oxford University Press, 2003).Google Scholar
Gilman, Todd, The Theatre Career of Thomas Arne (Newark: University of Delaware Press, 2013).Google Scholar
Google, Google Trends, https://trends.google.com/trends/explore?geo=GB&q=transition [accessed 28 February 2020].Google Scholar
Griffiths, Eric and Johnston, Freya, If Not Critical (Oxford: Oxford University Press, 2018).Google Scholar
Hammond, Brean S., Professional Imaginative Writing in England, 1670–1740: Hackney for Bread (Oxford: Clarendon, 1997).Google Scholar
Harriman-Smith, James, ‘Comédien-Actor-Paradoxe: The Anglo-French Sources of Diderot’s Paradoxe sur le comédien’,Theatre Journal, 67.1 (2015), 83–96.Google Scholar
Hensbergen, Claudine van, ‘Publication History and Textual Note to The Tragedy of Jane Shore and The Tragedy of the Lady Jane Gray’, in The Plays and Poems of Nicholas Rowe: The Late Plays., ed. by Bernard, Stephen and van Hensbergen, Claudine, 5 vols (London: Routledge, 2016), iii, pp. 25–31.Google Scholar
Holland, Peter, ‘David Garrick’, in Garrick – Kemble – Siddons – Kean, ed. by Holland, Peter, Great Shakespeareans, 18 vols (London: Pickering & Chatto, 2010), ii, pp. 8–54.Google Scholar
Holland, Peter, ‘Hearing the Dead: The Sound of David Garrick’, in Players, Playwrights, Playhouses: Investigating Performance, 1660–1800 (Basingstoke: Palgrave Macmillan, 2007), pp. 248–70.Google Scholar
Hopkins, David and Hammond, Paul, eds., John Dryden: Tercentenary Essays (Oxford: Oxford University Press, 2000).Google Scholar
Hoxby, Blair, What Was Tragedy? Theory and the Early Modern Canon (Oxford: Oxford University Press, 2015).Google Scholar
Hoxby, Blair, ‘What Was Tragedy? The World We Have Lost, 1550–1795’, Comparative Literature, 64.1 (2012), 1–32.Google Scholar
Hull, Simon, ‘The Ideology of the Unspectacular: Theatricality and Charles Lamb’s Essayistic Figure’, Romanticism on the Net, 46, 2007.Google Scholar
le Huray, Peter and Day, James, eds, Music and Aesthetics in the Eighteenth and Early-Nineteenth Centuries, Cambridge Readings in the Literature of Music (Cambridge: Cambridge University Press, 1981).Google Scholar
Irlam, Shaun, Elations: The Poetics of Enthusiasm in Eighteenth-Century Britain (Stanford: Stanford University Press, 1999).Google Scholar
Jackson, Virginia and Prins, Yopie, ‘General Introduction’, in The Lyric Theory Reader: A Critical Anthology, ed. by Jackson, Virginia and Prins, Yopie (Baltimore: Johns Hopkins University Press, 2014), pp. 1–10.Google Scholar
Jajdelska, Elspeth, ‘“The Very Defective and Erroneous Method”: Reading Instruction and Social Identity in Elite Eighteenth‐Century Learners’, Oxford Review of Education, 36.2 (2010), 141–56.Google Scholar
Jarvis, Simon, Scholars and Gentlemen: Shakespearean Textual Criticism and Representations of Scholarly Labour, 1725–1765 (Oxford: Clarendon, 1995).Google Scholar
Johnston, Freya, ‘Samuel Johnson’, in Dryden – Pope – Johnson – Malone, ed. by Rawson, Claude Julien, Great Shakespeareans (London: Continuum, 2010), pp. 115–59.Google Scholar
Joseph, Bertram, The Tragic Actor (London: Routledge, 1959).Google Scholar
Kareem, Sarah Tindal, Eighteenth-Century Fiction and the Reinvention of Wonder (Oxford: Oxford University Press, 2014).Google Scholar
Kennaway, James, ‘Stimulating Music: The Pleasures and Dangers of “Electric Music,” 1750–1900’, Configurations, 19.2 (2011), 191–211.Google Scholar
Koehler, Margaret, ‘Odes of Absorption in the Restoration and Early Eighteenth Century’, SEL: Studies in English Literature, 1500–1900, 47.3 (2007), 659–78.Google Scholar
Koehler, Margaret, Poetry of Attention in the Eighteenth Century (New York: Palgrave Macmillan, 2012).Google Scholar
Landreth, Sara, ‘“Set His Image in Motion”: John Dennis and Early Eighteenth-Century Motion Imagery’, Eighteenth-Century Life, 40.1 (2016), 59–83.Google Scholar
Langhans, Edward A., Eighteenth Century British and Irish Promptbooks: A Descriptive Bibliography (New York: Greenwood, 1987).Google Scholar
Langhans, Edward A., Restoration Promptbooks (Carbondale: Southern Illinois University Press, 1981).Google Scholar
Lippman, Edward, ed., Musical Aesthetics: A Historical Reader, 4 vols (New York: Pendragon, 1986).Google Scholar
London Stage Database, https://londonstagedatabase.usu.edu/ [accessed 16 January 2020].Google Scholar
Lupton, Christina, Reading and the Making of Time in the Eighteenth Century (Baltimore: Johns Hopkins University Press, 2018).Google Scholar
Malek, James, ‘Physiology and Art: Daniel Webb’s Aesthetics’, Neuphilologische Mitteilungen, 71.4 (1970), 691–99.Google Scholar
Marker, Lise‐Lone and Marker, Frederick J., ‘Aaron Hill and Eighteenth‐Century Acting Theory’, Quarterly Journal of Speech, 61.4 (1975), 416–27.Google Scholar
Marsden, Jean I., Theatres of Feeling: Affect, Performance, and the Eighteenth-Century Stage (Cambridge: Cambridge University Press, 2019).Google Scholar
Mason, Tom and Rounce, Adam, ‘Alexander’s Feast; or The Power of Musique: The Poem and Its Readers’, in John Dryden: Tercentenary Essays, ed. by Hopkins, David and Hammond, Paul (Oxford: Oxford University Press, 2000), pp. 140–73.Google Scholar
McGillivray, Glen, ‘Rant, Cant and Tone: The Voice of the Eighteenth-Century Actor and Sarah Siddons’, Theatre Notebook, 71.1 (2017), 2–20.Google Scholar
McIntyre, Ian, Garrick, 2nd ed. (Harmondsworth: Penguin, 2000).Google Scholar
Monson, Dale E., Westrup, Jack, and Budden, Julian, ‘Recitative’, in Grove Music Online (Oxford: Oxford University Press, 2001), www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000023019 [accessed 14 February 2019].Google Scholar
Moody, Jane, Illegitimate Theatre in London, 1770–1840 (Cambridge: Cambridge University Press, 2000).Google Scholar
Moody, Jane and O’Quinn, Daniel, eds., The Cambridge Companion to British Theatre, 1730–1830 (Cambridge: Cambridge University Press, 2007).Google Scholar
Morillo, John, ‘John Dennis: Enthusiastic Passions, Cultural Memory and Literary Theory’, Eighteenth-Century Studies, 34.1 (2000), 21–41.Google Scholar
Moseley, Nick, Actioning and How to Do It (London: Nick Hern, 2016).Google Scholar
Nussbaum, Felicity, Rival Queens: Actresses, Performance, and the Eighteenth-Century British Theater (Philadelphia: University of Pennsylvania Press, 2011).Google Scholar
O’Brien, John, Harlequin Britain: Pantomime and Entertainment, 1690–1760 (Baltimore: Johns Hopkins University Press, 2004).Google Scholar
O’Brien, John, ‘Pantomime’, in The Cambridge Companion to British Theatre, 1730–1830, ed. by Moody, Jane and O’Quinn, Daniel (Cambridge: Cambridge University Press, 2007), pp. 103–15.Google Scholar
Orr, Bridget, British Enlightenment Theatre: Dramatizing Difference (Cambridge: Cambridge University Press, 2019).Google Scholar
Palfrey, Simon and Stern, Tiffany, Shakespeare in Parts (Oxford: Oxford University Press, 2007).Google Scholar
Park, Roy, ‘Lamb, Shakespeare, and the Stage’, Shakespeare Quarterly, 33.2 (1982), 164–77.Google Scholar
Parker, G. F., Johnson’s Shakespeare (Oxford: Clarendon, 1989).Google Scholar
Perrin, Noel, Dr. Bowdler’s Legacy: A History of Expurgated Books in England and America (London: MacMillan, 1970).Google Scholar
Phillips, Natalie M., Distraction: Problems of Attention in Eighteenth-Century Literature (Baltimore: Johns Hopkins University Press, 2016).Google Scholar
Pisani, Michael V., Music for the Melodramatic Theatre in Nineteenth-Century London & New York, Studies in Theatre History and Culture (Iowa City: University of Iowa Press, 2014).Google Scholar
Pitson, A. E., Hume’s Philosophy of the Self (London: Routledge, 2006).Google Scholar
Porter, Roy, Flesh in the Age of Reason (Harmondsworth: Penguin, 2004).Google Scholar
Poser, Norman S., The Birth of Modern Theatre: Rivalry, Riots, and Romance in the Age of Garrick (New York: Routledge, 2019).Google Scholar
Rawson, Claude Julien, ed., Dryden – Pope – Johnson – Malone, Great Shakespeareans (London: Continuum, 2010).Google Scholar
Ritchie, Fiona and Sabor, Peter, eds, Shakespeare in the Eighteenth Century (Cambridge: Cambridge University Press, 2012).Google Scholar
Ritchie, Leslie, David Garrick and the Mediation of Celebrity (Cambridge: Cambridge University Press, 2019).Google Scholar
Roach, Joseph, The Player’s Passion: Studies in the Science of Acting (Ann Arbor: University of Michigan Press, 1993).Google Scholar
Rumbold, Kate, ‘Shakespeare and the Stratford Jubilee’, in Shakespeare in the Eighteenth Century, ed. by Ritchie, Fiona and Sabor, Peter (Cambridge: Cambridge University Press, 2012), pp. 254–76.Google Scholar
Santor, Gefen Bar-On, ‘The Culture of Newtonianism and Shakespeare’s Editors: From Pope to Johnson’, Eighteenth Century Fiction, 21.4 (2009), 593–614.Google Scholar
Semmens, Richard, Studies in the English Pantomime, 1712–1733 (Hillsdale: Pendragon, 2016).Google Scholar
Shuster, George, The English Ode from Milton to Keats (New York: Columbia University Press, 1940).Google Scholar
Sillars, Stuart, Painting Shakespeare: The Artist as Critic, 1720–1820 (Cambridge: Cambridge University Press, 2006).Google Scholar
Stern, Tiffany, Rehearsal from Shakespeare to Sheridan (Oxford: Oxford University Press, 2000).Google Scholar
Stonewall, Glossary of Terms, www.stonewall.org.uk/help-advice/faqs-and-glossary/glossary-terms [accessed 2 June 2020].Google Scholar
Stradella, Alessandra, ‘The Dramatic Nature of Our Selves: David Hume and the Theatre Metaphor’, Literature & Aesthetics, 20 (2010), 154–67.Google Scholar
Sutton, Ray, ‘Re-Playing Macbeth: A View of Eighteenth-Century Acting’, Studies in Theatre and Performance, 30.2 (2010), 145–56.Google Scholar
Swindells, Julia and Taylor, David Francis, eds, The Oxford Handbook of the Georgian Theatre 1737–1832 (Oxford: Oxford University Press, 2014).Google Scholar
Toner, Anne, Ellipsis in English Literature: Signs of Omission (Cambridge: Cambridge University Press, 2015).Google Scholar
Vickers, Brian, ed., William Shakespeare: The Critical Heritage 1753–1765 (London: Routledge, 2000).Google Scholar
Waith, Eugene M., ‘King John and the Drama of History’, Shakespeare Quarterly, 29.2 (1978), 192–211.Google Scholar
West, Shearer, The Image of the Actor: Verbal and Visual Representation in the Age of Garrick and Kemble (New York: St Martin’s, 1991).Google Scholar
Willems, Michèle, La Genèse du mythe shakespearien (Rouen: Presses universitaires de France, 1979).Google Scholar
Williams, Abigail, The Social Life of Books: Reading Together in the Eighteenth-Century Home (New Haven: Yale University Press, 2017).Google Scholar
Worthen, William B., The Idea of the Actor: Drama and the Ethics of Performance (Princeton: Princeton University Press, 1984).Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • James Harriman-Smith, University of Newcastle upon Tyne
  • Book: Criticism, Performance, and the Passions in the Eighteenth Century
  • Online publication: 02 March 2021
  • Chapter DOI: https://doi.org/10.1017/9781108890847.009
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • James Harriman-Smith, University of Newcastle upon Tyne
  • Book: Criticism, Performance, and the Passions in the Eighteenth Century
  • Online publication: 02 March 2021
  • Chapter DOI: https://doi.org/10.1017/9781108890847.009
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • James Harriman-Smith, University of Newcastle upon Tyne
  • Book: Criticism, Performance, and the Passions in the Eighteenth Century
  • Online publication: 02 March 2021
  • Chapter DOI: https://doi.org/10.1017/9781108890847.009
Available formats
×