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Published online by Cambridge University Press: 16 August 2021
Studies of influence in English dramatic writing have emphasized almost exclusively the creative tradition, giving scant attention to the influence of contemporary acting traditions as significant factors in the creative process. My intent in this paper is, by means of reversing the emphasis, to throw into sharper focus the impact of the actor on the creation of dramatic literature.
1 “The English Stage in the Eighteenth Century,” Fortnightly Review, O.S. lxxxv (1906), 895.
2 PMLA, lviii (1943), 1002-37.
3 Edward A. Parry, Charles Macklin (London, 1891), p. 21.
4 Memoirs of the Life of David Garrick (London, 1780), i, 44.
5 Memoirs of His Own Life (York, 1790), iv, 78.
6 “The God of His Idolatry,” in Joseph Quincy Adams Memorial Studies (Washington, D. C., 1948), pp. 115-128.
7 The Paradox of Acting, tr. Walter H. Pollock (London, 1883), p. 38.
8 The Life of David Garrick (London, 1868), ii, 70.
9 For their comments see Joseph Cradock, Literary and Miscellaneous Memoirs (London, 1828), i, 206; Jean Georges Noverre, Letters on Dancing and Ballets, tr. Cyril Beaumont (London, 1930), p. 82; Fitzgerald's Garrick, ii, 99; Lichtenberg's Visits to England, tr. Margaret L. Mare and W. H. Quarrell (Oxford, 1938), p. 3.
10 Preface to Pollock's translation of Diderot's The Paradox of Acting, p. xviii.
11 D. M. Little, Pineapples of Finest Flavor (Cambridge, Mass., 1930), p. 47.
12 Some Unpublished Correspondence of David Garrick, ed. G. P. Baker (Boston, 1907), p. 114.
13 David Garrick, Dramatist (New York: MLA, 1937), p. 200.
14 Little, Pineapples, pp. 60-61.
15 For the vogue of the sentimental play in the latter half of the century (Allardyce Nicoll's “gallery of emotional softness”) I have relied upon such authorities as Nicoll, A History of Late Eighteenth Century Drama, 1750-1800 (Cambridge Univ. Press, 1927), p. 109 et passim; George Sherburn's chapter on “The Drama, 1740-1785” in A Literary History of England, ed. A. C. Baugh (New York and London, 1948), pp. 1037-39, 1042-43; and George Nettleton, English Drama of the Restoration and Eighteenth Century (New York, 1914), pp. 264-276.
16 Jonson's Every Man in his Humour and The Alchemist, Fletchers Rule a Wife and Have a Wife, Buckingham's Chances (from Beaumont and Fletcher), Shirley's The Gamester, Vanbrugh's The Provok'd Wife, Wycherley's The Country Wife, and Tomkis' Albumazar.
17 English Drama of the Restoration and Eighteenth Century, p. 262.
18 The account book is in the MS. collection of the Folger Shakespeare Library, Washington, D. C.
19 Page, pp. 122-124; Stein, pp. 245, 272-273.
20 Miss Stein, on the basis of resemblances to Garrick's The Guardian and his Harlequin's Invasion, gives the credit for Act i chiefly to him. See David Garrick, Dramatist, pp. 211-213, 219-223.
21 Private Correspondence of David Garrick, ed. James Boaden (London, 1832), i, 209-211.
22 Ibid., i, 210, 213.
23 Posthumous Letters, from Various Celebrated Men; Addressed to Francis Colman, and George Colman, the Elder, pp. 327-347.
24 Memoirs, i, 230.
25 Dramatic Essays of Charles Lamb, ed. Brander Matthews (New York, 1892), p. 60.