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diff --git a/29221.txt b/29221.txt new file mode 100644 index 0000000..afe5ea8 --- /dev/null +++ b/29221.txt @@ -0,0 +1,1382 @@ +Project Gutenberg's Representative Plays by American Dramatists, by Various + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Representative Plays by American Dramatists + 1765-1819 + +Author: Various + +Editor: Montrose J. Moses + +Release Date: June 26, 2009 [EBook #29221] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK REPRESENTATIVE PLAYS *** + + + + +Produced by David Starner, Brownfox and the Online +Distributed Proofreading Team at http://www.pgdp.net + + + + + + + + + + TRANSCRIBERS' NOTE + + This e-book only contains the front matter of _Representative + Plays by American Dramatists_. The individual plays have been + posted as separate Project Gutenberg e-books; they are listed + in this book's table of contents. + + + + +[Illustration: THE + + CONTRAST, + + A + + COMEDY; + + IN FIVE ACTS: + + WRITTEN BY A + + CITIZEN OF THE _UNITED STATES_; + +Performed with Applause at the Theatres in NEW-YORK, PHILADELPHIA, + and MARYLAND; + + AND PUBLISHED (_under an Assignment of the Copy-Right_) BY + + THOMAS WIGNELL. + + + Primus ego in patriam + Aonio----deduxi vertice Musas. + + VIRGIL. + + (_Imitated._) + + First on our shores I try THALIA'S powers, + And bid the _laughing, useful_ Maid be ours. + + + PHILADELPHIA: + +FROM THE PRESS OF PRICHARD & HALL, IN MARKET STREET, BETWEEN SECOND + AND FRONT STREETS. + + M.DCC.XC. + + * * * * * + +FAC-SIMILE TITLE-PAGE OF THE FIRST EDITION + +(_From the Original, owned by Dr. F. W. Atkinson_)] + + + + +Representative Plays by +American Dramatists + + +Edited, with an Introduction to Each Play + +By MONTROSE J. MOSES + + +1765-1819 + +Illustrated with Portraits, and +Original Title-Pages + + +BENJAMIN BLOM, INC. + +New York + +First published by E. P. Dutton & Co. Inc., 1918, +Copyright renewed by Mrs. Leah H. Moses, 1946 +Reissued by Benjamin Blom, Inc. 1964 by arrangement with Mrs. L. H. Moses. + + +_Printed in U.S.A. by_ +NOBLE OFFSET PRINTERS, INC. +NEW YORK 3, N. Y. + + + + + To + + DR. FRED W. ATKINSON + +In grateful recollection of his encouragement + and aid in the preparation of + this volume. + + + + +Table of Contents + + +General Introduction. 1-10 + +Bibliographies. 11-18 + +The Prince of Parthia. + By _Thomas Godfrey, Jr._ _1765_ 19-108 + +Ponteach; or, The Savages of America. + By _Robert Rogers_. _1766_ 109-208 + +The Group; A Farce. + By _Mrs. Mercy Warren_. _1775_ 209-232 + +The Battle of Bunkers-Hill. + By _Hugh Henry Brackenridge_. _1776_ 233-276 + +The Fall of British Tyranny; or, American Liberty. + By _John Leacock_. _1776_ 277-350 + +The Politician Out-witted. By _Samuel Low_. _1789_ 351-429 + +The Contrast. By _Royall Tyler_. _1790_ 431-498 + +Andre. By _William Dunlap_. _1798_ 499-564 + +The Indian Princess; or, La Belle Sauvage. + By _J. N. Barker_. _1808_ 565-628 + +She Would Be a Soldier; or, The Plains of Chippewa. + By _M. M. Noah_. _1819_ 629-678 + + + + +_INTRODUCTION_ + + +The present collection of "Representative Plays by American +Dramatists" is the first of its kind to be offered to the general +reader. In its scope, it covers a period from 1765-1911, and in its +plan of selection, it strives to show the advance in playwriting +during successive periods of American history. + +Because of this scheme, the choice of plays for the Colonial and +Revolutionary sections necessarily includes several which, while +written for the stage, are not authentically located as far as +production is concerned. There is no indication that Robert Rogers's +"Ponteach" was ever accepted by any of the theatrical companies of +the time, and there is no positive proof that Mrs. Mercy Warren's +"The Group" was ever done, although there are casual references to +the fact that performances were given at Amboyne. Nor have we any +right to believe that Samuel Low's "The Politician Out-witted" +received other than scant treatment from the managers to whom it was +submitted; it was published rather to please the readers of the +closet drama. Nevertheless, it has been thought essential to include +these plays because they are representative of the spirit of the +times, and help to give a more comprehensive view of the subjects +which were treated in dramatic form by the early American +playwrights. + +From the moment the American writer ceased to be an Englishman, and +became fully aware of his national consciousness, American drama, +following the trend of the development of American literature, began +to feel its way for the proper expression of national characteristics. + +And so, in the second and third volumes of this series, the reader +will find plays which, while not wonderful in their literary value, +are, nevertheless, very distinctive, as reflecting the theatrical +tastes of the time, and the very crude, but none the less sincere, +technical effort of the playwrights. All the dramas included in the +second and third volumes have had their stage productions, and are +thus representative of characteristics which mark the abilities of +certain actors, whose claims to originality are found in the special +types they created. + +It has been the present editor's object so to arrange the successive +order of these plays that the reader may not only be able to judge +the change in stagecraft and technique, but, likewise, may note the +change in social idea and in historical attitude toward certain +subjects. For example, "The Contrast" contains the first American +Stage Yankee--a model for a succession of Stage Yankees to follow. +But, whereas Royall Tyler's _Jonathan_ was not especially written to +exploit the peculiar abilities of Mr. Wignell, the comedian, most of +the Yankee plays of a later date were written to exploit the +peculiar excellences of such actors as G. H. Hill and James H. +Hackett. + +In no way can the reader better sense the change in social customs +and ideals than by reading a series of plays written in successive +generations and reflecting the varying customs of the time. In some +respects "The Contrast" may be considered our very earliest drama of +social manners, even though Royall Tyler was not over-successful in +stamping the small talk of his women as being distinctively +American. Rather is it the direct imitation--without the +brilliancy--of the small talk in "The School for Scandal." But, +nevertheless, "The Contrast" does attempt to deal with society in +New York before the nineteenth century, and in Mrs. Mowatt's +"Fashion," in Mrs. Bateman's "Self," in Bronson Howard's "Saratoga" +(which has been published), in Clyde Fitch's "The Moth and the +Flame," and in Langdon Mitchell's "The New York Idea," we are given +a very significant and sharply defined panoramic view of the +variations in moral and social attitudes. + +The plays included in this series have very largely been selected +because of their distinct American flavour. The majority of the +dramas deal directly with American subjects. But it seemed unwise +and unrepresentative to frame one's policy of selection too rigidly +on that score. Had such a method been adhered to, many of the plays +written for Edwin Forrest would have to be omitted from +consideration. It would have been difficult, because of this +stricture, to include representative examples of dramas by the +Philadelphia and Knickerbocker schools of playwrights. Robert T. +Conrad's "Jack Cade," John Howard Payne's "Brutus," George Henry +Boker's "Francesca da Rimini," and Nathaniel P. Willis's "Tortesa, +the Usurer," would thus have been ruled from the collection. +Nevertheless are they representative plays by American dramatists. +Another departure from the American atmosphere is in the case of +Steele Mackaye; here in preference to "Hazel Kirke," I have selected +"Paul Kauvar," farthest away from American life, inasmuch as it +deals with Nihilism, but written at a time when there was a +Nihilistic fever in New York City. + +No editor, attempting such a comprehensive collection as this, can +be entirely successful in including everything which will enrich his +original plan. There are always limitations placed upon him by the +owners of copyrights, and by gaps in the development, due to loss of +manuscripts. It was naturally my desire to have all the distinctive +American playwrights represented in the present collection. +Therefore, in justice, the omissions have to be indicated here, +because they leave gaps in a development which it would have been +well to offer unbroken and complete. + +When the collection was first conceived, there was every indication +that permission would be granted me to reproduce at least one of the +Robert Montgomery Bird manuscripts, now owned by the University of +Pennsylvania. Naturally, a collection of representative plays should +include either Bird's "The Gladiator," or one of his other more or +less oratorical and poetical pieces, written under the inspiration +of Edwin Forrest. The intention to include John Augustus Stone's +"Metamora" brought to light, after correspondence with the Forrest +Home in Philadelphia, that either the manuscript of that play has +irrevocably been destroyed, or else has been preserved so carefully +that no one remotely connected with the actor Forrest has thus far +been able to locate it. Only a few well remembered speeches and +isolated scenes are seemingly left of a play which increased so +largely the fame of Mr. Forrest. + +In the selection of _types_ my attention naturally became centered +on the characters of _Colonel Mulberry Sellars_, and _Judge Bardwell +Slote_, the former in a dramatization of "The Gilded Age," by Mark +Twain and Charles Dudley Warner, and the latter, in a play by +Benjamin E. Woolf, called "The Mighty Dollar." Extended +investigation revealed the fact that, even if the plays are not +lost, they are still unlocated, by the literary executors of Mark +Twain on the one hand, and by the family of Mr. Woolf on the other. +It is well to mention these instances, because, until the recent +interest in the origins of American drama, manifest on all sides, +there has been a danger that many most valuable manuscript plays +would be lost to the student forever. + +At a revival of individual scenes from distinctive American Plays, +given in New York, on January 22, 1917, considerable difficulty was +experienced before the stock-company manuscript of Frank E. +Murdoch's "Davy Crockett" was procured. This play, old-fashioned in +its general development, is none the less representative of old-time +melodramatic situation and romantic manipulation, and there is every +reason to believe that, with the tremendous changes in theatrical +taste, unless this play is published in available printed form, it +will be lost to the student of ten years from now. The play would +have been included in the present edition if space had allowed. + +When I came to a consideration of the modern section, there were +many omissions which had to be made, due very largely to the fact +that authors and owners of copyright were loath to forego their +rights. A collection of this kind should undoubtedly have the name +of James A. Herne represented in its contents, inasmuch as none of +Mr. Herne's plays have heretofore been published, and two of his +most distinctive dramas in original manuscript, "Margaret Fleming" +and "Griffith Davenport," have been totally destroyed by fire. But +representatives of Mr. Herne's family have declined, at the present +time, to allow his plays to be published. This is to be regretted, +inasmuch as nearly all of the most prominent American playwrights +are represented, either in the publication of isolated plays or in +definitive editions. I should have liked to end this collection with +the inclusion of Mr. Eugene Walter's "The Easiest Way;" at the +present time, that play, which was once issued in an edition +privately printed, is to be found in the _Drama League Series_ of +plays. + +From the standpoint of non-copyright material, two interesting +conditions have been revealed through investigation. The first +published play, in America, was "Androboros," by Governor Robert +Hunter, written in collaboration with Chief Justice Lewis Morris.[1] +Only one copy of that play is in existence, owned by Mr. H. E. +Huntington, of New York, having formerly been a valued possession in +the library of the Duke of Devonshire; and having descended from the +private ownership of David Garrick and John Kemble, the English +actors. Naturally, the private collector is loath, in view of the +rarity of his edition, to allow it, at present, to be reprinted. + +[1] The title-page of "Androboros" reads: "Androboros"/ +A/Bographical [_Sic._] Farce/In Three Acts, Viz./The Senate,/The +Consistory,/and/The Apotheosis./ By Governour Hunter./Printed at +Moropolis since 1st August, 1714. [Taken from Huntington Copy. +Moropolis means Fool's Town.] + +Some scholars, however, point to "Les Muses de la Nouvelle-France," +printed in Paris in 1609, where the third piece is "Le Theatre de +Neptune en la Nouvelle-France." According to Marc Lescarbot, this +was "representee sur les flots du Port-Royal le quatorzieme de +Novembre, mille six cens six, au retour de Sieur de Poutrincourt du +pais des Armouchiquois." This may be regarded as example of the +first play written and acted on North American soil, it, however, +being in French, and not given within what is now the United States, +but rather at Port Royal, in Acadia. (See two interesting letters, +1o W. J. Neidig, _Nation_, 88:86, January 28, 1909; 2o Philip +Alexander Bruce, _Nation_, 88:136, February 11, 1909.) + +It was my further desire, as an example of college playwriting, to +include the text of Barnabas Bidwell's "The Mercenary Match," +written at Yale, and played by the students of Yale.[2] Only one +copy of that play is, thus far, known to be in existence, owned by +Mr. Evert Jansen Wendell, and its inclusion in the present +collection is debarred for the same reason. + +[2] The/Mercenary Match,/A Tragedy./By Barna Bidwell./New +Haven:/Printed by Meigs, Bowen and Dana,/In Chapel-Street./(1785.) + +Were this collection--Representative Plays by American +Dramatists--encyclopedic in its scope, rather than a suggestive +arrangement of a limited number of plays for the purpose of +illustrating certain phases of playwriting in American theatrical +history, it would have been necessary for the editor to intersperse, +here and there, between the plays, certain minor forms of dramatic +writing, characteristic of the work done in this country. For +example, plays and dialogues written at colleges at a period +ante-dating 1800, and likewise ante-dating the Revolution, are a +distinctive development in themselves, and would form an interesting +contrast with the work being done at the colleges since the +beginning of the present so-called dramatic renaissance (1917). +These dialogues, in their proper place, will be dealt with in the +introductions to a few of the plays. But it is well to indicate here +that such illustrations of very definite forms of dramatic +expression have been omitted. + +In all cases the texts used have been carefully collated with the +first editions of the published dramas and, wherever possible, the +original casts have been given with the Dramatis Personae. Interest +in American drama consists very largely in the elements of +comparison and contrast which certain definite dramas suggest. Even +if there is no manuscript of "Metamora" extant, there is sufficient +data relating to the character of _Metamora_ to contrast the play +with Robert Rogers's "Ponteach." Even though Mrs. Warren's "The +Group" might be ruled out as an acting drama, none the less is it +definitely reflective of the revolutionary temper of Revolutionary +times. A comparison of other types of plays will be made as they +occur in the course of the three volumes. I emphasize the point +here, because I wish to suggest that such a collection as this +offers infinite possibilities in the study of the historical, +social, and economic evolution of America. + +Most of these plays have been revived. There will be noted, later, +performances of "The Prince of Parthia," of "The Contrast," of +Dunlap's "Andre," and of Mrs. Mowatt's "Fashion," according to our +modern methods of acting. These plays may often seem verbose and +lacking in continuous development and interest. This would lead us +to believe that possibly the early actor had means at his disposal +of overcoming these defects by a method of dramatic technique +unknown to the present player. In reading these dramas, one must be +able to bear in mind the differences which exist between the theatre +of to-day and the theatre of yesterday, between the tradition of the +actor of to-day and of the actor of yesterday. The technique, for +example, in the characterization of _Jonathan_, and in the +characterization of _Solon Shingle_, is different from the technique +which characterizes the work of Clyde Fitch or which is to be found +in David Belasco's "Peter Grimm." In other words, in such a +collection, one asks, not the judgment of the highest literary +standards, but the judgment of an historical appreciation of the +changes in dramatic taste. + + * * * * * + +This, the first volume of "Representative Plays by American +Dramatists," contains dramas which measure the tastes and +inclinations of Colonial and Revolutionary life. In the proper +understanding of their atmosphere, it is necessary to know something +of the general spirit of the theatre of the period; to measure the +conditions, customs, and social peculiarities of the provincial +actors and audiences. For that reason, it would be well for the +general reader beforehand to obtain a bird's-eye view of the history +of the American theatre--a view which will comprise some +consideration of the first playhouse in this country, of the +conditions which confronted Hallam, Henry, and Douglass, the first +actors to be at the head of what, in Williamsburg, Virginia, was +known as the Virginia Comedians, and in New York and Philadelphia, +as the American Company. + +No more fascinating study could be imagined than following the +trials and tribulations of the actors in America at this early day, +who, as soon as they reached Philadelphia, or as soon as they +attempted to invade Boston, were confronted by the Puritanical and +sectarian prejudices, against which the early history of the +American theatre had to struggle. The personalities of the Hallams, +of Douglass and Hodgkinson, are picturesque and worth while tracing +in all aspects of their Thespian careers in the Colonies. So, too, +the persons of Thomas Wignell, the Comedian, and of Mrs. Merry, are +of especial interest. Wignell, at the John Street Theatre, in New +York, and at the Southwark Theatre, in Philadelphia, was wont to +amuse George Washington, who, on careful examination of his Journals +and expense accounts, looms up as the one big theatre-goer of the +time. + +The reader who follows the effect open hostility with England had +upon the American theatre, will find most interesting material +relating to the dramatic activities of the soldiers under the +leadership of Generals Burgoyne and Howe. In fact, no account of +dramatic writings in this country can ignore the fact that General +Burgoyne, apart from the farce which incited Mrs. Mercy Warren, was +himself a serious dramatist, who took his work seriously, and whose +dramas may be obtained at any large reference library. The +Red-Coats, as actors, amused their Tory public with such plays as +"Tamerlane," "The Busybody," and "Zara;" and when they invaded the +Southwark Theatre, around 1777, Major Andre, the presiding genius of +the English soldier-actors, turned to good account his ability as a +scene-painter, and painted a backdrop which was preserved in +Philadelphia until 1821, when it was destroyed by fire. We have, +however, a description of the scene, taken from Durang's "History of +the Philadelphia Stage." + +"It was a landscape," he writes, "presenting a distant _champagne_ +country, and a winding rivulet, extending from the front of the +picture to the extreme distance. In the foreground and centre was a +gentle cascade--the water exquisitely executed--overshadowed by a +group of majestic forest trees. The perspective was excellently +preserved; the foliage, verdure, and general colouring artistically +toned and glazed. It was a drop scene, and Andre's name was +inscribed on the back of it in large black letters." + +The early American theatre was nothing more than the theatre of +England transplanted to a more provincial atmosphere. We have a record +of dramatic performances being given at Williams and Mary College +before the Royal Governor, in 1702, and, in 1736, the students were +presenting Addison's "Cato." In 1714, in Massachusetts, Chief Justice +Samuel Sewall, famed for his witchcraft injunctions, protested against +acting in Boston, and warned the people in this fashion: "Let not +Christian Boston goe beyond Heathen Rome in the practice of Shameful +Vanities." + +Evidently the actors who had appeared in New York from the West +Indies, in 1702, were, by an ill wind, blown into the sharp-prejudiced +atmosphere of New England. Some authorities are inclined to believe +that Thomas Kean's appearance on March 5, 1750, in New York, when, as +noted by the _Weekly Postboy_, he gave a performance of "Richard III," +with permission of Governor Clinton, really begins the history of +legitimate theatrical performances in America. This, however, is not +historically accurate, for, in South Carolina, it is noted that the +first dramatic production occurred in 1734 or 1735, January 18th, +although the first Charleston theatre was afterwards erected in 1773, +the third regular theatre to be established in the Colonies. (See _The +Nation_, 99:278-279; Yates Snowden, "South Carolina Plays and +Playwrights," _The Carolinian_, November, 1909.) + +The disputed point as to the first theatre in America has also been +very thoroughly discussed by Judge Charles P. Daly in his brochure, +"The First Theatre in America." (Dunlap Society, New Series, No. 1, +1896.) + +In 1755, the Reverend Samuel Davies, whose eloquence made him quite +as much an actor as a divine, complained of conditions in Virginia, +declaring that plays and romances were more read than "the history +of the Blessed Jesus." + +The real narrative of Colonial acting, however, begins with William +Hallam's appearance in Williamsburg in "The Merchant of Venice," on +September 5, 1752; thereafter, as is so excellently traced in +Seilhamer, the American Theatre, with its different itinerant +companies, began to flourish. + +The theatre was such a recreation to the Colonial people that, in +many ways, it figured as the one source of official entertainment; +especially on occasions when the Royal Governor had to show +hospitality to visiting people. For example, the _Maryland Gazette_ +for November 17, 1752, declares that "The Emperor of the Cherokee +nation, with his Empress and their son, the young Prince, attended +by several of his warriors and Great Men, and their Ladies, were +received at the Palace by his Honour the Governor, attended by such +of the Council as were in Town on Thursday, the 9th instant, with +all the Marks of Courtesy and Friendship, and were that Evening +entertained at the Theatre with the Play (the Tragedy of 'Othello'), +and a Pantomime Performance which gave them great surprise, as did +the fighting with naked swords on the Stage, which occasioned the +Empress to order some about her to go and prevent them killing one +another." + +The spirit of the theatre-going at this period has been excellently +suggested by John Esten Cook in his novel, "The Virginia Comedians," +but the reader who will consult rare files of Colonial newspapers +will find therein many advertisements which will throw light on some +of the social details of the theatre. It is enough here to suggest +that, in the reading of the different plays here offered, some +consideration be paid to the general theatrical atmosphere which +created and fostered them. + +In several of the Introductions the editor has had occasion to +mention the exercises and dialogues and plays given in the colleges +before the Revolution. These were the distinctive forms which time +and occasion created; otherwise the early American dramatist framed +his pieces in imitation of English and German tradition. However, as +soon as the national period began, another interesting dramatic +experiment was put into effect. This has been noted by W. W. Clapp, +in his chapter written for Justin Winsor's "Commemorative History of +Boston." He says: + +"[It was] the custom in the earlier days of the theatre to signalize +passing events by such appropriate notice as the resources of the +stage would permit." + +In other words, the event called forth from the Manager, because of +commercial possibilities, certain spectacular scenes to attract the +patriotic notice of the people. Manager Hodgkinson, on September 20, +1797, celebrated the launching of the frigate _Constitution_.[3] On +January 8, 1800, at the New York Theatre, an "Ode on the Death of +General Washington" was recited by Mr. Hodgkinson, written by Samuel +Low. It is interesting here to note likewise that Royall Tyler +pronounced a Eulogy on Washington at Bennington, Vermont, on +February 22, 1800. + +[3] Dunlap, himself atune to the hour, wrote "Yankee Chronology; or, +Huzza for the Constitution"--"a musical Interlude, in One Act, to +which are added, The Patriotic Songs of the Freedom of the Seas, and +Yankee Tars," produced at the Park Theatre, New York, 1812. Dunlap +wrote many pieces of like character. + +A patriotic effusion, celebrating the capture of the British frigate +_Guerriere_, was produced on October 2, 1812. In 1813, to +commemorate the victory of Perry, a piece was mounted, entitled, +"Heroes of the Lake; or, the Glorious Tenth of September." Another +piece, equally as suggestive in its title, was "The Sailor's Return; +or, Constitution Safe in Port." + +When the Marquis de Lafayette visited the United States in 1825, and +was taken to the theatre, the occasion was celebrated by an +appropriate "drop." In other words, the Manager, even in those days, +had the commercial instinct fully developed. + + * * * * * + +In the preparation of the present collection, the editor wishes to +thank those who have been generous in their advice and appreciation +of the work in hand. Being a pioneer effort, the original research +necessitated has been of an extensive character. I have had, in +order to verify my data, to correspond extensively, not only with +the members of the families of the different playwrights, but with +many historical societies and libraries. I have likewise had the +advantage of being able to consult with Dr. F. W. Atkinson, of the +Brooklyn Polytechnic, whose collection of American Drama is probably +one of the richest in the country, and with Professor Brander +Matthews, whose interest in all drama makes the historian +continually in his debt. Certain information concerning Royall Tyler +has been furnished me by members of the Tyler family, including Mrs. +E. L. Pratt, of Boston. In their proper places, when the plays +occur, certain credits and references will be found, but it is a +pleasure for me here to thank Mr. Percy Mackaye, Mr. David Belasco, +Mr. Langdon Mitchell, Mr. Augustus Thomas, the Clyde Fitch Estate, +and the Bronson Howard Estate, for their generous cooeperation in +bringing the present collection to a successful issue. The privilege +is also mine to thank Mr. L. Nelson Nichols, of the Americana +Division, and Mr. Victor H. Paltsits, in charge of the Manuscript +Division, of the New York Public Library, together with other +officials of that Library, of Columbia University, and of the +Library Company of Philadelphia, and Miss Z. K. Macdonald, for their +unfailing courtesy and untiring efforts in my behalf. + +In order to preserve uniformity of style throughout the text of the +plays certain modifications in punctuation and spelling have been +adopted. + + MONTROSE J. MOSES. + +February 22, 1917. + + + + +BIBLIOGRAPHY OF GENERAL WORKS + + +Some of the most important works on the history of the American +Drama and the American Theatre are given herewith. Under each +author, there will be found short individual bibliographies, and in +the succeeding volumes of the Collection, other general references +will be given which will throw light on the theatrical conditions of +the particular theatre periods. Naturally, books relating to modern +conditions will be reserved for the third volume. + +ALLIBONE, S. AUSTIN. A Critical Dictionary of English Literature and +British and American Authors. (3 vols.) Philadelphia: J. B. +Lippincott & Co. 1874. (Supplement to Allibone. By John Foster Kirk. +Lippincott, 1891, 2 vols.) + +ATKINSON, F. W. List of American Drama in the Atkinson Collection. +1756-1915. Brooklyn, January 1, 1916. + +BATES, ALFRED. Drama. Vols. XIX, XX. For American Drama. + +BECKS. Collection of Prompt Books in the New York Public Library. +_Bulletin_, February, 1906, pp. 100-148. + +BROWN, T. ALLSTON. A History of the New York Stage. From the First +Performance in 1732 to 1901. (3 vols.) New York: Dodd, Mead & Co. +1903. + +BURTON, RICHARD. The New American Drama. New York: Thomas Y. Crowell +Co. 1913. + +CLAPP, WILLIAM W., JR. A Record of the Boston Stage. Boston: James +Munroe and Company. 1853. + +CLARK, BARRETT H. The British and American Drama of Today. New York: +Henry Holt & Co. 1915. + +CRAWFORD, MARY CAROLINE. The Romance of the American Theatre. +Boston: Little, Brown & Co. 1913. + +DALY, HON. CHARLES P. First Theatre in America: When Was the Drama +First Introduced in America? An Inquiry. Dunlap Soc. Pub., n. s. 1, +1896. + +DICKINSON, THOMAS H. The Case of American Drama. Boston: Houghton +Mifflin Co. 1915. + +DUNLAP, WILLIAM. History of the American Theatre. London: Richard +Bentley. 1833. + +DURANG, CHARLES. History of the Philadelphia Stage. 1749-1855. +(Published serially in the _Philadelphia Dispatch_.) + +DUYCKINCK, EVERT A. and GEORGE L. The Cyclopedia of American +Literature: From the Earliest Period to the Present Day. +Philadelphia: William Rutter & Co. 1877. (2 vols.) + +EVANS, CHARLES. American Biography. 8 vols. Privately Printed. + +FAXON, FREDERICK W. Dramatic Index. Boston Book Co. 1909 _seq._ + +FORD, PAUL LEICESTER. The Beginnings of American Dramatic +Literature. _New England Magazine_, n. s. 9:673-687, February, 1894. + +FORD, PAUL LEICESTER. Some Notes Toward an Essay on the Beginnings +of American Dramatic Literature. 1606-1789. + +FORD, PAUL LEICESTER. Washington and the Theatre. Dunlap Soc. Pub., +n. s. 8, 1899. + +GAISFORD, JOHN. Drama in New Orleans. New Orleans. 1849. + +GRISWOLD, RUFUS WILMOT. Female Poets of America, With Additions by +R. H. Stoddard. New York, 1843-1873. + +GRISWOLD, RUFUS WILMOT. Prose Writers of America. Philadelphia: +Parry & McMillan. 1854. + +HARRIS, C. FISKE. Index to American Poetry and Plays in the +Collection of. Providence, 187-. + +HARRISON, GABRIEL. History of the Drama in Brooklyn. + +HASKELL, DANIEL C. (Compiler.) American Dramas, A List of, in the +New York Public Library. New York, 1916. (See also _Bulletin of the +New York Public Library_, October, 1915.) + +HILDEBURN, CHARLES R. The Issues of the Press in Pennsylvania. +Philadelphia, 1886. + +HUTTON, LAURENCE. Curiosities of the American Stage. New York: +Harper & Bros. 1891. + +IRELAND, JOSEPH N. Records of the New York Stage, from 1750 to 1860. +(2 vols.) New York: T. H. Morrell, Publisher. 1866. + +LUDLOW, N. M. Dramatic Life as I Found It: A Record of Personal +Experience with an Account of the Drama in the West and South. St. +Louis: G. I. Jones & Co. 1880. + +MATTHEWS, J. B. American on the Stage. _Scribner_, 28:321. + +MATTHEWS, J. B. A Book About the Theatre. New York: Charles +Scribner's Sons. 1916. + +MOSES, MONTROSE J. The American Dramatist. Boston: Little, Brown & +Co. 1917. + +MOSES, MONTROSE J. Famous Actor-Families in America. New York: +Thomas Y. Crowell & Co. 1906. + +PENCE, JAMES HARRY. (Compiler.) The Magazine and the Drama. An +Index. New York: The Dunlap Society. 1896. + +PHELPS, H. P. Players of a Century. A Record of the Albany Stage. +Albany, 1880. + +REES, J. The Dramatic Authors of America. Philadelphia, 1845. + +RODEN, ROBERT F. Later American Plays. 1831-1900. New York: The +Dunlap Society. (1900, n. s. 12.) + +SABIN, JOSEPH. Dictionary of Books Relating to America. From Its +Discovery to the Present Time. Vol. 1, _seq._ New York: 1868 _seq._ + +SABINE, LORENZO. Biographical Sketches of Loyalists of the American +Revolution. (2 vols.) Boston: Little, Brown & Co. 1864. + +SCHARF, J. THOMAS, and WESTCOTT, THOMPSON. History of Philadelphia. +1609-1884. Philadelphia: L. H. Everts & Co. 1884. + +SEARS, ALONZO. American Literature in the Colonial and National +Periods. Boston: Little, Brown & Co. 1902. + +SEILHAMER, GEORGE O. I. History of the American Theatre Before the +Revolution. Philadelphia, 1888. II. History of the American Theatre +During the Revolution and After. Philadelphia, 1889. III. History of +the American Theatre: New Foundations. Philadelphia, 1891. + +SIMPSON, HENRY. The Lives of Eminent Philadelphians, Now Deceased. +Collected from Original and Authentic Sources. Philadelphia: William +Brotherhead. 1859. + +SMITH, SOLOMON FRANKLIN. Theatrical Management in the West and South +for Thirty Years, with Anecdotal Sketches. New York: Harper & Bros. +1868. + +SONNECK, OSCAR GEORGE THEODORE. Catalogue of Opera Librettos Printed +Before 1800. (2 vols.) Washington: Government Printing Office. 1914. + +SONNECK, O. G. T. Early Opera in America. New York: G. Schirmer. +1915. + +SONNECK, O. G. T. Report on the Star-Spangled Banner, Hail Columbia, +America, and Yankee Doodle. Washington: Government Printing Office. +1909. + +STONE, HENRY DICKINSON. Personal Recollections of the Drama. Albany, +1873. + +_Times_, New York. The Early Theatre. December 15, 1895, p. 13. + +TOMPKINS, EUGENE, and KILBY, QUINCY. History of the Boston Theatre. +Boston: Houghton Mifflin Co. 1908. + +TYLER, MOSES COIT. The Literary History of the American Revolution. +1763-1783. (2 vols.) New York: G. P. Putnam's Sons. 1897. + +WEGELIN, OSCAR. The Beginning of the Drama in America. _Literary +Collector_, 9:177-181, 1905. + +WEGELIN, OSCAR. Early American Plays. 1714-1830. New York: The +Literary Collector Press. 1905. (See Dunlap Soc. Pub., n. s. 10, +1900; also the _Literary Collector_, 2:82-84.) + +WEMYSS, F. C. Chronology of the American Stage from 1752 to 1852. +New York: Wm. Taylor & Co. + +WEMYSS, F. C. Twenty-six Years of the Life of an Actor and Manager. +(2 vols.) New York: Burgess, Stringer & Co. 1847. + +WILKINS, FREDERICK H. Early Influence of German Literature in +America. _Americana Germanica_, 3:103-205, 1899. + +WILLARD, GEORGE O. History of the Providence Stage. 1762-1891. +Providence: R. I. News Co. 1891. + +WILSON, JAMES GRANT. (Editor.) The Memorial History of the City of +New York. (4 vols.) New York History Co. 1892 _seq._ + +WINSOR, JUSTIN. The Memorial History of Boston, including Suffolk +Co., Mass. 1630-1880. Boston: Ticknor & Co. 1880. + +WINTER, WILLIAM. The Wallet of Time. (2 vols.) New York: Moffat, +Yard & Co. 1913. + +WOOD, WILLIAM B. Personal Recollections of the Stage. Embracing +Notices of Actors, Authors, and Auditors, During a Period of Forty +Years. Philadelphia: Henry Carey Baird. 1855. + + + + +INDIVIDUAL BIOGRAPHIES FOR PLAYS. + + +Only essential references are given, and wherever possible the +author's name is indicated, rather than the title. In such cases, +the full title of the reference may be had by consulting the General +Bibliography. + + +THOMAS GODFREY, JR. + +William Allen, American Biographical Dictionary; Dunlap, i, 50; +Seilhamer, i, 185; Tyler, Consult Index; Journal of William Black; +Journal of Sarah Eve, Extracts from the: Written while living near +the City of Philadelphia in 1772-1773 (Philadelphia, 1881); +_American Museum_, 471-472; _Journal National Institute Sciences_, +i: 165, 1915; _Nation_, 100:415, April 15, 1915. + + +MAJOR ROBERT ROGERS + +Allibone; Appleton's Cyclopedia of American Biography; Dictionary of +National Biography; Duyckinck; Ryerson, American Loyalists; Sabin; +Sabine, American Loyalists; Tyler; Winsor. Ellis P. Oberholtzer, +Literary History of Philadelphia (1906); Sears. _Canadian Magazine_, +1914, 42:316-318; _Dial_ (Chicago), 59:68-69; 97, 1915; _Historical +Magazine_ (New York), April, 1860, 127; _New England Magazine_, +1894, n. s. 9:678; Royal Society of Canada Proceedings and +Transactions, ser. 2, vol. 6, sec. 2, pp. 49-59, Ottawa, 1900. The +reader is also referred to the Nevins re-issue of "Ponteach," in +which full bibliographies are given; also to Parkman's "History of +the Conspiracy of Pontiac." Consult Caleb Stark's "Memoir and +Official Correspondence of Gen. John Stark, with Notices of Several +other Officers of the Revolution. Also, a Biography of Capt. +Phinehas Stevens, and of Colonel Robert Rogers" (1860). + + +MRS. MERCY WARREN + +Alice Brown, "Mercy Warren" (_Women of Colonial and Revolutionary +Times_). New York: Scribner's, 1896; Duyckinck; Ellet, Women of the +American Revolution; Fiske, John, American Revolution; Griswold, +Female Poets of America; Mrs. Hale, Woman's Record; Rees, 132; +Seilhamer, ii, 3; Winsor, Boston; Wegelin. Adams, Works of John--ed. +by Charles Francis Adams.--Consult Index; _Blackwood Magazine_, +xvii, 203; Correspondence Relating to Mrs. Warren's History of the +American Revolution, _Mass. Hist. Coll._, ser. 5, v. 4, 315-511; +_Harper's Magazine_, 1884, 68:749; _New England Magazine_, 1894, n. +s. 9:680; _North American Review_, lxviii, 415. In studying first +editions of plays, the reader is referred to the Bibliographies of +Charles Evans and Charles Hildeburn. + + +HUGH HENRY BRACKENRIDGE + +Allibone; Duyckinck; Victor H. Paltsits, A Bibliography of the +Separate and Collected Works of Philip Freneau (including +Brackenridge)--New York: Dodd, Mead & Co., 1903; 1846 edition of +Brackenridge's "Modern Chivalry," containing a biographical sketch by +his son; Oberholtzer; Tyler; _United States Magazine_ (in the +collection of the Historical Society of Pennsylvania). The reader is +also referred to Mary S. Austin's "Philip Freneau, the Poet of the +Revolution: A History of his Life and Times" (1901); F. L. Pattee's +"The Poems of Philip Freneau: Poet of the American Revolution"--Edited +for the Princeton Historical Association, 3 volumes, 1902-1907; Samuel +Davies Alexander's "Princeton College during the Eighteenth Century;" +James Madison's Correspondence while at College; W. C. Armor's "Lives +of the Governors of Pennsylvania," for a picture and an account of the +administration of Governor Thomas Mackean. Consult also, for college +atmosphere, the Journals of Philip Fithian, and the Correspondence of +the Rev. Ezra Stiles, Letter of July 23, 1762, published by the Yale +Press. (Styles encouraged "The Mercenary Match," by Barnabas Bidwell.) + + +JOHN LEACOCK + +Durang; Duyckinck; Hildeburn; Ford; Sabin; Seilhamer, ii, 10; Tyler; +"New Travels through North-America." Translated from the Original of +the Abbe Robin [Claude C.], one of the Chaplains to the French Army +in America, 1783. (Observations made in 1781); Sonneck's "Early +Opera in America;" Watson's "Annals of Philadelphia;" Philadelphia +Directories as mentioned in text. + + +SAMUEL LOW + +Dunlap; Duyckinck; Sabin; Seilhamer, ii, 284; Stedman-Hutchinson, +Cyclopedia of American Literature; New York Directories as +mentioned. + + +ROYALL TYLER + +Allibone; Appleton's Cyclopedia of American Biography; Dunlap, i, +137; Duyckinck; Ireland, i, 76; Stedman-Hutchinson, Library of +American Literature; Winsor; "Memoirs of the Hon. Royall Tyler: Late +Chief Justice of Vermont. Compiled from his Papers by his son, +Thomas Pickman Tyler, 1873" (Unpublished). According to information +(1917), this manuscript, incomplete, is being brought to a close by +Helen Tyler Brown, great-granddaughter of the Judge. There is +likewise a life of Mary Tyler, unpublished, written by herself when +quite an old woman. + +Consult also: J. T. Buckingham's "Personal Memoirs and +Recollections," 2 vols., 1852; J. T. Buckingham's "Specimens of +Newspaper Literature," 2 vols., 1850; Vermont Bar Association +Proceedings, 1878-1886, vol. i, pp. 44-62, an article by the Rev. +Thomas P. Tyler, D.D., of Brattleboro; Harold Milton Ellis's "Joseph +Dennie and His Circle: A Study in American Literature from 1792 to +1812."--Studies in English, No. 1, _Bulletin of the University of +Texas_, No. 40, July 15, 1915; John Trumbull's "Autobiographical +Reminiscences and Letters, 1756-1841." The correspondence relating +to Shays's Rebellion is to be found in "Brattleboro, Wyndham Co., +Vermont, Early History, with Biographical Sketches. Henry +Burnham."--Edited by Abby Maria Hemenway (Includes an excellent +picture of Royall Tyler); William Willis's "The Law, the Courts and +the Lawyers of Maine" (1863). Further references to Tyler are +contained in Rees, 131; Mitchell, American Lands; John Adams' Works; +Sonneck's "Opera in America," under "May-day in Town;" Seilhamer, +ii, 227; _Delineator_ (New York), 85:7; _New England Magazine_, +1894, n. s. 9:674; _North American Review_, July, 1858, 281. + +Among Tyler's works, other than those mentioned in the Introduction, +may be recorded: + +1. "The Algerine Captive; or, The Life and Adventures of Dr. Updike +Underhill, Six Years a Prisoner Among the Algerines." 2 vols. +Walpole, N. H., 1797. + +2. "Moral Tales for American Youths." Boston, 1800. + +3. "The Yankee in London: A Series of Letters, written by an +American Youth during Nine Months of Residence in the City of +London." New York, 1809. + +4. Tyler wrote for the newspapers with Joseph Dennie, Walpole, N. +H., and published selections from his contributions under the title +of "The Spirit of the Farmer's Museum and Lay Preacher's Gazette." +He also contributed poems to the _Farmer's Weekly Museum_, to the +_Portfolio_, to the Columbia _Centinel_, to the _New England +Galaxy_, and to the _Polyanthus_. Prose works were likewise included +therein. Some of his contributions to the _Farmer's Museum_ were +gathered together in 1798 under the title of "Colon and Spondee +Papers," and issued by the pioneer American printer, Isaiah Thomas. + + +WILLIAM DUNLAP + +The reader is referred to Dunlap's own "History of the American +Theatre," and to his numerous other prose works, notably his Lives +of Charles Brockden Brown and George Frederick Cooke. The Dunlap +Society's Reprints of "Andre" (iv. 1887), "Darby's Return" (n. s. 8, +1899), and "The Father" (ii, 1887) contain biographical data. See +Oscar Wegelin's "William Dunlap and His Writings," _Literary +Collector_, 7:69-76, 1904; O. S. Coad's "William Dunlap: A Study of +his Life and Writings, and of Contemporary Culture" (scheduled for +issuance by the Dunlap Society in 1917); Dunlap's Diary, in the +Library of the New York Historical Society: Vol. 14, July 27-Dec. +13, 1797; vol. 15, Dec. 14, 1797-June 1, 1798; vol. 24, Oct. 15, +1819-April 14, 1820; vol. 30, June 27, 1833-Dec. 31, 1834. Consult +also Duyckinck; Rees, 76; Stedman-Hutchinson, Library of American +Literature; Seilhamer, Index; Wood, Personal Recollections; +Sonneck's "The Musical Side of George Washington;" _Analytical +Magazine_, i, 404, 466; _New England Magazine_, 1894, n. s. 9, 684. +See Wegelin, Evans, Hildeburn. + + +JAMES NELSON BARKER + +Dunlap, ii, 307; Durang; Ireland; Rees; Diary of Manager Wood, in +possession of the University of Pennsylvania. Also Griswold's "Poets +and Poetry of America;" Oberholtzer's "Literary History of +Philadelphia;" Simpson. Barker's political writings were extensive. + + +MORDECAI MANUEL NOAH + +Dunlap, ii, 316; Ireland, i, 356; Jewish Encyclopedia; National +Cyclopedia of American Biography. See also Allibone; Duyckinck; P. +K. Foley's "American Authors;" Oberholtzer's "Literary History of +Philadelphia;" Rees; Scharf and Westcott; James Grant Wilson's +"Fitz-Green Halleck;" _International Magazine_, iii, 282; _American +Jewish Historical Society Pub._, No. 6, 1897, 113-121; _Lippincott_, +i, 665; J. T. Trowbridge's "My Own Story. With Recollections of +Noted Persons" (1903). + + + + + +End of the Project Gutenberg EBook of Representative Plays by American +Dramatists, by Various + +*** END OF THIS PROJECT GUTENBERG EBOOK REPRESENTATIVE PLAYS *** + +***** This file should be named 29221.txt or 29221.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/9/2/2/29221/ + +Produced by David Starner, Brownfox and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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