“Weeping Mothers Shall Applaud”: Sarah Yates as Margaret of Anjou on the London Stage, 1797

2015 ◽  
Vol 49 (4) ◽  
pp. 419-444
Author(s):  
Sarah Burdett
Keyword(s):  
Margaret Of Anjou ◽  
London Stage

Restoration Theatre and the Novel

2018 ◽  
Author(s):  
Jenny Davidson
Keyword(s):  
Eighteenth Century ◽  
Literary Form ◽  
The Novel ◽  
Cultural Transition ◽  
Strong Affinity ◽  
History Of ◽  
Restoration Theatre ◽  
Restoration Comedy ◽  
London Stage

This chapter explores the broad cultural transition from drama to novel during the Restoration period, which triggered one of the most productive periods in the history of the London stage. However, when it comes to the eighteenth century proper, the novel is more likely to be identified as the century's most significant and appealing popular genre. The chapter considers why the novel has largely superseded drama as the literary form to which ambitious and imaginative literary types without a strong affinity for verse writing would by default have turned their attention and energies by the middle of the eighteenth century. Something important may have been lost in the broad cultural transition from drama to novel. This chapter, however, contends that many things were preserved: that the novel was able to absorb many of the functions and techniques not just of Restoration comedy but of the theatre more generally.

The jewels of Queen Margaret of Anjou

1959 ◽  
Vol 42 (1) ◽  
pp. 113-131 ◽  
Author(s):  
A. R. Myers
Keyword(s):  
Margaret Of Anjou

scholarly journals XVI.—On certain Inaccuracies in the ordinary Accounts of the early years of the Reign of King Edward IV

Archaeologia ◽  
1883 ◽  
Vol 47 (2) ◽  
pp. 265-294
Author(s):  
Charles Spencer Perceval
Keyword(s):  
Early Years ◽  
Margaret Of Anjou

Having lately had occasion to examine with some particularity the sequence of domestic events during the first four years of King Edward the Fourth, especially in connection with the movements, during part of that time, of the deposed King Henry and his consort, Margaret of Anjou, it has surprised me to find how confusedly the period in question has been treated.

Bernard Shaw's Beginnings on the London Stage

PMLA ◽  
1959 ◽  
Vol 74 (4-Part1) ◽  
pp. 470-481
Author(s):  
Irving McKee
Keyword(s):  
New Drama ◽  
Bernard Shaw ◽  
London Stage

In 1892, at the age of thirty-six, Bernard Shaw was a notorious socialist and a bachelor, living with his musical mother and sister in London. He had begun paying his way seven years before as a critic of art; now he assayed music; soon, in 1894, it was to be weekly evaluation of the drama. Four of his six novels—five of them written while his mother supported him—had appeared obscurely and unprofitably. In 1891 a young Dutch friend and fellow critic, Jacob T. Grein, had produced Ibsen's Ghosts to inaugurate the new Independent Theatre in support of Shaw's almost solitary campaign for the New Drama. Grein sought but could not at first find an adequate English play in the new vein. “This was not to be endured,” Shaw later recalled. “I had rashly taken up the case, and rather than let it collapse, I manufactured the evidence.” He had embarked upon Widowers' Houses in 1885 only to lay it aside uncompleted; he now finished it, and Grein produced it on 9 December 1892 at the Royalty Theatre, on quite unfashionable Dean Street in Soho. It was Shaw's first appearance on any stage.

Reflections of Power: Margaret of Anjou and the Dark Side of Queenship

1986 ◽  
Vol 39 (2) ◽  
pp. 183-217 ◽  
Author(s):  
Patricia-Ann Lee
Keyword(s):  
Dark Side ◽  
The World ◽  
Margaret Of Anjou ◽  
King Of France

When Margaret of Anjou died at the Chateau of Dampierre, near Saumur, on August 25, 1482 it was as a woman not only retired from the world but almost forgotten by it. She who had been for a time the virtual ruler of Lancastrian England, who had raised armies and intrigued with princes, had not enough money to pay her debts except through the uncertain charity of her uncharitable cousin, the king of France. Crushed by misfortune, bereft of power by the death of her husband and son, picked clean of her remaining rights and possessions by Louis as the price of her ransom from English captivity, she seemed to be of no interest to anybody.

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