Edward A. Langhans

Philip H. Highfill

Kalman A. Burnim

Volume 7 includes such notables as the composers Handel and Haydn and the alluring actress Elizabeth Hartley.

Habgood to Houbert

A Biographical Dictionary of Actors, Actresses, Musicians, Dances, and Other Stage Personnel

To be completed in 12 volumes, this monumental work here begins publica­tion with the first two volumes—Abaco to Bertie and Bertin to Byzard. When completed, it is expected that the bio­graphical dictionary will include informa­tion on more than 8,500 individuals. Hundreds of printed sources have been searched for this project, and dozens of repositories combed, and the names of personnel listed have been filtered through parish registers whenever possible. From published and unpublished sources, from wills, archives of professional societies and guilds, from records of colleges, uni­versities, and clubs, and from the contri­butions of selfless scholars, the authors have here assembled material which il­luminates theatrical and musical activity in London in the 1660–1800 period. The information here amassed will doubtless be augmented by other spe­cialists in Restoration and eighteenth-century theatre and drama, but it is not likely that the number of persons now known surely or conjectured finally to have been connected with theatrical en­terprise in this period will ever be in­creased considerably. Certainly, the contributions made here add immeasurably to existing knowledge, and in a number of instances correct standard histories or reference works. The accompanying illustrations, esti­mated to be some 1,400 likenesses—at least one picture of each subject for whom a portrait exists—may prove to be a use­ful feature of the Work. The authors have gone beyond embellishment of the text, and have attempted to list all origi­nal portraits any knowledge of which is now recoverable, and have tried to ascer­tain the present location of portraits in every medium.

A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and Other Stage Personnel in London, 1660-1800,

Volumes three and four of this monumen­tal work include full entries for all such illustrious names as those of the Cibbers--Colley, Theophilus, and Susanna Maria--Kitty Clive, and Charlotte Charke, George Colman, the Elder, and the Younger, William Davenant, and De Loutherboug. But here also are full entries for dozens of important secondary figures and of minor ones whose stories have never been told, as well as a census (and at least a few recoverable facts) for even the most inconsiderable performers and servants of the theatres. As in the previous volumes in this dis­tinguished series, the accompanying illus­trations include at least one picture of each subject for whom a portrait exists.

A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers and Other Stage Personnel in London, 1660-1800

Professor Philip H Highfill, PhD

Originally prepared for the distinguished Tupper Lecture series by some of the world’s most widely recognized and respected Shake­spearian scholars. Anne R. Barton in “Julius Caesar and Coriolanus: Shakespeare’s Roman World of Words” contends that within the Roman world of oratory lies a central question: “The ethical status of oratory.” In “Irony and Its Interrelatedness in Shakespeare,” David Bev­ington studies verbal irony, dramatic irony, and “a more embracing irony which is both a criticism of life and a principle of drama­tic structure.” Robert B. Heilman, “Shake­speare’s Variations on Farcical Style,” ex­plores the “evolution” of farcical elements in Shakespeare. Alvin B. Kernan, “Shakespeare’s Stage Audiences: The Playwright’s Reflections and Control of Audience Response,” notes that the Renaissance dramatist was the first to have to sell his product on the marketplace. No more were they gentleman poets. In “Two Scenes from Macbeth,” Harry Levin concentrates on the porter’s scene and the sleepwalking scene. Noting that both scenes are in prose—usually reserved for lowlife comedy or for “psychic disturbance,” he shows the thematic, theological, and psychological importance of those scenes. “Looking for Shakespeare” is Samuel Schoenbaum’s at­tempt to find Shakespeare in the records and artifacts he left behind and in various docu­ments and shrines erected to immortalize him. Hallett D. Smith’s “The Poetry of the Lyric Group: Richard II, Romeo and Juliet, A Midsummer Night’s Dream” examines the po­etry in scenes where dramatic action might be more appropriate. In “Shakespeare and the Ceremonies of Romance,” Eugene M. Waith examines the appeal of ceremonial scenes for Shakespeare and other Tudor playwrights.

Eight Lectures

Shakespeare's Craft

To be completed in 12 volumes, this monumental work here begins publica­tion with the first two volumes?Abaco to Bertie and Bertin to Byzard. When completed, it is expected that the bio­graphical dictionary will include informa­tion on more than 8,500 individuals. Hundreds of printed sources have been searched for this project, and dozens of repositories combed, and the names of personnel listed have been filtered through parish registers whenever possible. From published and unpublished sources, from wills, archives of professional societies and guilds, from records of colleges, uni­versities, and clubs, and from the contri­butions of selfless scholars, the authors have here assembled material which il­luminates theatrical and musical activity in London in the 1660?1800 period. The information here amassed will doubtless be augmented by other spe­cialists in Restoration and eighteenth-century theatre and drama, but it is not likely that the number of persons now known surely or conjectured finally to have been connected with theatrical en­terprise in this period will ever be in­creased considerably. Certainly, the contributions made here add immeasurably to existing knowledge, and in a number of instances correct standard histories or reference works. The accompanying illustrations, esti­mated to be some 1,400 likenesses?at least one picture of each subject for whom a portrait exists?may prove to be a use­ful feature of the Work. The authors have gone beyond embellishment of the text, and have attempted to list all origi­nal portraits any knowledge of which is now recoverable, and have tried to ascer­tain the present location of portraits in every medium.

Abaco to Belfille

A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers, and Other Stage Personnel in London, 1660-1800

In contrast to each other, Volume 5 is a sociological portrait of mostly little people in their tragic and comic efforts to achieve fame on the London stage during the Restoration and eighteenth century, whereas Volume 6 is dom­inated by the glamour of David Gar­rick, Nell Gwyn, and Joseph Grimaldi, the celebrated clown. Some 250 por­traits individualize the great and small of the theatres of London.

Garrick to Gyngell

To be completed in 12 volumes, this monumental work here begins publication with the first two volumes--Abaco to Bertie and Bertin to Byzard. When completed, it is expected that the biographical dictionary will include information on more than 8,500 individuals. Hundreds of printed sources have been searched for this project, and dozens of repositories combed, and the names of personnel listed have been filtered through parish registers whenever possible. From published and unpublished sources, from wills, archives of professional societies and guilds, from records of colleges, universities, and clubs, and from the contributions of selfless scholars, the authors have here assembled material which illuminates theatrical and musical activity in London in the 1660-1800 period. The information here amassed will doubtless be augmented by other specialists in Restoration and eighteenth-century theatre and drama, but it is not likely that the number of persons now known surely or conjectured finally to have been connected with theatrical enterprise in this period will ever be increased considerably. Certainly, the contributions made here add immeasurably to existing knowledge, and in a number of instances correct standard histories or reference works. The accompanying illustrations, estimated to be some 1,400 likenesses--at least one picture of each subject for whom a portrait exists--may prove to be a useful feature of the Work. The authors have gone beyond embellishment of the text, and have attempted to list all original portraits any knowledge of which is now recoverable, and have tried to ascertain the present location of portraits in every medium -- Provided by the publisher.

A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660-1800

Volume 16 completes the magisterial Biographical Dictionary which provides information on some 8,500 of the people who contributed to the patent theatres, opera houses, fair booths, concert halls, and pleasure gardens in and around London during the period from 1660 to 1800. The final volume centers on Margaret Woffington, "the most beautiful woman that ever adorned a theatre" (the judgment of Thomas Davies--evidenced by the nine included portraits). Annotation copyright by Book News, Inc., Portland, OR

A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660-1800: W. West to Zwingman

Volumes three and four of this monumen­tal work include full entries for all such illustrious names as those of the Cibbers?Colley, Theophilus, and Susanna Maria?Kitty Clive, and Charlotte Charke, George Colman, the Elder, and the Younger, William Davenant, and De Loutherboug. But here also are full entries for dozens of important secondary figures and of minor ones whose stories have never been told, as well as a census (and at least a few recoverable facts) for even the most inconsiderable performers and servants of the theatres. As in the previous volumes in this dis­tinguished series, the accompanying illus­trations include at least one picture of each subject for whom a portrait exists.

Philip H. Highfill

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