Excerpt from Love and Friendship; Or, Yankee Notions: A Comedy, in Three Acts Should the pedantic critic graciously condescend to glance the eye of disapprobation over these pages, he may recollect or let it alone, ' that they are the first, the maiden production of a partially educated yout h, who courts not his favor and shall never fear his impotent malevolence. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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The following piece (designed for a farce, but Being considered too long has been printed as a comedy) was written, to pass away time, more than two years ago when I was several hundred miles removed from the precinct of any theatre, and but nineteen years of age. A copy was taken of it about sixteen months since, and considerable additions were made; after which it was read by two or three of my friends, who requested to see it published.Should the pedantic critic graciously condescend to glance the eye of disapprobation over these pages, he may recollect or let it alone, that they are the first, the maiden production of a partially educated youth, who courts not his favor and shall never fear his impotent malevolence.
Love and Friendship Or Yankee Notions a Comedy in Three Acts Volume 20
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Love and Friendship Or Yankee Notions a Comedy in Three Acts Volume 20
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
The famous "Stage Yankees," with their eccentric New England dialect comedy, entertained audiences from Boston to New Orleans, from New York to London in the years between 1825 and 1850. They provided the creative energy for the development of an American-type character in early plays of native authorship. This book examines the full range of their theatre activity, not only as actors, but also as playmakers, and re-evaluates their contribution to the growth of the American stage. Yankee theatre was not an oddity, a passing fad, or an accident of entertainment; it was an honest exploitation of the materials of American life for an audience in search of its own identification. The delineation of the American character—a full-length realistic portrait in the context of stage comedy—was its projected goal; and though not the only method for such delineation, the theatre form was the most popular and extensive way of disseminating the American image. The Yankee actors openly borrowed from what literary sources were available to them, but because of their special position as actors, who were required to give flesh-and-blood imitations of people for the believable acceptance of others viewing the same people about them, they were forced to draw extensively on their actors' imaginations and to present the American as they saw him. If the image was too often an external one, it still revealed the Yankee as a hardy individual whose independence was a primary assumption; as a bargainer, whose techniques were more clever than England's sharpest penny-pincher; as a country person, more intelligent, sharper and keener in dealings than the city-bred type; as an American freewheeler who always landed on top, not out of naive honesty but out of a simple perception of other human beings and their gullibility. Much new evidence in this study is based on London productions, where the view of English audiences and critics was sharply focused on what Americans thought about themselves and the new culture of democracy emerging around them. The shift from America, the borrower, to America, the original doer, can be clearly seen in this stager activity. Yankee theatre, then, is an epitome of the emerging American after the Second War for Independence. Emerging nationalism meant emerging national definition. Yankee theatre thus led to the first cohesive body of American plays, the first American actors seen in London, and to a new realistic interpretation of the American in the "character" plays of the 1870s and 1880s.
Noting that the variation between the playwrights can be as great as between men and women, and acknowledging that her subjects are limited to a narrow class and race population, Detsi-Diamanti the cultural and historical specificity of women playwrights of the period and the interrelationship between their dramatic efforts and the formation of an American national and literary identity. Her major themes are metaphors of freedom, industrial capitalism, and gender perspective and ideology.