The complete plays of Fanny Burney, taken from the original manuscripts of her work. The work includes a general introduction, headnotes to each play, explanatory notes and variant readings.
In the plays, as in her novels, Burney satirizes the social conventions and pretensions of her day. The Witlings (1779), her first play, is a biting satire on the Bluestockings; it was never performed, however, for fear of a possible scandal. The violent, the grotesque, and the macabre also figure strongly in her writings. Contents Volume 1: The Comedies Introduction Chronology The Witlings (1778-80) Love and Fashion (1798-99) A Busy Day (1800-02) The Woman-Hater (1800-02) Volume 2: The Tragedies Edwy and Elgiva (1788-95) Hubert de Vere (1790-97) The Siege of Pevensey (1790-91) Elberta (1791-1814) Appendix: The Triumphant Toadeater (1798)
The complete plays of Fanny Burney, taken from the original manuscripts of her work. The work includes a general introduction, headnotes to each play, explanatory notes and variant readings.
When Henry Vizetelly was imprisoned in 1889 for publishing the novels of Émile Zola in English, the problem was not just Zola’s French candour about sex – it was that Vizetelly’s books were cheap, and ordinary people could read them. Censored exposes the role that power plays in censorship. In twenty-five chapters focusing on a wide range of texts, including the Bible, slave narratives, modernist classics, comic books, and Chicana/o literature, Matthew Fellion and Katherine Inglis chart the forces that have driven censorship in the United Kingdom and the United States for over six hundred years, from fears of civil unrest and corruptible youth to the oppression of various groups – religious and political dissidents, same-sex lovers, the working class, immigrants, women, racialized people, and those who have been incarcerated or enslaved. The authors also consider the weight of speech, and when restraints might be justified. Rich with illustrations that bring to life the personalities and the books that feature in its stories, Censored takes readers behind the scenes into the courtroom battles, legislative debates, public campaigns, and private exchanges that have shaped the course of literature. A vital reminder that the freedom of speech has always been fragile and never enjoyed equally by all, Censored offers lessons from the past to guard against threats to literature in a new political era.
This new collection of essays on Richard Brinsley Sheridan brings the most important British playwright of the eighteenth century back to the forefront of literary and cultural studies of the era. While his pyrotechnic life as a romantic hero, playwright, Member of Parliament, and theatre manager has generated a number of recent biographies, it is Sheridan's works--not just plays but also poetry and orations--that endure. These essays reclaim the legacy of the man of letters and partisan bon vivant who burst from obscurity to become a powerful cultural force in Georgian London. This collection covers the many lives of Sheridan, taking into account both his variegated career and the competing accounts of the man, as well as his early verse, which lays the foundation for his success as a playwright. Chapters are devoted to Sheridan's theatre, and provide innovative readings of his most famous dramatic pieces: The Rivals, The Duenna, The School for Scandal, The Critic, and Pizarro. The volume also includes extensive discussion of the dramatic highs of Sheridan's long political career, thus placing the playwright-politician firmly in the world in which performance and politics were inextricably entwined. Contributors: Mita Choudhury, Jack E. DeRochi, Marianna D'Ezio, Daniel J. Ennis, Emily Friedman, Steven Gores, David Haley, Robert W. Jones, Daniel O'Quinn, Glynis Ridley, John Vance, David Francis Taylor
Literary Relations argues that kinship relations between writers, both literal and figurative, played a central part in the creation of a national tradition of English literature. Through studies of writing relationships, including those between William and Dorothy Wordsworth, Henry and Sarah Fielding, Frances and Richard Brinsley Sheridan, and Mary Wollstonecraft and Mary Shelley, it shows that kinship between writers played a significant role not just in individual lives but in the formation of generic traditions. As writers looked back to founding fathers, and hoped to have writing sons, the literary tradition was modelled on the patriarchal family, imagined in tropes of genealogy and inheritance. This marginalized but did not exclude women, and the study ranges from the work of Dryden, with its emphasis on literature as patrilineal inheritance, to the reception of Austen, which shows uneven but significant progress towards understanding the woman writer as an inheriting daughter and generative mother.
The position Frances Burney (1752-1840) holds as a novelist, journalist, and letterwriter is now undisputed, thanks to reevaluations of the canon in recent years. Yet Burney was always intrigued by, and wrote for, the stage. Though only one of Burney's dramas was performed in her lifetime, Barbara Darby places the plays in the context of performance and feminist theory, challenging past assertions about Burney that were based entirely on her novels and journals. Darby maintains that in exposing the failure of such practices and institutions as courtship, marriage, family, government, and the church, Burney's dramas often exceed her novels in the depth of their social commentary. In her four comedies and four tragedies, Burney uses stage space, dialogue, blocking, and gesture to highlight the ways power is distributed among society's members. According to Darby, these plays show that the eighteenth-century female experience was dominated by physical, psychic, and emotional regulation that included bodily punishment and the limitation of personal choice. Placing Burney alongside other prominent female playwrights of the period, Darby brings to light a substantial body of work, revealing that Burney's drama was not a casual sideline to her novel writing. Frances Burney, Dramatist, expands our appreciation of the extent to which eighteenth-century women playwrights used the stage as a forum.
Frances Burney's 'FANNY BURNEY Ultimate Collection' is a comprehensive compilation of the author's works, including her complete novels, a play, essays, diary entries, letters, and biography, all of which are beautifully illustrated. Burney's literary style is characterized by wit, humor, and keen observations of 18th-century society, making her a significant figure in the development of the novel as a form of social commentary. The collection provides readers with a comprehensive understanding of Burney's literary contributions and her place in the literary landscape of her time. The inclusion of various genres showcases Burney's versatility as a writer, making this collection a must-read for fans of classic literature. Frances Burney, as a prominent female novelist of the 18th century, drew from her own experiences as a woman living in a patriarchal society to create complex female characters and explore themes of identity, love, and marriage. Her unique perspective and ability to blend humor with social critique set her apart from her contemporaries and established her as a leading voice in English literature. The 'FANNY BURNEY Ultimate Collection' is a testament to her enduring legacy. I highly recommend 'FANNY BURNEY Ultimate Collection' to readers interested in exploring the works of a pioneering female author from the 18th century. Burney's insightful commentary on society and engaging storytelling make this collection a valuable addition to any literary enthusiast's library.