Download Joanna Baillie, Romantic Dramatist: Critical Essays by Thomas C. Crochunis PDF

By Thomas C. Crochunis

This magnificent selection of new essays deals a special perception into the paintings of a number one ladies dramatist of the Romantic period. participants supply: *contextual fabric for these new to Baillie's paintings *examinations of the relationships among her performs and the philosophical and clinical writing of the period *discussion of Baillie's theatrical equipment *extended interpretations of person performs. finishing years of forget of Baillie's an important paintings, this quantity is vital interpreting for these engaged on Romanticism, women's writing, or drama of the overdue eighteenth and early 19th centuries.

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1840 My dear Sir You have been exceedingly kind to me in sending me a Copy of the Dramas &c of your gifted friend Mr Hillhouse, and I am doubly gratified that it was his own wish also that I should have a copy. I have indeed great cause to be pleased with the present, for it has already afforded me several evenings very interesting reading, and will be kept in store for after perusal when it will not be found, I daresay, to have lost any of its attractions. As a dramatic writer, besides the beauties of his imagery & verse, he has the good quality (too rare a one) of seldom departing from real nature to produce fanciful effect.

George Ticknor’s journal6 43v 44r July 18. Joanna Baillie July 18. – We had a morning of much less excitement than the evening that had preceded it; but I cannot say it was less agreeable. At XII. o’clock, by appointment, we drove out to Mrs. Joanna Baillie’s, at Hampstead – took our lunch with her; – and passed the time at her house till IV. o’clock. The weather was beautiful & the drive out of town & up Hampstead hill afforded us constantly those fine views of London & its environs, which are the subjects of the prints we see at home.

Baillie 1851: 771). In his 1994 edition of Poems, 1790, Jonathan Wordsworth argues that: “It is clear that Baillie’s thinking in the Introductory Address was known to Coleridge and Wordsworth as they worked on Lyrical Ballads, and influenced the wording of the Advertisement” (Wordsworth 1994: Introduction). Dorothea Hunter Baillie died on 30 September 1806, not 1808 as Carhart states, and was blind for three years before her death (Mitchell Library MS 212c to Lady Davy; and Slagle 1999: 507). For unaccountable reasons, such is suggested both in Carhart’s brief 1923 biography of Baillie and in “The Cool World of Samuel Taylor Coleridge: The Question of Joanna Baillie” (Zall 1982: 17–20).

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