Notes
Notes Introduction 1. See Lannep et al., The London Stage and Highfill, Burnim, and Langhans, Biographical Dictionary ofActors and Actresses. 2. Hume, "Multifarious Forms of Eighteenth-Century Comedy," 26. 3. Nicoll, History of English Drama, 1660-1900,2: 1-2. 4. I have taken information for this discussion from a variety of sources. For more detailed information, see the general introductions and overviews of eighteenth-century drama in Lannep et al.; Nicoll; Craik and Leech, The Revels History of Drama in English, vols. 5 and 6; and Styan, The English Stage. 5. Goldsmith, "An Enquiry into the Present State of Polite Learning in Europe," 1: 323. In alluding to a "licenser," Goldsmith refers to the Stage Licensing Act instituted in 1737. 6. In a study whose figures have held up to scrutiny, Harry William Pedicord has fixed regular attendance at the theaters at l.7 percent of the London population. For this and other statistics related to attendance, see his Theatrical Public in the Time ofGarrick, 1-18, esp. 17. 7. Klein, Shaftesbury and the Culture of Politeness, 11. 8. Worthen, Idea ofthe Actor, 81. For a broader discussion of the semiotics of place, and specifically of the space of the theater as marking a socio-cultural event, see Carlson, Places ofPerformance. 9. See Turner, From Ritual to Theatre and The Anthropology of Performance; Loftis's two studies, Politics ofDrama and Comedy and Society; and Brown, English Dramatic Form. 10. For just a sampling of some of the most recent work in Restoration studies, see Backscheider, Spectacular Politics; Canfield, Tricksters and Estates; Gill, Interpreting Ladies; Markley, Two-edg'd Weapons; Peters, Congreve; Rosenthal, Playwrights and Plagiarists; Staves, Players' Scepters. For studies of Shakespeare in the eighteenth century, see Bate, Shakespearean Constitutions; Dobson, The Making ofthe National Poet, Marsden, Re-Imagined Text. 11. McKeon, "Generic Transformation and Social Change," 161. See also his Origins of the English Novel. 12. Watt, Rise of the Novel. john Bender and Nancy Armstrong published their groundbreaking studies in the same year as McKeon, and they too looked to the rise of the middle class as the key to understanding the rise of the novel. See Bender, Imagining the Penitentiary and Armstrong, Desire and Domestic Fiction. 13. McKeon, Origins ofthe English Novel, 22. 14. See Warner, Licensing Entertainment, xiv n. 3. 15. Ibid. My emphasis here follows from Warner's emphasis in an earlier phrasing. 16. Lynch, Economy of Character, 1, 127-28. 17. In The Rise of the Novel, Ian Watt defined formal realism as "the premise, or primary convention, that the novel is a full and authentic report of human experience, and is therefore under an obligation to satisfy its reader with such details of the story as the individuality of the actors concerned, the particulars of the times and places of their actions, details which are presented through a more largely referential use of language than is common in other literary forms" (32). Chapter One l. Richard Steele, Spectator No. 370, 5 May 1712, Addison and Steele, 3: 393-96. 2. For this phrase see Agnew, Worlds Apart, 160. 3. Agnew, 14. For a similar view on the shift to a theatrical perspective in eighteenthcentury life, see Paulson, Popular and Polite Art in the Age ofHogarth and Fielding, 115-33. 4. Agnew, 161. See Marshall, The Figure of Theater. 5. Summarizing the "heart of [his] argument," Michael Fried writes in Absorption and Theatricality, that "underlying both the pursuit ofabsorption and the renewal ofinterest in the sister doctrines is the demand that the artist bring about a paradoxical relationship between painting and beholder-specifically, that he find a way to neutralize or negate the beholder's presence, to establish the fiction that no one is standing before the canvas" (108). 6. See also, Fried, 93-96, where he discusses Diderot's articulation of the concept ofthe fourth wall in Discours de Ia poesie dramatique. 7. Watt, Rise ofthe Novel. 8. Bender, Imagining the Penitentiary, 253, n. 2. 9. Armstrong, Desire and Domestic Fiction, 8. 10. See Braudy, "Penetration and Impenetrability in Clarissa," 274. 11. Braudy, 271. 12. Bender, 38. 13. For two recent instances where theorists of the novel have formulated this logic of "compensation" in economic terms see Thompson, Models of Value and Lynch, The Economy of Character. 14. Gallagher, 171-72. 15. For passing concessions of this kind, see Armstrong, 9 and Thompson, 7. For a significant intervention in this line ofthought, see Lynch, 1-20. 16. The cited phrase is taken...
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