Backstage in the Novel: Frances Burney and the Theater Arts

Index

301 Index Abington, Frances, 240 acting manuals, 71–72 Addison, Joseph: Cato, 26, 232, 273n45; The Drummer, 64, 77, 231, 232; on humor and truth, 251n50; on poetic justice, 20; Rosamond: An Opera, 171, 232 Adelgitha (Lewis), 279n20 Adventures of David Simple, The (Fielding), 23 Adventures of Sir Launcelot Greaves, The (Smollett), 197–98 advertisements, 179–80 agnition, 87–88 Aickin, James, 240 All for Love (Dryden), 16–17, 234, 248n10, 273n45 Alston, R. C., 258n50 Altick, Richard, 181, 197 Alwyn (Holcroft), 176 Amelia (Fielding), 23, 277 Amendments of Mr. Collier’s False and Imperfect Citations (Congreve), 33, 262n8 Andrew, Donna, 179–80, 275n61 Andrews, Miles Peter, 224 Anfossi, Pasquale, 224 Anne, Queen, 42 anti-psychiatric school, 204 Antony and Cleopatra (Shakespeare), 17 Ariosto, Ludovico, 13, 248n1 aristocracy: bourgeois drama as antiaristocratic , 26, 46; versus bourgeoisie in The Witlings, 111–12, 264n23; fops and, 79; in heroic tragedy, 14; versus merchants in Cecilia, 162–63; rejection of aristocratic values in comedy, 39, 40, 46; representation of relations with merchants, 41 Aristotle, 19, 20, 67, 87–88, 131, 248n13, 270n11 Arne, Thomas, 224, 225 Artaserse (Metastasio), 145, 146, 171, 224, 227, 236 Art of Acting, The (Hill), 72 Astell, Mary, 121 As You Like It (Shakespeare), 146, 171, 217, 229, 237 Aureng-Zebe (Dryden), 14–15 Austen, Jane: characters display their moral characteristics, 2, 245n3; epistolary style, 70–71; Mansfield Park, 5; moral sociability in works of, 34, 251n54; Northanger Abbey, 2, 245n3; Persuasion, 245n3; on women’s writing, 137, 270n10 Austen-Leigh, James Edward, 245n3 Baillie, Joanna, 232, 279n20 Banks, John, 25–26 Barrett, Charlotte, 7 Page numbers in italics refer to figures. Index 302 Barsanti, Jenny, 225, 226, 229, 231, 233, 235, 240, 283n70 Bas-bleu, The (More), 122–23 Basset Table, The (Centlivre), 274n50 Bate, Henry, 255n25 Beach, Thomas, 283n60 Beattie, James, 160 Beaumont, Francis, 232, 233 Beaux’ Strategem, The (Farquhar), 36 Bedlam, 197 Beggar’s Opera, The (Gay), 226, 257n32 Behn, Aphra: The Feign’d Curtizans, 21; as first female novelist, 5, 246n12; The History of the Nun, 22; Love-Letters between a Nobleman and His Sister, 5; The Luckey Chance, 90; Oroonoko, 5, 246n12; The Rover, 32; suffering, innocent heroines in work of, 21 Belinda (Edgeworth), 137, 277n76, 277n78 Bennett, Alan, 202–3, 211, 280n36, 281n40, 282n52 Bensley, Robert, 240 Berger, John, 191 Berkeley, George, 74 Bertinetti, Paolo, 14 Bertoni, Ferdinando Giuseppe, 225 Bertram (Maturin), 279n20 Betterton, Julia, 240 Betterton, Thomas, 72–73 Bevis, Richard, 165, 273n45 Bickerstaffe, Isaac, 125, 225, 232, 268n49 Billi, Mirella, 71–72 blank verse, 167, 273n45 Bluestocking Circle, 122–23, 268n57 Boaden, James, 16, 233 Boccalini, Traiano, 96 Bold Stroke for a Wife, A (Centlivre), 163, 169, 171, 172, 233 Bond, Erik, 206 Bonduca (Colman), 233 Bon Ton (Colman), 59 Boswell, James, 92 Bottarelli, Giovanni Gualberto, 225, 228 bourgeois drama: Cecilia compared with, 169; Evelina based on family plot of, 82; exaltation of suffering virtue in, 22; rise of mercantile class and emergence of, 33 bourgeoisie. See middle class bourgeois tragedy, 26–28; historical continuity between heroic tragedy and, 45, 172; Lillo on, 18–19; as model for Cecilia, 9; sentimental comedy and, 34 breeches parts, 217 Bride of Lammermoor, The (Scott), 198, 199–200 Brown, Laura, 14, 17, 30, 46, 172 Brunton, Anne, 240 Burgoyne, John, 240 Burke, Edmund, 92, 136, 148, 161, 200, 201 Burney, Charles, 48–49; anti-theatrical prejudice of, 131; The Cunning Man, 233; Evelina’s dedicatory poem to, 52–54; at family reading of The Witlings, 5, 103, 126, 127; first marriage of, 49; Frances’s letter of 13 August 1779 to, 128–29; on Frances’s literary success, 90–92, 95; A General History of Music from the Earliest Ages to the Present Period, 49, 126, 136, 137; influence on Cecilia, 133, 134; introduces Frances to Mrs. Thrale, 92; invests Burney’s payment for Cecilia, 136; The Present State of Music in France and Italy, 49; The Present State of Music in Germany , the Netherlands, and the United Provinces, 49; Queen Mab, 225; reads Evelina to his wife, 193–94; relationship with Frances, 49–53, 92; second marriage of, 49; social background of, 269n60; unwavering disapproval of Frances writing for stage, 7, 9, 126, 131, 133; The Wanderer’s dedication to, 50–51; on The Witlings, 126, 127–32, 134; writings of, 49, 131 Burney, Edward Francesco, 275n63 Burney, Frances —attitude towards authorship of: anonymity sought by, 254n14; disavows her professional status, 54, 95, 253n11; new status as literary lady, 95–96, 100; on...