James Boaden

Born into the theatre, though originally intended for Catholic holy orders, John Philip Kemble (1757–1823) made as great a name for himself on the English stage as his gifted older sister, Sarah Siddons. Known for his mastery of tragic Shakespearian roles, among which Coriolanus was deemed his finest, Kemble also distinguished himself as acting manager at Drury Lane under Sheridan. Described by Sir Walter Scott as 'grave, critical, full and laudably accurate', this extensive two-volume biography was the work of James Boaden (1762–1839), an author well acquainted with the foremost theatrical personalities of his day. Boaden's biographies of Sarah Siddons, Elizabeth Inchbald and Dorothy Jordan have also been reissued in this series, along with his edition of David Garrick's correspondence. Volume 2 of the present work opens with the season of 1789–90 at Drury Lane and closes with the text of Kemble's will.

Although she overcame a stammer to fulfil her acting ambitions, Elizabeth Simpson (1753–1821), known as Mrs Inchbald after her marriage in 1772, was more acclaimed for her good looks than her performances. Her husband was an actor, and she formed strong friendships with Sarah Siddons and John Philip Kemble, but her greatest impact was as a playwright, novelist, editor and critic. Despite her decision to destroy a four-volume autobiography, her extensive surviving journals and letters allowed James Boaden (1762–1839) to publish this two-volume work in 1833. Having produced biographies of Siddons, Kemble and Dorothy Jordan (which are also reissued in this series), Boaden presents here an informed account of this remarkable woman's personal, theatrical and literary life. Volume 2 covers the period from 1796 until her death. It includes as an appendix A Case of Conscience (1800), a play that had not been previously performed or published.

Although she overcame a stammer to fulfil her acting ambitions, Elizabeth Simpson (1753–1821), known as Mrs Inchbald after her marriage in 1772, was more acclaimed for her good looks than her performances. Her husband was an actor, and she formed strong friendships with Sarah Siddons and John Philip Kemble, but her greatest impact was as a playwright, novelist, editor and critic. Despite her decision to destroy a four-volume autobiography, her extensive surviving journals and letters allowed James Boaden (1762–1839) to publish this two-volume work in 1833. Having produced biographies of Siddons, Kemble and Dorothy Jordan (which are also reissued in this series), Boaden presents here an informed account of this remarkable woman's personal, theatrical and literary life. Including as an appendix The Massacre (1792), a suppressed historical drama, Volume 1 covers the period from her birth to 1796. Volume 2 addresses her final decades and incorporates A Case of Conscience (1800), another previously unpublished play.

From his funerary monument in Stratford-upon-Avon to the engraving by Droeshout in the First Folio, the depictions of William Shakespeare (1564–1616) have long been the subject of scrutiny. Equally, the mystery surrounding the identity of 'W. H.', the dedicatee of Shakespeare's sonnets, continues to capture the imagination. This volume brings together three works that were originally published separately: two pieces on the portraits and one on the sonnets. A playwright turned theatrical biographer, James Boaden (1762–1839) cultivated a lifelong interest in Shakespeare. His illustrated 1824 analysis of the portraits examines the evidence concerning their authenticity. This is followed by an 1827 investigation by the portrait painter Abraham Wivell (1786–1849), who engages critically with Boaden's findings and those of others. Finally, Boaden's 1837 essay on the sonnets presents the case for naming William Herbert, Earl of Pembroke, as their dedicatee - a claim taken up by many later scholars.

Published in 1827, this two-volume work by the playwright and biographer James Boaden (1762–1839) is a sprightly portrayal of the acclaimed actress Sarah Siddons (1755–1831). Closely collaborating with his subject, Boaden (whose memoir of Dorothy Jordan is also reissued in this series) was able to establish himself as an authoritative biographer, preferred over others for his intellect and wealth of anecdotes from a lifetime spent within the theatrical world. Arguably the greatest tragic actress of her age, Siddons broke new ground in the reactions she provoked in audiences and in the social legitimisation of the English stage. Containing vivid descriptions of performances, this work details the acting style of Siddons and the inner workings of the theatrical community. Volume 1 discusses the idea of biographies of notable women, the history of the theatre and the life and career of Siddons up to her triumphant return to Drury Lane in 1782.

Published in 1827, this two-volume work by the playwright and biographer James Boaden (1762–1839) is a sprightly portrayal of the acclaimed actress Sarah Siddons (1755–1831). Closely collaborating with his subject, Boaden (whose memoir of Dorothy Jordan is also reissued in this series) was able to establish himself as an authoritative biographer, preferred over others for his intellect and wealth of anecdotes from a lifetime spent within the theatrical world. Arguably the greatest tragic actress of her age, Siddons broke new ground in the reactions she provoked in audiences and in the social legitimisation of the English stage. Containing vivid descriptions of performances, this work details the acting style of Siddons and the inner workings of the theatrical community. Volume 2 covers Siddons' most illustrious period, when she established herself as a cultural icon, from royal patronage in the mid-1780s and her celebrated Lady Macbeth, to her retirement in 1812 and occasional subsequent appearances.

The 18th century was a wealth of knowledge, exploration and rapidly growing technology and expanding record-keeping made possible by advances in the printing press. In its determination to preserve the century of revolution, Gale initiated a revolution of its own: digitization of epic proportions to preserve these invaluable works in the largest archive of its kind. Now for the first time these high-quality digital copies of original 18th century manuscripts are available in print, making them highly accessible to libraries, undergraduate students, and independent scholars. The eighteenth-century fascination with Greek and Roman antiquity followed the systematic excavation of the ruins at Pompeii and Herculaneum in southern Italy; and after 1750 a neoclassical style dominated all artistic fields. The titles here trace developments in mostly English-language works on painting, sculpture, architecture, music, theater, and other disciplines. Instructional works on musical instruments, catalogs of art objects, comic operas, and more are also included. ++++The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to insure edition identification: ++++Bodleian Library (Oxford)T180894The libretto only by James Boaden. London: printd sic] by T. Woodfall, for Messrs. Cadell and Davies, 1798. 18p.; 8