No More Learning

Containing the lives of the English
dramatic poets; with an account of all their plays. Together with the
lives of most of the principal actors. . . . To which is prefixed a short view
of the rise and progress of the English Stage. 1750.
Churchill, C. See under Theatrical Pamphlets, sect. III.
Cooke, W. The Elements of dramatic criticism. . . . Containing an analysis of
the Stage. . . . 1775.
Colman, G. and Thornton, B. The Connoisseur. No. 34, The Juggle of the
Theatre. No. 43, A typical theatrical audience. No 47, Suggestions for
making the theatre a moral influence. All in 1754.
Cumberland, R. The Observer. No 29, The merits and accomplishments of
actors. [1785 ? ]
Davies, T. Dramatic Miscellanies. 1784.
Derrick, S. A general view of the Stage. By Mr Wilkes. 1759. [See
Lowe, R. W. , English Theatrical Literature, for attributing the work
to S. D. ]
Dibdin, C. A Complete History of the English Stage. Introduced by a
comparative and comprehensive review of the Asiatic, the Grecian, the
Roman, the Spanish, the Italian, the Portuguese, the German, the French
and other theatres. . . . [1800. ]
Diderot, D. Paradoxe sur le Comédien. (Ed. Dupuy, E. ) 1902. Transl.
Pollock, W. H. , with preface by Irving, H. 1883.
Dramaticus, Censor. A Complete History of the Drama. 1793.
Egerton, T. and J. The Theatrical Remembrancer, containing a complete
list of all the dramatic performances in the English language . . . and a
catalogue of such Latin plays as have been written by English authors,
from the earliest production of the English drama to the end of the year
1787. To which are added Notitia Dramatica, being a chronological
account of events relative to the English stage. 1788.
Fielding, H. Tom Jones, Bk v, chap. 1, Bk vili, chap. I.
Foote, S. The Roman and English Comedy considerd and compard . . . and
an examen into the merits of the present comic actors. 1747.
Goldsmith, 0. The Citizen of the World. See ante, vol. x, chap. ix, biblio-
graphy.


## p. 449 (#471) ############################################

XII]
The Georgian Drama
449
Hill, J. The Actor: A treatise on the Art of Playing. 1750.
The Actor . . . a new work . . . adapted to the present State of the
Theatres. 1755.
Transl. Sticotti, A. F. David Garrick, ou les Acteurs anglais. 1769.
Hunt, Leigh. Critical Essays on the Performers of the London Theatres,
including general observations on the Practice and Genius of the Stage.
1807. [See, also, by the same author: Autobiography, 1850, chaps. VI, VII. ]
Hurd, R. A Dissertation on the Provinces of the Drama. Complete Works.
1811.
Johnson, S. The Idler. No. 25, New Actors. (1758. )
Lessing, G. E. Hamburgische Dramaturgie. 1767-8.
Mackenzie, T. The Lounger. No. 6, Interruptions by the Audience. (1785. )
No. 80, Turbulent applause. (1786. )
Percy, Bp. An Essay on the Origin of the English Stage. 1793.
Shirley, W. Brief Remarks on the Original and present State of the Drama.
1758.
Simpson, D. A Dissertation on Stage Entertainments. Birmingham, 1788.
Smollett, T. Roderick Random. Chap. LXII. Peregrine Pickle. Chaps. LXI,
XCIV. [After Garrick had accepted Reprisal (1757), the novelist re-
lented, see his History of England, Book III, chap. xiv, $ XXVIII. ]
Victor, B. The History of the Theatres of London and Dublin from the
year 1730 to the present Time. 1761. [Author brought out sequel bring-
ing history up to 1771. Record was continued to 1796 and then to 1817
by Oulton, W. C. ]
Walpole, H. Letters, passim, esp. To the Earl of Hertford, 26 March 1765,
in which Walpole compares Garrick's style with that of his most illus-
trious contemporaries. Ed. Toynbee, Mrs Paget. Vol. vi, p. 202 f. Oxford,
1904.
Walwyn, B. An Essay on Comedy. 1782.
Wilkinson, Tate. The Wandering patentee; or, a history of the Yorkshire
Theatres, from 1770 to the present time. . . . 1795.
Anon. A Letter to my Lord . . . on the present diversions of the Town.
With the true reason of the decay of our dramatic entertainments. 1725.
Anon. A Companion to the Theatre; or a review of our most celebrated
dramatic pieces. . . .
1747.
Anon. The present State of the Stage in Great-Britain and Ireland. And
the theatrical characters of the principal performers . . . impartially con-
sidered. 1753.
Anon. The battle of the players. In imitation of Dean Swift's Battle of
the books. . . . 1763.
Anon.
The new Thespian Oracle; containing original Strictures on oratory
and acting. And a select collection of all the modern prologues and
epilogues. . . . 1791.
Anon. Observations on the effect of Theatrical Representations. 1804.
III. THEATRICAL PAMPHLETS
Abridged list, showing how paper warfare, reminiscent of 16th century
flytings, still raged round the public characters of the theatre, and sup-
plying evidence of the grievances of authors against actors and managers.
See Lowe, R. W. , A Bibliographical Account of English Theatrical Litera-
ture, 1888.
The Case of Charles Macklin. 1743.
[Garrick and his fellow actors having seceded from Drury lane
owing to Fleetwood's extravagance, but failing to obtain a licence for
29
1. L XI.


## p. 450 (#472) ############################################

450
[CH.
Bibliography
a
another theatre, returned to their manager, though he specifically ex-
cluded Macklin, and though the actors had promised to hold together.
The above pamphlet came out on the day on which Garrick appeared in
the theatre (6 Dec. 1743) and a riot ensued. Garrick replied with]
Answer to Mr Macklin's Case. 1743.
An Essay on Acting, in which will be considered the Mimical behaviour of
a certain fashionable, faulty actor. . . . 1744.
[Criticism by Garrick on his own Macbeth to disarm censure. ]
Prologue and Epilogue at the opening of Drury Lane Theatre. 1747.
[The beginning of Garrick's management. Prologue by Dr Johnson. ]
A Letter to Mr G-k, relative to his treble capacity of manager, actor and
author; with some remarks on Lethe. 1749.
[Unfavourable: answered by] Lethe rehearsed; or a critical discussion
of the beauties and blemishes of that performance . . . 1749.
An Examen of the historical Play of Edward the Black Prince. . . . With a
critical Review of Mr Barry, in the character of Ribemont. 1750.
The Visitation; or, an interview between the Ghost of Shakespeare and
D-v-d G-rr-k, Esq. . . . 1755. [Condemns dances and pantomimes. ]
The Morality of Stage-plays seriously considered. 1757.
[Defence of Home's Douglas. Attributed to Ferguson, A. ]
The Theatrical Examiner: An enquiry into the merits and demerits of the
present English performers in general. . . . 1757
[Garrick, Barry, Mossop and others criticised. ]
Case of Authors by Profession. 1758. [By Ralph, J. ]
A Letter to Mr Garrick on the opening of the theatre, with observations on
the conduct of managers to actors, authors and audiences. . . . 1758.
Observations on Mr Garrick's Acting. 1758.
[By Pittard, J. Praises Garrick's King Lear. ]
An Estimate of the theatrical merits of the two Tragedians of Crow
Street. . . . 1760.
[Comparison of Barry with Mossop to the former's advantage. ]
An enquiry into the real merit of a certain popular performer. 1760.
[By Fitzpatrick, T. , one of the bitterest enemies of Garrick, who
retorted with]
The Fribbleriad. 1761.
The Rosciad. 1761.
[By Churchill, C. 9th edn, 1765, with names in full. Followed by]
The Apology. Addressed to the critical Reviewers. 1761.
[These two poems by Churchill occasioned about a dozen replies, Anti-
Rosciads, Churchiliads, etc. As to Churchill, see, also, ante, vol. x, chap.
xvii, bibliography. ]
The Rosciad of Covent-Garden. 1762.
The Sick Monkey. n. d.
[By Garrick on himself to announce his return to England and to
disarm criticism by anticipating it. ]
An historical and succinct account of the late riot at the Theatres of Drury
Lane and Covent Garden. 1763.
Theatrical disquisitions . . . with a short appendix, relative to the more flagrant
disturbance committed at Covent Garden Theatre. 1763.
[Both pamphlets refer to demonstrations led by Fitzpatrick against
Garrick, who again attacked his enemy in] Fitzgig, or the Modern
Quixote,. . . 1763.
Miss C-y's Cabinet of Curiosities; or the Green-Room broke open. By
Tristram Shandy. 1765.
(Concerns Ann Catley, actress and singer. ]


## p. 451 (#473) ############################################

XI]
The Georgian Drama
451
Thespis: or, a critical examination into the merits of all the principal per-
formers belonging to Covent Garden. 1766.
[By Kelly, H. , who followed up the pamphlet with]
Thespis: or . . . examination . . . of . . . Drury Lane. 1767.
[Both pamphlets provoked replies, especially]
The Kellyad. By Louis Stamma. 1767.
The Stage the high road to Hell: being an essay on the pernicious nature
of theatrical entertainments. . . . With strictures on the vicious and
dissolute characters of the most eminent performers of both sexes. 1767.
Momus, a poem; or, a critical examination into the merits of the performers
and comic pieces at the Theatre Royal in the Haymarket. n. d.
[Attributed to Carey, G. S. Attack on Foote and his company. ]
The Theatrical Campaign for MDCCLXVI and MDCCLXVII.
A Narration of the rise and progress of the disputes subsisting between the
patentees of Covent Garden Theatre. 1768.
A true state of the differences subsisting between the proprietors of Covent
Garden Theatre. . . . 1768.
[Harris attempted to compel Mrs Lessingham to act unsuitable parts.
Legal proceedings were taken and many other pamphlets produced on
this dispute and H. 's management in general, especially]
The Managers managed; or, the characters of the four Kings of Brentford.
An ode upon dedicating a building and erecting a statue to Shakespeare, at
Stratford upon Avon. 1769.
[By Garrick. Among the pamphlets occasioned by the same event are]
Anti-midas: a Jubilee preservative for unclassical, ignorant, false, and in-
vidious criticism. 1769.
Garrick’s Vagary: or, England run mad. With particulars of the Stratford
Jubilee. 1769.
Trinculo's trip to the Jubilee. 1769.
The Theatre licentious and perverted. . . . Inscribed to Samuel Foote. 1770.
[Foote's Minor, an attack on methodists, was produced in Dublin, 1760,
without success; but, on being expanded from two to three acts and
produced at the Haymarket (summer of same year), it met with a good
reception. The farce occasioned about two dozen pamphlets of which
the above is one. ]
Love in the Suds; being the Lamentation of Roscius for the loss of his
Nyky. A Town Eclogue. 1772.
[Insinuations by Kenrick on Garrick's moral character, when Bicker-
staffe had to flee from London. ]
A mob in the pit: or, lines addressed to the D-ch--ss of A–11. 1773.
[Attack on the duchess of Argyll, born Gunning, for insisting on the
expulsion of a man who occupied the theatre box which she relinquished
to visit the pit. ]
Resignation; or majesty in the dumps; an ode. Addressed to George Colman.
1774.
The Drama, a poem. 1775.
[Attributed to Pilon, F. and to Downman, H. ]
The Contrast: or, New Mode of Management. Being a peep behind the
curtain of the Salisbury Theatre in 1776.
[By Brownsmith, J. An attack on managers. ]
A serious dissuasive from frequenting the play-house. 1776. [By Orton, J. ]
Coalition: a farce . . . performed .