About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work.
Author: A. B. Lindsley
Publisher: Forgotten Books
Excerpt from Love and Friendship; Or, Yankee Notions: A Comedy, in Three Acts Should the pedantic critic graciously condescend to glance the eye of disapprobation over these pages, he may recollect or let it alone, ' that they are the first, the maiden production of a partially educated yout h, who courts not his favor and shall never fear his impotent malevolence. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
The following piece (designed for a farce, but Being considered too long has been printed as a comedy) was written, to pass away time, more than two years ago when I was several hundred miles removed from the precinct of any theatre, and ...
Author: A. B. Lindsley
The following piece (designed for a farce, but Being considered too long has been printed as a comedy) was written, to pass away time, more than two years ago when I was several hundred miles removed from the precinct of any theatre, and but nineteen years of age. A copy was taken of it about sixteen months since, and considerable additions were made; after which it was read by two or three of my friends, who requested to see it published.Should the pedantic critic graciously condescend to glance the eye of disapprobation over these pages, he may recollect or let it alone, that they are the first, the maiden production of a partially educated youth, who courts not his favor and shall never fear his impotent malevolence.
This is a reproduction of a book published before 1923.
Author: A. B. Lindsley
Publisher: Nabu Press
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations.
Author: A B Lindsley
Publisher: Franklin Classics
This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.
Author: A B Lindsley
Publisher: Andesite Press
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
Love and Friendship,or Yankee Notions (1809) waswrittenby a nineteenyearold Englishman, A. B. Lindsley, who actedinhis own play when it was firstpresented ...
Author: Francis Hodge
Publisher: University of Texas Press
The famous "Stage Yankees," with their eccentric New England dialect comedy, entertained audiences from Boston to New Orleans, from New York to London in the years between 1825 and 1850. They provided the creative energy for the development of an American-type character in early plays of native authorship. This book examines the full range of their theatre activity, not only as actors, but also as playmakers, and re-evaluates their contribution to the growth of the American stage. Yankee theatre was not an oddity, a passing fad, or an accident of entertainment; it was an honest exploitation of the materials of American life for an audience in search of its own identification. The delineation of the American character—a full-length realistic portrait in the context of stage comedy—was its projected goal; and though not the only method for such delineation, the theatre form was the most popular and extensive way of disseminating the American image. The Yankee actors openly borrowed from what literary sources were available to them, but because of their special position as actors, who were required to give flesh-and-blood imitations of people for the believable acceptance of others viewing the same people about them, they were forced to draw extensively on their actors' imaginations and to present the American as they saw him. If the image was too often an external one, it still revealed the Yankee as a hardy individual whose independence was a primary assumption; as a bargainer, whose techniques were more clever than England's sharpest penny-pincher; as a country person, more intelligent, sharper and keener in dealings than the city-bred type; as an American freewheeler who always landed on top, not out of naive honesty but out of a simple perception of other human beings and their gullibility. Much new evidence in this study is based on London productions, where the view of English audiences and critics was sharply focused on what Americans thought about themselves and the new culture of democracy emerging around them. The shift from America, the borrower, to America, the original doer, can be clearly seen in this stager activity. Yankee theatre, then, is an epitome of the emerging American after the Second War for Independence. Emerging nationalism meant emerging national definition. Yankee theatre thus led to the first cohesive body of American plays, the first American actors seen in London, and to a new realistic interpretation of the American in the "character" plays of the 1870s and 1880s.
... A. B. Lindsley presents an amusing amalgam of conventionalized stage - types in her three - act comedy Love and Friendship ; or , The Yankee Notions ...
Author: Zoe Detsi-Diamanti
Publisher: Psychology Press
Noting that the variation between the playwrights can be as great as between men and women, and acknowledging that her subjects are limited to a narrow class and race population, Detsi-Diamanti the cultural and historical specificity of women playwrights of the period and the interrelationship between their dramatic efforts and the formation of an American national and literary identity. Her major themes are metaphors of freedom, industrial capitalism, and gender perspective and ideology.
... A. B. Lindsley presents an amusing amalgam of conventionalized stage-types in her three-act comedy Love and Friendship; or, The Yankee Notions (1809).
Author: Zoe Desti-Demanti
First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.
Subsequent Yankee characters in plays such as Jonathan Postfree (1807) and Love and Friendship, or Yankee Notions (1809) and The Yankey in England (1815) ...
Author: Jeffrey H. Richards
Publisher: Oxford University Press
This volume explores the history of American drama from the eighteenth to the twentieth century. It describes origins of early republican drama and its evolution during the pre-war and post-war periods. It traces the emergence of different types of American drama including protest plays, reform drama, political drama, experimental drama, urban plays, feminist drama and realist plays. This volume also analyzes the works of some of the most notable American playwrights including Eugene O'Neill, Tennessee Williams, and Arthur Miller and those written by women dramatists.
... A. B. Lindsley's Love and Friendship; or, Yankee Notions (New York, 1809). Lindsley's Love and Friendship debuted in New York at the Park Theatre ...
Author: Jenna M. Gibbs
Publisher: JHU Press
Jenna M. Gibbs explores the world of theatrical and related print production on both sides of the Atlantic in an age of remarkable political and social change. Her deeply researched study of working-class and middling entertainment covers the period of the American Revolution through the first half of the nineteenth century, examining controversies over the place of black people in the Anglo-American moral imagination. Taking a transatlantic and nearly century-long view, Performing the Temple of Liberty draws on a wide range of performed texts as well as ephemera—broadsides, ballads, and cartoons—and traces changes in white racial attitudes. Gibbs asks how popular entertainment incorporated and helped define concepts of liberty, natural rights, the nature of blackness, and the evils of slavery while also generating widespread acceptance, in America and in Great Britain, of blackface performance as a form of racial ridicule. Readers follow the migration of theatrical texts, images, and performers between London and Philadelphia. The story is not flattering to either the United States or Great Britain. Gibbs's account demonstrates how British portrayals of Africans ran to the sympathetic and to a definition of liberty that produced slave manumission in 1833 yet reflected an increasingly racialized sense of cultural superiority. On the American stage, the treatment of blacks devolved into a denigrating, patronizing view embedded both in blackface burlesque and in the idea of "Liberty," the figure of the white goddess. Performing the Temple of Liberty will appeal to readers across disciplinary lines of history, literature, theater history, and culture studies. Scholars and students interested in slavery and abolition, British and American politics and culture, and Atlantic history will also take an interest in this provocative work.
... 100-1 Louise de Savoie , 412 Leicester's Men , 273 Love and Friendship ; or Yankee Notions Lemat , 456 ( Lindsley ) , 502 Lemmon , Jack , 169 , 172 Love ...
Author: Vicki K. Janik
Publisher: Greenwood Publishing Group
Expert contributors provide alphabetically arranged entries for some 60 fools and jesters ranging from Woody Allen, Lucille Ball, and the Marx Brothers to Falstaff, Hephaestus, and Loki.
Lee Diary and Letters : A Yankee Jeffersonian , Selections from the Diary ... Lindsley Love : A. B. Lindsley , Love and Friendship ; or , Yankee Notions : A ...
Author: Bartlett Jere Whiting
Publisher: Harvard University Press
p.B. J. Whiting savors proverbial expressions and has devoted much of his lifetime to studying and collecting them; no one knows more about British and American proverbs than he. The present volume, based upon writings in British North America from the earliest settlements to approximately 1820, complements his and Archer Taylor's Dictionary of American Proverbs and Proverbial Phrases, 1820-1880. It differs from that work and from other standard collections, however, in that its sources are primarily not "literary" but instead workaday writings - letters, diaries, histories, travel books, political pamphlets, and the like. The authors represent a wide cross-section of the populace, from scholars and statesmen to farmers, shopkeepers, sailors, and hunters. Mr. Whiting has combed all the obvious sources and hundreds of out-of-the-way publications of local journals and historical societies. This body of material, "because it covers territory that has not been extracted and compiled in a scholarly way before, can justly be said to be the most valuable of all those that Whiting has brought together," according to Albert B. Friedman. "What makes the work important is Whiting's authority: a proverb or proverbial phrase is what BJW thinks is a proverb or proverbial phrase. There is no objective operative definition of any value, no divining rod; his tact, 'feel, ' experience, determine what's the real thing and what is spurious."