First published in 1971. This is Volume 26 in the Eighteenth Century Shakespeare series. From the preface: At the time of the appearance of George Chalmers Apology (1797) it was rumoured that Malone intended a full reply; but whether tired of the controversy, unable to make enough capital of the defects in the Apology, or simply discreet, no such answer forthcame from the author of ‘An Inquiry’. ‘A Supplemental Apology’ has little if anything to add to the Ireland controversy; it is instead an extension of the more general methodological principles set out in An Apology, carrying forth the investigation into miscellaneous new areas of antiquarian research
An Irish officer in the British Army, Major General Robert Ross (1766–1814) was a charismatic leader widely admired for his bravery in battle. Despite a military career that included distinguished service in Europe and North Africa, Ross is better known for his actions than his name: his 1814 campaign in the Chesapeake Bay resulted in the burning of the White House and Capitol and the unsuccessful assault on Baltimore, immortalized in “The Star Spangled Banner.” The Man Who Captured Washington is the first in-depth biography of this important but largely forgotten historical figure. Drawing from a broad range of sources, both British and American, military historians John McCavitt and Christopher T. George provide new insight into Ross’s career prior to his famous exploits at Washington, D.C. Educated in Dublin, Ross joined the British Army in 1789, earning steady promotion as he gained combat experience. The authors portray him as an ambitious but humane commanding officer who fought bravely against Napoleon’s forces on battlefields in Holland, southern Italy, Egypt, and the Iberian Peninsula. Following the end of the war in Europe, while still recovering from a near-fatal wound, Ross was designated to lead an “enterprise” to America, and in August 1814 he led a small army to victory in the Battle of Bladensburg. From there his forces moved to the city of Washington, where they burned public buildings. In detailing this campaign, McCavitt and George clear up a number of misconceptions, including the claim that the British burned the entire city of Washington. Finally, the authors shed new light on the long-debated circumstances surrounding Ross’s death on the eve of the Battle of North Point at Baltimore. Ross’s campaign on the shores of the Chesapeake lasted less than a month, but its military and political impact was enormous. Considered an officer and a gentleman by many on both sides of the Atlantic, the general who captured Washington would in time fade in public memory. Yet, as McCavitt and George show, Ross’s strategies and achievements during the final days of his career would shape American defense policy for decades to come.
Pericles was one of the most popular plays of its time, and it has regained much of that popularity today. In a wide-ranging introduction, Roger Warren draws on his experience of the play in rehearsal and performance to explore the reasons for this enduring popularity. Unfortunately Pericles survives only in a corrupt text, the Quarto of 1609, in which many passages are nonsensical and others appear to be missing altogether. Earlier editions have merely cleaned-up the Quarto, but this edition offers a conjectural reconstruction of what the original play might have been like. It draws upon George Wilkin's The Painful Adventures of Pericles (1608) to emend some of the errors and missing material. It does so in the belief that the play is a collaboration between Shakespeare and Wilkins. The entire Quarto text is reprinted in an appendix, together with the passages from Wilkin's narrative that have particularly contributed to the reconstruction, so that readers can see for themselves how the reconstruction has been made.
The first New Variorum edition of Coriolanus, by Horace Howard Furness, Jr., was published in 1928. The present edition follows Furness's but does not replace it because frequently the more recent scholarship and criticism recorded here could be accommodated only by reducing Furness's fuller treatment of earlier material. The reader who finds this edition useful is urged to consult Furness's as well to obtain a fuller account on many subjects. Niels Herold wrote the section on Music and Sound Effects, and Sylvia Bryant and Ian Aspinall translated German criticism. Megan-Marie Johnson collaborated with me on the Plan of the Work, on the collations necessary to compile the Textual Notes, and on the Commentary. Ashley Spriggs helped revise the Plan of the Work and the Textual Notes. Both of these latter assistants also had a hand in all the other sections of the edition...
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