Search engine for discovering works of Art, research articles, and books related to Art and Culture
ShareThis
Javascript must be enabled to continue!

14 February 1838, John Forster on W. C. Macready as King Lear at the Theatre Royal, Covent Garden, London from The Examiner, 14 February, reprinted in Dramatic Essays by John Forster, George Henry Lewes, ed. William Archer and Robert W. Lowe (1896), PP·

View through CrossRef
Abstract John Forster (1812-76) was theatre critic of The Examiner from 1833 to 1838, and later became its editor. He was a close friend of Charles Dickens, to whom this review has often been mistakenly attributed (for example, by Edgar and Eleanor Johnson in their The Dickens Theatrical Reader (1964), J. C. Trewin, in his Theatre Bedside Book (1974), and Gamini Salgado in Eyewitnesses of Shakespeare (1975) ). John Forster’s authorship is conclusively demonstrated in an article by W. J. Carlton, The Dickensian, September 1965, who shows that Forster copied into it long passages from two earlier reviews of King Lear which he had published in the Weekly True Sun, 26 January 1834, of an actor called Samuel Butler as Lear, and in the New Monthly Magazine, June 1834, of Macready’s first London performances as Lear, at Drury Lane and Covent Garden.
Title: 14 February 1838, John Forster on W. C. Macready as King Lear at the Theatre Royal, Covent Garden, London from The Examiner, 14 February, reprinted in Dramatic Essays by John Forster, George Henry Lewes, ed. William Archer and Robert W. Lowe (1896), PP·
Description:
Abstract John Forster (1812-76) was theatre critic of The Examiner from 1833 to 1838, and later became its editor.
He was a close friend of Charles Dickens, to whom this review has often been mistakenly attributed (for example, by Edgar and Eleanor Johnson in their The Dickens Theatrical Reader (1964), J.
C.
Trewin, in his Theatre Bedside Book (1974), and Gamini Salgado in Eyewitnesses of Shakespeare (1975) ).
John Forster’s authorship is conclusively demonstrated in an article by W.
J.
Carlton, The Dickensian, September 1965, who shows that Forster copied into it long passages from two earlier reviews of King Lear which he had published in the Weekly True Sun, 26 January 1834, of an actor called Samuel Butler as Lear, and in the New Monthly Magazine, June 1834, of Macready’s first London performances as Lear, at Drury Lane and Covent Garden.

Related Results

Nature Transformed: English Landscape Gardens and <i>Theatrum Mundi</i>
Nature Transformed: English Landscape Gardens and <i>Theatrum Mundi</i>
IntroductionThe European will to modify the natural world emerged through English landscape design during the eighteenth century. Released from the neo-classical aesthetic dichotom...
If I Had Possession over Judgment Day: Augmenting Robert Johnson
If I Had Possession over Judgment Day: Augmenting Robert Johnson
augmentvb [ɔːgˈmɛnt]1. to make or become greater in number, amount, strength, etc.; increase2. Music: to increase (a major or perfect interval) by a semitone (Collins English Dicti...
Humanities
Humanities
James E. Côté and Anton L. Allahar, Lowering Higher Education: The Rise of Corporate Universities and the Fall of Liberal Education, reviewed by glen a. jones Daniel Coleman and S...
Henry Lives! Learning from Lawson Fandom
Henry Lives! Learning from Lawson Fandom
Since his death in 1922, Henry Lawson’s “spirit” has been kept alive by admirers across Australia. Over the last century, Lawson’s reputation in the academy has fluctuated yet fan ...
Maclise and Macready: Collaborating Illustrators of Hamlet
Maclise and Macready: Collaborating Illustrators of Hamlet
This essay focuses on the relationship between theatrical performance and the visual arts through a specific exploration of the relationship between the nineteenth-century actor Wi...

Back to Top