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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.
Baillie’s eminently readable dramas stand at the crossroads of the Scottish Enlightenment and early Romanticism, and compellingly engage with questions of women’s rights. Her exploration of the passions, first published in 1798, is here reissued with a wealth of contextual materials including “The Introductory Discourse,” Baillie’s own brand of feminist literary criticism. The three plays included here are “Count Basil: A Tragedy,” and “The Tryal: A Comedy,” which show love from opposing perspectives; and “De Monfort: A Tragedy,” which explores the drama of hate. Among other appendices, the Broadview edition includes materials on the contemporary philosophical understanding of the passions, and contemporary reviews. Baillie’s work is enjoying a revival of interest. She lived a long life, (1762-1851), and had a wide circle of literary friends including Maria Edgeworth and Sir Walter Scott (who termed her a “female Shakespeare”). Scottish born, she moved to England in her twenties where she then resided. Her Plays on the Passions, alternatively known as A Series of Plays in which it is Attempted to Delineate the Stronger Passions of the Mind—Each Passion being the Subject of a Tragedy and Comedy was produced in three volumes between 1798 and 1812. The first volume created quite a stir amongst the literary circles of London and Edinburgh when introduced anonymously. The speculation into the authorship concluded two years later when Baillie came forward as the writer of the collection, thereby causing a subsequent sensation since no one had considered the shy spinster a candidate in the mystery.
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.
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.
Excerpt from The Dramatic and Poetical Works of Joanna Baillie: Complete in One Volume The life of Joanna Baillie contained un usually few incidents of an exciting or eventful nature. She lived in retirement from the first hour to the last. She was nu married, and her sole constant companion was a sister likewise unmarried. The only circumstances which distinguished one day from another, apart from her literary career, were domestic matters or changes of locality, and these were few. She was connected with celebrity solely by a genius, which shed light on contemporary time, and far into the future. The quietude, however, of her existence renders more extraordinary the nature of its result. From her serene seclusion she sur veyed the wide and restless expanse of the human soul, she penetrated to its deepest and darkest recesses, was present to situa tions and emotions remote as possible from her own; and embodied a vast variety of con ceptions in creations co-existent thenceforth with the language of this country. The most prominent events of her life, traits illustrative of her character, of the dawn and develop ment of her genius, with the more important circumstances of her literary career, can alone interest the public mind. 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.
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1851 edition. Excerpt: ...to Raxnkh Beat me thyself, but do not tell of me Bay. I would not harm thee for a greater fault. I'm sorry thou art cold; here is my cloak: Thou hast said well; a dead man needs it not. I know thee now; thou art the wretched negro Who serves the prisoners j I have observ'd thee: I'm sorry for thee; thou art bare enough, And winter is at hand. Ohio. Ha 1 art thou sorry that the negro's cold? Where wast thou born who art so pitiful? I will not take thy cloak, but I will love thee. They shall not cut thy head off. Bay. Go thy ways; Go skulk within thy hiding-place again. And, when the cell is open'd, save thyself. Ohio. They shan't cut off thy head. Bay. Now, pray thee go. Ohio. I'll kiss thy feet; Til spend my blood for thee. Bay. I do beseech thee go! there's some one coming: I hear them at the door. Pushes him hastily off. Enter Haudibraud, advancing slowly to Rayser, his eyes cast upon the ground. Bay. Good morrow, general: where's thy friendly hand? Why dost thou turn thine eyes aside, and fear To look me in the face? Is there upon it Aught that betrays the workings of the mind Too strongly mark'd? I will confess to thee I've struggled hard, I've felt the fears of nature; But yet I have the spirit of a man That will uphold me: therefore, my brave friend, Do me the grace to look upon me boldly; I'll not disgrace thee. Har. No, my valiant boy! I know thou'lt not disgrace me, nor will I Put shame on thee by wearing on this mora A weeping face: I will be valiant too. We will not, Rayner, though thou'rt thus--Oh! oh! I--Bursting into tears. Bay. My generous friend, my second father, why Wilt thou oppress me thus? Har. Bear with me, bear with me j I meant to brave it. And I will brave it. But to thee, my son, In thy distress, encompass'd as...