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Barataria
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A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660-1800
Those featured in Volume 10 include Margaret Martyr, a singer, actress, and dancer whose "conjugal virtues were often impeached," according to the July 1792Thespian Magazine. The Dictionary describes this least constant of lovers as "of middling height, with a figure well-proportioned for breeches parts. [Her] black-haired, black-eyed beauty and clear soprano made her an immediate popular success in merry maids and tuneful minxes, the piquant and the pert, for a quarter century."
The Brief Career of Eliza Poe
When the actress Eliza Poe--mother of Edgar Allen Poe--died at age 24 in Richmond, Virginia, she had played with every important theatrical company in the country. Compared to actors today, her career is truly extraordinary. She played nearly 300 parts--in plays by Shakespeare and Sheridan--a long line of heroines in 18th century sentimental comedies, comic operas, farces, and poetic tragedies whose titles are meaningless now, though they contain brilliant language and canny theatricality, requiring actors of discipline and skill to present successfully. Eliza left no personal documents, but available public documents relating to her professional life tell the vivid story of a gifted young actress serving her apprenticeship in the superior repertory system of late 18th and early 19th century America. Eliza was a young artist who had established a national reputation with her co-workers and the public, just embarking on what would have been her most important work at the time of her tragically early death.
Biographia Hibernica
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The English Della Cruscans and Their Time, 1783–1828
The English Della Cruscan School, although its nucleus was formed in 1785 by the publication of The Florence Miscellany, existed neither in the consciousness of the group which formed it nor in that of the pu blic until it was so dubbed as a term of reproach by William Gifford in his bitter satire The Baviad (1791). As has already been mentioned Merry, the leader of the group, claimed to be a member of the Real Accademia Fiorentina which had swallowed up the Crusca and the two other Floren tine Academies in 1783; but it was not until the summer of 1787, when during his lingering voyage of return to England he began to send his contributions signed "Della Crusca" to the World, that the name became publicly known or even employed by his friends. Merry uses it of himself in a letter to Mrs. Piozzi after his arrival in England, on 27th February, 1788. 1 His public avowal of his romantic yearning after the suppressed Accademia della Crusca appears on the title-page of his Paulina (1787); for whereas on the title-page of Robert Manners (1785) he for the first time calls himself "A Member of the Royal Academy of Florence," the author of Paulina, "Robert Merry, Esq.
