Filtering by
- All Subjects: Author's gift inscription
- All Subjects: Shakespeare, William
- All Subjects: English drama--17th century--History and criticism.
- Creators: Looser, Devoney
- Creators: Gott, Samuel
- Creators: Nason, Arthur Huntington
- Creators: Ross, William Stewart
Author's gift inscription, "To Wm Chuthie from Wm Allan".
Author's gift inscription, "To D McNaught, Esq., With best wishes of W. Stewart Ross 7th May, 1903."
This edition includes an author's gift inscription, "To Mr. M. B. Sanford with the sincere regards of Arthur H. Nason Nov 11, 1916".
This edition includes an owner's inscription, "Helen Runyan, October 1905, Vassar College".
Probable editor's gift inscription, "Jacobo Hiltonio Amico Suo Amicissimo D. D. D Libri hujus Editor et Interpres. W. B. A.D. CMMII".
This edition has a tipped-in letter and an advertisement for the book. The letter is a patronage request from the editor, Henry Brown of Newington Butts, "31 Albert Street Newington Butts London Jan 4th 1870 Sir I am the author of the new work upon the Sonnets of Shakespeare, and am seeking a little aid from a few of my Subscribers, to enable me to cover the expenses of my work. being a poor working man now unfortunately out of work, any slight assistance would be most thankfully received, Yours Obediently Henry Brown. C. Walton Esqr".
Drawing attention to imperial commodities used as theatrical props on the Restoration and eighteenth-century stage, I reassess commonly studied plays as well as critically overlooked works. Foreign “things” in performance, such as spices and produce in seventeenth-century Lord Mayor’s Shows, china in William Wycherley’s _The Country Wife_ (1675), jewels from the East in Oliver Goldsmith’s _She Stoops to Conquer_ (1773), and the Indian shawl in Elizabeth Inchbald’s _Appearance is Against Them_ (1785), informed reception of the works they appeared in while also influencing how the people of London understood the role of those commodities in their everyday lives. As the commercialism of British society increased, imperial commodities became necessary “actors” in British social relations; the British stage responded in kind by showcasing how such goods dictated and mediated communal relations and constructions of the self. I argue that the way in which exotic goods were utilized in performance served to create, investigate, underwrite, and/or critique a British national and personal identity constructed upon access to and control over imperial commodities.