Book contents
- Frontmatter
- Shakespeare and the Eighteenth Century: Criticism and Research
- Daddy’s Girls: Shakespearian Daughters and Eighteenth-Century Ideology
- Shakespeare and Clarissa: ‘General Nature’, Genre and Sexuality
- Early Georgian Politics and Shakespeare: The Black Act and Charles Johnson’s Love in a Forest (1723)
- Race Mattered: Othello in Late Eighteenth-Century England
- From Pericles to Marina: ‘While Women are to be had for Money, Love, or Importunity’
- ‘A Thousand Twangling Instruments’: Music and The Tempest on The Eighteenth-Centruy London Stage
- Double Falsehood and the Verbal Parallels with Shelton’s Don Quixote
- Eighteenth-Century Performances of Shakespeare Recorded in the Theatrical Portraits of the Garrick Club
- Eighteenth-Century Editing, ‘Appropriation’, and Interpretation
- Shakespeare Survey: Beginnings and Continuities
- Destined Livery? Character and Person in Shakespeare
- Prejudice and Law in The Merchant of Venice
- ‘Many A Civil Monster’: Shakespeare’s Idea of the Centaur
- Shakespeare’s International Currency
- Repeopling the Globe: The Opening Season at Shakespeare’s Globe, London 1997
- Shakespeare Performances in England, 1997
- Professional Shakespeare Productions in the British Isles, January–December 1996
- TheYear's Contributions to Shakespeare Studies: 1 Critical Studies
- 2 Shakespeare’s Life, Times, and Stage
- 3 Editions and Textual Studies
- Books Received
- Index to Volume 51
- General Index to Volumes 41–50
Eighteenth-Century Performances of Shakespeare Recorded in the Theatrical Portraits of the Garrick Club
Published online by Cambridge University Press: 28 March 2007
- Frontmatter
- Shakespeare and the Eighteenth Century: Criticism and Research
- Daddy’s Girls: Shakespearian Daughters and Eighteenth-Century Ideology
- Shakespeare and Clarissa: ‘General Nature’, Genre and Sexuality
- Early Georgian Politics and Shakespeare: The Black Act and Charles Johnson’s Love in a Forest (1723)
- Race Mattered: Othello in Late Eighteenth-Century England
- From Pericles to Marina: ‘While Women are to be had for Money, Love, or Importunity’
- ‘A Thousand Twangling Instruments’: Music and The Tempest on The Eighteenth-Centruy London Stage
- Double Falsehood and the Verbal Parallels with Shelton’s Don Quixote
- Eighteenth-Century Performances of Shakespeare Recorded in the Theatrical Portraits of the Garrick Club
- Eighteenth-Century Editing, ‘Appropriation’, and Interpretation
- Shakespeare Survey: Beginnings and Continuities
- Destined Livery? Character and Person in Shakespeare
- Prejudice and Law in The Merchant of Venice
- ‘Many A Civil Monster’: Shakespeare’s Idea of the Centaur
- Shakespeare’s International Currency
- Repeopling the Globe: The Opening Season at Shakespeare’s Globe, London 1997
- Shakespeare Performances in England, 1997
- Professional Shakespeare Productions in the British Isles, January–December 1996
- TheYear's Contributions to Shakespeare Studies: 1 Critical Studies
- 2 Shakespeare’s Life, Times, and Stage
- 3 Editions and Textual Studies
- Books Received
- Index to Volume 51
- General Index to Volumes 41–50
Summary
But he who struts his hour upon the stage
Can scarce extend his fame for half an age;
Nor pen nor pencil can the actor save,
The art and artist share one common grave.
(David Garrick, Prologue to The Clandestine Marriage, 1766)'The theatrical profession, unfortunately, is one made up of perishable properties.' So wrote the actress Anne Mathews in 1838, despairing of ever describing her husband Charles's performances. The same thought lies behind David Garrick's affecting couplets printed above, with their deliberate echo of Macbeth's 'poor player, / That struts and frets his hour upon the stage / And then is heard no more'. But Garrick's verses are not strictly honest: the pen might not be much use, but the pencil (as a paint-brush was then called) could save an actor and his art. Garrick invented theatrical painting: his artists - William Hogarth, Francis Hayman, Johann Zoffany and many others - clearly had an input, but the idea was his. It is also a distinctly British branch of painting, a peculiar hybrid - part history, part genre and part portraiture. The world's best collection of this unique art form belongs to the Garrick Club, London.
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- Information
- Shakespeare Survey , pp. 107 - 124Publisher: Cambridge University PressPrint publication year: 1998