by Ken A. Bugajski
[Bugajski, Ken A. "Joanna Baillie: An
Annotated Bibliography." Romanticism On the Net 12 (November 1998)
<http://users.ox.ac.uk/~scat0385/bwpbaillie.html>]
Notes on Methodology and Terminology
Although I endeavored to view as many of the sources as possible, limits
of time and resources prevented me from examining
each source listed here, especially those from the nineteenth century.
I have placed an asterisk (*) before any source which I
have not seen. In regard to reviews of Baillie's plays, I include references
gathered from other resources (such as Carhart's
biography and A. S. Ward's Bibliography of Literature Reviews in British
Periodicals) and list them as reviews based on
their date of publication and their proximity to the publication date
for one of Baillie's works. In other words, reviews marked
with an asterisk have the potential not to be a review of the work
under which the review is listed, though this likelihood is
small.
Baillie scholars may note that several references listed in the appendix
of Margaret Carhart's biography are not included in this
bibliography. In some cases, Carhart's citations appear, to the best
of my knowledge, to be inaccurate; in others, Carhart notes
a publication containing only a passing reference to Baillie. As these
sources provide little critical evaluation of Baillie, I have
omitted them from my bibliography.
Throughout this bibliography, I define works as "contemporary" if they
were published during Baillie's lifetime, while "modern"
sources are those published after Baillie's death in 1851. Abbreviations
used in this bibliography include:
DAI -- Dissertation Abstracts International
n.d. -- no date
n. pag. -- no pagination
n. pub. -- no publisher
ns -- new series
os -- old series
ser. -- series
Acknowledgments
I would like to thank the following people for their contributions to
this project: Harrison T. Meserole for his annotations for the
secondary criticism in German; Jeffrey Cox and Marjean Purinton for
their help in an earlier phase of this project; Catherine
Burroughs, Michael Gamer, Michael Eberle-Sinatra, Janice Patten, Julie
Aipperspach, and Tricia J. V. Bugajski for reading and
commenting on an early draft of the secondary criticism section; Judith
Slagle for her willingness to share her research on
Baillie's letters; James L. Harner for his always good advice and citation
format expertise; and Tom Crochunis for his perpetual
council throughout this project.
All bibliographers know that no bibliography is entirely finished. If
you know of additions or corrections, please send them to
me at kab0094@acs.tamu.edu or Dept. of English, Mail Stop 4227, Texas
A&M University, 77843-4227.
Outline
I. Primary Works
A. Contemporary Editions
1. Dramatic Works
a. Multi-Play Volumes
b. Plays Published Individually
2. Non-Dramatic
Works
3. Collected
Works
4. Works in
Anthologies or Collections
a. Complete Works
b. Selected Poems and Excerpts
5. Edited Works
6. Adaptations
and Translations
7. Miscellaneous
B. Modern Editions
1. Dramatic Works
a. Individual Volumes
b. Complete Dramas in Anthologies
2. Non-Dramatic Works
a. Individual Volumes
b. Selected Poems and Dramatic Excerpts
3. Letters
a. Letters Written by Baillie
b. Letters Written to Baillie
C. Manuscripts
1. Published
Works
2. Unpublished
Works
3. Letters (major
collections)
II. Secondary Works
A. Biography
1. Nineteenth-Century
2. Twentieth-Century
3. Biographical
Dictionaries
B. Critical Interpretations
C. Dissertations
D. Electronic Resources
Part I, Section A1 --
Primary Works/Contemporary Editions/Dramatic Works
Multi-Play Volumes
*Dramas. 3 vols. London: Longman, Hurst, Rees, Orme, and Brown, 1836.
Contains Romiero, The Alienated Manor, Henriquez,
The Martyr (Vol. 1), The Separation, The Stripling,
The Phantom, Enthusiasm (Vol. 2), Witchcraft,
The Homicide, The Bride, and The Match (Vol. 3).
Reviews:
Athenæum
427 (2 Jan. 1836): 4-5.
Blackwood's
Edinburgh Magazine 39 (1836): 1-16.
Edinburgh Review
63 (1836): 73-101.
Fraser's Magazine
13 (1836): 236-49.
Gentleman's
Magazine ns 6 (1836): 3-15.
London and Westminster
Review 33 (1840): 401-24.
Museum of Foreign
Literature and Science 28 (1836): 458-68. (Reprints the review from the
Quarterly
Review, below.)
Quarterly Review
55 (1835-36): 487-513.
Performance Reviews:
Rev. of Henriquez.
Athenæum 439 (26 Mar 1836): 228.
Rev. of The
Separation. Athenæum 435 (27 Feb. 1836): 164.
Rev. of The
Separation. Mirror of Literature, Amusement, and Instruction 27 (1836):
155-58.
*Miscellaneous Plays. London: Longman, Hurst, Rees, Orme, and Brown, 1804.
*---. 2nd ed. London: Longman, Hurst, Rees, and Orme, 1805.
Includes the plays Rayner, The Country Inn, and Constantine Paleologus, or The Last of the Caesars.
Reviews:
*Annual Review
3 (1804): 609-17.
*La Belle Assemblée
1 [Suppl.] (1806): 17-18.
British Critic
27 (1806): 22-28.
Critical Review
3rd ser. 4 (1805): 238-54.
*Eclectic Review
10 (1813): 21-32; 167-86.
Edinburgh Review
5 (1805): 405-21.
Imperial Review
3 (1805): 252-63.
*Lady's Monthly
Museum 16 (1806): 201.
*Literary Journal
5 (1805): 49-64.
London and Westminster
Review 33 (1840): 401-24.
Monthly Magazine
19 [Suppl.] (1805): 660.
Monthly Mirror
19 (1805): 327-34; 398-403.
Monthly Review
49 (1806): 303-10.
New Annual Register
25 (1804): 351.
Poetical Register
4 (1804): 506.
*Plays. New York: Longworth, 1810.
Contains The Beacon, The Family Legend, and The Siege.
*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 a Comedy. 3 vols. London: Cadell and Davies
(vols. 1 and 2); Longman, Hurst, Rees, Orme, and
Brown (vol. 3), 1798-1812.
*---. New ed. 3 vols. London: Longman, Hurst, Rees, Orme, and Brown, 1821.
*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 a Comedy. Volume 1. London: Cadell and Davies,
1798.
*---. 2nd ed. London: Cadell and Davies, 1799.
*---. 3rd ed. London: Cadell and Davies, 1800.
*---. 4th ed. London: Cadell and Davies, 1802.
*---. 5th ed. London: Longman, Hurst, Rees, and Orme, 1806.
Contains the Introductory Discourse, Count Basil, The Tryal, and De Monfort.
Reviews:
*Analytical Review
27 (1798): 524-28.
British Critic
13 (1799): 284-90.
*Critical Review
ns 24 (1798): 13-22.
*Imperial Magazine
1 (1804): 335-44; 2 (1804): 89-97.
*Lady's Monthly
Museum 13 (1804): 126-27.
*Literary Leisure
1 (1800): 221-34.
London and Westminster
Review 33 (1840): 401-24.
Monthly Magazine
5 [Suppl.] (1798): 507-08.
Monthly Mirror
11 (1801): 112-14; 14 (1802): 258-59.
Monthly Review
27 (1798): 66-69.
*New London
Review 1 (1799): 72-74.
Performance Reviews:
Dutton, Thomas.
Rev. of De Monfort. Dramatic Censor 2 (1800): 112-18; 127-33.
Rev. of De Monfort.
European Magazine 37 (1800): 384-86.
Rev. of De Monfort.
Monthly Magazine 9 (1800): 487.
*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 a Comedy. Volume 2. London: Cadell and Davies,
1802.
*---. 2nd ed. London: Cadell and Davies, 1802.
*---. 3rd ed. London: Longman, Hurst, Rees, and Orme, 1806.
Includes The Election, Ethwald (parts one and two), and The Second Marriage.
Reviews:
*Annual Review
1 (1802): 680-85.
British Critic
20 (1802): 184-94.
Critical Review
ns 37 (1803): 200-12.
Edinburgh Review
2 (1803): 269-86.
European Magazine
42 (1802): 126.
London and Westminster
Review 33 (1840): 401-24.
Monthly Review
43 (1804): 31-39.
New Annual Register
23 (1802): 319.
Poetical Register
2 (1802): 449-50.
*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 a Comedy. Volume 3. London: Longman, Hurst,
Rees, and Orme, 1812.
Contains Orra, The Dream, The Siege, and The Beacon.
Reviews:
British Critic
40 (1812): 554-59.
British Review
3 (1812): 172-90.
*Critical Review
4th ser. 1 (1812): 449-62.
*Eclectic Review
10 (1813): 21-32; 167-86.
*Edinburgh Magazine
ns 2 (1818): 517-20.
Edinburgh Review
16 (1811-12): 261-90.
Monthly Magazine
14 [Suppl.] (1802-03): 600.
Monthly Review
69 (1812): 382-93.
Plays Published Individually
*Basil: A Tragedy. Philadelphia: Carey and Lea, 1811.
*The Beacon: A Serious Musical Drama, in Two Acts. New York: Longworth, 1812.
*---. London: Strahan and Preston, 1815.
*The Bride: a Drama in Three Acts. London: Colburn, 1828.
*---. Philadelphia: Neal, 1828.
*---. Philadelphia: Diggens, 1828.
*De Monfort: A Tragedy in Five Acts. London: Longman, Hurst, Rees, and Orme, 1807.
*---. New York: Longworth, 1809.
*The Dream: A Tragedy in Prose, in Three Acts. New York: Longworth, 1812.
*The Election: A Comedy in Five Acts. Philadelphia: Carey, 1811.
*The Family Legend: A Tragedy. Edinburgh: John Ballantyne; London: Longman, Hurst, Rees, Orme, and Brown, 1810.
*---. New York: Longworth, 1810.
---. 2nd ed. Edinburgh: Ballantyne, 1810.
Performance Reviews:
British Critic
38 (1811): 53-59.
*Eclectic Review
10 (1813): 21-32, 167-86.
*Edinburgh Monthly
Magazine 1 (1810): 47-49.
*Glasgow Magazine
1 (1810): 140-48.
*Hibernia Magazine
1 (1810): 336.
Monthly Mirror
ns 7 (1810): 313-14.
Monthly Review
69 (1812): 382-93.
Poetical Register
8 (1810-11): 595-96.
Scots Magazine
72 (1810): 103-07.
*The Martyr: A Drama, in Three Acts. London: Longman, Hurst, Rees, Orme, Brown, and Green, 1826.
Reviews:
*La Belle Assemblée
3rd ser. 3 (1826): 267.
*Inspector 1
(1826): 130.
*Lady's Magazine
ns 7 (1826): 246-48.
*Literary Gazette
484 (1826): 260-61.
Monthly Review
3rd ser. 2 (1826): 174-84.
New Monthly
Magazine 18 (1826): 230.
*Panoramic Miscellany
1 (1826): 665-68.
*Orra: A Tragedy
in Five Acts. New York: Longworth, 1812.
*The Siege:
A Comedy in Five Acts. New York: Longworth, 1812.
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Part I, Section A2 -- Primary Works/Contemporary Editions/Non-Dramatic Works
*Ahalya Baee: A Poem. London: [Printed for private circulation by] Spottiswoode and Shaw, 1849.
*"The Bonny Boat." Cole's Selection of Scottish Melodies 2. Baltimore: Cole, 1800.
*---. Hartford: Kappel, n.d. [1830-39].
*"Epilogue to the Theatrical Representation at Strawberry-Hill." 1800.
An epilogue for Mary Berry's Fashionable Friends,
published as a broadside. Reprinted in The Dramatic and
Poetical Works of Joanna Baillie: Complete
in One Volume, listed in Primary/Contemporary/Collected,
below.
*Fugitive Verses. London: Moxon, 1840.
*---. New ed. London: Moxon, 1842
*---. London: Moxon: 1864.
Reviews:
Athenæum
691 (23 Jan. 1841): 69-70.
Quarterly Review
67 (1841): 437-52 (Although a review of Fugitive Verses, almost fifty percent
of the
review discusses
the Plays on the Passions, especially De Monfort).
*Metrical Legends of Exalted Characters. London: Longman, Hurst, Rees, Orme, and Brown, 1821.
*---. 2nd ed. London: Longman, Hurst, Rees, Orme, and Brown, 1821.
Reviews:
*Eclectic Review
ns 16 (1821): 428-42.
*Edinburgh Magazine
ns 8 (1821): 260-65.
*European Magazine
79 (1821): 239-42.
*Lady's Monthly
Museum ns 13 (1821): 158.
*Literary Chronicle
94 (03 March 1821): 129-32.
*Literary Gazette
214 (1821): 113-15.
Monthly Review
2nd ser. 96 (1821): 72-81.
*New Edinburgh
Review 1 (1821): 393-414.
"Epistles to the Literati, No. 9." Fraser's Magazine 14 (1836): 748-49.
Responds to the Quarterly Review's appraisal
of her Dramas, specifically the character of Romiero. Argues that
Romiero possesses dignity and nobility, and
compares her hero to Othello.
*Poems: Wherein It Is Attempted to Describe Certain Views of Nature
and of Rustic Manners; And Also, To Point Out,
In Some Instances, the Different Influence Which the Same Circumstances
Produce on Different Characters. London:
Johnson, 1790.
While this volume is listed in the New Cambridge
Bibliography of English Literature and mentioned in several
works, including Carhart's biography, as the
first edition of Fugitive Verses, Roger Lonsdale has correctly
identified this title as Baillie's first published
volume.
*A View of the General Tenour of the New Testament Regarding the Nature
and Dignity of Jesus Christ: Including a
Collection of the Various Passages in the Gospels, Acts of the Apostles,
and the Epistles which Relate to that Subject.
London: Longman, Rees, Orme, Brown and Green, 1831.
*A View of the General Tenour of the New Testament Regarding the Nature
and Dignity of Jesus Christ: Including a
Collection of the Various Passages in the Gospels, Acts of the Apostles,
and the Epistles which Relate to that Subject.
To Which Are Now Added a Correspondence with the Late Bishop of Salisbury,
Together with Remarks on the
Pre-Existence of Christ, and on Toleration and Fanaticism. 2nd ed.
London: Taylor, 1838.
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Part I, Section A3 -- Primary Works/Contemporary Editions/Collected Works
*The Complete Poetical Works. Philadelphia: Carey and Lea, 1832.
The Dramatic and Poetical Works of Joanna Baillie: Complete in One Volume.
London: Longman, Brown, Green and
Longmans, 1851.
*---. 2nd ed. London: Longman, Brown, Green and Longmans, 1853.
Reviews:
Athenæum
1211 (11 Jan. 1851): 41.
Eclectic Review
ns 1 (1851): 407-23.
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Part I, Section A4 --
Primary Works/Contemporary Editions/Works in Anthologies or Collections
Complete Works
*Baillie, Joanna. Basil: A Tragedy in Five Acts. Philadelphia: Palmer, 1823.
Published with Thomas Otway's The Orphan, or, The Unhappy Marriage.
*---. The Beacon. London: Longman, n.d.
Published with Robert Jephson's The Count of
Narbonne, Robert Francis Jameson's The Students of
Salamanca, and David Garrick's The Country
Girl.
*---. The Beacon. Select Plays. 2 vols. New York: Longworth, 1813.
Published with The Bankrupt, The Liar, and
The Orators by Samuel Foote and The Peasant Boy by W.
Dimond.
---. De Monfort: A Tragedy in Five Acts. The British Theatre, or, A
Collection of Plays. Vol. 24. Ed. Elizabeth Inchbald.
London: Longman, Hurst, Rees, and Orme, 1808.
*---. 2nd ed. London: Longman, Hurst, Rees, Orme, and Brown, 1816.
Published with The Road to Ruin and The Deserted
Daughter by Thomas Holcroft, The Stranger by Benjamin
Thompson, and Point of Honour by Charles Kemble.
For Inchbald’s introduction, see Secondary/Critical,
below.
*Baillie, Joanna, and Joseph Gostick. Fugitive Verses, With The Spirit
of German Poetry: A Series of Translations from the
German Poets. London: Smith, 1845.
Selected Poems and Excerpts
Note: For this section, I have listed the poems
as they appear in each volume, including variations in titles and of
spelling. However, in cases where the collection
titled one of Baillie's lyrics as "Song," I have instead given the first
line.
Baillie, Joanna, ed. A Collection of Poems, Chiefly Manuscript, and
from Living Authors. London: Longman, Hurst, Rees,
Orme, and Brown, 1823.
For annotation, see Primary/Contemporary/Edited Works, below.
Bethune, George W., ed. The British Female Poets: With Biographical
and Critical Notices. New York: Hurst, 1848.
Essay Index Reprint Series. Freeport: Books for Libraries, 1972. 159-80.
Prints brief excerpts from Ethwald, Rayner,
Orra, The Beacon, The Separation and "The Kitten." Also includes
"The Travellers by Night," "Reveille," "The
Chough and the Crow" [from Orra], "Bridal Song," " Serenade,"
"Hymn of the Martyr," "Wished-for gales the
light vane veering," "Where distant billows meet the sky," and "The
gliding fish that takes his play."
Chambers, Robert, ed. Cyclopedia of English Literature: A History, Critical
and Biographical, of British Authors, from
the Earliest to Present Times. 2 vols. Edinburgh: Chambers, 1844. 451-43,
511-14.
Includes "The Kitten," "Address to Miss Agnes
Baillie on Her Birthday," and scenes from De Monfort, Orra, and
Ethwald.
Hall, S. C., ed. The Book of Gems. 3 vols. London: Bohn, 1849. 3:268-73.
Prints Baillie's "To a Child," "The Kitten," and "O welcome bat and owlet gray."
*Inglis, Robert. Gleanings from the English Poets, Chaucer to Tennyson. Edinburgh and London: Gall and Terrace, 1881.
Prints Baillie's "Picture of Country Life."
(Information on this volume obtained from
http://humanitas.ucsb.edu/depts/english/research/grad/anthologies/Gleanings.html
.)
*Thomson, George. The Select Melodies of Scotland, Interspersed with
Those of Ireland and Wales. London: Preston;
Edinburgh: Thomson, 1822.
For annotation, see Primary/Contemporary/Adaptations, below.
Rowton, Frederic. The Female Poets of Great Britain. London: Longman,
Brown, Green, and Longmans; Philadelphia:
Carey and Hart, 1849. 287-306.
Reprints "To a Child," "A Mother to Her Waking
Infant," "What voice is this, thou evening gale," "The Grave of
Columbus," and scenes from De Monfort and
Henriquez. For Rowton's critical assessment, see
Secondary/Critical, below.
*Scott, Walter. English Minstrelsy. Being a selection of fugitive poetry
from the best English authors; with some
original pieces hitherto unpublished. 2 vols. Edinburgh: Ballantyne,
1810.
Prints "The Kitten," "The Heathcock," and a
song. (Information on this volume obtained from
http://humanitas.ucsb.edu/depts/english/research/grad/anthologies/SW-Scott.html
.)
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Part I, Section A5 -- Primary Works/Contemporary Editions/Edited Works
Baillie, Joanna, ed. A Collection of Poems, Chiefly Manuscript, and
from Living Authors. London: Longman, Hurst, Rees,
Orme, and Brown, 1823.
Prepared for a Mrs. Stirling, a friend of Baillie's
who had fallen into financial straits. Contains poetry from many
notable poets of the day, including Anna Barbauld,
General Alexander Dirom (see O'Reilly,
Primary/Modern/Letters/By Baillie, below),
Felicia Hemans, Sir Walter Scott, William Sotheby, Robert Southey,
and Baillie herself. Includes Baillie's "A
Volunteer Song," "To Mrs. Siddons," "To a Child," "Address to a Steam
Vessel," "A November Night's Traveller," and
"Sir Maurice."
Reviews:
*British Critic
ns 19 (1823): 551-55.
Eclectic Review
ns 20 (1823): 264-76.
Monthly Review
2nd ser. 103 (1824): 410-17.
*---. Occasional Verses: To Which Are Added, Extracts from Letters, &c. By Sophia Baillie. London: [L. Miller], 1846.
Contains poems and letters of Baillie's sister-in-law, collected after her death.
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Part I, Section A6 --
Primary Works/Contemporary Editions/Adaptations and Translations
*Beethoven, Ludwig van, arr. "O Swiftly Glides the Bonny Boat: A Scotch Air." Baltimore: Cole, 1822.
*---. New York: Dubois and Stodart, 1824.
*---. New York: Geib and Walker, n.d.
*Cramer, Karl Friedrich, trans. Ethwald, ein Traurspiel in funf Acten. [Amsterdam]: Rohloff, 1807.
A translation of the second volume of A Series of Plays.
*The Election: A Comic Opera in Three Acts. Ms. 1971. Henry E. Huntington
Library, Larpent Collection of Plays,
California.
FirstSearch states that the play is "Altered from Joanna Baillie," but gives no information on who altered it.
*Horn, Charles Edward, arr. "'Tis Love in the Heart: The Admired Rondo
[from The Election]." Words by Samuel J. Arnold.
Philadelphia: Blake, n.d.
*---. London: Williams, 1819.
A song from The Election altered by Arnold, FirstSearch states, "with the approbation of the authoress."
*Kemble, John Philip. De Monfort: A Tragedy in Five Acts. Ms. 1287.
Henry E. Huntington Library, Larpent Collection of
Plays, California.
According to Jeffrey N. Cox in Seven Gothic
Dramas, this manuscript reworks De Monfort by making use of
contemporary sources (232).
*Schreiter, H. G., trans. Basil: A Tragedy. Altenberg: n. pub., 1807.
A translation of Count Basil into German.
Thomson, George. The Select Melodies of Scotland, Interspersed with
Those of Ireland and Wales. 5 vols. London:
Preston; Edinburgh: Thomson, 1822.
Includes "O welcome bat and owlet gray," "The
gowan glitters on the sward," "Woo'd and Married and A',"
"Poverty Parts Good Company," "The Note of
the Black Cock," "The Maid of Llanwellyn," "The morning air
plays on my face," "Hooly and Fairly," "Now
bar the door, shut out the gale," and "O Swiftly Glides the Bonny
Boat." Composers for Baillie’s lyrics include
Kozeluch, Beethoven, and Haydn.
Review:
Edinburgh Review 39 (1823-24): 67-84.
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Part I, Section A7 -- Primary/Contemporary/Miscellany
*Baillie, Joanna. De Monfort. Huntington Manuscript 32693. Huntington
Library. California, United States.
http://www.huntington.org/LibraryDiv/LibraryHome.html
According to Jeffrey N. Cox in Seven Gothic
Dramas, this manuscript appears in the hand of Thomas Campbell,
who prepared it for Sarah Siddons, Jane De
Monfort in the original production (232). Siddons added her own
marginal notes to this manuscript.
*Bishop, Henry R. The Overture, Songs, Duett, Glees and Choruses, in
the Musical Play of Guy Mannering. Additional
text by Joanna Baillie. London: Goulding, D'Almaine, and Potter, 1816.
*---. "The Chough and Crow to Roost Are Gone." Additional text by Joanna
Baillie. London: Goulding, D'Almaine, and
Potter, 1820.
*---. 2nd ed. Philadelphia: Blake, n.d.
Originally from Orra and then transferred to
Guy Mannering, this song was published separately after The
Overture, Songs, Duett, Glees and Choruses.
*Shakespeare, William. Shakespeare's Tragedy of Macbeth.
FirstSearch states that the "Folger Shakespeare
Library's copy is Edwin Booth's promptbook for an unspecified
production. Manuscript annotations include
remarks about the play by Joanna Baillie, portraits of Edwin Booth as
Macbeth, Charlotte Cushman as Lady Macbeth,
[and] some prompt notes."
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Part I, Section B1 -- Primary Works/Modern Editions/Dramatic Works
Individual Volumes
The Family Legend and Metrical Legends of Exalted Characters. Ed. and
Introd. Donald H. Reiman. Romantic Context:
Poetry. Significant Minor Poetry, 1789-1830. New York and London: Garland,
1976.
Reprints the 1810 first edition of The Family
Legend. For the annotation of the introduction, see Reiman,
Secondary/Critical, below.
*The Dramatic and Poetical Works. Anglista and American 177. Hildesheim and New York: Verlag, 1976.
Reprints the 1851 edition of The Dramatic and Poetical Works of Joanna Baillie: Complete in One Volume.
*Joanna Baillie: A Selection of Poems and Plays. Ed. Keith Hanley and
Amanda Gilroy. Brookfield: Pickering and Chatto,
1997.
Miscellaneous Plays. Ed. and Introd. Donald H. Reiman. Romantic Context:
Poetry. Significant Minor Poetry, 1789-1830.
New York and London: Garland, 1977.
Reprints the 1804 first edition. For the annotation of the introduction, see Reiman, Secondary/Critical, below.
A Series of Plays. 3 vols. Ed. and Introd. Donald H. Reiman. Romantic
Context: Poetry. Significant Minor Poetry,
1789-1830. New York and London: Garland, 1977.
Reprints the first edition of each volume.
For the annotation of the introduction, see Reiman, Secondary/Critical,
below.
*A Series of Plays: In Which It Is Attempted to Delineate the Stronger
Passions of the Mind. Ed. Caroline Franklin.
London: Routledge, 1996.
A Series of Plays, 1798. Ed. and Introd. Jonathan Wordsworth. Oxford and New York: Woodstock, 1990.
Reprints the first edition of the first volume
of A Series of Plays. For the annotation of the introduction, see
Wordsworth, Secondary/Critical, below.
Complete Dramas in Anthologies
Count Basil. British Literature, 1780-1830. Ed. Anne K. Mellor and Richard
E. Matlak. Fort Worth: Harcourt Brace, 1996.
458-93.
Prints the first edition of Count Basil as
it appears in Jonathan Wordsworth's Woodstock facsimile edition (see
this section, above).
De Monfort. Seven Gothic Dramas, 1789-1825. Ed. Jeffrey N. Cox. Athens: Ohio UP, 1992. 231-314.
A critical edition based on the 1798 first
edition text. Also considers the texts of a manuscript from 1800 (Larpent
Ms. 1287, see Primary/Manuscripts/Published,
below) and Campbell's manuscript version (Huntington Ms.
32693, see Primary/Contemporary/Miscellany,
above). For the annotation of Cox’s introduction to De Monfort
and reviews of this book, see Secondary/Critical,
below. Scenes from this edition appear in electronic form; for
URL, see Secondary/Electronic, below.
*De Monfort. Romantic Tragedies. British Theatre: Eighteenth-Century English Drama 20. Frankfurt: Minerva, 1969.
The Family Legend. Female Playwrights of the Nineteenth Century. Ed.
Adrienne Scullion. Everyman's Library. London:
Dent; Rutland: Tuttle, 1996. 3-74.
Reprints the 1810 first edition.
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Part I, Section B2 -- Primary Works/Modern Editions/Non-Dramatic Works
Individual Volumes
The Family Legend and Metrical Legends of Exalted Characters. Ed. and
Introd. Donald H. Reiman. Romantic Context:
Poetry. Significant Minor Poetry, 1789-1830. New York and London: Garland,
1976.
Reprints the 1810 first edition of The Family
Legend and an 1821 edition of Metrical Legends. For the
annotation of the introduction, see Reiman,
Secondary/Critical, below.
*Joanna Baillie: A Selection of Poems and Plays. Ed. Keith Hanley and
Amanda Gilroy. Brookfield: Pickering and Chatto,
1997.
Joanna Baillie: Poems, 1790. Ed. and Introd. Jonathan Wordsworth. Revolution
and Romanticism, 1789-1834. Oxford and
New York: Woodstock, 1994.
Reprints Poems: Wherein It Is Attempted . .
., Baillie's first published work. For the annotation of the
introduction, see Wordsworth, Secondary/Critical,
below.
*---. Poems. Akros Pocket Classics Series 20. Edinburgh: Akros, 1995.
Selected Poems and Dramatic Excerpts
Note: As above, I have listed the poems as
they appear in each volume, including variations in titles and of
spelling. I have substituted the first line
of poems identified only as "Song."
Abrams, M. H., ed. The Norton Anthology of English Literature. 6th ed. 2 vols. New York: Norton, 1993.
Reprints "Up! quit thy bower" and "Woo'd and
Married and A'." (Information on this volume obtained through
http://www.muohio.edu/~anthol/norton6.htm
.)
Armstrong, Isobel, Joseph Bristow, with Cath Sharrock, ed. Nineteenth-Century
Women Poets: An Oxford Anthology.
Oxford: Clarendon, 1996. 50-73.
Prints "A Winter's Day," "A Summer's Day,"
"To a Child," "London," "Lines to a Teapot," "Address to a
Steamvessel," and "Volunteer's Song, Written
in 1803."
*Ashfield, Andrew. Romantic Women Poets, 1770-1838. New York: Manchester UP, 1995.
Prints "An Address to the Night: A Fearful
Mind," "London," "Address to a Steamvessel," and excerpts from "A
Winter Day," "A Summer Day," "Thunder," "Wind,"
and "The Traveller by Night in November." (Information on
this volume obtained through http://www.muohio.edu/~anthol/ashfield.htm
.)
Breen, Jennifer, ed. Women Romantic Poets, 1785-1832: An Anthology.
Everyman's Library. London: Dent; Rutland: Tuttle,
1992. 43-71.
Includes "A Winter's Day," "A Summer's Day,"
"A Reverie," "A Disappointment," "A Mother to Her Waking
Infant," "A Child to His Sick Grandfather,"
"Hooly and Fairly," and "What voice is this, thou evening gale!"
Dixon, W. Macneille, ed. The Edinburgh Book of Scottish Verse, 1300-1900.
London: Meiklejohn and Holden, 1910.
Granger Index Reprint Series. Freeport: Books for Libraries, 1971.
535-40.
Contains "The Fisherman's Song," "The Outlaw's
Song" from Orra ["The chough and crow to roost are gone"],
"The Shepherd's Song," ["The gowan glitters
on the sward"], and "Saw ye Johnnie Comin'."
Feldman, Paula R. ed. British Women Poets of the Romantic Era: An Anthology. Baltimore: Johns Hopkins UP, 1997.
Prints "Wind," "Thunder," "The Kitten," "Up!
Quit Thy Bower," "Woo'd and Married and A'," "Address to a
Steam Vessel," "The Sun is Down," "Lines to
a Teapot," and "The Maid of Llanwellyn."
Fullard, Joyce, ed. British Women Poets 1660-1800: An Anthology. Troy:
Whitston, 1990. 56-57, 146-48, 228-29,
458-63.
Presents "London," an excerpt from "Address
to the Muses," and several songs: "Child, with many a childish
wile," "Upon her saddle's quilted seat," "Wake
awhile and pleasant be," "Come, form we round a cheerful ring,"
"O swiftly glides the bonny boat," and "High
is the tower, and the watch-dogs bay."
Hale, Sarah Josepha. Woman's Record; or Sketches of All Distinguished
Women from the Creation to A. D. 1854,
Arranged in Four Eras with Selections from Female Writers of Every
Age. 2nd ed., rev. New York: Harper, 1855. Rpt.
History of Women 1780. New Haven: Research, 1975. 574-77.
Includes passages from the following: De Monfort,
Henriquez, Orra, Romiero, "Lady Griseld Baillie,"
"Christopher Columbus," and "Address to Miss
Agnes on Her Birthday."
Higonnet, Margaret Randolph, ed. British Women Poets of the 19th Century. New York: Meridian-Penguin, 1996. 143-67.
Prints "A Winter's Day," "A Summer's Day,"
"A Reverie," "A Mother to Her Waking Infant," "Address to the
Muses," "London," and "Verses Written in February
1827."
Johnson, Rossiter, ed. Works from the British Poets, from Chaucer to
Morris, with Biographical Sketches. 3 vols. New
York: Appleton, 1876. 2:16-34.
Contains "To a Child," "Christopher Columbus,"
"Lady Griseld Baillie," and "Lord John of the East." Includes a
portrait of Baillie as the frontispiece for
volume two.
Jump, Harriet Devine, ed. Women's Writing of the Romantic Period, 1789-1836:
An Anthology. Edinburgh: Edinburgh UP,
1997. 61-63.
Prints two brief passages from the Introductory Discourse.
Kerrigan, Catherine, ed. An Anthology of Scottish Women Poets. Edinburgh: Edinburgh UP, 1991. 172-76.
Includes "Poverty Parts Good Company," "Tam
O' the Lin," "Woo'd and Married and A'," and "The Shepherd's
Song."
Kopp, Richard. Welsh Folksongs. http://acronet.net/~robokopp/welsh/maidofll.html. 10 August 1998. [no longer available]
Prints "The Maid of Llanwellyn," and includes a link to a melody which can be downloaded.
Lonsdale, Roger, ed. Eighteenth Century Women Poets: An Oxford Anthology.
Oxford and New York: Oxford UP, 1989.
429-45.
Reprints "A Reverie," "A Mother to Her Waking
Infant," "A Child to His Sick Grandfather," "The Horse and His
Rider," and excerpts from "A Winter Day,"
"A Summer Day," "An Address to the Muses," and "Night Scenes of
Other Times."
---. The New Oxford Book of Eighteenth Century Verse. Oxford and New York: Oxford UP, 1984. 770-75.
Includes "A Disappointment," "A Mother to Her
Waking Infant," "A Child to His Sick Grandfather," and "The
Horse and His Rider."
McCordick, David, ed. Scottish Literature: An Anthology. 3 vols. New York: Lang, 1996. 2:217-25.
Contains "Disappointment," "Woo'd and Married
and A'," "Fy, Let Us A' to the Wedding," "It Fell on a Morning,"
"The gowan glitters on the sward," "Love's
Wistful Tale," "Wake, Lady," and "The Black Cock."
McGann, Jerome J., ed. The New Oxford Book of Romantic Period Verse.
Oxford and New York: Oxford UP, 1993.
592-98.
Prints "The Ghost of Fadon."
Miles, Alfred H., ed. The Poets and Poetry of the Nineteenth Century.
12 vols. London: Routledge, 1905-07. New York:
AMS Press, 1967. 8:1-16.
Presents "The chough and crow to roost are
gone" from Orra, "Saw Ye Johnny Comin'?," "The Maid of
Llanwellyn," "Poverty Parts Gude Companie,"
"Fy, Let Us A' to the Wedding," "The gowan glitters on the sward,"
"It Was on a Morn," "Woo'd and Married and
A'," and "Good Night, Good Night" from The Phantom.
Milford, H. S., ed. The Oxford Book of English Verse of the Romantic
Period, 1798-1837. Oxford: Clarendon, 1935.
49-51.
A reprint of The Oxford Book of Regency Verse, below.
---. The Oxford Book of Regency Verse, 1798-1837. Oxford: Clarendon, 1928. 49-51.
Prints brief excerpts from The Country Inn and Orra.
Mitford, Mary Russell. Recollections of a Literary Life; Or, Books,
Places, and People. London: Bentley, 1851; New
York: Harper, 1852. Rpt. Women of Letters. New York: AMS, 1975. 152-57.
Reprints "The Black Cock," "Woo'd and Married
and A'," and "O welcome bat and owlet gray." For Mitford's
critical evaluation, see Secondary/Critical,
below.
Oliver, John W. and J. C. Smith, ed. A Scots Anthology from the Thirteenth
to the Twentieth Century. Edinburgh and
London: Oliver and Boyd, 1949. 359-60.
Prints "The Trysting Bush."
Patrick, David and J. Liddell Geddie, ed. Chambers's Cyclopædia
of English Literature. New ed. 3 vols. London and
Edinburgh: Chambers, 1927. 2:729-34.
Includes "The Shepherd’s Song," selections
from "The Kitten," "Address to Miss Agnes Baillie on Her Birthday,"
and scenes from De Monfort, Orra, and Ethwald.
Peacock, W., ed. English Verse. 5 vols. World's Classics. London: Oxford UP, 1930. 3:533-38.
Contains "The Fisherman's Song," "The Outlaw's
Song" from Orra ["The chough and crow to roost are gone"],
"The Shepherd's Song," ["The gowan glitters
on the sward"], "Oh welcome, bat and owlet gray," and "Hay
Making."
*Perkins, David, ed. English Romantic Writers. 2nd ed. New York: Harcourt, 1995.
Includes "A Reverie," "A Mother to Her Waking
Infant," "Woo'd and Married and A'," "The Ghost of Fadon,"
"The Kitten," and passages from the Introductory
Discourse. (Information on this volume obtained through
(http://www.muohio.edu/~anthol/perkins2.htm
.)
Petersohn, Frank. Folksongs of Various Countries. http://ingeb.org/songs/maidofll.html . 10 August 1998.
Prints "The Maid of Llanwellyn" with a link to a melody for the lyric.
Quiller-Couch, Arthur. The Oxford Book of English Verse. Oxford: Clarendon, 1901.
Includes "The Outlaw's Song" [The chough and
crow to roost are gone"]. (Information on this book obtained
from http://www.bartleby.com/101/ ; see also
Secondary/Electronic, below.)
Robertson, Fiona, ed. Scott. Vol. 3 of Lives of the Great Romantics
II: Keats, Coleridge, and Scott, By Their
Contemporaries. London: Pickering and Chatto, 1997. 20-22.
Reproduces "Lines on the Death of Sir Walter Scott."
Rogers, Charles. The Scottish Minstrel: The Songs of Scotland Subsequent to Burns. 2nd ed. Brooklyn: Swayne, 1870.
Contains "The Maid of Llanwellyn," "Good Night,
Good Night," "Though richer swains thy love pursue," "Poverty
Parts Gude Companie," "Fy, Let Us A' to the
Wedding," "Hooly and Fairly," "The Weary Pund O' Tow," "The
Wee Pickle Tow," "The gowan glitters on the
sward," "Saw Ye Johnnie Comin," "It Fell on a Morning," and
"Woo'd and Married and A'."
Stanford, Ann, ed. The Women Poets in English: An Anthology. New York:
Hender and Hender-McGraw Hill, 1972.
101-02.
Prints "The Trysting Bush."
Tytler, Sarah and J. L. Watson. The Songstresses of Scotland. London: Strahan, 1871. 2:311-34.
Includes "Wi' Lang-Legg'd Tam," "The Merry
Bachelor," "Woo'd and Married and A'," "It Fell on a Morn when
We Were Thrang," "Fy, Let Us A' to the Wedding,"
"Hooly and Fairly," "The Weary Pund O' Tow," "Tam O' the
Lin," "The Wee Pickle Tow," "The Lover's Watch,"
"Poverty Parts Good Company," and "Saw Ye Johnny
Comin." For Tytler’s and Watson’s introduction
to the poems, see Secondary/Biography/Nineteenth, below.
Uphaus, Robert W. and Gretchen M. Foster, ed. The "Other" Eighteenth
Century: English Women of Letters,
1660-1800. East Lansing: Colleagues, 1991. 343-58.
Prints excerpts from the Introductory Discourse from the 1799 second edition of A Series of Plays.
Ward, Thomas Humphry, ed. The English Poets: Selections with Critical
Introductions by Various Writers. 5 vols.
London: Macmillan, 1880. 4:221-6.
Prints "The Chough and Crow," "The Fisherman's
Song," "They who may tell love's wistful tale," and "Woo'd and
Married and A'." For the annotation of the
"Critical Introduction," see Robinson, Secondary/Critical, below.
White, Guy Wallace, ed. http://www3.ns.sympatico.ca/guy.white/linesto.htm 10 August 1998. [no longer available]
Reprints "Lines to Agnes Baillie on Her Birthday."
---. http://www3.ns.sympatico.ca/guy.white/thunder.htm 10 August 1998. [no longer available]
Contains "Thunder."
Wu, Duncan, ed. Romantic Women Poets: An Anthology. Oxford: Blackwell, 1997. 254-60.
Prints "The gowan glitters on the sward," "What voice is this, thou evening gale," and "Tam o' the Lin."
---. Romanticism: An Anthology. 2nd ed. Oxford: Blackwell, 1998. 153-54.
Prints a brief passage from the Introductory Discourse.
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Part I, Section B3 -- Primary Works/Modern Editions/Letters
Letters Written by Baillie
Major Collections
*Lambertson, Chester Lee, ed. "The Letters
of Joanna Baillie (1801-1832)." Diss. Harvard University, 1956.
American Doctoral Dissertations (1956).
Slagle, Judith Bailey. The Collected Letters of Joanna Baillie. 2 vols. Madison: Fairleigh Dickinson UP, 1998.
Covers over 800
of Baillie's previously unpublished letters to various correspondents,
including
Mary Berry,
Lady Byron, John Gibson Lockhart, Sir Walter Scott, George Thomson, and
family
members.
Published in Collections or Journals
Douglas, David, ed. Familiar Letters of Sir Walter Scott. 2 vols. Edinburgh: Douglas, 1894.
Prints eight
letters from Baillie to Scott; subjects include reactions to Scott's House
of Aspen,
Rokeby, and
The Bride of Lammermoor, impressions upon meeting Maria Edgeworth,
Abbotsford,
the separation of Lord and Lady Byron, and Byron's Giaour. Also prints
several letters
from Scott to
Baillie, see this section, below.
Hill, Constance. Maria Edgeworth and Her Circle
in the Days of Buonaparte and Bourbon. London and
New York: Lane, 1910.
For annotation, see Secondary/Biography/Twentieth, below.
Lambertson, C[hester] L[ee], ed. "Speaking of Byron." Malahat Review 12 (1969): 18-42; 13 (1970): 24-46.
Includes nine
letters in volume twelve; subjects include Byron's Corsair, Byron's appreciation
of De
Monfort and
his influence at Drury Lane, Scott's trip to France and subsequent poem
on Waterloo,
the Byrons'
separation, and the future marriage of Baillie's niece. Presents seven
letters in volume
thirteen; subjects
include Baillie's trip to Europe with her niece, the characters of Lord
and Lady
Byron, contemporary
writers such as Byron and Edgeworth, publishing poetry, and Scott's reactions
to and Baillie's
revisions of "Christopher Columbus."
MacPherson, Gerardine. Memoirs of the Life of Anna Jameson. London: Longmans, 1878.
Reprints three
letters from Baillie to Jameson which include favorable comments on Jameson's
"Winter Studies,"
expressions of sorrow concerning the death of a Dr. Channing, and laments
for the
moral state
of Scotland. For MacPherson's impressions of Baillie, see MacPherson,
Secondary/Biography/Nineteenth,
below.
O'Reilly, W. H., ed. "Unpublished Letters of
Joanna Baillie to a Dumfriesshire Laird." Dumfriesshire and
Galloway Natural History and Antiquarian Society:
Transactions and Journal of Proceedings 18 (1934):
10-27.
Contains eleven
letters (ranging from 1821 to 1827) from Baillie to General Alexander Dirom,
a
military leader,
author, and friend. Subjects include mutual friends, invitations to visit,
and literary
matters such
as: Baillie's thanks to Dirom for kind words about her Metrical Legends
and The
Martyr, her
positive feedback on Dirom's own work, a discussion of Baillie's meetings
with the
publisher, Longman,
on Dirom's behalf, a mention of Ahalya Baee as a "perfect female character,"
and a solicitation
to Dirom for a poem to include in her 1823 A Collection of Poems, Chiefly
Manuscript.
Partington, Wilfred, ed. The Private Letter-Books
of Sir Walter Scott: Selections from the Abbotsford
Manuscripts, with a Letter to the Reader from
Hugh Walpole. London: Hodden and Stoughton; New York:
Stokes, 1930.
Includes three
letters by Baillie in which she discusses her niece's impending marriage,
Guy
Mannering, recent
theatrical productions, and Scott's Life of Napoleon.
---. Sir Walter's Post-Bag: More Stories and
Sidelights from His Unpublished Letters. London: Murray,
1932.
Presents extracts
from several of Baillie's letters; subjects include William Wordsworth
and Robert
Southey, reactions
to The Knight of Snowdon, London, her thoughts about producing an
economical version
of The Family Legend, the preservation of national forests, a French memorial
to Voltaire,
Lady and Lord Byron, Charles I, daily life, Scott's baronetcy, payment
for poetry, and
the journey
from Abbotsford to London.
Sutton, Denys, ed. "Joanna Baillie and Sir George Beaumont, Bart." Notes and Queries 174 (1938): 146-48.
Includes three
letters from Baillie to Sir George Beaumont in which Baillie solicits Beaumont's
influence to
help a Mr. Bell's election to the Royal Academy.
Letters Written to Baillie
Colvin, Christina E. "Maria Edgeworth's Tours in Ireland, II. Killarney." Studia Neophilologica 43 (1971): 252-56.
Prints a letter from Edgeworth which details
an 1825 journey she made with Sir Walter Scott, John Gibson
Lockhart, Anne Scott, Captain Walter Scott,
his wife, and Harriet Edgeworth. Details stops made in Killarney,
Cork, Mallow, and Cashell. Calls Scott "the
most agreeable companion possible."
Dibdin, James C. The Annals of the Edinburgh Stage, with an Account
of the Rise and Progress of Dramatic Writing in
Scotland. Edinburgh: Cameron, 1888.
Reproduces passages from two of Sir Walter Scott's letters concerning the production of The Family Legend.
Douglas, David, ed. Familiar Letters of Sir Walter Scott. 2 vols. Edinburgh: Douglas, 1894.
Presents several letters from Scott to Baillie;
subjects include Scott's estimation of Francis Jeffrey, production of
The Family Legend, dramatization of The Lady
of the Lake, Abbotsford and renovations to it, Anna Barbauld,
Charles I, Baillie's change from "Miss" to
"Mrs.," the Byrons and their separation, Byron's Childe Harold's
Pilgrimage, Maria Edgeworth's Harrington and
Ormond, the death of Scott's mother, and Scott's contribution
to Baillie's A Collection of Poems, Chiefly
Manuscript.
Lockhart, John Gibson. The Life of Sir Walter Scott. 10 vols. Edinburgh: Constable, 1903.
Presents several letters from Scott to Baillie;
subjects include mutual literary friends, Scott's plans to visit Baillie
in
London, production of and reaction to The
Family Legend, Scott's visit to Lady Rock and the surrounding
Highland area, Scott's literary work, his
critiques of A Series of Plays -- especially volume three, Edinburgh and
London society, Byron's Childe Harold's Pilgrimage,
British royalty, and life at Abbotsford.
Plarr, Victor C. "Sir Walter Scott and Joanna Baillie." Edinburgh Review 216 (1912): 355-71; 217 (1913): 170-81.
Prints several letters from Sir Walter Scott
to Joanna Baillie in volume 216; subjects include the Edinburgh
production of The Family Legend, suggestions
for minor revisions to the play, criticism of most of the actors, and
details of the play's public reception. Prints
seven letters in volume 217; details include Scott's illness, his appeal
to
Matthew Baillie for treatment, composition
of the Waverly novels, and reactions to drafts of Baillie's The Martyr
and her "witchcraft story" [Witchcraft].
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Part I, Section C1 -- Primary Works/Manuscripts/Published Works
Note: In this section and the next, I have
included listings only for complete plays or collections with more than
one work. Individual poems or letters are
not included. For more information on Baillie manuscripts, see David C.
Sutton, ed. Location Register of English Literary
Manuscripts and Letters: Eighteenth and Nineteenth
Centuries. London: British Library, 1995.
*The Beacon: A Serious Musical Drama in Two Acts. Ms. 1846. Henry E.
Huntington Library, Larpent Collection of Plays.
California, United States. http://www.huntington.org/LibraryDiv/LibraryHome.html
*Constantine Paleologus. Ms. 1557. Henry E. Huntington Library, Larpent
Collection of Plays. California, United States.
http://www.huntington.org/LibraryDiv/LibraryHome.html
*The Family Legend: A Tragedy. Ms. Press V, Shelf I. Abbotsford Library. Edinburgh, Scotland.
*[Miscellaneous Papers]. Henry W. and Albert A. Berg Collection of English
and American Literature. New York Public
Library. New York, United States. http://www.nypl.org/research/chss/spe/brg/berg.html
and http://www.nypl.org/ .
The catalog gives no manuscript numbers but
states that the collection holds holograph revisions for De Monfort,
manuscripts for "Fy, Let Us A' to the Wedding,"
"On the Death of a Very Dear Friend," and several letters.
*Plays: [submitted to the Lord Chamberlain's Office]. Ms. Henry E. Huntington
Library, Larpent Collection of Plays.
California, United States. http://www.huntington.org/LibraryDiv/LibraryHome.html
The Location Register states that the plays
are dated from 1808-1815 but offers neither a manuscript number
nor details on which plays.
*Plays: [submitted to the Lord Chamberlain's Office]. Ms. 42934-42935.
British Library. London, England.
http://www.bl.uk/
Again, no specific plays are listed, but as
the Index to Manuscripts in the British Library gives the date as
1836, the plays are likely those of Baillie's
Dramas, published that same year.
*[Poems]. Ms. Vol. 1.44-48, 1.75, and Vol. 2.69. Royal College of Surgeons
of England, Hunter-Baillie Collection. London,
England. http://www.rcseng.ac.uk/
The Location Register states that these papers
include "Lines to Agnes Baillie on Her Birthday," "To James
Baillie, an Infant," "Sweet bird of promise,
fresh and fair," and a fragment of Ethwald.
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Part I, Section C2 -- Primary Works/Manuscripts/Unpublished Works
*Memoirs Written to Please My Nephew William Baillie. Ms. 5613/68/1-6.
Wellcome Institute for the History of Medicine.
London, England. http://www.asap.unimelb.edu.au/hstm/data/153.htm
*Prose Writings. Ms. Vol. 9.10 and 9.68-9. Royal College of Surgeons
of England, Hunter-Baillie Collection. London,
England. http://www.rcseng.ac.uk/
The Location Register states these writings
include "An Old Story," "The Lady and Her Two Maids," and "A
Plan of a Comedy," among other items.
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Part I, Section C3 -- Primary Works/Manuscripts/Letters
Note: This section is meant to provide preliminary
information on locations of Baillie's letters; it is not meant to be
exhaustive. Rather, I intend only to give
a sense of the volume of Baillie's correspondence as well as to point
scholars to locations with significant amounts
of Baillie materials. For more information regarding Baillie's letters,
their locations, and manuscript numbers, see
Judith Bailey Slagle, The Collected Letters of Joanna Baillie, listed
in Primary/Modern/Letters, above. Thanks to
Judith Slagle for sharing information from that work for this section
of the bibliography.
Bodleian Library. Oxford University, England. http://www.bodley.ox.ac.uk/
Contains letters written between 1814 and 1850,
and includes Lady Byron, Mary Montgomery, and the Bishop
of Salisbury as corespondents.
British Library. London, England. http://www.bl.uk/
Possesses nearly eighty letters (1804-1842) to George Thomson for whom Baillie provided song lyrics.
Camden Local Studies and Archives Centre and Swiss Cottage Library. London, England.
Includes letters dating from 1813-1843, for
which Margaret Holford Hodson and William Beattie appear as
principal correspondents.
Edinburgh University Library. Edinburgh, Scotland. http://www.lib.ed.ac.uk/
Owns a dozen letters written to various correspondents, one of whom is Sir Walter Scott.
Houghton Library, Harvard University. Cambridge, Massachusetts, United States. http://www-hcl.harvard.edu/houghton/
Contains nearly forty letters to Andrews Norton.
Subjects include Baillie's opinions on American writers and
American editions of her own plays.
Huntington Library. California, United States. http://www.huntington.org/LibraryDiv/LibraryHome.html
Includes less than two dozen letters to various recipients.
National Library of Scotland. Edinburgh, Scotland. http://www.nls.uk/
Possesses a large number of Baillie's letters,
with over 150 to Sir Walter Scott alone; other correspondents
include Anne Elliot, Anna Jameson, and John
Gibson Lockhart.
Royal College of Surgeons. London, England. http://www.rcseng.ac.uk/
Includes letters written between 1821-1851
with such correspondents as William Sotheby, Mary Berry, and
family members.
University of Glasgow Library. Glasgow, Scotland. http://www.gla.ac.uk/Library/index.html
Contains several letters to Lady Campbell, Baillie's cousin.
Wellcome Institute for the History of Medicine. London, England. http://www.asap.unimelb.edu.au/hstm/data/153.htm
Possesses mainly letters to family and Mary Berry.
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Part II, Section A1 -- Secondary/Biography/Nineteenth-Century
Notes: There were no single volume biographies
published during Baillie's life, and only one after her death. The
following section lists biographical sketches
of Baillie or brief descriptions of events in her life published when she
was alive, just after her death, or by those
who knew her during her life.
I have placed in this section -- and the next
-- sources which are primarily factual. Many sources do, of course,
provide some literary comment along with their
depictions of Baillie's life. Those sources included in the following
two sections, however, possess a stronger
emphasis on Baillie's life rather than her work. Sources possessing a
significant element of biography along with
a stronger emphasis on critical comment are listed here and
cross-referenced to Secondary/Critical, below.
Coleridge, Sara. Memoir and Letters of Sara Coleridge. Ed. Edith Coleridge. New York: Harper, 1874.
Contains four letters written after 1830 which
refer to Baillie. Describes Baillie's appearance and advanced age,
and remarks that Baillie's 1836 Dramas are
not as strong as the Plays on the Passions. Expresses loss and grief
following Baillie's death.
Cone, Helen Gray and Jeannette L. Gilder, ed. Pen-Portraits of Literary
Women. 2 vols. Boston: Educational Publishing,
1900. 1:223-41.
Reproduces descriptions of Baillie and appraisals
of her work. Includes passages by Sarah Tytler and J. L.
Watson, John Gibson Lockhart, Sara Coleridge,
and Harriet Martineau.
"Death of Joanna Baillie." Littell's Living Age 29 (1851): 218.
Provides an overview of Baillie's life and
literary career and emphasizes the genius of A Series of Plays and their
lack of theatrical success.
Edgeworth, Maria. Letters from England, 1813-1844. Ed. Christina Colvin. Oxford: Clarendon, 1971.
Contains no letters to Baillie, but gives several
of Edgeworth's letters in which Baillie appears. Subjects include:
Edgeworth's visits with Baillie and her sister
Agnes (several letters are written from their home), the sisters'
hospitality, a trip with Baillie to see Anna
Barbauld, a dinner party at which Baillie danced, the Baillie sisters'
care
for an ailing cat, the many visitors to the
Baillies' home, and the sisters' consistent kindness. Calls Baillie "the
most
amiable literary woman I ever beheld."
Farrar, [Eliza]. Recollections of Seventy Years. Boston: Ticknor and Fields, 1866.
Details a meeting with Baillie, and notes Baillie's
grace, tact, and attention to guests. Recalls a story about Baillie
and her sister attending the opera with Lord
Byron.
Fawcett, Millicent Garrett. Some Eminent Women of Our Times: Short Biographical
Sketches. London and New York:
Macmillan, 1889.
For annotation, see Secondary/Critical, below.
Hamilton, Catherine J. Women Writers: Their Works and Ways. First Series.
1892. Essay Index Reprint Series. Freeport:
Books for Libraries, 1971.
For annotation, see Secondary/Critical, below.
Hutton, Laurence. Literary Landmarks of London. 4th ed. Boston: Ticknor, 1888.
Describes both homes in which Baillie lived
while in London, including their location and appearance. Also notes
Baillie's burial place in Hampstead Churchyard.
"Lord Jeffrey and Joanna Baillie." International Monthly Magazine of Literature, Art, and Science 3 (1851): 312.
Gives a brief account of Baillie's friendship
with Jeffrey, including her initial refusal to be introduced to him and
their friendship in later years.
MacPherson, Gerardine. Memoirs of the Life of Anna Jameson. London: Longmans, 1878.
Recounts a childhood visit by the author (Jameson's
niece) to see Baillie, noting her kindness and simplicity.
Reprints three letters from Baillie to Jameson;
for annotation, see Primary/Modern/Letters, above.
Martineau, Harriet. Harriet Martineau's Autobiography. 2 vols. 6th ed.
Ed. Maria Weston Chapman. Boston: Osgood,
1877.
Describes a brief meeting with Baillie, noting her patience and perseverance.
"Obituaries." Harper's New Monthly Magazine 2 (1851): 709.
For annotation, see Secondary/Critical, below.
Robinson, Henry Crabbe. Diary, Reminiscences, and Correspondence. Ed. Thomas Sadler. Boston: Houghton, 1876.
Brief references to Baillie note her kindness
and intellect. Provides the story relating Wordsworth's often quoted
description of Baillie as the "model of an
English gentlewoman."
Sigourney, L. H. Pleasant Memories of Pleasant Lands. Boston: Munroe, 1842.
Tells of a visit to see Baillie whom the author found, at age 73, to be lively and unfatigued by a walk in the cold.
Sprague, William B. Visits to European Celebrities. Boston: Gould and Lincoln, 1855.
Briefly describes the author's visit to Baillie
when the latter was 72. Notes her preference for the Scottish church
over the English one and her devotion to family.
Concludes that Baillie is a "compound of intelligence, loveliness,
and venerable simplicity."
Tappan, Henry P. Illustrious Personages of the Nineteenth Century. New York: Stringer and Townsend, 1853.
Provides a biographical chapter on Baillie
with a focus on family members not found in many other sources.
Praises Baillie's moral example, Christian
faith, and her clear and forceful style. Also states that Baillie's plays
are
"better suited to the sober perusal of the
closet than the bustle and animation of the theatre."
Ticknor, George. Life, Letters, and Journals of George Ticknor. 2 vols. Boston: Osgood, 1876.
Narrates the author’s 1835 introduction to
Baillie, and describes her as living "exactly as an English gentlewoman
of her age and character should live." Also
briefly notes an 1838 meeting during which Baillie spoke kindly of Sir
Walter Scott and John Gibson Lockhart.
Tytler, Sarah and J. L. Watson. The Songstresses of Scotland. London: Strahan, 1871. 2:180-34.
Provides a detailed biography of Baillie's
life with special emphasis on Baillie's early life and her friendships
with
Sir Walter Scott and Mary Berry. Also reprints
several of Baillie's poems; for list, see
Primary/Modern/Non-Dramatic/Selected, above.
Waller, John Francis. "Leaves from the Portfolio of a Manager, No. IV:
Joanna Baillie." Dublin University Magazine 37
(1851): 529-36.
For annotation, see Secondary/Critical, below.
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Part II, Section A2 -- Secondary/Biography/Twentieth-Century
Note: In this section, I have included several,
though by no means all, biographies of Sir Walter Scott. Although
Baillie appears in many biographies of Scott,
authors often only note in passing that she corresponded with Scott
or that Scott helped stage The Family Legend.
I have not listed those biographies of Scott which do not consider
Baillie in further detail.
Buchan, John. Sir Walter Scott. London, Toronto, and Melbourne: Cassell, 1932.
Mentions Baillie as one of Sir Walter Scott's
correspondents. Notes that Baillie once cared for Sophia Scott when
her parents visited London.
Carhart, Margaret S. The Life and Works of Joanna Baillie. Yale Studies in English 64. New Haven: Yale UP, 1923.
Offers the only full length biography of Baillie.
Divides the book into six sections: "The Life of Joanna Baillie,"
"Literary Background," "Dramatic Theory,"
"Stage History," "Non-Dramatic Poetry," and "Joanna Baillie's Place
in Literature." In "Life," emphasizes Baillie's
literary milieux and her religion. In "Literary Background," traces both
past and contemporary influences on Baillie's
work, including contemporary history books, Greek drama, Robert
Burns, and Shakespeare, while in "Dramatic
Theory," heavily quotes and paraphrases Baillie's Introductory
Discourse. In "Stage History," details dates
of performances, provides cast lists, surveys public reception, and
notes revisions made during rehearsals for
several of Baillie's plays. In "Non-Dramatic Poetry," offers a cursory
look at main themes in Baillie's poetry. In
the final chapter, concludes that Baillie "stands to-day as the greatest
Scotch dramatist."
Carswell, Donald. Sir Walter: A Four Part Study in Biography (Scott,
Hogg, Lockhart, Joanna Baillie). London: Murray,
1930.
Provides a chapter on Baillie's life. Emphasizes
her family -- especially her father and brother -- and her early life.
Details William Sotheby's introduction of
Baillie to Sir Walter Scott and the subsequent friendship between the
latter two. Also considers the literary stir
caused by A Series of Plays, Scott's negative reaction to Baillie's A
View of the General Tenour . . ., and Baillie's
old age. Suggests that Baillie never achieved acclaim beyond the
literati, and asserts that praise of her work
resulted from Baillie's dramatic ideas, not her execution of them in her
plays. Maintains that her plays, always thought
to be unstageable, are, in the twentieth century, "not even
readable."
Hill, Constance. Maria Edgeworth and Her Circle in the Days of Buonaparte
and Bourbon. London and New York: Lane,
1910.
Discusses the friendship between Maria Edgeworth
and Baillie, and prints Baillie's letter regarding her first
impressions of Edgeworth. Tells of Edgeworth's
1818 extended visit with the Baillies, a public reading of one of
Baillie's plays, and a dinner party at a Mr.
and Mrs. Carr's. Also includes comments on Baillie by Sir Walter
Scott, Lucy Aiken, and Anna Barbauld.
Johnson, Edgar. Sir Walter Scott: The Great Unknown. 2 vols. New York: Macmillan, 1970.
Gives attention to the Edinburgh production
of The Family Legend and the subsequent revival of De Monfort.
Presents reactions from those who attended
The Family Legend, including Scott, David Hume, and Robert Blair.
Also notes briefly Baillie's unsuccessful
appeals for Scott to intervene in the Byrons' separation. Discusses Scott's
struggle to write a poem for Baillie's A Collection
of Poems, Chiefly Manuscript.
Lockhart, John Gibson. The Life of Sir Walter Scott. 10 vols. Edinburgh: Constable, 1903.
Examines Baillie's friendship with Scott; details
include their first meeting and Baillie's initial reaction to Scott,
Baillie's visit to Abbotsford, The Family
Legend and Scott's appraisals of it, and Scott's reactions to Baillie's
other work, including Orra and her poetry.
MacCunn, Florence. Sir Walter Scott's Friends. London: Blackwood, 1909; New York: Lane, 1910.
Argues that Baillie was an original thinker
whose sheltered life harmed the realism of her depictions of the
passions. Details Baillie's family history
and her literary friends. Gives special attention to Scott's friendship
with
Baillie, and argues that his praise of her
is overgenerous.
McKerrow, Mary. "Joanna Baillie and Mary Brunton: Women of the Manse."
Living by the Pen: Early British Women
Writers. Ed. Dale Spender. Athene Series. New York: Teachers College,
1992. 160-74.
Offers a brief literary biography, and notes
the publications of Baillie's works. Asserts that Baillie's greatest
achievement was to write wide-ranging tragedies
depicting the varieties of human passion while living "a relatively
sheltered life." Discusses Baillie's anxiety
regarding her participation in the male literary world.
Pearson, Hesketh. Sir Walter Scott: His Life and Personality. New York: Harper, 1954. Rpt. London: Hamilton, 1987.
For annotation, see Secondary/Critical, below.
Sutherland, John. The Life of Sir Walter Scott: A Critical Biography. Oxford and Cambridge (MA): Blackwell, 1995.
States that Scott attempted to promote Baillie
"as Scotland's greatest living dramatist." Also describes Scott's
efforts to produce The Family Legend, and
notes his persuasion of Baillie to release production rights and his
participation in rehearsals.
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Part II, Section A3 -- Secondary/Biography/Biographical Dictionaries
Note: In this section, I have limited listings
to the most recent edition of a particular title. As such, although each
edition of, for example, The Oxford Illustrated
Literary Guide to Great Britain and Ireland includes Baillie,
only the second is listed here.
Adams, W. Davenport. Dictionary of English Literature, Being a Comprehensive
Guide to English Authors and Their
Works. 2nd ed. London, Paris, and New York: Cassell, Petter, and Galpin,
1884. Rpt. Detroit: Gale, 1966. 50.
Allibone, S. Austin, ed. A Critical Dictionary of English Literature,
and British and American Authors, Living and
Deceased, from the Earliest Accounts to the Middle Half of the Nineteenth
Century. 3 vols. Philadelphia: Childs, 1863.
1:100-01.
Baker, David Erskine, Isaac Reed, and Stephen Jones. Biographica Dramatica;
or A Companion to the Playhouse. 3 vols.
London: Longman, Hurst, Rees, Orme, and Brown, 1812. 1:15.
Barnhart, Clarence L., ed. The New Century Handbook of English Literature.
Rev. ed. New York:
Appleton-Century-Crofts, 1967. 82.
Blain, Virginia, Patricia Clements, and Isobel Grundy, ed. The Feminist
Companion to Literature in English: Women
Writers from the Middle Ages to the Present. New Haven: Yale UP, 1990.
50-1.
Bold, Alan, ed. Scotland: A Literary Guide. London: Routledge, 1989. 45-46.
Browning, D. C., comp. Everyman's Dictionary of Literary Biography,
English and American. Rev. ed. Everyman's
Reference Library. London: Dent; New York: Dutton, 1962. 30.
Buck, Claire, ed. The Bloomsbury Guide to Women's Literature. New York: Prentice Hall, 1992. 312.
Concise Dictionary of National Biography. London: Oxford UP, [1961]. 47.
de Ford, Miriam Allen. "Baillie, Joanna." British Authors of the Nineteenth
Century. Ed. Stanley J. Kunitz. New York:
Wilson, 1936. 28-30.
Door, Priscilla. "Joanna Baillie." An Encyclopedia of British Women
Writers. Ed. Paul Schlueter and June Schlueter. New
York and London: Garland, 1988. 15-16.
Drabble, Margaret, ed. The Oxford Companion to English Literature. Rev. ed. Oxford: Oxford UP, 1995. 60-1.
Drabble, Margaret and Jenny Stringer, ed. The Concise Oxford Companion
to English Literature. Rev. ed. Oxford
Paperback Reference. Oxford and New York: Oxford UP, 1996. 35.
Eagle, Dorothy, ed. The Concise Oxford Dictionary of English Literature. 2nd ed. Oxford: Clarendon, 1970. 33.
Eagle, Dorothy, and Hilary Carnell, comp. and ed. The Oxford Literary
Guide to the British Isles. 2nd ed. Ed. Eagle and
Meic Stephens. Oxford and New York: Oxford UP, 1992. 157-58.
Lindsay, Maurice. "Baillie, Joanna." Reference Guide to English Literature.
2nd ed. 3 vols. Ed. D. L. Kirkpatrick. St. James
Reference Guides. Chicago and London: St James, 1991. 1:197-98.
Maison, Margaret. "Baillie, Joanna." British Women Writers: A Critical
Reference Guide. Ed. Janet Todd. New York:
Ungar-Continuum, 1989. 29-33.
Mann, David D., Susan Garland Mann, and Camille Garnier. Women Playwrights
in England, Ireland, and Scotland,
1660-1823. Bloomington: Indiana UP, 1996. 45-47.
Morley, Frank. Literary Britain: A Reader's Guide to Its Writers and Landmarks. New York: Harper, 1980. 453-54.
Ousby, Ian, ed. The Cambridge Guide to Literature in English. Rev. ed. Cambridge: Cambridge UP, 1993. 52.
Ross, Marlon B. "Joanna Baillie." British Romantic Poets, 1789-1832:
First Series. Ed. John R. Greenfield. Dictionary of
Literary Biography 93. Detroit: Bruccoli Clark-Gale, 1990. 3-15.
Royle, Trevor. Companion to Scottish Literature. Detroit: Gale, 1983.
16. Rpt. of The Macmillan Companion to Scottish
Literature. London: Macmillan, 1983.
---. The Macmillan Companion to Scottish Literature. London: Macmillan, 1983. 16.
---. Mainstream Companion to Scottish Literature. Edinburgh: Mainstream, 1993. 16.
Sampson, George. The Concise Cambridge History of English Literature.
3rd ed. Ed. R. C. Churchill. Cambridge:
Cambridge UP, 1970. 497, 535.
Schnorrenberg, Barbara Brandon. "Joanna Baillie." A Dictionary of British
and American Writers, 1660-1800. Ed. Janet
Todd. London: Methuen, 1984. 35-36.
Shattock, Joanne, ed. The Oxford Guide to British Women Writers. Oxford: Oxford UP, 1993. 20-1.
Smith, George Bennet. "Baillie, Joanna." The Dictionary of National
Biography. 24 vols. Ed. Leslie Stephen and Sidney Lee.
Oxford: Oxford UP, 1917. 1:886-89.
Uglow, Jennifer S., ed. The Continuum Dictionary of Women's Biography.
New Expanded ed. New York: Continuum,
1989. 42.
Watt, Homer A. and William W. Watt. A Handbook of English Literature.
Everyday Handbook. New York: Barnes and
Noble, 1959. 16. Rpt. of A Dictionary of English Literature. 1945.
Webster's New Biographical Dictionary. Springfield: Merriam-Webster, 1983. 67.
Wynne-Davies, Marion, ed. Prentice Hall Guide to English Literature. New York: Prentice Hall, 1990. 335.
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Part II, Section B -- Secondary Works/Critical Interpretations
Note: In this section, I have included reviews
for books which contain at least a full chapter about Baillie. In
addition, I have only included reviews which
specifically mention Baillie. For example, Ellen Donkin's Getting
into the Act has several more reviews than
those listed, but the reviews not listed do not consider Donkin's
treatment of Baillie.
"Autographs." Mirror of Literature, Amusement, and Instruction 13 (1831): 145-47.
Reproduces Baillie's autograph along with those
of other "Eminent Persons," including Felicia Hemans, Percy
Bysshe Shelley, and William Wordsworth. Briefly
suggests that Baillie's strong and firm handwriting "lacks the
delicate feebleness of a lady's writing."
Badstuber, Alfred. Joanna Baillie's Plays on the Passions. Wiener Beiträge
zur Englischen Philologie 34. Wien: Braumüller,
1911.
Provides individual commentary on each of the
Plays on the Passions, with especial attention to De Monfort as
"probably the best" of the thirteen. Includes
brief introductory sections on Baillie's life and her dramatic theory,
and concludes with a critical estimate of
the place A Series of Plays occupies in English literature.
Boaden, James. Memoirs of the Life of John Philip Kemble. 2 vols. London:
Longman, Rees, Orme, Brown, and Green,
1825. Rpt. New York and London: Blom, 1969.
In a brief section, describes John Philip Kemble's
desire to produce and act in De Monfort. Commends Kemble's
acting, but criticizes the conflict between
De Monfort and Rezenvelt as too slight for serious drama.
Bold, Valentina. "Beyond 'The Empire of the Gentle Heart': Scottish
Women Poets of the Nineteenth Century." A History of
Scottish Women's Writing. Ed. Douglas Gifford and Dorothy McMillan.
Edinburgh: Edinburgh UP, 1997. 246-61.
Briefly considers Baillie's poetry, and states
that, although contemporaries overrated her poetry, they believed that
Baillie produced a "moral influence" on literature.
Booth, Michael, ed. Introduction. English Plays of the Nineteenth Century. 5 vols. Oxford: Oxford UP, 1969. 1:1-28.
Portrays Baillie as representative of Gothic
melodrama. Asserts that Baillie's verse often deteriorates into "leisurely
poetry for its own sake" and that De Monfort
and Henriquez display the characteristic emotional excesses of
Romantic theatre.
Booth, Michael. Prefaces to English Nineteenth-Century Theatre. Manchester: Manchester UP, 1980.
Reprints the Introduction from English Plays of the Nineteenth Century, above.
Brewer, William D. "Joanna Baillie and Lord Byron." Keats-Shelley Journal 44 (1995): 165-81.
Examines the biographical and literary connections
between Baillie and Byron, and argues that their literary
relationship explains Byron's "attitudes towards
the roles of gender and power in female literary production."
Explores Byron's admiration for and support
of Baillie, and links this respect to Baillie's ability to create masculine
protagonists such as Ethwald, Basil, and De
Monfort. Suggests that through these characters, Baillie influences
Byron's Manfred and Marino Faliero.
---. "The Prefaces of Joanna Baillie and William Wordsworth." Friend: Comment on Romanticism. 1.2-3 (1991-92): 34-47.
Argues that although Baillie's Introductory
Discourse shares similarities with William Wordsworth's Preface of
1800, Baillie avoids Wordsworth's "masculinist
focus on the introspective process of an individual poet." Asserts
that Baillie and Wordsworth advocate both
the use of a simple style to depict common events and also the
portrayal of the passions as motivation for
human behavior. Shows that Baillie focuses on connecting with her
audience while Wordsworth emphasizes the poet's
independent and isolated mind. Drawing on the theories of
Carol Gilligan and Nancy Chodorow, argues
that this contrast derives from the gender difference between the two
authors.
Burroughs, Catherine B. Closet Stages: Joanna Baillie and the Theater
Theory of British Romantic Women Writers.
Philadelphia: U of Pennsylvania P, 1997.
Explores early nineteenth-century British women
writers' representations of themselves, of other women, and their
theories on the theatrical representation
of women to show the influence contemporary gender expectations
produced on dramatic practice. Uses Baillie
as a representative female theatre theorist to demonstrate "the
problems women theorists encounter when moving
from 'the closet' to engage critics in public space." Emphasizes
Baillie's dramatic and theoretical work as
a means to examine her negotiation of self and gender representation in
public and domestic spheres. States that Baillie's
concern with depicting scenes from the closet connects with her
desire to create intimate contact with the
audience, her participation in and depiction of private theatricals, and
her
wish to alter theatre construction. Considers
De Monfort, Basil, and The Tryal in detail.
Reviews:
Dowd, Maureen
A. Theatre Journal 50 (1998): 134-36.
Carlson, Julie.
Romantic Circles Reviews. http://www.otal.umd.edu/rc/reviews/back/burroughs.html
* Crochunis,
Thomas C. "On Judith Pascoe, Romantic Theatricality: Gender, Poetry, and
Spectatorship;
William Jewett, Fatal Autonomy: Romantic Drama and the Rhetoric of Agency;
Catherine B.
Burroughs, Closet Stages: Joanna Baillie and the Theater Theory of British
Romantic
Women Writers."
Romanticism On the Net 12 (November 1998): n. pag. Online. Internet.
http://users.ox.ac.uk/~scat0385/drama.html
---. "The English Romantic Closet: Women Theatre Artists, Joanna Baillie,
and Basil." Nineteenth-Century Contexts 19
(1995): 125-49.
Argues that Basil explores a woman's participation
in both "the informal stage of private life and the public arena
of formal theatres." Drawing on the writings
of Lord Byron and Mary Russell Mitford, shows that female
playwrights and actors were caught between
the societal conditioning for women to withdraw from attention and a
personal desire to work under the public gaze
in the theatre. Asserts that Basil's Victoria attempts "to experiment
with the performance of femininity" in private
and public spaces and that Basil himself can neither negotiate nor
differentiate the public and private arenas.
Appears in a revised version as part of chapter four in Closet Stages.
---. "English Romantic Women Writers and Theatre Theory: Joanna Baillie's
Prefaces to the Plays on the Passions."
Re-visioning Romanticism: British Women Writers, 1776-1837. Ed. Carol
Shiner Wilson and Joel Haefner. Philadelphia: U
of Pennsylvania P, 1994. 274-96.
Asserts that Baillie's focus on "the potentiality
of 'the closet'" anticipates modern feminist theatre. Following a
survey of the theatre theories of Mary Wollstonecraft
and Mary Russell Mitford, argues that Baillie attempts to
create "a drama that actually dramatizes scenes
from a character's closet," and hopes to foreground the domestic
sphere and the feminine experience. Shows
that Baillie's theatrical preferences, such as smaller stages, less
over-emotive acting, and better lighting share
affinities with contemporary feminist and lesbian theatre, for these
conditions help create a more personal and
intimate environment. Further states that both Baillie and
contemporary feminist and lesbian writers
make women's lives the center of their dramas. Appears in a revised
version as chapter three of Closet Stages.
---. "Joanna Baillie's Poetic Aesthetic: Passion and 'the Plain Order
of Things.'" Approaches to Teaching British Women
Poets of the Romantic Period. Ed. Stephen C. Behrendt and Harriet Kramer
Linkin. Approaches to Teaching World
Literature. New York: MLA, 1997. 135-40.
Claims that like her dramas, Baillie's poems
focus on the domestic closet as a mirror of societal conflicts. States
that "Lines to a Teapot" concerns both the
slave trade and the marriage market. Maintains that emphasizing the
conflict inherent in domestic life, as Baillie
does, helps students better understand the relationship between their
educations and their lives.
---. "'Out of the Pale of Social Kindred Cast': Conflicted Performance
Styles in Joanna Baillie's De Monfort." Romantic
Women Writers: Voices and Countervoices. Ed. Paula R. Feldman and Theresa
M. Kelley. Hanover: UP of New England,
1995. 223-35.
Argues that through the characters of Jane
De Monfort and De Monfort, respectively, Baillie sets the Neoclassic
acting style, here termed "statuesque stasis,"
against German Romanticism's "emotive" technique. Claims that De
Monfort represents an anti-social force because
he wishes to disrupt the interactions of polite society, which
Baillie portrays most clearly through Jane
De Monfort and Rezenvelt. States that Jane's and De Monfort's struggle
to negotiate complex human relationships and
gender roles mirrors Baillie's artistic efforts to create a drama of the
private domestic realm also appropriate for
the public stage. Appears in a revised version as part of chapter four
in Closet Stages.
---. "'A Reasonable Woman's Desire': The Private Theatrical and Joanna
Baillie's The Tryal." Texas Studies in Literature
and Language 38 (1996): 265-84.
Places The Tryal in the context of privately
produced plays, and states that such productions allowed women to
participate in the theatre as directors and
stage managers. Claims that Agnes, by directing the private play within
The Tryal, attempts "to dramatize domestic
space" as a way "to control the representation of women's social
reality." Asserts that Withrington acts as
a masculine model who views private theatricals as destabilizing the
domestic feminine space. Appears in a revised
version as chapter five of Closet Stages.
Cameron, Alasdair. "Scottish Drama in the Nineteenth Century." The History
of Scottish Literature. Ed. Douglas Gifford. 4
vols. Aberdeen: Aberdeen UP, 1988. 3: 429-442.
Places Baillie among the foremost nineteenth-century
Scottish dramatists, but argues that Baillie's plays suffer from
an "awkward, overblown, and anglicized poetic
style, which is rarely fitted to the subject." Criticizes Baillie's
inconsistent use of Scots in The Phantom,
but allows that in Witchcraft, Baillie employs a more authentic and
vibrant use of Scots.
Campbell, Thomas. Life of Mrs. Siddons. London: Wilson, 1839. Rpt. New York: Blom, 1972.
States that although De Monfort is pleasurable
to read, the dramatic efforts of Sarah Siddons, John Philip
Kemble, and Edmund Kean could not rescue the
play from theatrical failure. Attributes Baillie's lack of success in
production to her insufficient practical theatre
experience. Briefly describes the sets of the original production, and
notes the author's own positive reaction to
Kean's 1821 revival.
Carhart, Margaret S. The Life and Works of Joanna Baillie. Yale Studies in English 64. New Haven: Yale UP, 1923.
For annotation, see Secondary/Biography/Twentieth, above.
Carswell, Donald. Sir Walter: A Four Part Study in Biography (Scott,
Hogg, Lockhart, Joanna Baillie). London: Murray,
1930.
For annotation, see Secondary/Biography/Twentieth, above.
"Celebrated Female Writers, No. 1: Joanna Baillie." Blackwood's Edinburgh Magazine 16 (1824): 162-78.
Responds to the Edinburgh Review's negative
review of the Plays on the Passions (from 1803, for citation, see
Primary/Contemporary/Dramatic Works, above).
Praises Baillie's genius as "inferior to no individual['s]" of the
time, and credits Baillie's Introductory Discourse
with reforming and saving poetics and drama from the "dull
monotony" of contemporary conventions. Defends
Baillie's preference for character and mental action over plot as
well as her design to center a play around
a single passion. Reprints extracts and/or provides brief critical
comments for Count Basil, De Monfort, Ethwald,
Rayner, Orra, The Dream, and Constantine Paleologus,
calling the last Baillie's "very finest" play.
Cox, Jeffrey N. In the Shadows of Romance: Romantic Tragic Drama in
Germany, England, and France. Athens: Ohio
UP, 1987.
In the fifth chapter, briefly considers A Series
of Plays as the nineteenth century's "most concerted attempt to
ground tragedy in psychology." Argues that
because Baillie wishes to conserve the moral and didactic potential of
tragedy, she creates an unresolvable conflict
between sympathizing with and judgment of passionate characters.
Considers Orra and De Monfort.
---, ed. Introduction. Seven Gothic Dramas, 1789-1825. Athens: Ohio UP, 1992.
Drawing on records of Sarah Siddons' portrayal
of Jane De Monfort, argues that Baillie critiques Gothic
conventions and gender stereotypes. Asserts
that the tensions between Jane and the male characters of De
Monfort frustrate audience expectations for
an emotive yet passive woman. Places Baillie within the Gothic genre
while showing how she works against the restrictive
roles for women within that genre.
Reviews:
Lindsay, David
W. Review of English Studies ns 46 (1995): 281-82.
Patten, Janice
E. Theatre Journal 45 (1993): 562-64.
Varma, Devendra.
Byron Journal 21 (1993): 105-07.
*Crochunis, Thomas C. "The Function of the Dramatic Closet at the Present
Time." Romanticism On the Net 12 (November
1998): n. pag. Online. Internet. http://users.ox.ac.uk/~scat0385/bwpcro.html
Curran, Stuart. "Romantic Poetry: The I Altered." Romanticism and Feminism.
Ed. Anne K. Mellor. Bloomington: Indiana
UP, 1988. 185-207.
Asserts that a masculine bias in Romantic studies
has caused the marginalization of women writers such as Anna
Barbauld and Charlotte Smith. Uses Baillie
as a representative example of a highly published woman writer now
largely forgotten by the academic community.
Argues that of all texts, Baillie's A Series of Plays "exerted the most
direct practical and theoretical force" on
Romantic drama.
*Davis, Tracy C. "The Sociable Playwright and Representative Citizen".
Romanticism On the Net 12 (November 1998). n.
pag. Online. Internet. http://users.ox.ac.uk/~scat0385/bwpcitizen.html
Donkin, Ellen. Getting into the Act: Women Playwrights in London, 1776 - 1829. London: Routledge, 1995.
In the final chapter, traces reasons for Baillie's
literary rise and subsequent decline. Argues that Baillie's
anonymous publication -- which concealed her
sex -- played a large role in her initial popularity. Asserts that
Richard Sheridan's reluctance to stage Baillie's
plays, Baillie's consistent refusal to attend rehearsals, and male
critics' bias against women playwrights all
contributed to her fall from public favor.
Reviews:
Engle, Sherry
D. Theatre Journal 48 (1996): 531-33.
Scullion, Adrienne.
Theatre Research International 21 (1996): 264-65.
Donohue, Joseph W., Jr. Dramatic Character in the English Romantic Age. Princeton: Princeton UP, 1970.
In a chapter on "Romantic Heroism," portrays
Baillie as a dramatic reformer who anticipates modern theatrical
practice. Drawing on examples from De Monfort,
argues that by presenting evil passion as an aspect of the soul
rather than as a facet of fate, Baillie "effected
. . . a transformation in the nature of dramatic character." Claims that
Baillie's canonical exclusion results from
a lack of audience acceptance of her radical innovations.
---. Theatre in the Age of Kean. Drama and Theatre Studies. Totowa: Rowan and Littlefield, 1975.
States that, along with Samuel Taylor Coleridge
and William Wordsworth, Baillie holds the view that a connection
exists between human nature and action. Claims
that Baillie's dramaturgy, as expressed in the Introductory
Discourse, remains "essentially untheatrical"
as evidenced by the limited production of her plays. Asserts that De
Monfort marks a moment of innovation for nineteenth-century
Gothic drama because in the play, Baillie takes
special care to develop a complex psychology
for the title character.
Druskowitz, Helen Von. Drei Englisch Dichterinnen: Essays. Berlin: Oppenheim, 1885.
Contains an essay on Baillie, in German.
Evans, Bertrand. Gothic Drama from Walpole to Shelley. University of
California Publications 18. Berkeley: U of California
P, 1947.
In the eleventh chapter, calls for a revaluation
of Baillie's plays. Argues that Baillie is quintessentially Gothic
because she crowds most of her plays with
dark and gloomy castle and convent settings, secret passageways,
ruins, tolling bells, and remorseful and emotional
protagonists. Asserts that in Orra, the title character's fear and
eventual madness result from the combined
effects of these Gothic elements.
Fletcher, Richard M. English Romantic Drama, 1795-1843. New York: Exposition, 1966.
Portrays Baillie on the fringe of the Romantic
drama, a scene dominated William Wordsworth, Samuel Taylor
Coleridge, and Lord Byron. States that like
Coleridge and Wordsworth, Baillie hopes to create an artistic drama
well-suited to the contemporary stage.
Frank, Parson. "Joanna Baillie." Eclectic Magazine of Foreign Literature, Science, and Art 23 (1851): 420-25.
Provides a general appreciation of Baillie's
literary career, summarizing and providing brief laudatory comments on
De Monfort, Count Basil, Orra, The Family
Legend, and Fugitive Verses. Highlights Baillie's ability to create
vivid characters, and notes the particular
strength of De Monfort, Jane De Monfort, and Orra.
Franklin, Caroline. Byron's Heroines. Oxford: Clarendon, 1992.
In a short section of a chapter on "Heroic
Heroines," traces Baillie's influence on Lord Byron's drama. States that
Baillie and Lord Byron share ideas on feminine
nurturing and that both emphasize sibling relationships. Considers
De Monfort and Constantine Paleologus.
Fawcett, Millicent Garrett. Some Eminent Women of Our Times: Short Biographical
Sketches. London and New York:
Macmillan, 1889.
Highlights Baillie's relationships with Sir
Walter Scott and Sarah Siddons. States that Baillie's realistic women
characters mark her style as feminine. Discusses
De Monfort and its stage failure.
Gamer, Michael. "National Supernaturalism: Joanna Baillie, Germany,
and the Gothic Drama." Theatre Survey 38.2 (1997):
49-88.
Argues that Baillie attempts to combine spectacle
and psychology, thus negotiating the boundary between public
popularity and critical approval. Asserts
that the creation of characters haunted by nothing "other than their own
minds" allows Baillie to use Gothic tropes
while directing audience attention away from spectacle and towards
psychological perception of the supernatural.
Further examines M. G. Lewis' Castle Spectre and August von
Kotzebue's plays to demonstrate nineteenth-century
critical bias against German conventions. Claims that in
Ethwald, Baillie distances herself from such
influences by "creating a series of dualisms . . . good versus evil, truth
versus falsehood, Protestantism versus Catholicism,
and Britain versus the Continent." Considers Ethwald, De
Monfort, Rayner, and The Phantom in detail.
Genest, John, ed. Some Account of the English Stage from the Restoration
in 1660 to 1830. 10 vols. Carrington: Bath,
1832. Rpt. Burt Franklin Research and Source Work Series 93. New York:
Franklin, 1965.
In volume seven, summarizes De Monfort and
praises its "exquisitely beautiful language." In volume eight,
provides plot summaries for the plays in each
volume of A Series of Plays and those in Miscellaneous Plays.
Praises Baillie's "masterly" characterizations,
including Ethwald, Osterloo of The Dream, and Valdemar of The
Siege. Criticizes Baillie's lack of practical
knowledge of the stage, and repeatedly censures her "disgusting"
tendency to allow characters to exit a scene
only to enter the next without allowance for the passage of time.
Gaull, Marilyn. English Romanticism: The Human Context. New York: Norton, 1988.
In a brief passage, surveys Baillie's career.
Also suggests that Baillie helped reform the theatre by directing it
toward moral didacticism.
Gilroy, Amanda. "From Here to Alterity: The Geography of Femininity
in the Poetry of Joanna Baillie." A History of Scottish
Women's Writing. Ed. Douglas Gifford and Dorothy McMillan. Edinburgh:
Edinburgh UP, 1997. 143-57.
Drawing on Frederick Rowton's 1848 anthology
of women's poetry (see Primary/Contemporary/Works in
Collections, above and this section, below)
and on contemporary reviews of Baillie's work, examines "The
Legend of Lady Griseld Baillie," "Sir Maurice:
A Ballad," and Ahalya Baee to show how Baillie "negotiates the
boundaries of space allotted to femininity."
Considering the locations and events of each poem, asserts that "Lady
Griseld" and "Sir Maurice" circumscribe the
feminine within the domestic sphere as well as under patriarchal
power. Maintains that Ahalya Baee challenges
the notion of separate gender spheres put forth by the earlier two
poems.
Groves, David. "Beethoven and Scottish Poetry." Bibliotheck 15.2 (1988): 31-33.
Notes that Beethoven composed music for two
of Baillie's lyrics for publication in George Thomson's A Select
Collection of Original Scotch Airs.
Hamilton, Catherine J. Women Writers: Their Works and Ways. First Series.
1892. Essay Index Reprint Series. Freeport:
Books for Libraries, 1971.
Offers a brief biographical essay with some
critical evaluation. Claims Baillie's best attribute is her ability to
depict
the effects passions have on an individual's
psyche. Discusses De Monfort, Basil, Ethwald, Constantine
Paleologus, Orra, and Henriquez.
Hawkins, F. W. The Life of Edmund Kean. 2 vols. London: Tinsley, 1869. Rpt. New York: Blom, 1969.
Considers Kean's 1821 production of De Monfort
and attributes its failure to the unsuitability of Baillie's plays for
the stage. Notes Baillie's willingness to
incorporate Kean’s suggestions for revisions and her satisfaction with
Kean's performance in the new version. Also
highly praises Kean's interpretation of De Monfort.
Hazlitt, William. Lectures on the English Poets. London: Taylor and
Hessey, 1818. Rpt. Lectures on the English Poets and
The Spirit of the Age. Everyman's Library 459. London: Dent; New York:
Dutton, 1910. 1-168.
Briefly criticizes Baillie's efforts to depict
one passion per play as "heresies of dramatic art." Praises De Monfort
for its "unity of interest," but heavily censures
her comedies, especially The Election, for simplistic and
heavy-handed moral didacticism.
Henderson, Andrea. "Passion and Fashion in Joanna Baillie's 'Introductory Discourse.'" PMLA 112 (1997): 198-213.
Argues that Baillie's emphasis on the passions
arises from the "sympathy and sentimentality" of nineteenth-century
business and consumer practices. Claims that
Baillie's concern with physical appearance connects to a
nineteenth-century focus on physiognomy. States
that Baillie's artistic program "promotes a modern consumerist
form of desire" which emphasizes both procurement
and ownership of art objects.
*Howells, Coral Ann. Joanna Baillie and Her Circle, 1790-1850: An Introduction.
[London]: Camden Historical Society,
1973.
Howitt, William. Homes and Haunts of the Most Eminent British Poets.
2 vols. London: Bentley, 1847. Rpt. Belles Lettres
in English. New York and London: Johnson, 1968.
Provides a vivid description of Baillie's birthplace,
Bothwell, Scotland, noting its geography and culture. Briefly
considers Baillie as a dramatic genius whose
plays are "imagined to be more suitable for the closet than the stage."
Inchbald, Elizabeth, ed. "Remarks [An Introduction to De Monfort]."
The British Theatre, or, A Collection of Plays. Vol.
24. London: Longman, Hurst, Rees, and Orme, 1808. 3-6.
Asserts that De Monfort is a work of genius,
but criticizes its lack of substantial reason for the title character's
hatred for Rezenvelt. States that Baillie
has created two excellent characters in Rezenvelt and Jane De Monfort.
Insch, A. G. "Joanna Baillie's De Monfort in Relation to Her Theory
of Tragedy." Durham University Journal 23 (1961):
114-20.
Argues that Baillie's plays fail because the
dramatist places depicting a passion and stating a moral message above
developing character and plot. Maintains that
this pattern results in a one-dimensional protagonist, De Monfort,
while Rezenvelt appears more real because
he need not be ruled by one passion alone. However, contends that
De Monfort succeeds because Baillie invests
the title character with pride as his tragic flaw.
Ireland, Joseph N. Records of the New York Stage from 1750 to 1860.
2 vols. New York: Morrell, 1866-67. Rpt. New
York: Blom, 1966.
Includes cast lists for both the April 13, 1801 American premier of De Monfort and an 1809 revival.
"Joanna Baillie." Bentley's Miscellany 29 (1851): 453-57.
Provides an overview and general appreciation
of Baillie's life and career. Lauds the "accuracy of her analysis of
passion" and her ability to sustain a play
based on a single emotion. Claims that Baillie's lack of theatrical success
occurred because the plays were "not intended
for the stage." Cites the flaws of Baillie's drama as her
over-attention to detail and her use of Elizabethan
language, but states that Baillie's genius rises above these
imperfections.
Kucich, Greg. "Staging History: Teaching Romantic Intersections of Drama,
History, and Gender." Approaches to Teaching
British Women Poets of the Romantic Period. Ed. Stephen C. Behrendt
and Harriet Kramer Linkin. Approaches to
Teaching World Literature. New York: MLA, 1997. 88-96.
Shows how Baillie may be used in a course on
Romanticism and gender. Places Baillie with other women writers
-- such as Maria Edgeworth, Catharine Macaulay,
and Felicia Hemans -- who attempt to create an "emotional
interiority" distinct from masculine history.
Shows that emotion can, for Baillie, manifest itself in communal
expressions of feeling, as at the end of De
Monfort.
Levin, Alexandra Lee. "The Collector of Britain's Songs." British Heritage
http://www.thehistorynet.com/BritishHeritage/articles/12962_text.htm/
10 August 1998.
Discusses George Thomson's efforts to collect
British lyric poems, and notes Baillie's refusal to revise "The Maid
of Llanwellyn" for one of his collections.
MacCunn, Florence. Sir Walter Scott's Friends. London: Blackwood, 1909; New York: Lane, 1910.
For annotation, see Secondary/Biography/Twentieth, above.
Malina, Marilyn. "Scots Poetic Tradition: Wooing and Marriage in Poems
by Ebenezer and Joanna B. Picken." Selected
Essays on Scottish Language and Literature: A Festschrift in Honor
of Allan H. MacLaine. Ed. Steven R. McKenna.
Lewiston: Mellen, 1992. 163-75.
States that Baillie's "Woo'd and Married and
A'" influenced Joanna B. Picken's "An Auld Friend wi' a New
Face." Argues that Picken more explicitly
questions the institution of marriage than does Baillie.
Mathur, Om Prakash. The Closet Drama of the Romantic Revival. Salzburg
Studies in English Literature. Poetic Drama and
Poetic Theory 35. Salzburg: Institut für Englische Sprache und
Literatur, 1978.
In a brief section on Baillie, contends that
Baillie's compartmentalization of the passions, stereotypical plots, and
weak characterizations result in dramatic
failure. Suggests that the Miscellaneous Plays are her most successful
works due to their variations in plot and
character, and asserts that Baillie's strongest attributes are her depictions
of crowd scenes and her poetic language. Considers
The Election, De Monfort, Basil, Rayner, Constantine
Paleologus, and The Family Legend.
McCue, Kirsteen. "Women and Song, 1750-1850." A History of Scottish
Women's Writing. Ed. Douglas Gifford and
Dorothy McMillan. Edinburgh: Edinburgh UP, 1997. 58-70.
Briefly considers Baillie as a Scottish songwriter,
placing her among other writers such as Anne Grant, Elizabeth
Hamilton, and Jean Adam. Asserts that songs
allow socially refined women -- like Baillie -- "to grasp the physical
immediacy" of traditional ballads. States
that Baillie's "Hooly and Fairly" breaks with tradition by presenting a
sarcastic and derisive view of marriage.
McKerrow, Mary. "Joanna Baillie and Mary Brunton: Women of the Manse."
Living by the Pen: Early British Women
Writers. Ed. Dale Spender. Athene Series. New York: Teachers College,
1992. 160-174.
For annotation, see Secondary/Biography/Twentieth, above.
Mellor, Anne K. "A Criticism of Their Own: Romantic Women Literary Critics."
Questioning Romanticism. Ed. John Beer.
Baltimore and London: Johns Hopkins UP, 1995. 29-48.
Asserts that Baillie, Anna Barbauld, Mary Wollstonecraft
and other women writers upheld coherent aesthetic
theories opposed to those advanced by their
male contemporaries. Demonstrates that women espoused "the
workings of a rational mind," a fluid self
immersed in a social context, and reform through communal action. States
that the Plays on the Passions show the growth
of feelings within a social context. This growth creates a
connection between characters and audience
which culminates in the moral instruction of the latter.
---. "Joanna Baillie and the Counter-Public Sphere." Studies in Romanticism 33 (1994): 559-67.
Drawing on Jürgen Habermas's concept of
the "public sphere" along with Rita Felski's idea of the "counter-public
sphere," maintains that Baillie uses "the
theatre to re-stage and revise the social construction of gender." Argues
that by emphasizing the counter-public sphere
-- the domestic and the personal realm -- Baillie explores the
relationship between honor and love. Asserts
that this, a conflict of the domestic sphere, directly influences the
public sphere. Further argues that Baillie
characterizes the "masculine public sphere" as dominated by
self-destructive egotism and pride while she
portrays the feminine counter-public sphere with a basis in domestic
action and nurturing affection.
Meynell, Alice. The Second Person Singular and Other Essays. London:
Milford, 1922. Essay Index Reprint Series.
Freeport: Books for Libraries, 1968.
In a short essay on Baillie, states that her
tragedies are well-constructed and provide a strong sense of closure.
Contends that Baillie's comedies on the passions
provide better dramatic entertainment and display Baillie's sharp
wit, as in the "exceeding sweetness" of The
Tryal's heroines. Believes Baillie would have more readers if her
comedies received more emphasis than her tragedies.
Discusses De Monfort and The Tryal.
Millar, J. H. A Literary History of Scotland. New York: Scribners, 1903.
Praises Baillie's lyric power, and states that her best work is "The Chough and Crow" passage from Orra.
Mitford, Mary Russell. Recollections of a Literary Life; Or, Books,
Places, and People. London: Bentley, 1851; New
York: Harper, 1852. Rpt. Women of Letters. New York: AMS, 1975.
As did Wordsworth, praises Baillie as "the
very pattern" of a distinguished woman and author. Lauds the strength
of Baillie's plays, especially her female
characters. Also admires Baillie's lyric abilities, and reprints several
poems.
For list, see Primary/Modern/Non-Drama/Selected
Poems, above.
Morre, Isabel, ed. Talks in a Library with Laurence Hutton. New York and London: Kinckerbocker-Putnam, 1911.
Recounts the brief story of Hutton's 1885 visit
to Hampstead to find Baillie's house and grave. States that Hutton
questioned two local inhabitants for information:
one believed Baillie was still living, and the other had never heard
of her.
Nicoll, Allardyce. A History of Early Nineteenth-Century Drama, 1800-1850. Cambridge: Cambridge UP, 1930.
In a chapter entitled "The Legitimate Drama,"
asserts that although Baillie's plays suffer from lapses in coherent
plot construction and from too heavy a reliance
on Elizabethan diction, her consistent development of one central
emotion makes her plays "landmarks . . . in
English theatre." Argues that Baillie's plays show potential because her
dramatic technique improves with maturity,
but states that Elizabethan influences continually hold back her art.
Briefly considers De Monfort, Ethwald (part
one), Constantine Paleologus, The Family Legend, Orra, and
The Dream.
---. A History of English Drama, 1660-1900. 5 vols. Cambridge: Cambridge UP, 1955.
Reprints A History of Early Nineteenth-Century
Drama, 1800-1850 and A History of Late
Eighteenth-Century Drama, 1750-1800, above
and below, as volumes four and three, respectively.
---. A History of Late Eighteenth-Century Drama, 1750-1800. Cambridge: Cambridge UP, 1927.
Briefly considers the first volume of A Series
of Plays, citing Baillie's focus on passion over character, her
"tendency . . . towards the romantically abstract,"
and her false diction as flaws fatal to her plays.
*Nicoll, W. Robertson. The Literary Associations of Hampstead: Bolton
House, Windmill Hill, and Metley Cottage.
[London]: [Bookman]: 1893.
Norton, M. "The Plays of Joanna Baillie." Review of English Studies os 23 (1947): 131-43.
Affirms that Baillie's most revolutionary technique
is her consistent focus on only one humor per play. Believes that
this innovation also becomes Baillie's greatest
flaw because, "In seeking to reveal the passion, she loses sight of
the man." States that the development of a
single isolated emotion cannot sustain the interest of an audience full
of
many competing and conflicting emotions.
"Obituaries." Harper's New Monthly Magazine 2 (1851): 709.
Commends Baillie's moral and simple life, and
praises her literary works, comparing her stark emotional
portrayals to Greek drama. Asserts that Baillie
and William Wordsworth share responsibility for "the redemption
of our poetry from that florid or insipid
sentimentalism" of the early part of the century.
Page, Judith W. Wordsworth and the Cultivation of Women. Berkeley: U of California P, 1994.
In a chapter on Wordsworth's poetic vocation,
briefly considers Baillie, and argues that although the Introductory
Discourse influences Wordsworth's Preface
of 1800, the two writers differ on their perceptions of their
audiences. Suggests that Baillie hopes to
teach her audience while Wordsworth attempts to earn the respect of his
audience. Also contends that Baillie desires
to create sympathy between the characters in her work and her
audience while Wordsworth hopes to gain approval
from critics.
Pearson, Hesketh. Sir Walter Scott: His Life and Personality. New York: Harper, 1954. Rpt. London: Hamilton, 1987.
Emphasizes Baillie's friendship with Sir Walter
Scott. Challenges Scott's positive appraisal of Baillie's work,
asserting that Scott's preference for blank
verse drama and his admiration of Baillie's moral message led to his
overestimation of her work. Also discusses
Scott's efforts in the production of The Family Legend.
Purinton, Marjean D. Romantic Ideology Unmasked: The Mentally Constructed
Tyrannies in Dramas of William
Wordsworth, Lord Byron, Percy Shelley, and Joanna Baillie. Newark:
U of Delaware P, 1994.
In the chapter on Baillie, demonstrates that
she critiques gender "not as a biological function but as a cultural
practice." Citing Mary Wollstonecraft, Maria
Edgeworth, Mary Hays, Hannah More, and Clara Reeves, shows
an oppressor/oppressed relationship between
genders to be a widespread concern of nineteenth-century women.
Argues that the concerns of these women writers
"appear as latent content" in De Monfort and Count Basil.
Interprets the two plays as works which depict
men attempting to control women who are struggling to exert their
independent will.
Reviews:
Schatz, Sueann.
Rocky Mountain Review 49 (1995): 203-05.
Woodall, N.
J. Choice 32 (1995): 937.
*---. "Revising Romanticism by Inscripting Women Playwrights". Romanticism
On the Net 12 (November 1998): n. pag.
Online. Internet. http://users.ox.ac.uk/~scat0385/bwprevising.html
Ranger, Paul. "Terror and Pity reign in every Breast": Gothic Drama
in the London Patent Theatres, 1750-1820.
London: Society for Theatre Research, 1991.
Discusses William Capon's set design for the
first production of De Monfort. Notes that Baillie's stage directions
innovatively suggest hand held lanterns to
help illuminate actors' faces more clearly. Surveys Edmund Kean's and
John Philip Kemble's portrayals of De Monfort,
and argues that Kean, though less dignified and technically adept
than Kemble, brought more sustained energy
to the role.
Reiman, Donald H. Introduction. The Family Legend and Metrical Legends
of the Exalted Characters. By Joanna Baillie.
Romantic Context: Poetry. Significant Minor Poetry, 1789-1830. New
York and London: Garland, 1976. v-viii.
Provides a brief description of Baillie's life,
and surveys nineteenth-century reactions to her work. Claims that
Baillie's blank verse is among the best of
the Romantic period because it is "simple and natural, supple and
original." Argues that like William Wordsworth,
Baillie believes "ordinary life" possesses the potential for both
"heroism and tragedy." Believes that Baillie
may have achieved more if her later works had not been influenced by
Sir Walter Scott's suggestions for subject
matter.
---. Introduction. Miscellaneous Plays. By Joanna Baillie. Romantic
Context: Poetry. Significant Minor Poetry, 1789-1830.
New York and London: Garland, 1977. v-viii.
Reprints the introduction from The Family Legend and Metrical Legends of the Exalted Characters, above.
---. Introduction. A Series of Plays. 3 vols. By Joanna Baillie. Romantic
Context: Poetry. Significant Minor Poetry,
1789-1830. New York and London: Garland, 1977. i:v-viii.
Reprints the introduction from The Family Legend and Metrical Legends of the Exalted Characters, above.
Renwick, W. L. English Literature: 1789-1815. Oxford: Clarendon, 1963.
Dismisses Baillie as one who lacks creativity
and attempts to write beyond her ability. Provides the often quoted
criticism that "No real dramatist would deliberately
sit down to write a whole series of Plays on the Passions."
Robertson, Fiona, ed. Introduction to Joanna Baillie's "Lines on the
Death of Sir Walter Scott." Scott. Vol. 3 of Lives of the
Great Romantics II: Keats, Coleridge, and Scott, By Their Contemporaries.
London: Pickering and Chatto, 1997. 17-20.
Describes the friendship between Scott and
Baillie, and states that the two writers viewed each other as literary
equals and did not, contrary to some current
criticism, see their relationship as that of a master and apprentice.
Argues that in "Lines on the Death of Sir
Walter Scott," Baillie portrays her friend as the admirable and
distinguished lord of Abbotsford while she
simultaneously portrays him as a man who easily mixes with and offers
friendship to all classes of people.
Robinson, A. Mary F. "Joanna Baillie." The English Poets: Selections
with Critical Introductions by Various Writers. 5
vols. Ed. Thomas Humphry Ward. London: Macmillan, 1880. 4:221-2.
Finds fault with Baillie's narrow dramatic
didacticism, but praises her poetic simplicity and her Scottish ballads.
For poems reprinted, see Primary/Modern/Non-Dramatic/Selections.
Ross, Marlon B. The Contours of Masculine Desire: Romanticism and the
Rise of Women's Poetry. New York: Oxford
UP, 1989.
Depicts Baillie as a playwright caught in the
middle of several conflicts. Argues that Baillie's dramatic theory exists
between eighteenth-century sentimentality
and rationality. Asserts that, like Wordsworth, Baillie attempts to
integrate emotion and thought. Suggests that
Baillie examines the masculine world of public affairs and its
relationship to internal feelings. Concludes
that Baillie believes that the lack of interaction between these two
points of view threatens the stability of
society.
Reviews:
Mellor, Anne K. Studies in Romanticism 31 (1992): 103-05.
Rowton, Frederic. The Female Poets of Great Britain. London: Longman,
Brown, Green, and Longmans; Philadelphia:
Carey and Hart, 1849. 287-306.
Argues that Baillie is the foremost intellectual
female poet of the age and that her writing possesses "vigour,
clearness, and simplicity." Notes that Baillie
precedes and heralds William Wordsworth, and asserts that she
attempts to reform the theatre by leading
it away from melodrama and towards poetry. For poems reprinted, see
Primary/Contemporary/Works in Anthologies,
above.
Rubik, Margarete. Early Women Dramatists, 1550-1800. English Dramatists.
London: Macmillan; New York: St. Martin's,
1998.
Asserts that in De Monfort, Baillie follows
melodramatic conventions too closely, and thus the play remains
unconvincing. States that in contrast, Count
Basil's "sound characterization" contributes to a more effective
drama. Also claims that although The Tryal
lacks originality, it surpasses other contemporary comedies because
of its humor and witty dialog.
Scullion, Adrienne. "Some Women of the Nineteenth-century Scottish Theatre:
Joanna Baillie, Frances Wright, and Helen
MacGregor." A History of Scottish Women's Writing. Ed. Douglas Gifford
and Dorothy McMillan. Edinburgh: Edinburgh
UP, 1997. 158-78.
Defines Baillie's place in nineteenth-century
Scottish theatre, and states that she helps initiate Scottish National
Drama with The Family Legend. Claims that
while Baillie manages The Family Legend's stage craft well, she
produces a contrived plot and stereotypical
characters. Briefly considers Witchcraft as a more complex and
interesting drama. Also explores the gender
dynamic in Baillie's work, placing her in alignment with Anne K.
Mellor's idea of feminine Romanticism.
Simmons, James R., Jr. "'Small, Prim, and Quaker-like': Reinventing
Joanna Baillie as Jane Eyre." Brontë Society
Transactions 21.4 (1994): 149-51.
Argues that Charlotte Brontë's descriptions
of Jane Eyre's appearance influenced John Francis Waller's
posthumous appreciation of Joanna Baillie
(see Waller, this section, below).
Sotheby, William. Tragedies. London: Murray, 1814.
A short introductory letter dedicates this volume to Baillie.
Tappan, Henry P. Illustrious Personages of the Nineteenth Century. New York: Stringer and Townsend, 1853.
For annotation, See Secondary/Biography/Nineteenth, above.
Tobin, Terrence. Plays by Scots, 1660-1800. Iowa City: U of Iowa P, 1974.
In a chapter on "Scots Abroad," asserts that
Baillie's focus on a solitary emotion creates artificial and
unsympathetic protagonists because she limits
them to an "idée fixe." States that De Monfort most nearly fulfills
Baillie's dramatic theory, but argues that
the play fails because De Monfort never acts nobly, even though other
characters describe him as such. Asserts that
Jane De Monfort is the best conceived of Baillie's supporting
characters because she is complex and virtuous
but not without fault. Briefly considers Basil and The Tryal,
criticizing them for their lack of complexity.
"The Tragedy Called De Montford [sic], and the Passion of Hatred, Illustrated
by an Original Account." Signed "B." Monthly
Mirror 9 (1800): 361-62.
Relates the story of an actual court case wherein
a man confessed to murdering a former classmate due to a
long-standing hatred of him. States that this
case illustrates that De Monfort's plot is neither too contrived nor too
unbelievable, as some critics had charged.
See also Wynn, this section, below.
Veitch, John. The Feeling for Nature in Scottish Poetry. 2 vols. Edinburgh and London: Blackwood, 1887.
Briefly notes Baillie's contributions to Scottish
literature, stating that the "simplicity in theme, treatment, and
language" of later nineteenth-century literature
emerges due to Baillie's influence.
Waller, John Francis. "Leaves from the Portfolio of a Manager, No. IV:
Joanna Baillie." Dublin University Magazine 37
(1851): 529-36.
Provides a first-person account of friendship
with Baillie. Describes the playwright as "small, prim, and
Quaker-like" (see Simmons, this section, above).
Discusses the stage failure of both Kemble's and Kean's
productions of De Monfort, attributing their
failures to the play's strained emotions. Favorably considers the
Edinburgh production of The Family Legend,
and asserts the play possesses "action, vigor, and poetical
dialogue" which make the play theatrically
viable. Argues that Constantine Paleologus remains Baillie's most
stageable play because of its story and vivid
characterization. Reprinted in Eclectic Magazine of Foreign
Literature, Science, and Art 23 (1851): 128-35.
Watkins, Daniel P. "Class, Gender, and Social Motion in Joanna Baillie's
De Monfort." Wordsworth Circle 23.2 (1992):
109-17.
Revises and expands "The Gait Disturb'd," below.
Adds that in De Monfort, real and imagined knocking on
doors represents the aristocracy's psychological
anxiety about the rising middle class. Argues that the decadent
party scenes function as the aristocracy's
(futile) attempts to escape society's dissolving hierarchies.
---. "'The Gait Disturb'd of Wealthy, Honour'd Men': Joanna Baillie's
De Monfort." Nineteenth-Century Contexts 15 (1991):
143-51.
Argues that the class and gender conflicts
of De Monfort highlight Baillie's political awareness. Claims that the
personal conflict between De Monfort and Rezenvelt
mirrors early nineteenth-century class conflicts. Concludes
that De Monfort's psychological instability
reflects the "rapidly-increasing social change" of the nineteenth century.
---. A Materialist Critique of English Romantic Drama. Gainesville: UP of Florida, 1993.
In the chapter on Baillie (which further refines
the previous two essays), argues for Baillie's primary importance
because she dramatizes the "social and historical
pressures" of her era. Drawing on Marxist theory, states that the
main conflict in De Monfort is one of class,
exemplified through the aristocratic De Monfort and his bourgeois
rival, Rezenvelt. Also asserts that the second
important struggle for power occurs between genders, with women
subject to men regardless of class. Concludes
that De Monfort is the embodiment of the aristocracy, caught
between a deteriorating class structure and
the collapse of distinct gender roles.
Reviews:
Cox, Jeffrey
N. Criticism 36 (1994): 464-67.
Crochunis, Thomas
C. Nineteenth Century Theatre 24 (1996): 42-55.
Jewitt, William.
Studies in Romanticism 34 (1995): 309-15.
Moody, Jane.
Review of English Studies ns 47 (1996): 600-01.
Purinton, Marjean
D. Southern Humanities Review 30 (1996): 290-93.
White, Guy Wallace. "Correcting a Cursory Glance: Joanna Baillie's Literary
Contribution."
http://www3.ns.sympatico.ca/guy.white/subpag22.htm/ 10 August 1998.
[no longer available]
Surveys nineteenth-century appraisals of Baillie's
work and questions why, after such positive comments, Baillie
remains largely forgotten. Asserts that Baillie's
ideas were "fervently religious, quasi-feminist, anti-canonical,
didactic and controversial" and that these
views contribute to her canonical exclusion. Also considers Carhart's
biography of Baillie, claiming that social
restrictions hindered Carhart from presenting a complete and accurate
picture of her subject. For an annotation
of the rest of White's website, see Secondary/Electronic, below.
Whyte, Walter. "Joanna Baillie (1762-1851)." The Poets and Poetry of
the Nineteenth Century. 12 vols. Ed. Alfred H.
Miles. London: Routledge, 1905. New York: AMS, 1967. 8: 1-16.
Introductory note provides biographical information,
and argues that although Scott overrates Baillie's plays, they
possess the merits of creativity, dignified
verse, and graceful heroines. Asserts that Baillie will be remembered
primarily for her lyrics and songs. Reprints
nine poems; for list, see Miles, Primary/Modern/Non-Drama/Selected
Poems, above.
*Wordsworth, Jonathan, ed. Ancestral Voices: Fifty Books from the Romantic
Period. Revolution and Romanticism,
1789-1834. Oxford: Woodstock, 1991.
Reprints and revises the introduction to Joanna Baillie: A Series of Plays, below.
Reviews:
* Sandy, Mark.
Romanticism On the Net 6 (May 1996). n. pag. Online. Internet.
http://users.ox.ac.uk/~scat0385/visionary.html
.
---. Introduction. Joanna Baillie: Poems. Revolution and Romanticism,
1789-1834. Oxford and New York: Woodstock,
1994. n. pag.
Argues that, like the dramas which were to
follow, Baillie's poems attempt to depict one prevailing passion or
mood. Places Baillie within the Scottish poetic
tradition. Notes her influence on William Wordsworth, and claims
that Baillie anticipated -- if not invented
-- the lyrical ballad form.
---. "Joanna Baillie: Poems, 1790." The Bright Work Grows: Women Writers
of the Romantic Age. Revolution and
Romanticism, 1789-1834. Poole and Washington D. C.: Woodstock, 1997.
58-66.
Reprint of the above introduction with revisions.
Offers specific comparisons between Baillie's and William
Wordsworth's verse.
---. Introduction. Joanna Baillie: A Series of Plays. Oxford and New York: Woodstock, 1990. n. pag.
Considers the success of A Series of Plays,
and links Baillie's Introductory Discourse and De Monfort to
William Wordsworth's Preface and early poetry.
Briefly considers Count Basil, The Tryal, and De Monfort,
asserting that the last best fulfills Baillie's
theatre theory.
Worth, Christopher. "'A Very Nice Theatre at Edinr.': Sir Walter Scott
and Control of the Theatre Royal." Theatre Research
International 17 (1992): 86-95.
Examines the historical significance of Scotland's
Theatre Royal in relation to Sir Walter Scott's efforts to create a
national identity for Scotland. Discusses
The Family Legend as an important early production in the theatre.
Wynn, Frances Williams. Diaries of a Lady of Quality, from 1797 to 1844.
2nd ed. Ed. A. Hayward. London: Longman,
Green, Longman, Roberts, and Green, 1864.
Relates the story of long-lasting hatred and
murder given in "The Tragedy Called De Montford [sic]," Monthly
Mirror 9 (1800): 361-62, this section, above.
Also provides editorial notes defending the authenticity of the story.
A review of this book, Edinburgh Review 119
(1864): 305-39, also reprints the story.
Yudin, Mary F. "Joanna Baillie's Introductory Discourse as a Precursor
to Wordsworth's Preface to Lyrical Ballads."
Compar(a)ison 1 (1994): 101-11.
Argues that Baillie's Introductory Discourse
and William Wordsworth's Preface are linked by a focus on both
"middle and lower class subjects" and "quotidian
events." Notes that both authors concern themselves with the
depiction and description of authentic emotions.
Argues that the Introductory Discourse raised public
expectations which Baillie's subsequent plays
failed to reach, thus contributing to her fall from popularity and
eventual exclusion from the canon.
Zall, Paul M. "The Cool World of Samuel Taylor Coleridge: The Question
of Joanna Baillie." Wordsworth Circle 13 (1982):
17-20.
Provides a brief biography of Baillie. Asserts
that her plays are ridiculous, though De Monfort is "less ludicrous
than most." Discusses the staging and revising
of De Monfort, especially noting the revisions made by John Philip
Kemble and Sarah Siddons. Argues that Baillie's
plays failed because she knew little of contemporary theatre
practice.
Ziegenrucker, Emil. Joanna Baillie's "Plays on the Passions". Hamburg-Barmbeck: Starck, 1909.
Provides a descriptive and critical study of
Baillie's drama. Devotes a chapter to the works from A Series of
Plays, as well as Romiero, The Alienated Manor,
and Henriquez. Provides bibliographical and biographical
essays together with a discussion of Baillie's
views of comedy, tragedy, and dramaturgy.
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Part II, Section C -- Secondary Works/Dissertations
Note: Not all dissertations were available
through inter-library loan. In cases where an abstract exists for a
dissertation I could not obtain, I have written
an annotation based on the abstract. These sources are marked with
a †.
†Berliner, Donna Gaye. "The Female Romantic Imagination." Diss. U of Texas at Dallas, 1994. DAI 55 (1995): 368.
Considers Baillie, Felicia Hemans, and Letitia
Landon as self-supporting women. Examines nineteenth-century
opinions of Baillie's work, and asserts that
Baillie's overt sentimentality challenges standard readings of the
Romantic period.
*Carhart, Margaret Sprague. "The Life and Work of Joanna Baillie." Diss. Yale University, 1921. ADD L1923.
For an annotation of the book based on this dissertation, see Carhart, Secondary/Biography/Twentieth, above.
Gamer, Michael Crews. "Popular Stigmas and Appropriate Authors: High
Romanticism's Hidden Gothic." Diss. U of Michigan,
1993. DAI 54 (1994): 2588.
In a chapter on Baillie, argues that Baillie
utilizes gothic conventions while distancing herself from their lack of
sophistication. States that Baillie "markets
herself as a socially benign and culturally legitimate alternative" to
the
excess of gothic theatre. Asserts that Baillie
avoids "supernatural spectacles" in an effort to reform drama. Also
suggests that Baillie attempts to continue
Shakespearean styles in a new context and explores Baillie's influence
on
Samuel Taylor Coleridge's revisions to Remorse.
Considers Basil, De Monfort, Ethwald, Orra, and The
Phantom.
Judson, Barbara Louise. "Passion and the Public Sphere: A Study of the
Political Significance of Female Sexuality in British
Romanticism." Diss. U of Virginia, 1995. DAI 57 (1996): 233.
Asserts that Baillie attempts to "rehabilitate"
femininity by removing "women's autonomous sexuality" from public
life as well as by emphasizing the "sanctity
of maternity" in private life. States that De Monfort promulgates "Tory
evangelical ideology" by espousing the virtue
of reason and "passionlessness." Claims, however, that even as
Baillie marks Jane De Monfort as chaste and
forbidden, masculine desire for her simultaneously increases.
†Kutrieh, Marcia Geib. "Popular British Romantic Poets." Diss. Bowling Green State U, 1974. DAI 34 (1974): 2229a.
Considers Baillie among 17 other British women
poets, and provides a biographical sketch of her. Defines Baillie
as an important author because of her large
reading public.
Lamb, Virginia Blackwell. "Joanna Baillie's Plays on the Passions Viewed
in Relation to Her Dramatic Theories." Diss. Kent
State U, 1973. DAI 34 (1974): 406a.
Contends that Baillie's effectiveness as a
writer of moral tragedies emerges from her ability to depict ordinary
people under extraordinary levels of passion.
States that Baillie rejects satirical, sentimental, and circumstantial
comedies because these do not provide moral
edification. Shows that Baillie developed "characteristic comedy" to
instruct readers and to develop sympathetic
curiosity in them, just as in tragedy. Places Baillie's dramatic theory
in
context with other writers such as Samuel
Taylor Coleridge and William Hazlitt. Considers Basil, The Beacon,
De Monfort, The Dream, Ethwald, Henriquez,
Orra, and Romiero.
*Lambertson, Chester Lee. "The Letters of Joanna Baillie, (1801-1832)." Diss. Harvard U, 1956. ADD (1956): X1956.
Mears, Richard McMath. "Serious Verse Drama in England: 1812-1850. Diss.
U of North Carolina-Chapel Hill, 1953. DA
(1954).
In a short section on Baillie, examines Orra
in relation to her dramatic theories. States that Orra suffers because
other passions -- such as pride -- play important
roles in the play. Also believes that the presence of a Gothic
villain frustrates the entirely internal development
of fear. Claims that Baillie's plays anticipate later drama in several
ways, including her portrayals of "Byronic"
heroes. Asserts that Baillie's movement from "Gothic drama to
religious drama to prose tragedy" parallels
larger dramatic trends in the early nineteenth century.
Noble, Aloma. "Joanna Baillie as Dramatic Artist." Diss. U of Iowa, 1983. DAI 44 (1984): 1974.
Provides a survey of Baillie's life, the theatrical
conventions of the Romantic age, and Baillie's dramatic theory, and
concludes that Baillie's greatest strength
lies in her characterization. Argues that De Monfort illustrates "the nature
of humanity" and the "Biblical principle"
of the struggle against powers of evil. Contends that by focussing on the
human mind in De Monfort, Baillie creates
a tragedy without political, class, or economic concerns. Asserts that
Baillie's comedy, The Tryal, anticipates the
realism of twentieth-century comedy.
Patten, Janice Elma. "Dark Imagination: Poetic Painting in Romantic
Drama." Diss. U of California, Santa Cruz, 1992. DAI 53
(1992): 3225.
In a chapter on Baillie, argues that Baillie’s
concept of dramaturgy rests on a foundation of character as it is
perceived in nineteenth-century medicine and
psychology. States that Baillie's plays manifest internal realities and
conflicts. Asserts that Baillie explores the
"perceptions of the mind" as related to actual "emotional experience."
Considers Constantine Paleologus, De Monfort,
and The Family Legend.
†Pipkin, John George. "'The Line Invisible': Intertextuality and the
Men and Women Poets of British Romanticism (Charlotte
Smith, Joanna Baillie, Mary Tighe, William Wordsworth, Samuel Taylor
Coleridge, John Keats)." Diss. Rice U, 1997. DAI 58
(1997): 887.
Examines the interconnections between the Introductory
Discourse and Wordsworth's Preface, arguing that
Baillie's "aesthetic theory . . . anticipates
Wordsworth's valorization of powerful emotions, natural language, and
rustic themes." Asserts that Baillie's notion
of sympathetic curiosity contributed to Wordsworth's desire to write
the Preface.
Purinton, Marjean Delene. "Ideology Unmasked and Fictions Revealed:
The Mentally Constructed Tyrannies of English
Romantic Drama." Diss. Texas A&M U, 1991. DAI 53 (1992): 162.
For an annotation of the book based on this dissertation, see Purinton, Secondary/Critical, above.
†Sim, S. "'Memory's Wizard Pencil': The Perpetuation of an Ethos in
Early Nineteenth-Century Representation of Renaissance
Drama." Diss. U of Stirling, 1991. Index to Theses Accepted for Higher
Degrees by the Universities of Great Britain and
Ireland (and the Council for National Academic Awards) 42 (1993): 42-5208.
Explores connections between A Series of Plays
and Renaissance drama, and asserts that Baillie attempts to
"reconstitute and sanitize issues and themes"
of the earlier period. Argues, however, that Baillie's literary allusions
undermine her moral aims.
Yudin, Mary F. "Women Dramatists of the Nineteenth Century and the Domestic
Drama: Joanna Baillie, Charlotte
Birch-Pfeiffer, and Gertrudis Gomez de Avellaneda." Diss. Pennsylvania
State U, 1995. DAI 57 (1996): 164.
Claims that Baillie reshapes nineteenth-century
theatre by attempting "to unite the lyricism of the past with the
morality of the present." Asserts that The
Beacon subverts melodramatic convention by redefining the heroine and
by creating a sympathetic villain. States
that, contrary to her other plays, Constantine Paleologus represents men
as reasonable and women as sentimental. Shows
that Orra explores the horror of the supernatural and that it
locates terror within the domestic sphere.
Also asserts that Orra's madness allows her to subvert masculine power
structures.
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Part II, Section D -- Electronic Resources
Black, Pamela J. http://juliet.stfx.ca/~pblack/ 10 August 1998. Contains a picture of Baillie.
Gamer, Michael. http://dept.english.upenn.edu/~mgamer/Romantic/baillie.html/ 10 August 1998.
Contains only a link to photo of the Baillie memorial.
Joanna Baillie, De Monfort. http://www.engl.virginia.edu/~enec981/Group/amanda.monfort.html/ 10 August 1998.
Prints De Monfort Act 2.1, Act 4.2, and the
Epilogue as they appear in Jeffrey N. Cox's Seven Gothic Dramas.
Also reprints passages from Cox's introduction
and Paul Ranger's "Terror and Pity reign in every Breast" . . .;
for annotations of these two sources, see
Secondary/Critical, above.
Kopp, Richard. Welsh Folksongs. http://acronet.net/~robokopp/welsh/maidofll.html 10 August 1998. [no longer available]
Prints "The Maid of Llanwellyn" and includes a link to a melody which can be downloaded.
Petersohn, Frank. Folksongs of Various Countries. http://ingeb.org/songs/maidofll.html . 10 August 1998.
Prints "The Maid of Llanwellyn" with a link to a melody for it.
van Leeuwen, Steven H. The New Bartelby: A National Digital Library.
http://www.bartleby.com/101/510.html . 10 August
1998.
Prints "The Outlaw's Song" [The chough and
crow to roost are gone"] from Arthur Quiller-Couch's The Oxford
Book of English Verse (see Primary/Modern/Non-Drama/Selected
Poems, above).
White, Guy Wallace. Joanna Baillie. http://www3.ns.sympatico.ca/guy.white/joanna.htm
10 August 1998. [no longer
available]
Devoted to Baillie, offers an essay by White
on Baillie (see Secondary/Critical, above), links to electronic texts
and other websites which refer to Baillie,
and a partial bibliography. Reprints "Lines to Agnes Baillie on Her
Birthday" and "Thunder" (see Primary/Modern/Non-Drama/Selected
Poems, above, for URLs). Contains a
picture of Baillie's monument in Bothwell,
Scotland.
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Ken A. Bugajski
Texas A&M University
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