319:) be collected in a single volume, and had the satisfaction of seeing this 'great monster book' as she called it, which appeared in 1851, shortly before she died. Though no longer robust — 'Ladies of four score and upwards cannot expect to be robust, and need not be gay. We sit by the fireside with our books' (Carhart, 62) — she had remained in good health until the end. She died in 1851 in Hampstead, almost 90 years old. Her sister Agnes lived on to be 100. Both sisters were buried alongside their mother in Hampstead parish churchyard, and in 1899 a sixteen-foot-high memorial was erected in Joanna Baillie's memory in the churchyard of her birthplace at Bothwell."
758:, partly because she was a woman and partly because they had failed to read her prefaces with care. She pointed also to the conventions of the theatre in her time, when lavish spectacle on huge stages was the order of the day. Her own plays, with their attention to psychological detail, worked best, she argued, in well-lit small theatres where facial expressions could clearly be seen. She wrote, "I have wished to leave behind me in the world a few plays, some of which might have a chance of continuing to be acted even in our canvas theatres and barns." It is clear that Baillie wanted her plays to be acted, not just read.
1750:
120:
101:
87:
71:
54:
33:
211:, where her father was appointed to the collegiate church. Baillie did not learn to read until the age of ten, when she attended Miss McDonald's Glasgow boarding school, ostensibly known for "transforming healthy little hoydens into perfect little ladies" (Carswell 266). She was said to have had 'an epiphany' when she first attended a theatre. From then she wrote plays and poems, as well as demonstrated her abilities in mathematics, music and art.
1698:
1268:
772:
730:
1717:
618:. The tragedies and comedy represented the passion of Fear, while the musical drama represented Hope. Introducing what she called "probably the last volume of plays I shall ever publish," she explained that she intended to complete her project by writing further dramas on the passions of Remorse, Jealousy and Revenge, but did not intend to publish them, as publication had discouraged stage production.
323:
204:, became a London physician. Joanna was no dedicated scholar. Her early passions were for the Scottish countryside. She had her own pony and her interest in stories was demonstrated by plays she created and stories she told. At home she was dealt with strictly and displays of anger or glee were discouraged. She was not taken to the theatre. The only drama she saw was a puppet show.
877:. She declined to send a poem, fearing that was "just the very way to have the whole matter considered by the sober pot-boilers over the whole kingdom as a fanciful and visionary thing," whereas "a plain statement of their miserable lot in prose, accompanied with a simple, reasonable plan for sweeping chimneys without them" was far better strategically (letter, 5 Feb 1824).
492:
human nature, in which sympathetic curiosity and observation of the movement of feeling in others were paramount. Real passion, "genuine and true to nature", was to be the subject; each play was to focus on the growth of one master passion. This unusually analytical and arguably artificial approach generated much discussion and controversy, and in "a week or two
754:, Baillie defended her plays as acting plays. The criticism that she had no understanding of practical stagecraft and that her plays were torpid and dull in performance rankled throughout her life, and she was always delighted to hear of a production being mounted, no matter how humble it might be. She believed that critics had unfairly labelled her work as
881:
assistance. She wrote letters, drew on all her contacts, and used her knowledge of the literary world to advise or to further a less well-connected writer. In 1823, she edited and published by subscription a collection of poems by many leading writers of the day, in support of a widowed old school friend with a family of daughters to support.
848:, Baillie was concerned about the "many perplexing and contradictory doctrines" that "churchmen" had added to the Bible. Believing that "no Christian — no Protestant Christian, regulates, or at least ought to regulate, his faith by any thing but what appears to him to be really taught in Scripture,” she devoted most of
284:. In 1802 they moved to Hampstead, after her brother had inherited a considerable sum of money, where she would live with her sister for the next half-century. Neither sister married. Her aunt Anne Home Hunter introduced her to London literary society, after in 1800, a re- print of her work revealed her identity.
1032:
her intimate depictions of the human psyche had influenced
Romantic literature. Scholars now recognize her importance as a stage innovator and dramatic theorist, and critics and literary historians of the Romantic period concerned with reassessing the place of women writers acknowledge her significance.
1035:
Joanna
Baillie was great friends with Lady Byron. This friendship led her to be close friends and colleagues with Lord Byron as well. Lord Byron even attempted to get one of her plays to be performed at Drury Lane, sadly to no avail. Their friendship continued until a domestic division arose between
496:
was a main topic... in the best literary circles" (Carswell 273). The whole of London was excited to figure out who the author could be. Authorship was attributed to a male until someone pointed out that all of the protagonists were middle-aged women, rarely the muses of male authors (Carswell 274).
1031:
Yet even when
Martineau met her in the 1830s, that fame seemed to belong to a bygone era. There were no revivals of her plays in the 19th or 20th century, though her tragedies might seem suited to the intimacy of television or film. Not until the late 20th century did critics began to recognize how
491:
In a long introductory discourse, the author defended and explained her ambitious design to illustrate each of the deepest and strongest passions of the human mind. The plays, the author explained, were part of a still larger design and completely original concept, arising from a particular view of
1036:
Lord and Lady Byron, leaving
Baillie to take the side of her friend. After this, she was more critical of Lord Byron and his work, calling his characters "untrue to nature and morally bankrupt" While they were still polite to each other as literary contemporaries, their friendship did not return.
746:
Initially, Baillie was reluctant to publish her works. In a letter to Sir Walter Scott, she wrote, "Were it not that my
Brother has expressed a strong wish that I should publish a small vol: of poetry, I should have very little pleasure in the thought." This shyness is in keeping with her humble,
1374:
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
1039:
One of those
Baillie corresponded with most was Sir Walter Scott. The two wrote enough letters to each other to fill a sizeable volume. Scott appreciated and supported Baillie as a literary contemporary, but their relationship did not stop there. Their letters are full of personal details and
880:
Where literary matters were concerned, Joanna
Baillie had a shrewd understanding of publishing as a trade. She took seriously the influence her eminence gave her, and authors down on their luck, women writers, and working-class poets like the shoemaker poet John Struthers applied to her for
1007:
Both Joanna and her sister have most agreeable and new conversation, not old, trumpery literature over again and reviews, but new circumstances worth telling, apropos to every subject that is touched upon; frank observations on character, without either ill-nature or the fear of committing
983:. He attacked the narrow theory, practice and purpose of the plays. Though he praised her "genius", Baillie marked Jeffrey down as a literary enemy and refused a personal introduction. Not until 1820 would she agreed to meet him; but they then became warm friends.
1239:
272:
and
Shakespeare, and wrote plays and poetry while running their brother's household until he married in 1791. Her works were not published until that time, and even then anonymously, after both her father and uncle William had died in 1783.
857:, who preached her funeral sermon, appreciated not only "her own free and diligent search after revealed truth" but also the way that she "respected the faithful convictions of others in proportion as she valued her own."
852:
to presenting relevant passages in the New
Testament so that those with "ood intentions a clear common understanding" could make their own decisions regarding the question of Christ's divinity. The Unitarian minister
909:(Strand 1). Byron went on to value her advice, calling her "the only dramatist since Orwan" (Zell 19). In 1806 Baillie solidified a friendship with Scott and she and her sister would often visit Scotland (Strand 1).
1230:
678:
declared, "Had we heard that a MS play of Shakespeare's, or an early, but missing, novel of Scott's, had been discovered, and was already in the press, the information could not have been more welcome"
1024:
she had "enjoyed a fame almost without parallel, and... been told every day for years, through every possible channel, that she was second only to Shakespeare." Works of hers were translated into
865:
Financially secure herself, Joanna Baillie customarily gave half her earnings from writing to charity, and engaged in many philanthropic activities. In the early 1820s she corresponded with a
200:
Joanna Baillie was the youngest of three children: her twin sister died unnamed as a baby, her surviving sister was Agnes Baillie (1760–1861), who lived to be a centenarian. Their brother,
527:
was published under Joanna Baillie's name, with a preface acknowledging the reception given to volume one: "praise mixed with a considerable portion of censure". Volume 2 consisted of
1016:
Joanna Baillie offered a new way of looking at drama and poetry. Revered by poets on both sides of the Atlantic, many of her contemporaries placed her above all women poets except
308:
When she reached her seventies, Baillie experienced a year of ill health, but recovered and returned to writing and correspondence, and included Scottish folk songs in her
1646:
378:. They were inspired in part by the popularity of Walter Scott's heroic ballads, her enthusiasm for which had made writing drama "less interesting for a time" (Baillie,
674:
promised earlier: a tragedy and comedy on jealousy and a tragedy on remorse. Their publication created a stir, and critics were almost all enthusiastic and welcoming.
1831:
1826:
747:
contented disposition. She did not seek acclaim for her poems, but simply wrote them for enjoyment. Ironically, they have become better known than her plays.
1103:
1428:
Thomas McLean (June 2016). "Donation and Collaboration: Joanna Baillie's A Collection of Poems, Chiefly Manuscript, and From Living Authors, April 1823".
1851:
1283:
219:
1836:
687:
Baillie's reputation does not rest entirely on her dramas; she also authored poems and songs admired for their beauty. Considered the best are the
1728:
405:, some of which were old and some recently written. It was generally agreed that her popular songs, especially those in Scots, would live on.
1776:
1821:
1816:
941:
seemed to him "one of the most glorious of human compositions" He continued to see it "one of the best dramas of the last two centuries".
144:(1840). Her work shows an interest in moral philosophy and the Gothic. She was critically acclaimed in her lifetime, and while living in
1288:
1599:
Joanna Baillie and Judith Bailey. Slagle. The Collected Letters of Joanna Baillie. Vol. 1. Madison: Fairleigh Dickinson UP, 1999. Print
901:
Wordsworth himself considered Baillie the "ideal gentlewoman", despite the fact that she was Scottish (Zell 19). Her most famous work,
1766:
1040:
conversations about their families. While they both respected each other's work, their friendship was deeper than just professional.
185:. Her father, Rev. James Baillie (c. 1722–1778), was a Presbyterian minister, and in his last two years Professor of Divinity at the
898:
in October 1824. He in turn admired Baillie's poems and plays and welcomed the attention from the more established literary figure.
1743:
1413:
1314:
1210:
1185:
1072:
1645:
Fiona Price. "Baillie, Joanna, 1762–1851", Literature Online Biography. Durham University. Cambridge: Chadwyck-Healey, 2000
1861:
1789:
828:, a tragedy on religion, intended for reading only. In 1831 she entered into public theological debate with a pamphlet,
824:
Growing up as a Presbyterian minister's daughter, religion had always been important to Baillie. In 1826 she published
1505:
1455:
811:
214:
Baillie's father died in 1778 and their financial position decreased, although Matthew went on to study medicine at
1150:
234:
789:
1578:
Joanna Baillie. Letter, 5 February 1824, Wellcome Library for the History and Understanding of Medicine, London
1475:
793:
356:(1840). Her first poem, "Winter Day", evoked winter sights and sounds in the neighbourhood of Long Calderwood.
1856:
1846:
1764:
1047:
celebrating her, and her work has 'enjoyed a resurgence of popularity' in recognition of her circumstances.
1841:
230:
had died the year before and her brother had been left a London house and his collection, which is now the
1391:
A Sermon Preached at Hampstead, on Sunday, March 9, 1851, on Occasion of the Death of Mrs. Joanna Baillie
517:
in the leading roles. Splendidly staged, the play ran for eight nights, but was not a theatrical success.
208:
193:, was a poet. The Baillies were an old Scottish family which claimed descent from the Scottish patriot,
1683:
1497:
227:
178:
1602:
William D. Brewer. "Joanna Baillie and Lord Byron". Keats-Shelley Journal, vol. 44, 1995, pp. 165–181
854:
177:. Her mother, Dorothea Hunter (c. 1721–1806), was a sister of the Scottish physicians and anatomists
64:
850:
A view of the general tenour of the New Testament regarding the nature and dignity of Jesus Christ
830:
A view of the general tenour of the New Testament regarding the nature and dignity of Jesus Christ
119:
86:
53:
1773:
1769:
1674:
1375:
Salisbury, together with remarks on the pre-existence of Christ, and on toleration and fanaticism
894:
870:
782:
215:
100:
70:
889:
497:
Baillie finally revealed herself as the author in 1800, in the title-page of the third edition.
288:
149:
726:
was thought 'closely observed' from watching interaction of babies and mothers in her circle.
299:
and they would visit and stay with each other; he wrote a prologue to her 1810 production of
1739:
1482:. Vol. 18 (July–December 1866). Boston, Massachusetts: Atlantic Monthly Co. p. 650.
231:
186:
182:
1273:
One or more of the preceding sentences incorporates text from a publication now in the
1811:
1806:
1043:
On 11 September 2018, to commemorate the 256th anniversary of her birth, Google released a
656:
in mind, was declined by Drury Lane. It was produced at the Surrey Theatre as a melodrama,
584:, had a brief though brilliant success. It included a prologue by Scott and an epilogue by
371:
8:
1658:
P. M. Zell. "The Cool World of Samuel Taylor Coleridge: The Question of Joanna Baillie".
1180:. Selected and introduced by Christine A. ColĂłn. Chicago: Valancourt Books. pp. ix.
375:
194:
1749:
1304:
350:
Poems: Wherein it is Attempted to Describe Certain Views of Nature and of Rustic Manners
1760:
1471:
961:
918:
885:
510:
1693:
1501:
1451:
1409:
1310:
1206:
1181:
1068:
1021:
572:
505:
482:
315:" was anxious that all her works with the exception of her theological pamphlet (see
301:
253:
32:
1785:
1702:
1593:
1108:
1025:
980:
930:
923:
581:
296:
257:
249:
1607:
Sir Walter: A Four-Part Study in Biography (Scott, Hogg, Lockhart, Joanna Baillie)
1372:
1355:
1120:
352:. She later revised a selection of these early poems, which were reprinted in her
241:, was a society hostess and a poet, and through her Baillie was introduced to the
1780:
1722:
1655:, ed. Steven Serafin and Valerie Grosvenor Myer, Continuum, 2006. Credo Reference
1002:
972:
585:
367:
201:
133:
1028:
and German, and she was performed widely in both the United States and Britain.
276:
Joanna and her sister and mother moved houses several times, before settling in
1689:
1357:
The dramatic and poetical works of Joanna Baillie ; complete in one volume
1624:
1112:
1800:
1279:
1274:
1044:
1009:
874:
653:
514:
398:
223:
1733:
1623:. Oxford: Oxford University Press, September 2004; online ed., January 2006
1292:. Vol. 3 (11th ed.). Cambridge University Press. pp. 219–220.
755:
245:
242:
157:
1678:
841:
645:
261:
238:
190:
1729:
Juggernaut Theatre – The Professional Female Playwright – Joanna Baillie
1588:
Joanna Baillie. "Memoirs written to please my nephew, William Baillie".
1585:, ed. Thomas McLean. Madison: Fairleigh Dickinson University Press, 2010
999:
in 1825, in which Baillie features as "a very interesting Scotch girl".
984:
796: in this section. Unsourced material may be challenged and removed.
641:
628:
292:
277:
153:
1642:
Martineau, Harriet. Autobiography (1877), vol. 1. London: Virago, 1983
884:
Baillie befriended the eccentric American writer, critic and activist
670:
were published. They included nine new plays, and the continuation of
265:
1378:. London: Printed by Richard and J. E. Taylor and sold by Smallfield.
992:
968:
also set her poem O Swiftly Glides the Bonny Boat to music in 1815.
965:
866:
577:
145:
94:
1494:
James Hogg: Contributions to English, Irish and American Periodicals
771:
706:. Scattered through the dramas are some lively and beautiful songs:
1774:
Information on the 2008 Finborough Theatre production of Witchcraft
1711:
1707:
837:
322:
269:
174:
60:
1590:
The Scotswoman at Home and Abroad: Non-Fictional Writing 1700–1900
729:
833:
1017:
366:
told in verse the heroic stories of such historical figures as
113:
1596:. Glasgow: The Association for Scottish Literary Studies, 1999
1430:
BRANCH: Britain, Representation and Nineteenth-Century History
660:, and in its original form at Liverpool, Dublin and Edinburgh.
1408:. Madison: Fairleigh Dickinson University Press. p. 95.
1786:
Guide to Joanna Baillie's correspondence with Andrews Norton
1012:
tittle-tattle, or habits of worshipping or being worshipped.
1005:, recording a visit in 1818, summed up her appeal for many:
539:, a comedy on ambition. Baillie saw these plays, especially
1755:
Reviews of the April 2008 revival of Baillie's prose drama
1734:
Joanna Baillie on Dr. Janice E. Patten's The Literary Link
1231:"Who was the Scottish poet and playwright Joanna Baillie?"
975:, who in 1803 published a long condemnatory review of the
197:. Wallace is not known to have had any children, however.
1686:
Joanna Baillie: A Page of Links and Resources on the Web
1450:. Boston, Massachusetts: Twayne Publishers. p. 99.
588:. Its success encouraged the theatre managers to revive
295:
were neighbours and close friends. She wrote letters to
699:
and some of her adaptations of Scottish songs, such as
1151:"A look into the women of the Scottish Enlightenment"
1067:. Chicago: Valancourt Books. pp. xi, xxii–xxiv.
415:
for private circulation. It subsequently appeared as
1434:
Extension of Romanticism and Victorianism on the Net
927:
article as the "female Shakespeare of a later age".
735:
The Last of the Caesars; or, Constantine Palaeologus
37:
c. 1825 drawing of Joanna Baillie by Mary Ann Knight
860:
832:, where she analysed the doctrines of order in the
1229:
1832:18th-century Scottish dramatists and playwrights
1827:19th-century Scottish dramatists and playwrights
1798:
1101:Clarke, Norma (30 May 2013). "Baillie, Joanna".
445:was heavily revised before it was published in
148:, associated with contemporary writers such as
1740:"Archival material relating to Joanna Baillie"
1360:. London: Longman, Brown, Green, and Longmans.
1302:
905:, helped to inspire Lord Byron's closet drama
334:
330:(London: Longman, Hurst, Rees, and Orme, 1804)
1619:Norma Clarke. "Baillie, Joanna (1762–1851)",
1404:Baillie, Joanna (2010). Thomas McLean (ed.).
132:(11 September 1762 – 23 February 1851) was a
1653:Continuum Encyclopedia of British Literature
1107:(online ed.). Oxford University Press.
960:, were set to music by the English composer
741:
136:poet and dramatist, known for such works as
737:at the Theatre Royal Edinburgh, 29 May 1820
1748:
1393:. London: Edward T. Whitfield. p. 22.
1296:
1148:
535:, a tragedy in two parts on ambition, and
397:Encouraged by her old friend, banker-poet
118:
99:
85:
69:
52:
31:
1852:Scottish women dramatists and playwrights
958:Once upon my cheek he said the roses grew
873:, in support of his efforts on behalf of
812:Learn how and when to remove this message
750:However, in an 1804 prefatory address in
439:"A serious comedy", which was later burnt
173:Baillie was born on 11 September 1762 in
1679:Eighteenth-Century Poetry Archive (ECPA)
1616:. New Haven: Yale University Press, 1923
1278:
1261:
1259:
1257:
1200:
995:publishing scene first published in the
937:, recalled that in childhood, Baillie's
912:
728:
321:
1837:People from Hamilton, South Lanarkshire
1637:The Life and Letters of Maria Edgeworth
1621:Oxford Dictionary of National Biography
1403:
1370:
1353:
1338:
1175:
1104:Oxford Dictionary of National Biography
1062:
1799:
1149:MacPherson, Hamish (9 November 2021).
1100:
689:Lines to Agnes Baillie on her Birthday
652:, though written with John Kemble and
364:Metrical Legends of Exalted Characters
226:. They returned in 1784, as her uncle
218:. The rest of the family retreated to
16:Scottish poet and dramatist, 1762–1851
1639:. 2 vols. London: Edward Arnold, 1894
1445:
1254:
1203:The Longman Anthology of Gothic Verse
1470:
1224:
1222:
1144:
1142:
1140:
1138:
1136:
1134:
1132:
1130:
1096:
1094:
1092:
1090:
1088:
1086:
1084:
844:. As she mentions in the preface to
794:adding citations to reliable sources
765:
761:
1822:19th-century Scottish women writers
1817:18th-century Scottish women writers
1614:The Life and Work of Joanna Baillie
1303:Joanna Baillie (19 February 2001).
602:consisted of two gothic tragedies,
543:, as exemplifying her best writing.
401:, Baillie issued a new collection,
312:written in her eighties (in 1840).
13:
1651:Ginger Strand. "Baillie, Joanna".
1388:
987:referenced their earlier clash in
14:
1873:
1725:– Contains a collection of poems.
1667:
1662:, vol. 13, no. 1, 1982, pp. 17–20
1583:Further Letters of Joanna Baillie
1406:Further Letters of Joanna Baillie
1219:
1127:
1081:
1723:eLook Literature: Joanna Baillie
1715:
1699:Works by or about Joanna Baillie
1266:
1242:from the original on 9 June 2022
1201:Franklin, Caroline, ed. (2011).
991:, his allegorical satire on the
861:Philanthropy and literary advice
770:
509:was produced at Drury Lane with
348:Baillie's first publication was
235:Hunterian Museum and Art Gallery
1555:
1546:
1537:
1528:
1519:
1510:
1486:
1464:
1439:
1422:
1397:
1382:
1364:
1347:
1332:
1205:. Harlow: Longman. p. 82.
921:referred to Baillie in an 1866
781:needs additional citations for
614:, and a serious musical drama,
592:, which was also well received.
326:Title page of Joanna Baillie's
140:(three volumes, 1798–1812) and
1323:
1194:
1169:
1056:
971:One of her few detractors was
733:Playbill for Joanna Baillie's
1:
888:, after reading his article "
724:A Mother to her Waking Infant
468:was published anonymously as
207:In 1769, the family moved to
168:
163:
160:. She died at the age of 88.
1121:UK public library membership
1050:
598:A third and final volume of
7:
1862:Writers of the Romantic era
1714:(public domain audiobooks)
1609:. John Murray: London, 1930
1563:Dramatic and Poetical Works
1436:. Retrieved 10 August 2018.
1432:. Dino Franco Felluga, ed.
917:American critic and writer
436:, which was never published
411:Baillie published the poem
335:Literary and dramatic works
287:In 1806, Mrs Baillie died.
10:
1878:
1571:
1498:Edinburgh University Press
1492:Adrian Hunter, ed., 2020,
718:, and the lover's song in
1446:Sears, Donald A. (1978).
742:Defending her stage plays
339:
109:
79:
46:
42:
30:
23:
1779:9 September 2010 at the
1684:Joanna Baillie 1762–1851
1371:Baillie, Joanna (1838).
1354:Baillie, Joanna (1851).
1339:Baillie, Joanna (1804).
1176:Baillie, Joanna (2007).
1063:Baillie, Joanna (2007).
472:. Volume 1 consisted of
423:
65:Kingdom of Great Britain
1708:Works by Joanna Baillie
1690:Works by Joanna Baillie
1647:accessed 5 October 2006
1625:accessed 5 October 2006
1289:Encyclopædia Britannica
658:Constantine and Valeria
580:under the patronage of
232:University of Glasgow's
216:Balliol College, Oxford
50:11 September 1762
939:Constantine Paleologus
738:
701:Woo'd and Married an'a
650:Constantine Paleologus
559:Constantine Paleologus
531:, a comedy on hatred,
480:a comedy on love, and
331:
289:Anna Laetitia Barbauld
280:, where she began her
116:, tragedy writer
83:23 February 1851
1660:The Wordsworth Circle
1635:Augustus J. C. Hare.
1612:Margaret S. Carhart.
1561:See Joanna Baillie's
1500:. pp. 19–34 and 212,
1343:. London. pp. v.
1306:Plays on the Passions
1113:10.1093/ref:odnb/1062
977:Plays on the Passions
913:Reputation and legacy
732:
672:Plays on the Passions
600:Plays on the Passions
525:Plays on the Passions
523:The second volume of
494:Plays on the Passions
466:Plays on the Passions
456:Plays on the Passions
325:
282:Plays on the Passions
187:University of Glasgow
138:Plays on the Passions
1857:Scots-language poets
1847:Scottish women poets
1792:, Harvard University
1744:UK National Archives
1329:Slagle, pp. 369–370.
989:John Paterson's Mare
954:Hark! the cock crows
895:Blackwood's Magazine
790:improve this article
570:The Scottish-themed
487:a tragedy on hatred.
464:The first volume of
372:Christopher Columbus
1842:Scottish Christians
1341:Miscellaneous Plays
1309:. Broadview Press.
752:Miscellaneous Plays
668:Miscellaneous Plays
648:in the title role.
551:Miscellaneous Plays
537:The Second Marriage
476:a tragedy on love,
447:Miscellaneous Plays
376:Lady Grizel Baillie
328:Miscellaneous Plays
195:Sir William Wallace
1761:Finborough Theatre
997:Newcastle Magazine
962:John Wall Callcott
739:
549:A volume entitled
332:
1694:Project Gutenberg
1630:Fraser's Magazine
1605:Donald Carswell.
1525:Martineau, p. 358
1474:(December 1866).
1415:978-0-8386-4149-1
1316:978-1-55111-185-8
1212:978-1-4058-9931-4
1187:978-0-9792332-0-3
1178:Six Gothic Dramas
1119:(Subscription or
1074:978-0-9792332-0-3
1065:Six Gothic Dramas
1022:Harriet Martineau
822:
821:
814:
762:Religious writing
681:Fraser's Magazine
676:Fraser's Magazine
666:Three volumes of
625:The Family Legend
573:The Family Legend
470:A Series of Plays
388:Three volumes of
317:Religious writing
302:The Family Legend
254:Elizabeth Montagu
228:Dr William Hunter
127:
126:
1869:
1790:Houghton Library
1752:
1747:
1719:
1718:
1703:Internet Archive
1632:, 13 (1836), 236
1594:Dorothy McMillan
1581:Joanna Baillie.
1566:
1559:
1553:
1550:
1544:
1541:
1535:
1532:
1526:
1523:
1517:
1514:
1508:
1490:
1484:
1483:
1480:Atlantic Monthly
1468:
1462:
1461:
1443:
1437:
1426:
1420:
1419:
1401:
1395:
1394:
1389:Sadler, Thomas.
1386:
1380:
1379:
1368:
1362:
1361:
1351:
1345:
1344:
1336:
1330:
1327:
1321:
1320:
1300:
1294:
1293:
1272:
1270:
1269:
1263:
1252:
1251:
1249:
1247:
1233:
1226:
1217:
1216:
1198:
1192:
1191:
1173:
1167:
1166:
1164:
1162:
1146:
1125:
1124:
1116:
1098:
1079:
1078:
1060:
981:Edinburgh Review
931:John Stuart Mill
924:Atlantic Monthly
871:James Montgomery
817:
810:
806:
803:
797:
774:
766:
704:
640:was produced at
582:Sir Walter Scott
561:, and a comedy,
553:; the tragedies
297:Sir Walter Scott
250:Elizabeth Carter
191:Anne Home Hunter
123:
122:
105:
104:
103:
90:
89:
75:
74:
73:
57:
56:
35:
21:
20:
1877:
1876:
1872:
1871:
1870:
1868:
1867:
1866:
1797:
1796:
1795:
1781:Wayback Machine
1738:
1716:
1670:
1665:
1574:
1569:
1565:(London, 1851).
1560:
1556:
1551:
1547:
1542:
1538:
1534:Slagle, p. 343.
1533:
1529:
1524:
1520:
1515:
1511:
1491:
1487:
1476:"John Pierpont"
1469:
1465:
1458:
1444:
1440:
1427:
1423:
1416:
1402:
1398:
1387:
1383:
1369:
1365:
1352:
1348:
1337:
1333:
1328:
1324:
1317:
1301:
1297:
1284:Baillie, Joanna
1282:, ed. (1911). "
1267:
1265:
1264:
1255:
1245:
1243:
1236:The Independent
1228:
1227:
1220:
1213:
1199:
1195:
1188:
1174:
1170:
1160:
1158:
1147:
1128:
1118:
1099:
1082:
1075:
1061:
1057:
1053:
1020:. According to
1008:themselves; no
1003:Maria Edgeworth
973:Francis Jeffrey
915:
863:
818:
807:
801:
798:
787:
775:
764:
744:
702:
644:, London, with
586:Henry Mackenzie
563:The Country Inn
458:first conceived
426:
403:Fugitive Verses
390:Dramatic Poetry
368:William Wallace
354:Fugitive Verses
342:
337:
310:Fugitive Verses
220:Long Calderwood
171:
166:
142:Fugitive Verses
117:
98:
93:
92:
84:
68:
59:
58:
51:
38:
26:
17:
12:
11:
5:
1875:
1865:
1864:
1859:
1854:
1849:
1844:
1839:
1834:
1829:
1824:
1819:
1814:
1809:
1794:
1793:
1783:
1771:
1753:
1736:
1731:
1726:
1720:
1705:
1696:
1687:
1681:
1675:Joanna Baillie
1671:
1669:
1668:External links
1666:
1664:
1663:
1656:
1649:
1643:
1640:
1633:
1627:
1617:
1610:
1603:
1600:
1597:
1586:
1579:
1575:
1573:
1570:
1568:
1567:
1554:
1545:
1536:
1527:
1518:
1509:
1485:
1463:
1456:
1438:
1421:
1414:
1396:
1381:
1363:
1346:
1331:
1322:
1315:
1295:
1280:Chisholm, Hugh
1253:
1218:
1211:
1193:
1186:
1168:
1126:
1080:
1073:
1054:
1052:
1049:
914:
911:
875:chimney sweeps
862:
859:
820:
819:
802:September 2024
778:
776:
769:
763:
760:
743:
740:
685:
684:
661:
632:
627:, produced at
619:
593:
576:, produced at
565:
544:
518:
489:
488:
459:
450:
440:
437:
425:
422:
421:
420:
406:
392:
383:
357:
341:
338:
336:
333:
291:and her niece
256:. She studied
170:
167:
165:
162:
130:Joanna Baillie
125:
124:
111:
107:
106:
81:
77:
76:
48:
44:
43:
40:
39:
36:
28:
27:
25:Joanna Baillie
24:
15:
9:
6:
4:
3:
2:
1874:
1863:
1860:
1858:
1855:
1853:
1850:
1848:
1845:
1843:
1840:
1838:
1835:
1833:
1830:
1828:
1825:
1823:
1820:
1818:
1815:
1813:
1810:
1808:
1805:
1804:
1802:
1791:
1787:
1784:
1782:
1778:
1775:
1772:
1770:
1767:
1765:
1762:
1758:
1754:
1751:
1745:
1741:
1737:
1735:
1732:
1730:
1727:
1724:
1721:
1713:
1709:
1706:
1704:
1700:
1697:
1695:
1691:
1688:
1685:
1682:
1680:
1676:
1673:
1672:
1661:
1657:
1654:
1650:
1648:
1644:
1641:
1638:
1634:
1631:
1628:
1626:
1622:
1618:
1615:
1611:
1608:
1604:
1601:
1598:
1595:
1591:
1587:
1584:
1580:
1577:
1576:
1564:
1558:
1549:
1540:
1531:
1522:
1516:Hare, p. 268.
1513:
1507:
1506:9780748695980
1503:
1499:
1495:
1489:
1481:
1477:
1473:
1467:
1459:
1457:080-5-7723-08
1453:
1449:
1442:
1435:
1431:
1425:
1417:
1411:
1407:
1400:
1392:
1385:
1377:
1376:
1367:
1359:
1358:
1350:
1342:
1335:
1326:
1318:
1312:
1308:
1307:
1299:
1291:
1290:
1285:
1281:
1276:
1275:public domain
1262:
1260:
1258:
1241:
1237:
1232:
1225:
1223:
1214:
1208:
1204:
1197:
1189:
1183:
1179:
1172:
1156:
1152:
1145:
1143:
1141:
1139:
1137:
1135:
1133:
1131:
1122:
1114:
1110:
1106:
1105:
1097:
1095:
1093:
1091:
1089:
1087:
1085:
1076:
1070:
1066:
1059:
1055:
1048:
1046:
1045:Google Doodle
1041:
1037:
1033:
1029:
1027:
1023:
1019:
1014:
1013:
1011:
1010:blue-stocking
1004:
1000:
998:
994:
990:
986:
982:
978:
974:
969:
967:
963:
959:
955:
951:
947:
942:
940:
936:
935:Autobiography
932:
928:
926:
925:
920:
910:
908:
904:
899:
897:
896:
891:
890:Men and Women
887:
882:
878:
876:
872:
868:
858:
856:
855:Thomas Sadler
851:
847:
843:
839:
835:
831:
827:
816:
813:
805:
795:
791:
785:
784:
779:This section
777:
773:
768:
767:
759:
757:
753:
748:
736:
731:
727:
725:
721:
717:
713:
709:
705:
698:
694:
690:
682:
677:
673:
669:
665:
662:
659:
655:
654:Sarah Siddons
651:
647:
643:
639:
636:
633:
630:
626:
623:
620:
617:
613:
609:
605:
601:
597:
594:
591:
587:
583:
579:
575:
574:
569:
566:
564:
560:
556:
552:
548:
545:
542:
538:
534:
530:
526:
522:
519:
516:
515:Sarah Siddons
512:
508:
507:
503:
500:
499:
498:
495:
486:
484:
479:
475:
471:
467:
463:
460:
457:
454:
451:
448:
444:
441:
438:
435:
431:
428:
427:
418:
414:
410:
407:
404:
400:
399:Samuel Rogers
396:
393:
391:
387:
384:
381:
377:
373:
369:
365:
361:
358:
355:
351:
347:
344:
343:
329:
324:
320:
318:
313:
311:
306:
304:
303:
298:
294:
290:
285:
283:
279:
274:
271:
267:
263:
259:
255:
251:
247:
244:
243:bluestockings
240:
236:
233:
229:
225:
224:East Kilbride
221:
217:
212:
210:
205:
203:
198:
196:
192:
188:
184:
180:
176:
161:
159:
155:
151:
150:Anna Barbauld
147:
143:
139:
135:
131:
121:
115:
112:
108:
102:
96:
88:
82:
78:
72:
66:
62:
55:
49:
45:
41:
34:
29:
22:
19:
1756:
1659:
1652:
1636:
1629:
1620:
1613:
1606:
1589:
1582:
1562:
1557:
1548:
1539:
1530:
1521:
1512:
1493:
1488:
1479:
1466:
1447:
1441:
1433:
1429:
1424:
1405:
1399:
1390:
1384:
1373:
1366:
1356:
1349:
1340:
1334:
1325:
1305:
1298:
1287:
1246:11 September
1244:. Retrieved
1235:
1202:
1196:
1177:
1171:
1159:. Retrieved
1157:. p. 21
1155:The National
1154:
1102:
1064:
1058:
1042:
1038:
1034:
1030:
1015:
1006:
1001:
996:
988:
976:
970:
957:
953:
949:
945:
943:
938:
934:
929:
922:
916:
906:
902:
900:
893:
883:
879:
869:campaigner,
864:
849:
845:
829:
825:
823:
808:
799:
788:Please help
783:verification
780:
756:closet drama
751:
749:
745:
734:
723:
719:
715:
711:
707:
700:
696:
692:
688:
686:
680:
675:
671:
667:
663:
657:
649:
637:
634:
624:
621:
615:
611:
610:, a comedy,
607:
603:
599:
595:
589:
571:
567:
562:
558:
554:
550:
546:
540:
536:
532:
529:The Election
528:
524:
520:
504:
501:
493:
490:
481:
477:
474:Count Basil,
473:
469:
465:
461:
455:
452:
446:
442:
433:
429:
416:
412:
408:
402:
394:
389:
385:
379:
363:
359:
353:
349:
345:
327:
316:
314:
309:
307:
300:
286:
281:
275:
246:Fanny Burney
237:. Her aunt,
213:
206:
199:
189:. Her aunt,
172:
158:Walter Scott
141:
137:
129:
128:
18:
1812:1851 deaths
1807:1762 births
1763:in London:
1543:Brewer 180.
1161:22 November
842:Socinianism
722:. Her poem
720:The Phantom
646:Edmund Kean
511:John Kemble
432:A tragedy,
413:Ahalya Baee
239:Anne Hunter
183:John Hunter
1801:Categories
1757:Witchcraft
1472:Neal, John
1123:required.)
985:James Hogg
903:De Monfort
846:The Martyr
826:The Martyr
708:The Chough
697:To a Child
693:The Kitten
683:, p. 236).
642:Drury Lane
638:De Monfort
629:Drury Lane
616:The Beacon
590:De Monfort
506:De Monfort
483:De Monfort
478:The Tryal,
293:Lucy Aikin
278:Colchester
169:Background
164:Early life
154:Lucy Aikin
110:Occupation
1448:John Neal
1051:Citations
1026:Sinhalese
993:Edinburgh
966:Beethoven
933:, in his
919:John Neal
886:John Neal
867:Sheffield
612:The Siege
608:The Dream
578:Edinburgh
417:Allahabad
258:Corneille
146:Hampstead
95:Hampstead
91:(aged 88)
1777:Archived
1712:LibriVox
1240:Archived
838:Arianism
712:The Crow
631:, London
419:in 1904.
270:Voltaire
209:Hamilton
175:Bothwell
134:Scottish
61:Bothwell
1759:at the
1701:at the
1677:at the
1572:Sources
1277::
979:in the
950:Ethwald
907:Manford
834:Trinity
541:Ethwald
533:Ethwald
449:(1804).
380:Memoirs
266:Molière
202:Matthew
179:William
67:)
1592:, ed.
1552:Slagle
1504:
1454:
1412:
1313:
1271:
1209:
1184:
1117:
1071:
1018:Sappho
840:, and
555:Rayner
443:Rayner
434:Arnold
374:, and
340:Poetry
262:Racine
252:, and
156:, and
114:Writer
97:
948:from
946:songs
892:" in
703:'
424:Plays
222:near
1768:and
1502:ISBN
1452:ISBN
1410:ISBN
1311:ISBN
1248:2018
1207:ISBN
1182:ISBN
1163:2021
1069:ISBN
956:and
944:Two
716:Orra
710:and
664:1836
635:1821
622:1815
606:and
604:Orra
596:1812
568:1810
557:and
547:1804
521:1802
513:and
502:1800
462:1798
453:1791
430:1790
409:1849
395:1840
386:1836
362:Her
360:1821
346:1790
181:and
80:Died
47:Born
1788:at
1710:at
1692:at
1286:".
1109:doi
792:by
714:in
1803::
1742:.
1496:,
1478:.
1256:^
1238:.
1234:.
1221:^
1153:.
1129:^
1083:^
964:.
952:,
836:,
695:,
691:,
382:).
370:,
305:.
268:,
264:,
260:,
248:,
152:,
1746:.
1460:.
1418:.
1319:.
1250:.
1215:.
1190:.
1165:.
1115:.
1111::
1077:.
815:)
809:(
804:)
800:(
786:.
679:(
485:,
63:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
