Browsing named entities in Cambridge History of American Literature: volume 1, Colonial and Revolutionary Literature: Early National Literature: Part I (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.). You can also browse the collection for 1756 AD or search for 1756 AD in all documents.

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Cambridge History of American Literature: volume 1, Colonial and Revolutionary Literature: Early National Literature: Part I (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Chapter 7: colonial newspapers and magazines, 1704-1775 (search)
public affairs. The literary first page was no longer necessary, though occasionally used to cover a dull period. A new type of vigorous polemic gradually superseded the older essay. A few of the well-known conventions were retained, however. We still find the fictitious letter, with the fanciful signature, or a series of papers under a common title, such as The Virginia-Centinel, or Livingston's Watch-Tower. The former is a flaming appeal to arms, running through The Virginia gazette in 1756, and copied into Northern papers to rouse patriotism against the French enemy. The expression of the sentiment, even thus early, seems national. This whole series, though somewhat florid in style, shows the familiarity of the cultivated Southerner with his favourite English poets,--Young, Pope, Shakespeare. Livingston's well-known Watch-Tower, Appearing in Gaine's Mercury in 1754-1755. a continuation of his pamphlet-magazine The independent Reflector, has already the keen edge of the Re
Cambridge History of American Literature: volume 1, Colonial and Revolutionary Literature: Early National Literature: Part I (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Chapter 9: the beginnings of verse, 1610-1808 (search)
generations preserved only by word of mouth, and was not published for almost a century. Though unliterary, it tells its story with vigour and directness, and is of additional interest in that Longfellow in 1820 chose the same fight as the subject of his first poem, The battle of Lovell's Pond. Many fugitive verses on the French and Indian War The French and Indian War gave birth to a curious volume of Miscellaneous poems on Divers occasions, chiefly to Animate and rouse the soldiers (1756), by Stephen Tilden, which, in spite of its wretched verse, is of some interest as the first of its kind in America. were published anonymously in the newspapers, the best of which are perhaps The song of Braddock's men, and the lines on Wolfe- Thy merits, Wolfe, transcend all human praise. Anti-British ballads began to appear immediately upon the passage of the Stamp Act, to continue until the close of the Revolution. These spring from the heat of the conflict, and are as replete wi
Cambridge History of American Literature: volume 1, Colonial and Revolutionary Literature: Early National Literature: Part I (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Chapter 2: the early drama, 1756-1860 (search)
Chapter 2: the early drama, 1756-1860 Arthur Hobson Quinn, Ph.D., Dean of the College, University of Pennsylvania. The origins of the drama in College exercises. influence of the early companies. Godfrey's Prince of Parthia, the first American play. the closing of the theatres. the Revolutionary satirists. Tyler's contrast. William Dunlap. J. N. Barker. J. H. Payne. beginning of the creative period. Stone's Metamora. the Philadelphia group: R. M. Bird, R. P. Smith, Conrad, the Danes. It was performed, according to Hopkinson's statement, See The Pennsylvania gazette, 20 and 27 Jan.; 3 and 10 Feb., 1757, for a detailed account of the Masque, giving Hopkinson's lines. several times during the Christmas holidays of 1756-7 in the College of Philadelphia. Now the University of Pennsylvania. Hopkinson's original lines number more than two hundred, besides a new prologue and epilogue, and new scenes are introduced so that the masque may be considered as in large m