Dion Boucicault

McFeely, Deirdre

doi:10.1017/cbo9781139051743

Cited by 16 publications

(1 citation statement)

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“…64 McFeely further notes how 'On the same day as the Times reviewed The O'Dowd, the government announced that the leaders of the Land League would be prosecuted for their activities' . 65 The active prosecution of Charles Stewart Parnell and other Land League politicians by the government appears to have contributed to public and press antipathy towards Boucicault's play, forcing him to acknowledge in print 'expressions of displeasure from a portion of the audience' and announce that he was withdrawing the play from the stage rather than taking the political scenes out of it. 66 In this, the political proscription directed at The O'Dowd stands as a credible forerunner to the atmosphere of political repression that Wilde cited as the reason that he had been forced to withdraw Vera.…”

Section: Dion Bo Ucic Ault a Nd The Politics Of (Ir Is H)mentioning

confidence: 99%

Political Censorship on the Late-Victorian Stage: Rereading Oscar Wilde’s Vera; or, the Nihilist[s]

Kandola

2022

Journal of Victorian Culture

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The publication in 2021 of the Oxford English Texts version of Oscar Wilde’s Russian melodrama Vera; or, the Nihilist (1883), based, as it is, on new archival research by its editor Josephine Guy, deepens the mystery surrounding the alleged censorship of Oscar Wilde’s first play. While Wilde himself promoted the idea that the expression of democratic ideals in his Nihilist play had prevented its performance in England, a genetic analysis of an early manuscript version of the play (1881) made available in the OET Vera and Guy’s reconstructed play-text of the first performance, problematizes the putative censorship of the play on political grounds. In conjunction with new readings of Wilde’s Poems (1881) and his letters from the period, the genetic analysis that follows crystallizes attendant issues concerning the extent of Wilde’s radicalism at the outset of his career and the nature of his commitment to Irish republicanism per se. Where the Chief Examiner of Plays (E. F. S. Pigott) promoted the idea that there was no political censorship of the theatre at the end of the Victorian period, the examples of the alleged suppression of Wilde’s melodrama and the experiences of his mentor, the Irish playwright Dion Boucicault, at the hands of the British press evince the multiple forms of political censorship and self-censorship that came to shape (and impede) the development of the late-Victorian stage.

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Section: Dion Bo Ucic Ault a Nd The Politics Of (Ir Is H)mentioning

confidence: 99%

Political Censorship on the Late-Victorian Stage: Rereading Oscar Wilde’s Vera; or, the Nihilist[s]

Kandola

2022

Journal of Victorian Culture

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Boucicault, Dion

Holder

2015

The Encyclopedia of Victorian Literature

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Dion Boucicault was arguably the most popular and influential of Victorian dramatists. From a start writing comedies he became a master of melodramatic form and stage effect, writing and often acting in such works as The Corsican Brothers , The Octoroon , and Jessie Brown; or, The Relief of Lucknow . His plays increasingly dealt with such contemporary concerns as slavery and the wars of empire; he found perhaps his greatest success in a series of Irish plays beginning with the Colleen Bawn , works that proved hugely popular not only in England but also in Ireland and the United States.

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Ireland

Murphy

2015

The Encyclopedia of Victorian Literature

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British Victorian literature was extensively read in Ireland, and characters in Irish novels are also reported as reading British literature. Literacy was growing in Ireland and the means of borrowing or buying books were numerous. Movements of cultural nationalism were themselves often dependent on British literary influences. Various forms of Irishness were depicted in British‐set fiction. Many Irish authors made their careers in Britain and some became highly successful. Irish Victorian literature is largely ignored both by Victorianists and Irish Studies scholars: by Victorianists because it is too Irish; by Irish Studies scholars because it is too British. The publishing industry gives access to the nuances of Victorian Ireland as does Irish Victorian drama, which operated within a multinational context. In fact, it is best to think not of one Victorian Ireland but of multiple Victorian Irelands. Literature remains a key way of exploring and understanding them.

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Dion Boucicault

Cited by 16 publications

References 0 publications

Political Censorship on the Late-Victorian Stage: Rereading Oscar Wilde’s Vera; or, the Nihilist[s]

Political Censorship on the Late-Victorian Stage: Rereading Oscar Wilde’s Vera; or, the Nihilist[s]

Boucicault, Dion

Ireland

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