The Fall of Saguntum | |
---|---|
Written by | Philip Frowde |
Date premiered | 16 January 1727 [1] |
Place premiered | Lincoln's Inn Fields Theatre |
Original language | English |
Genre | Tragedy |
The Fall of Saguntum is a 1727 tragedy by the British writer Philip Frowde. [2] The plot revolves around the Siege of Saguntum in the Second Punic War, and is fall the forces of the Carthaginian general Hannibal. Influenced by the style of John Addison's play Cato it was dedicated to Prime Minister Sir Robert Walpole. [3]
Staged at Lincoln's Inn Fields the original cast included Anthony Boheme as Sicoris, Thomas Walker as Murrus, James Quin as Eurydamas, Charles Hulett as Theron, Richard Diggs as Lychormas, Lacy Ryan as Fabius, William Milward as Curtius, John Ogden as First Saguntium, Anne Berriman as Candace and Jane Rogers as Timandra. The prologue was written by Lewis Theobald.
The siege of Saguntum was a battle which took place in 219 BC between the Carthaginians and the Saguntines at the town of Saguntum, near the modern town of Sagunto in the province of Valencia, Spain. The battle is mainly remembered today because it triggered one of the most important wars of antiquity, the Second Punic War.
The Welsh Opera is a play by Henry Fielding. First performed on 22 April 1731 in Haymarket, the play replaced The Letter Writers and became the companion piece to The Tragedy of Tragedies. It was also later expanded into The Grub-Street Opera. The play's purported author is Scriblerus Secundus who is also a character in the play. This play is about Secundus' role in writing two (Fielding) plays: The Tragedy of Tragedies and The Welsh Opera.
The Dark Lady is a woman described in Shakespeare's sonnets, and so called because the poems make it clear that she has black wiry hair, and dark, "dun"-coloured skin. The description of the Dark Lady distinguishes itself from the Fair Youth sequence by being overtly sexual. Among these, Sonnet 151 has been characterised as "bawdy" and is used to illustrate the difference between the spiritual love for the Fair Youth and the sexual love for the Dark Lady. The distinction is commonly made in the introduction to modern editions of the sonnets. As with the Fair Youth sequence, there have been many attempts to identify her with a real historical individual. A widely held scholarly opinion, however, is that the "dark lady" is nothing more than a construct of Shakespeare's imagination and art, and any attempt to identify her with a real person is "pointless".
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