2 PENNSYLVANIA INSURRECTIONS IN THE LATE EIGHTEENTH CENTURY George Washington and John Adams

2021 ◽  
pp. 50-85
10.31022/a006 ◽  
1978 ◽  
Author(s):  
John O’Keeffe ◽  
William Shield

Eighteen lilting airs and a melodious overture complement the action in The Poor Soldier, a comic opera by John O'Keefe and William Shield that was the most popular afterpiece in late-eighteenth-century theater. This newly edited version is based on five scores of the period and fourteen libretti. The Poor Soldier will delight modern audiences as much as it did George Washington.


Author(s):  
Will Smiley

This chapter explores captives’ fates after their capture, all along the Ottoman land and maritime frontiers, arguing that this was largely determined by individuals’ value for ransom or sale. First this was a matter of localized customary law; then it became a matter of inter-imperial rules, the “Law of Ransom.” The chapter discusses the nature of slavery in the Ottoman Empire, emphasizing the role of elite households, and the varying prices for captives based on their individual characteristics. It shows that the Ottoman state participated in ransoming, buying, exploiting, and sometimes selling both female and male captives. The state particularly needed young men to row on its galleys, but this changed in the late eighteenth century as the fleet moved from oars to sails. The chapter then turns to ransom, showing that a captive’s ability to be ransomed, and value, depended on a variety of individualized factors.


Author(s):  
Ina Ferris

This chapter looks at historical romance. Late eighteenth-century historiography began to expand its purview to unofficial spheres of social, cultural, and private life typically cultivated by informal genres such as memoirs, biographies, and novels. The ‘matter’ of history was being increasingly redefined, and this had two key effects that bear on the question of historical romance. First, the ‘reframing’ of the historical field generated a marked reciprocity among the different historical genres in the literary field, as they borrowed material and tactics from one another; second, it led to a splintering albeit not displacement of ‘general’ history, as new branches of history writing took shape, notably that of literary history as a distinct form of history. Hence romance now denoted not only the realm of ‘fancy’ but a superseded literary form of renewed interest in the rethinking of the national past.


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