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By William Shakespeare, Liang Shiqiu

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Additional resources for All's Well That Ends Well (The Complete Shakespeare Translated by Liang Shiqiu, Book 12) (Bilingual Edition)

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Yet, as Burnand himself confessed to devoting 'at least a couple of days a week' to regular work for Punch,25 it was hardly surprising that most of his playwriting friends in the 1860s, like Shirley Brooks and Tom Taylor 13 14 The profession of the playwright (subsequently editor of the same journal in 1874) paid no attention to his advice. Among the journalists-turned-playwrights were Albert R. Smith (originally a surgeon), who diversified into novels, drama, and periodical publication; Andrew Halliday, one of the founders of the Savage Club and collaborator with William Brough in the 1860s at the Adelphi and elsewhere; Henry Farnie, author or adapter of more than seventy pieces, including a number of successful comic French operas; and John McArdle, who wrote mainly for provincial theatres, and Joseph Stirling Coyne, a proprietor of Punch and sometime Secretary to the Dramatic Authors' Society.

As middle-of-the-road professionals Frederick Reynolds and Tom Dibdin were able to command sufficiently good terms to enable them to sustain wholly adequate and even well-to-do 6 A devil of a trade' 29 livings out of their careers as professional playwrights. In both cases however (as with contemporaries such as Colman, Inchbald, and eventually even Morton, whose early career was assisted by a private income) this was supplemented by earnings in one or more of the usual occupations for a playwright of the period — stage management, theatre management, editing collections of plays, or a position as reader of plays - all of which were useful and sometimes very necessary second strings.

Her comedy What is She? 6 Yet at the other end of the spectrum a dramatist like Elizabeth Inchbald (whom her first biographer describes as 'better skilled in the art of dealing with theatres than most of her cotemporaries [MV]') was confident enough to suggest her own terms to Covent Garden. Though not successful on every occasion, she did persuade Thomas Harris to remunerate adaptations on a scale commensurate with the often considerable work involved. 7 Patent theatre authors tended to be better off under the fixed payment scheme than under the old benefit system.

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