The inspiration for Dion Boucicault's first Irish subject, The Colleen Bawn, in a set of pictur esque views of Ireland after the artist W. H. Bartlett is well documented, and Bartlett's iconography of wild scenery, moonlight, round towers, and ruined abbeys features strongly throughout the Irish plays. Although Bartlett's compositions were widely known in the nineteenth century, there has been little consideration of how they may have informed the audience's understanding of the plays. Rather, they are regarded as a set of clichéd, stereotyped images, which the playwright subverted through a process of ironic distancing and repurposing. In this article Patricia Smyth argues that, on the contrary, Boucicault made use of the mythical and supernatural associations of picturesque Ireland in order to convey a particular narrative of Irish history. Patricia Smyth is a Visiting Research Fellow at the University of Warwick. She has published articles and book chapters on French and British nineteenth-century art, visual culture and theatre. She is co-editor of Nineteenth-Century Theatre and Film, co-edited with Jim Davis a special issue dedicated to theatrical iconography (2012), and is currently completing a book on Paul Delaroche and theatre.

中文翻译：

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流行的风景如画：布西科爱尔兰戏剧中的风景

Dion Boucicault 的第一个爱尔兰主题的灵感，科琳·鲍恩，在艺术家 WH Bartlett 被充分记录之后，在一组爱尔兰的风景如画的景色中，巴特利特的狂野风景、月光、圆塔和被毁的修道院的形象在整个爱尔兰戏剧中都有很强的特色。尽管巴特利特的作品在 19 世纪广为人知，但很少有人考虑它们如何影响观众对戏剧的理解。相反，它们被视为一组陈词滥调的刻板形象，剧作家通过讽刺性的疏远和重新利用的过程颠覆了这些形象。在这篇文章中，帕特里夏·史密斯认为，恰恰相反，布西科利用风景如画的爱尔兰的神话和超自然联想来传达爱尔兰历史的特定叙述。Patricia Smyth 是华威大学的访问研究员。她发表了有关法国和英国 19 世纪艺术、视觉文化和戏剧的文章和书籍章节。她是联合主编十九世纪戏剧和电影，与吉姆戴维斯共同编辑了一个专门针对戏剧肖像的特刊（2012 年），目前正在完成一本关于保罗德拉罗什和戏剧的书。