18Th Century Saw a Big Change in the Societal and Literary Arenas with the Rise of the Middle Classes

Total Page:16

File Type:pdf, Size:1020Kb

18Th Century Saw a Big Change in the Societal and Literary Arenas with the Rise of the Middle Classes 18th century saw a big change in the societal and literary arenas with the rise of the middle classes. So as to appeal to the tastes of the middle class, the century witnessed the introduction of novel as a new genre, essay writing, periodical culture, and coffee house gatherings. This century further marked the change of dramatic traditions from the Restoration comedies of manners to sentimental drama – George Lillo’s The London Merchant (1731) as an example of sentimental tragedy and Sir Richard Steele’s The Conscious Lovers (1722) as an example of sentimental comedy. Delving into this dramatic shift, we analyzed differences between Restoration comedies of manners and sentimental comedies with ELIT 362 British Drama from the Restoration to the Modern students. Tracing the philosophical shift from Hobbesian to Lockean perception by also taking both the class mobility and some literary influences such as Jeremy Collier’s A Short View of the Immorality and Profaneness of the English Stage (1698) into consideration, we looked at the historical, social, philosophical and economic changes in drama. A very short comparison between Restoration comedy of manners and sentimental comedy is as follows: Comedy of manners (use of wit) Sentimental comedy Hobbes – you can use everything for your Locke – people are born good own goodness Love triangle - Bedroom scenes / exhibiting adultery - Libertine is refined established saint / converted sinner Young wife: cuckolding her husband heroine: young maiden Wit & ingenuity of the characters providence / intuition Laughter tear / cry It berates marriage It exalts marriage Obscene language It avoids profanity Keeping the elements of sentimental drama, we made a comparative project with my students. I wanted the students to trace some of the sentimental elements in one of Yeşilçam movies of their choice. Here is a selection of this project. Teaching and enjoying, Assist. Prof. Dr. Z. Gizem YILMAZ KARAHAN .
Recommended publications
  • Studies in the Work of Colley Cibber
    BULLETIN OF THE UNIVERSITY OF KANSAS HUMANISTIC STUDIES Vol. 1 October 1, 1912 No. 1 STUDIES IN THE WORK OF COLLEY CIBBER BY DE WITT C.:'CROISSANT, PH.D. A ssistant Professor of English Language in the University of Kansas LAWRENCE, OCTOBER. 1912 PUBLISHED BY THE UNIVERSITY CONTENTS I Notes on Cibber's Plays II Cibber and the Development of Sentimental Comedy Bibliography PREFACE The following studies are extracts from a longer paper on the life and work of Cibber. No extended investigation concerning the life or the literary activity of Cibber has recently appeared, and certain misconceptions concerning his personal character, as well as his importance in the development of English literature and the literary merit of his plays, have been becoming more and more firmly fixed in the minds of students. Cibber was neither so much of a fool nor so great a knave as is generally supposed. The estimate and the judgment of two of his contemporaries, Pope and Dennis, have been far too widely accepted. The only one of the above topics that this paper deals with, otherwise than incidentally, is his place in the development of a literary mode. While Cibber was the most prominent and influential of the innovators among the writers of comedy of his time, he was not the only one who indicated the change toward sentimental comedy in his work. This subject, too, needs fuller investigation. I hope, at some future time, to continue my studies in this field. This work was suggested as a subject for a doctor's thesis, by Professor John Matthews Manly, while I was a graduate student at the University of Chicago a number of years ago, and was con• tinued later under the direction of Professor Thomas Marc Par- rott at Princeton.
    [Show full text]
  • Moral Intent in the Plays and Dramatic Criticism of Richard Steele
    Moral intent in the plays and dramatic criticism of Richard Steele Item Type text; Thesis-Reproduction (electronic) Authors Feldman, Donna Rose, 1925- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 04/10/2021 01:14:15 Link to Item http://hdl.handle.net/10150/318914 MORAL INTENT IN THE PLAYS AND DRAMATIC CRITICISM OF RICHARD STEELE by Donna Feldman A Thesis submitted to the faculty of the Department of English in partial fulfillment of the requirements for the degree of Master of Arts in the Graduate College University of Arizona 19^8 Approved» - Director of Thesis mm SiVsoO- TABLE OF COUTEiTS CHAPTER,: ' ■ : . ■ ; : : ; ' PAGE ' lo. IITRQDHCTIOI . , . = . = . o'-.o . 1 : II. EIGLISH DRAMA TO THE TIME OP STEELE, 8 III. STEELE'S EARLY PLAYS o o o o o o o o o 31 Introduction to the Study 31 The Funeral o o o o o o 0 o o d „o/ e 32 : Plot synopsis.' , o o o o <y o o o 32 Theme,o » o o o o o o o o o o o o o 3% Moral intent . » . .. N-0 o o o o o hh General effectiveness.>0.0 P o o O hS The Lying Lover' O O 0,00 O O 6 46 Plot synopsis. O .O 9 0 o o o o > ? Tlfe^ie.
    [Show full text]
  • SS Library Anthologies
    Titles An Anthology of Greek Drama: First Series (Edited by C.A. Robinson Jr.) Aeschylus: Agamemnon Sophocles: Oedipus the King, Antigone Euripides: Medea, Hippolytus Aristophones: Lysistrata An Anthology of Greek Drama: Second Series (Edited by C.A. Robinson Jr.) Aeschylus: Prometheus Bound, Choephoroe, Eumenides Sophocles: Philoctetes, Oedipus at Colonus Euripes: The Trojan Women, The Bacchae Aristophanes: The Clouds, The Frogs Greek Drama (Edited by Moses Hadas) Aeschylus: Agamemnon, Summary of Choephoroe, Eumenides Sophocles: Antigone, Oedipus the King, Summary of Oedipus at Colonus, Philoctetes Euripides: Medea, Hippolytus, The Trojan War Aristophanes: The Frogs Greek Tragedies, Volume I (Edited by Grene & Lattimore) Aeschylus: Agamemnon, Prometheus Bound Sophocles: Oedipus the King, Antigone Euripides: Hippolytus Classical Comedy, Greek and Roman (Edited by Robert W. Corrigan) Aristophones: Lysistrata, The Birds Menander: The Grouch Plautus: The Menaechmi, Mostellaria Terence: The Self-Tormentor Masters of Ancient Comedy (Edited by Lionel Casson) Aristophenes: The Acharnians Mendander: The Grouch, The Woman of Sarnos, The Arbitration, She Who Was Shorn Plautus: The Haunted House, The Rope Terence: Phormio, The Brothers Farces, Italian Style (Edited by Bari Rolfe) The Phantom Father Dr Arlecchino or the Imaginary Autopsee The Dumb Wife The Kind Father in Spite of Himself The Lovers of Bologna Commedia Dell'Arte (Edited by Bari Rolfe) 20 Lazzi 35 Scenes The Lovers of Verona Drama of the English Renaissance (Edited by M.L. Wine) Christopher Marlowe: Doctor Faustus Thomas Dekker: The Shoemaker's Holiday, A Pleasant Comedy of the Gentle Craft Ben Jonson: Volpone or The Foe Francis Beaumont: The Knight of the Burning Pestle Ben Jonson: The Masque of Blackness Francis Beaumont & John Fletcher: Philaster John Webster: The Duchess of Malfi Thomas Middleton & William Rowley: The Changeling John Ford: The Broken Heart Four English Tragedies (Edited by J.M.
    [Show full text]
  • Discussing Different Aspects of Comedy As a Literary Type
    Semester VI - Discipline Specific Elective English Language and Literary Types Discussing Different Aspects of Comedy as a Literary Type Kinds Of Comedy In Diverse Historical Periods Old and New Comedy in ancient Greece The 11 surviving plays of Aristophanes represent the earliest extant body of comic drama; what is known of Greek Old Comedy is derived from these plays, the earliest of which, The Acharnians, was produced in 425 BCE. Aristophanic comedy has a distinct formal design but displays very little plot in any conventional sense. Rather, it presents a series of episodes aimed at illustrating, in humorous and often bawdy detail, the implications of a deadly serious political issue: it is a blend of invective, buffoonery, and song and dance. Old Comedy often used derision and scurrility, and this may have proved its undoing; though praised by all, the freedom it enjoyed degenerated into license and violence and had to be checked by law. In New Comedy, which began to prevail about 336 BCE, the Aristophanic depiction of public personages and events was replaced by a representation of the private affairs (usually amorous) of imaginary men and women. New Comedy is known only from the fragments that have survived of the plays of Menander (c. 342–c. 292 BCE) and from plays written in imitation of the form by the Romans Plautus (c. 254–184 BCE) and Terence (195 or 185–159 BCE). A number of the stock comic characters survived from Old Comedy into New: an old man, a young man, an old woman, a young woman, a learned doctor or pedant, a cook, a parasite, a swaggering soldier, a comic slave.
    [Show full text]
  • Politeness in Eighteenth-Century Drama: a Discursive Approach
    Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2016 Politeness in eighteenth-century drama: A discursive approach Jucker, Andreas H Abstract: Fictional texts constitute complex communicative acts between an author and an audience, and they regularly depict interactions between characters. Both levels are susceptible to an analysis of po- liteness. This is particularly true for early eighteenth-century drama, which – in the context of the age of politeness – established new dramatic genres to educate and edify their audiences. Characters were used to demonstrate good or bad behaviour as examples to be followed or avoided. Early eighteenth-century drama was a reaction against what was considered to be the immorality and profanity of Restoration drama of the seventeenth century. Two plays serve as illustrations and a testing ground for an analysis of fictional politeness that considers both communicative levels; the play itself and the interactions within the play. Richard Steele’s sentimental comedy “The Conscious Lovers” (1722) gives an example of good behaviour by being exceedingly polite to the audience in the theatre through characters that are exceed- ingly polite to each other; and George Lillo’s domestic tragedy “The London Merchant, or the History of George Barnwell” (1731) shows the “private woe” of everyday characters in order to warn the younger generation against wrongdoing and to propagate middle-class virtues and moral values. DOI: https://doi.org/10.1515/pr-2015-0027 Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-122517 Journal Article Published Version Originally published at: Jucker, Andreas H (2016).
    [Show full text]
  • Proper Names in Plays, by Chance Or Design?
    BYU Studies Quarterly Volume 5 Issue 1 Article 5 11-1-1962 Proper Names in Plays, by Chance or Design? M. C. Golightly Follow this and additional works at: https://scholarsarchive.byu.edu/byusq Recommended Citation Golightly, M. C. (1962) "Proper Names in Plays, by Chance or Design?," BYU Studies Quarterly: Vol. 5 : Iss. 1 , Article 5. Available at: https://scholarsarchive.byu.edu/byusq/vol5/iss1/5 This Article is brought to you for free and open access by the Journals at BYU ScholarsArchive. It has been accepted for inclusion in BYU Studies Quarterly by an authorized editor of BYU ScholarsArchive. For more information, please contact [email protected], [email protected]. Golightly: Proper Names in Plays, by Chance or Design? proper names in plays by chance or design M C GOLIGHTLY readers of fictional material are generally subconsciously impressed with names given to characters in a play or story by an author without being aware of any underlying motiva- tion on the part of the author for having given them such names are ostensibly given through the creative process in an attempt to produce such symbolic representation of that char- acter which best expresses a personal estimate or understand- ing of it insofar as the author is concernedisconcerned this understand- ing takes place in part in the mind of the reader by his in- stinctive reaction to the name a process of which he is seldom aware it is logical to assume that these names like any other appellationsappellations given to any person place or thing are created from
    [Show full text]
  • COPYRIGHTED by Fle WAYNE CORDER 1959
    COPYRIGHTED by flE WAYNE CORDER 1959 THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE RESTORATION 7/AY OF THE ÏÏORLD: A STUDY OF RESTORATION COMEDY A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY BY JIMMIE w! CORDER Norman, Oklahoma 1958 THE RESTORATION WAT OF THE WORLD: A STUDY OF RESTORATION COMEDY APR r DISSERTATION COMMITTEE ACKNOWLEDGMENT I wish to express my appreciation to the Graduate Faculty of the English Department of the University of Oklahoma for an environment both helpful and stimulating. In particular, I wish to express my gratitude for the scholarly, kind, and untiring assistance of Dr. John M. Eaines and Dr. John Paul Pritchard, whose interest nurtured and sustained this work from its inception as a paper in their classes to the present completed dissertation, and whose Tuaderstending made plain the attractions of the Restoration and Eighteenth Century. iii TABLE OF CONTENTS Chapter Page I. INTRODUCTION.......................... 1 II. THE INTELLECTUAL BACKGROUND.............. 2$ Previous Studies................... 24- Social Climate..................... 28 Intellectual Climate ............... $1 III. TEE LITERARY BACKGROUND................ 54- General Characteristics.............. 55 Criticism.......................... 58 Rules and Conventions............... 68 Wit, Judgment, Fancy, Decorum......... 75 17. NOTES ON C0Ü3DY AND TEE FORIiî AND FUNCTION OF RESTORATION COMEDY......... 88 Previous Studies........ 88 Notes on Comedy..................... 97 Tragedy and Comedy.............. 99 Source of Comedy .............. 108 Form of Comedy................... 109 Function of Comedy................ 115 Form and Function of Restoration Comedy ............... 116 Source ............ 118 F o r m ............................ 119 Function........................ 126 V. ETHEREGE............................... 135 Introduction........................ 155 Love in a Tub........................ 139 8he Wou'cE If She Cou'd...............
    [Show full text]
  • Plautus and the Sentimental Ideal of the Roman Family
    Durham E-Theses Plautus and the Sentimental Ideal of the Roman Family BARBER, HELEN,ESTHER How to cite: BARBER, HELEN,ESTHER (2011) Plautus and the Sentimental Ideal of the Roman Family, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/809/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Abstract Plautus and the Sentimental Ideal of the Roman Family Helen E Barber In 1991 Suzanne Dixon published an article that suggested that, from the late Republic onwards, it is possible to detect a sentimental ideal of family life at Rome. She also argued that there is a significant paucity of affectionate terminology in Plautus' mid-republican works. My thesis looks for traces of a Roman sentimental ideal in Plautus' comedies. I analyse his plays, being careful to interpret them in the light of comic convention and paying attention to the varying forms of comic drama, and I search for sentimental themes related to wives and husbands, parents and children, the home, and slaves and outsiders.
    [Show full text]
  • Or M¡Rirliììn Ì ('Tq{Ftr^Rul.,Lgff
    I'WEEPING'' VERSUS ''LAUGHfNG'' COMEDY: AN EXAMTNATÏON OF THE GROWTH AND DEVELOPMENT OF SENTIMENTAL COMEDY IN THE ETGHTEENTH CENTURY A Thesis Presented to The Faculty of Graduate Studies The University of Manitoba In Partial Fulfillment of the Requirements for the Deg::ee Master of Arts by Joan Rosenfield May 1972 or M¡rirLiììn ì i ('tq{ftr^rul.,lgffó.-..-.-..-.....-"..,....,.- ABSTRACT This thesis examines the rise, nature and development of sentimental comedy during the ei-ghteenth century. senti- mental comedy differs from the earlier Restoration comedy in the type of language used since bawdy and double entendres are largely purged from these plays. There is no scene in sentimental comedy equivalent to wycherley's "china" scene in The Country Wife (IV, iij-) in its witty but callous por- trayal of sophisticated promiscuity. Since "creeping" sentimentalism is already present in plays of the Restoration and earlier, it is impossible to establish a definite date for the beginning of sentimental comedy. However, Colley Cibberts first play, Love's Last shift (L696) , has been given the distinction of being called the first sentimental comedy. f This view has considerable merit because cibber appeared on the theatrical scene at a time when Restoration comedy was no longer in its heyday and he was astute enough to tailor his plays to the change in theatrical- taste. However, cibber's allegiance to the tenets of sentimental comedy was not wholehearted and he preserves, although in a tempered form, certain of the Restoration characters such as the fop and the coquette. His language 1e. R. s. Fone, "Lovers Last Shift and Sêntimental Comedy, " Restoration Theatre Research, fX, No.
    [Show full text]
  • The Rake and the Fop in the English Comedy Between 1662 and 1728
    Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2017 Troubled masculinity: the rake and the fop in the English comedy between 1662 and 1728 Stamp Bahadur, Lilly Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-161531 Dissertation Published Version Originally published at: Stamp Bahadur, Lilly. Troubled masculinity: the rake and the fop in the English comedy between 1662 and 1728. 2017, University of Zurich, Faculty of Arts. TROUBLED MASCULINITY: THE RAKE AND THE FOP IN THE ENGLISH COMEDY BETWEEN 1662 AND 1728 Thesis presented to the Faculty of Arts and Social Sciences of the University of Zurich for the degree of Doctor of Philosophy by Lilly Stamp Bahadur Accepted in the fall semester 2017 on the recommendation of the doctoral committee: Prof. Dr. Allen Reddick Prof. Dr. Fritz Gutbrodt Zurich, 2018 Contents 01: Introduction: Masculinity and comedy .................................................................................... 1 02: Turbulent times and theatre ................................................................................................. 12 Historical Context ....................................................................................................................... 14 Aristocracy as a class .................................................................................................................. 24 Comedies and their relevance to male identity ........................................................................
    [Show full text]
  • “Antitheatrical Theatricalism” on the Eighteenth-Century English Stage," Criticism: Vol
    Criticism Volume 46 Article 10 Issue 2 When Is a Public Sphere 2004 “Antitheatrical Theatricalism” on the Eighteenth- Century English Stage Marjean D. Purinton Texas Tech University, [email protected] Follow this and additional works at: http://digitalcommons.wayne.edu/criticism Recommended Citation Purinton, Marjean D. (2004) "“Antitheatrical Theatricalism” on the Eighteenth-Century English Stage," Criticism: Vol. 46: Iss. 2, Article 10. Available at: http://digitalcommons.wayne.edu/criticism/vol46/iss2/10 09 purinton (305-310) 10/27/04 11:29 AM Page 305 MARJEAN D. PURINTON “Antitheatrical Theatricalism” on the Eighteenth-Century English Stage Character’s Theatre: Genre and Identity on the Eighteenth-Century English Stage by Lisa A. Freeman. Philadelphia: University of Pennsylvania Press, 2002. Pp. 298. $47.50 cloth. Character’s Theatre situates the eighteenth-century stage as the locus and model for the fashioning of individual identity, arguing that it was theatre more so than the novel where the construction of the modern subject took place. According to Lisa Freeman, eighteenth-century playwrights overcame prevailing theatrical artificiality and insincerity by deploying a strategy she terms “antitheatrical theatricalism” to establish authority and legitimacy against a tide of cultural criticism about the respectability of theatre. Play- wrights eschewed representations of subjectivities and instead scripted repre- sentations of identities or characters. What we find in the period’s staged drama, Freeman contends, is a “dynamic paradigm for representing identity that derives its force from the concept of ‘character’ as it was elaborated and understood in an eighteenth-century context” (7). As Character’s Theatre demonstrates, identity is an effect of character, an insight that the period’s playwrights exploited onstage, and drama was the genre best suited for the manipulation of audiences’ epistemological frames for various pedagogical purposes, including identity construction.
    [Show full text]
  • ABSTRACT CARTWRIGHT, CHRISTINA ANN. Colley Cibber
    ABSTRACT CARTWRIGHT, CHRISTINA ANN. Colley Cibber and the Negotiation of Mode: Sentiment and Satire in Love’s Last Shift and The Non-Juror. (Under the direction of John D. Morillo.) The purpose of this thesis is to show that Colley Cibber’s works are important to studies of both genre and mode in 17th-and 18th-century British literature. This thesis explores the important lessons that Cibber’s negotiation of mode teaches us about Cibber and his influence in the movement toward and away from certain modes (sentimentalism, satire, and comedy). In order to achieve this goal, I look at two different genres – dramatic sentimental comedy and dramatic satire – as they are seen in two works of Cibber: Love’s Last Shift (1696) and The Non-Juror (1717). Scholarship tends to focus on the sentimental comedy of one (Love’s Last Shift) and the political satire of the other (The Non-Juror) without necessarily addressing the presence of both modes in both plays. Both of Cibber’s plays contain both modes, and these modes are similar in that they instruct. By examining the changes that occurred across the 21 years between Love’s Last Shift and The Non-Juror, in the areas of both satire and sentimentalism, we are able to understand more about the evolution of certain forms. In The Non-Juror Cibber mimicked the works of famous satirists of his time in an attempt to create a successful play. However, unlike other satirists, Cibber, referring back to the success of Love’s Last Shift, added an element that made his work distinctive: sentimentalism.
    [Show full text]