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Restoration Comedy.Pdf
RESTORATION COMEDY (1660- 1700) For B.A. Honours Part- 1 Paper – 1 (Content compiled for Academic Purpose only from http://www.theatrehistory.com/ and other websites duly credited) Content compiled by- Dr. Amritendu Ghosal Assistant Professor Department of English Anugrah Memorial College Gaya. Email- [email protected] Topics Covered- 1. INTRODUCTION TO THE RESTORATION AGE 2. NATURE OF RESTORATION COMEDY 3. WOMEN PLAYWRIGHTS 4. APPEARANCE OF WOMEN ON THE ENGLISH STAGE 5. PERSISTENCE OF ELIZABETHAN PLAYS 6. PARODY OF HEROIC DRAMA 7. COLLIER'S ATTACK ON THE STAGE (Image from haikudeck.com) "THEN came the gallant protest of the Restoration, when Wycherley and his successors in drama commenced to write of contemporary life in much the spirit of modern musical comedy. A new style of comedy was improvised, which, for lack of a better term, we may agree to call the comedy of Gallantry, and which Etherege, Shadwell, and Davenant, and Crowne, and Wycherley, and divers others, laboured painstakingly to perfect. They probably exercised to the full reach of their powers when they hammered into grossness their too fine witticisms just smuggled out of France, mixed them with additional breaches of decorum, and divided the results into five acts. For Gallantry, it must be repeated, was yet in its crude youth. For Wycherley and his confreres were the first Englishmen to depict mankind as leading an existence with no moral outcome. It was their sorry distinction to be the first of English authors to present a world of unscrupulous persons who entertained no special prejudices, one way or the other, as touched ethical matters." -- JAMES BRANCH CABELL, Beyond Life. -
FRENCH INFLUENCES on ENGLISH RESTORATION THEATRE a Thesis
FRENCH INFLUENCES ON ENGLISH RESTORATION THEATRE A thesis submitted to the faculty of San Francisco State University In partial fulfillment of A the requirements for the Degree 2oK A A Master of Arts * In Drama by Anne Melissa Potter San Francisco, California Spring 2016 Copyright by Anne Melissa Potter 2016 CERTIFICATION OF APPROVAL I certify that I have read French Influences on English Restoration Theatre by Anne Melissa Potter, and that in my opinion this work meets the criteria for approving a thesis submitted in partial fulfillment of the requirement for the degree Master of Arts: Drama at San Francisco State University. Bruce Avery, Ph.D. < —•— Professor of Drama "'"-J FRENCH INFLUENCES ON RESTORATION THEATRE Anne Melissa Potter San Francisco, California 2016 This project will examine a small group of Restoration plays based on French sources. It will examine how and why the English plays differ from their French sources. This project will pay special attention to the role that women played in the development of the Restoration theatre both as playwrights and actresses. It will also examine to what extent French influences were instrumental in how women develop English drama. I certify that the abstract rrect representation of the content of this thesis PREFACE In this thesis all of the translations are my own and are located in the footnote preceding the reference. I have cited plays in the way that is most helpful as regards each play. In plays for which I have act, scene and line numbers I have cited them, using that information. For example: I.ii.241-244. -
The English-Speaking Aristophanes and the Languages of Class Snobbery 1650-1914
Pre-print of Hall, E. in Aristophanes in Performance (Legenda 2005) The English-Speaking Aristophanes and the Languages of Class Snobbery 1650-1914 Edith Hall Introduction In previous chapters it has been seen that as early as the 1650s an Irishman could use Aristophanes to criticise English imperialism, while by the early 19th century the possibility was being explored in France of staging a topical adaptation of Aristophanes. In 1817, moreover, Eugene Scribe could base his vaudeville show Les Comices d’Athènes on Ecclesiazusae. Aristophanes became an important figure for German Romantics, including Hegel, after Friedrich von Schlegel had in 1794 published his fine essay on the aesthetic value of Greek comedy. There von Schlegel proposed that the Romantic ideals of Freedom and Joy (Freiheit, Freude) are integral to all art; since von Schlegel regarded comedy as containing them to the highest degree, for him it was the most democratic of all art forms. Aristophanic comedy made a fundamental contribution to his theory of a popular genre with emancipatory potential. One result of the philosophical interest in Aristophanes was that in the early decades of the 18th century, until the 1848 revolution, the German theatre itself felt the impact of the ancient comic writer: topical Lustspiele displayed interest in his plays, which provided a model for German poets longing for a political comedy, for example the remarkable satirical trilogy Napoleon by Friedrich Rückert (1815-18). This international context illuminates the experiences undergone by Aristophanic comedy in England, and what became known as Britain consequent upon the 1707 Act of Union. -
"Play Your Fan": Exploring Hand Props and Gender on the Restoration Stage Through the Country Wife, the Man of Mode, the Rover, and the Way of the World
Columbus State University CSU ePress Theses and Dissertations Student Publications 2011 "Play Your Fan": Exploring Hand Props and Gender on the Restoration Stage Through the Country Wife, the Man of Mode, the Rover, and the Way of the World Jarred Wiehe Columbus State University, [email protected] Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the English Language and Literature Commons Recommended Citation Wiehe, Jarred, ""Play Your Fan": Exploring Hand Props and Gender on the Restoration Stage Through the Country Wife, the Man of Mode, the Rover, and the Way of the World" (2011). Theses and Dissertations. 148. https://csuepress.columbusstate.edu/theses_dissertations/148 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. Digitized by the Internet Archive in 2012 with funding from LYRASIS Members and Sloan Foundation http://archive.org/details/playyourfanexploOOwieh "Play your fan": Exploring Hand Props and Gender on the Restoration Stage Through The Country Wife, The Man of Mode, The Rover, and The Way of the World By Jarred Wiehe A Thesis Submitted in Partial Fulfillment of Requirements of the CSU Honors Program For Honors in the Degree of Bachelor of Arts In English Literature, College of Letters and Sciences, Columbus State University x Thesis Advisor Date % /Wn l ^ Committee Member Date Rsdftn / ^'7 CSU Honors Program Director C^&rihp A Xjjs,/y s z.-< r Date <F/^y<Y'£&/ Wiehe 1 'Play your fan': Exploring Hand Props and Gender on the Restoration Stage through The Country Wife, The Man ofMode, The Rover, and The Way of the World The full irony and wit of Restoration comedies relies not only on what characters communicate to each other, but also on what they communicate to the audience, both verbally and physically. -
Print This Article
JOURNAL OF ENGLISH STUDIES – VOLUME 17 (2019), 127-147. http://doi.org/10.18172/jes.3565 “DWINDLING DOWN TO FARCE”?: APHRA BEHN’S APPROACH TO FARCE IN THE LATE 1670S AND 80S JORGE FIGUEROA DORREGO1 Universidade de Vigo [email protected] ABSTRACT. In spite of her criticism against farce in the paratexts of The Emperor of the Moon (1687), Aphra Behn makes an extensive use of farcical elements not only in that play and The False Count (1681), which are actually described as farces in their title pages, but also in Sir Patient Fancy (1678), The Feign’d Curtizans (1679), and The Second Part of The Rover (1681). This article contends that Behn adapts French farce and Italian commedia dell’arte to the English Restoration stage mostly resorting to deception farce in order to trick old husbands or fathers, or else foolish, hypocritical coxcombs, and displaying an impressive, skilful use of disguise and impersonation. Behn also turns widely to physical comedy, which is described in detail in stage directions. She appropriates farce in an attempt to please the audience, but also in the service of her own interests as a Tory woman writer. Keywords: Aphra Behn, farce, commedia dell’arte, Restoration England, deception, physical comedy. 1 The author wishes to acknowledge funding for his research from the Spanish government (MINECO project ref. FFI2015-68376-P), the Junta de Andalucía (project ref. P11-HUM-7761) and the Xunta de Galicia (Rede de Lingua e Literatura Inglesa e Identidade III, ref. ED431D2017/17). 127 Journal of English Studies, vol. 17 (2019) 127-147 Jorge Figueroa DORREGO “DWINDLING DOWN TO FARCE”?: LA APROXIMACIÓN DE APHRA BEHN A LA FARSA EN LAS DÉCADAS DE 1670 Y 1680 RESUMEN. -
Restoration Comedy/Comedy of Manners (Restoration Theatre) Larisa Kocic-Zámbó
This teaching material has been made at the University of Szeged and supported by the European Union. Project identity number: EFOP-3.4.3-16-2016-00014 Restoration & Eighteenth-Century English Literature (ANGBA3- Literature Survey Course) Restoration Comedy/Comedy of Manners (Restoration Theatre) Larisa Kocic-Zámbó SUMMARY: Though hardly comparable to the renown of the Renaissance theatre and the ubiquitous popularity of Shakespeare, the theatre of the Restoration and 18th-century has introduced a fair number of innovations and changes that will determine our perception and reception of stage plays well into to 20th century. This lesson is part of a three-part take on the era’s theatre, introducing three prominent genres: (a) Restoration comedy or comedy of manners (vs the 18th-century Sentimental Comedy), (b) heroic tragedy or drama, and (c) the musical theatre. Starting with a short historical overview focusing on the precursory events that gave historical significance to the Restoration theatre, namely, the banning of theatres during the Commonwealth and its consequences, special attention will be paid to the novel features of the resurging theatrical life following the restoration of monarchy. Topics will include: • Prohibitions against acting (and its Elizabethan roots) • Resurgence of theatre (two-company monopoly system) • Changes and innovations o Restauration purpose-built theatres o Female actresess • Restoration Comedy vs 18th-century Sentimental Comedy o E.g. Wycherley’s The Country Wife o Critique of comedy of manners: Collier -
The Way of the World As Restoration Comedy
The Way of the World as Restoration Comedy Restoration as a historical period was a time when England was an established colonial power in the world. It was a time of materialism and commerce and the people of the period emphasized money, pleasure and sex. Love and marriage were judged in terms of money. Artificiality and immorality were the defining features of the age. People looked towards relaxation and pleasure and serious things mattered less to them. In the Restoration period there was a moneyed class with leisure. Pursuit of sexual pleasure and money was the main concern of the people. Marriage was not just like as an institution for procreation or for providing stability to social life. It was seen as a mercenary venture. Main threads that made up the many-splendored “Restoration Comedy” may be listed in the following manner. There existed an English tradition of social comedy that treated the love game with lightness, humour, and some ribaldry. Such comedies are associated with Beaumont and Fletcher, among others. The plays included satire of social types: the fops, the pedants, and the vain women. At the same time, the English comic tradition included a different comedy of character types, Ben Jonson’s comedy of “humours”, which emphasized the way in which people’s characters would be strongly bent in one direction. Jonson's plays were also intensely satiric, attacking above all the sins of avarice, lechery, and hypocrisy. There was a strong French influence which led to elegance of plotting, characterization, and acting. The French emphasis on correctness was probably a salutary antidote to the casual attitude to structure of many Elizabethan and Jacobean dramatists. -
The Way of the World As a Restoration Comedy of Manners by Debaditya
The Way of the World as a Restoration Comedy of Manners By Debaditya Mukhopadhyay The terms “Restoration Comedy” or “Comedy of Manners” refer to a particular type of comic drama that developed in England following the Restoration of Monarchy in 1660. As suggested by its title, it is a type of comedy that focuses on “manners” or code of conducts that the society thrusts upon the individuals. Comic moments are created in these plays by depicting characters who do not follow these manners properly. The play The Way of the World by William Congreve is considered to be one of the finest examples of Restoration Comedy. It was written by Congreve at a time when a section of the society had started rejecting this type of theatre. This negative attitude was a result of the depiction of vulgarity and immorality by these plays. The middle class people in particular started disliking these plays after Jeremy Collier wrote a scathing critique of these plays titled “Short View of the Immorality and Profaneness of the English Stage” in 1698. Therefore, when Congreve wrote this play he had to make a very serious attempt for winning the audience. As a result, this play became a little different from the typical Restoration Comedies. Comedy of Manners was infamous for showing adultery and immorality. In most of the cases these plays showed the central characters behaving in a carefree and immoral manner. For instance, in the play The Provoked Wife, the virtuous woman Lady Brute is shown to become an infidel while her husband Sir John Brute is shown to be an alcoholic and abusive person. -
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. -
William Congreve and Oscar Wilde 2
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Lenka Drbalová Comedy of Manners: William Congreve and Oscar Wilde Bachelor‟s Diploma Thesis Supervisor: prof. Mgr. Milada Franková, CSc., M.A. 2014 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author‟s signature Acknowledgement I would like to thank prof. Mgr Franková , CSc., M.A. and PhDr. Věra Pálenská, CSc. for their guidance, advice and kind encouragement. Table of Contents Preface ...............................................................................................2 Introduction ......................................................................................3 Chapter I – The Way of the World 1.1 In General ..................................................................................8 1.2 True Wit and False Wit ............................................................9 1.3 Courtship and Love .................................................................14 1.4 Invention vs. Reality ................................................................18 Chapter II – The Importance of Being Earnest 2.1 In General ................................................................................22 2.2 True Wit and False Wit ..........................................................23 2.3 Courtship and Love ................................................................28 2.4 Invention vs. Reality ...............................................................32 -
Literary Herald ISSN: 2454-3365 an International Refereed/Peer-Reviewed English E-Journal Impact Factor: 3.019(IIJIF)
www.TLHjournal.com Literary Herald ISSN: 2454-3365 An International Refereed/Peer-reviewed English e-Journal Impact Factor: 3.019(IIJIF) THE RIVALS AS AN ANTI-SENTIMENTAL COMEDY A.Thirumani Aarthilaxmi M.Phil English Research Scholar Nadar Saraswathi College of Arts and Science Theni. Abstract: The comedy of manners is a phrase often used in literary history and criticism. It is particularly applied to the Restoration dramatists in England. Sheridan‟s purpose in writing “The Rivals” was to entertain the audience by making them laugh and not by making them shed tears and serious. The sentimental comedy of 18th century was actually reaction against the comedy of manners which had been voyage during the restoration period. That mainly appears to our feelings of sentimentality, pity, compassionate sympathy. Anti-sentimental comedy is reaction against sentimental comedy. The sentimental comedy did not last language. The sentimental soon degenerated into sentimentality. The motif of the writers of the comedy of manners was to make comic atmosphere of holy characters, middle class morality was exposed. Anti-sentimental comedy is reaction against sentimental comedy. The comedy of manners which goldsmith and Sheridan cultivate in 18th century was the reaction against the sentimental comedy of clibber, steel. Goldsmith opposed sentimental comedy because it place of laughter and humors. Thus, here is new and success output in anti-sentimental comedy.it takes old forms of comedy, comedy of manners. That is also called generally, for anti-sentimental comedy. Anti-sentimental comedy is going to old forms that have a low farce; situational humor.it is high polished in restoration comedy. -
International Research Parallel Between Comedy of Hum
International Journal of Trend in Scientific Research and Development (IJTSRD) International Open Access Journal ISSN No: 2456 - 6470 | www.ijtsrd.com | Volume - 2 | Issue – 3 Parallel between Comedy of Humours and Comedy of Manners T. Poornima, M. Priyanga, K. Swarnamuki M.A English, Nadar Saraswathi College of Arts And Science, Theni, Tamil Nadu, India ABSTRACT The comedy of humour which deals largely with marked off from the romantic drama by its intense exaggerated types of humour was one which realism. It was Johnson’s boast and virtue that he adumbrated in the and in Ralph Roister Dolster and drew comedy down from the improbable realms of then after a not very glorious career was rendered romantic colouring to the levels of ordinary existence popular by Jonson in Every Man in His Humour. All where he could utilize. Jonson’s great merit lies in comedy is it of humours or of romance of manner, the fact that he drew comedy down to real life, deals with types of character than with personalities. presenting classes and the follies of contemporary But the comedy of humours deals with types which London at a time when there was a fear of comedy’s are more exaggerated than the types in Shakespeare vanishing altogether into those fantastic and comedy. impossible realms of make believe which had been popularized by Shakespeare. Keyword: Restoration Comedy, humour, Jonson’s Comedy As has been well remarked Realism added to intensified humours treated in a satirical spirit was The comedy of humours was a genre of dramatic first given to the theatrical world by Jonson.