DOCSLIB.ORG

373.Pdf (582.3Kb)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
373.Pdf (582.3Kb) 1 A DEDICATED FOLLOWER OF FASHION: THE AHISTORIC RAKE IN RESTORATION LITERATURE If I am right about nature’s options, history is like surrounding oneself with mirrors, like living in a bordello. —Joseph Brodsky, “Letter to Horace” Zoe Hope Gibbons May 1, 2009 Presented to the Department of English at Mount Holyoke College in partial fulfillment of the requirements for the degree of Bachelor of Arts with Honors. 2 ACKNOWLEDGMENTS Eugene Hill is my thesis adviser, but to praise him only in that capacity would be to do him injustice. In February of 2006, I entered his Milton class uncertain whether I should major in English; after a week or two, any other course seemed laughable. For the past three years, he has been an academic role model and, more importantly, a constant force for good. I am also indebted to my other two readers, Bill Quillian and Paula Debnar. Since my first week of college, Professor Quillian has made my life calmer and saner by his mere presence. Professor Debnar introduced me to Lucretius, polished my Latin grammar, and reassured me that one never finishes a thesis, but merely abandons it. During my time at Mount Holyoke, I have had the privilege of working with several other exceptional mentors. If not for Frank Brownlow’s Shakespeare Adapted and Interpreted seminar, I might never have discovered the farce and folly of Restoration drama. Joseph Ellis expanded my historical horizons and reminded me that a good academic is more than the sum of her papers. Finally, Stan Rachootin pointed me in the direction of Leslie Stephen, whose biography of Pope sparked my interest in the Restoration. He also supplied me with at least two dozen puns on the word “rake”; I suspect my thesis is the poorer for their absence. Last year at Oxford, Noam Reisner supervised my study of early-modern literature, reined in my Barthesian excesses, and reminded me to keep a healthy skepticism about academia. Ann Pasternak Slater worked with me on revenge tragedy, and Freya Johnston on Fielding and Richardson. But my greatest debt is to Laurence Williams, a doctoral candidate who kindly agreed to tutor me in Restoration drama. Much of the work I produced in that tutorial found its way into my thesis, and our dramatic reading of Sir Fopling’s first scene remains one of my fondest Oxford memories. My incomparable friends, at Mount Holyoke and elsewhere, provided more solace and wisdom than they know. I am especially grateful to Mallory Cohn, Anne Derrig, Hannah Duff, Ariel Franklin-Hudson, Caitlin Healey, Noa Lee Holtzman, Rebecca Mason, Becca Schaffner, and Marija Tesla. Thank you for everything—including your inexplicable desire to read my final draft. (Don’t worry, I won’t hold you to it.) My analysis of the rake-aesthete would be incomplete without the example— say rather, the case study—of Amaru Villanueva Rance. 3 I owe many thanks to my family for their love and support. My father, Elliot Gibbons, deserves special mention; for as long as I can remember, he has done everything in his power to nurture my moral and intellectual development. This thesis is dedicated to Svein Arber, my AP English teacher at Lowell High School in San Francisco. He taught me how to think and write about literature; there is no higher praise than that. 4 TABLE OF CONTENTS INTRODUCTION 5 CHAPTER ONE 21 “The Painted Sign of a Man”: The Gentile Sinner CHAPTER TWO 44 “The Modern Way of Writing”: The Comical Revenge CHAPTER THREE 68 “Going a Rambling”: The Mulberry Garden CHAPTER FOUR 86 “Ridiculously Wild and Apish”: The Man of Mode CHAPTER FIVE 105 “Now I Can Blaze No Longer”: The Aging Rake CONCLUSION 131 APPENDIX 138 WORKS CITED 159 5 INTRODUCTION In 1660, the newly acceded Charles II of England issued an “Act of Free and General Pardon Indempnity and Oblivion,” ordering that most crimes committed against the Crown between 1637 and 1660 “be Pardoned Released Indempnified Discharged and put in utter Oblivion.” In his preamble to the act, Charles declared his intention to “bury all Seeds of future Discords and remembrance of the former as well in His owne Breast as in the Breasts of His Subjects one towards another”—a generous sentiment, undoubtedly welcome after two decades of civil strife. Granted, Charles introduced several exceptions to the act, refusing to pardon the officials of Oliver Cromwell’s regime, or, for that matter, the deceased Cromwell himself. But he continued in a conciliatory vein until midway through the edict, when he announced that the new government would fine anyone guilty of “using words tending to revive the Memory of the late Differences”: And to the intent and purpose that all names and termes of distinction may likewise be putt into utter Oblivion Be it further Enacted by the Authority aforesaid That if any person or persons within the space of three yeares next ensueing shall presume malitiously to call or alledge of, or object against any other person or persons any name or names, or other words of reproach any way tending to revive the memory of the late Differences or the occasions thereof, That then every such person soe as aforesaid offending shall forfeit and pay unto the party grieved in case such party 6 offending shall be of the degree of a Gentleman or above ten pounds, and if under that degree the summe of forty shillings to be recovered by the party grieved . .1 It was a precarious moment in the history of the English monarchy. In 1642, Parliament had rebelled against Charles I, setting off a seven-year civil war. Sixteen-year-old Prince Charles and his mother, Henrietta Maria of France, fled to the French court in 1646. Early in 1649, Cromwell’s forces executed the King and established a Puritan republic that endured for nine years, until Cromwell’s death in 1658. His son Richard proved an ineffective leader, and the protectorate crumbled in the spring of 1659. Over the next year, the royalist interest gained the upper hand, and on May 29, 1660, Charles II returned from Paris to London. The English Restoration had begun. Though welcomed enthusiastically to England, the new King “had few illusions about the depth of the support for the monarchy.”2 Aware that “the civil war had left political, religious, and partisan divisions . that would be impossible to resolve to the satisfaction of all parties,”3 Charles sought to turn public attention from the fractious past to the unblemished future. His Act of Indemnity and Oblivion represents an attempt to legislate the collective memory. Pardons and reimbursements cannot erase a national trauma, but words can soften the horrors they describe. Teaching by example, Charles uses the euphemistic “Differences” for a conflict in which England lost almost four percent of its 1 Charles II, “An Act of Free and Generall Pardon Indempnity and Oblivion” (1660), in John Raithby, ed., Statutes of the Realm: volume 5: 1628-80 (1819), 226-234. British History Online: http://www.british-history.ac.uk/report.aspx?compid=47259 , accessed 19 April 2009. 2 Paul Seaward, “Charles II (1630-1685), king of England, Scotland, and Ireland,” in Oxford Dictionary of National Biography (Oxford, 2004). Online edition: http://oxforddnb.com/view/article/5144, accessed 19 April 2008. 3 Ibid. 7 population, Scotland six percent, and Ireland 41 percent.4 There is something dystopian in Charles’s manipulation of language. In 1661, Edmund Waller would write a panegyric on St. James’s Park, populating the Thames with nymphs and cupids. Given Charles’s desire for “utter Oblivion,” Waller might have done better to compare the river to Lethe. A three-year moratorium on any topic of conversation is unenforceable, and many of Charles’s subjects continued to speak of the Civil War with impunity. “Critics of the Carolean establishment,” writes Paulina Kewes, “. did not shrink from marshaling the most abusive and impertinent parallels to stigmatize what they saw as the corruption of the newly restored monarchy.”5 But a king so obsessed with the politics of memory could not have failed to influence the writers of his court. Many dramatists of the Restoration belonged to Charles’s inner circle, accompanying him to the tavern and the theater. They, not their social inferiors, were forced to watch their step when discussing history. Susan Staves reminds us that “the government took the political implications of plays seriously enough to censor and to prohibit quite a number of them.”6 In 1662, for instance, Charles passed the Licensing Act, which noted that “by the general licentiousnes of the late times many evil disposed persons have been encouraged 4 Charles Carlton, Going to the Wars: The Experience of the British Civil Wars, 1638-1651 (Routledge, 1994), 214. 5 Paulina Kewes, ed., The Uses of History in Early Modern England (San Marino, CA: Huntington Library, 2006), 18. 6 Susan Staves, Players’ Scepters: Fictions of Authority in the Restoration (Lincoln and London: The University of Nebraska Press, 1979), 50. 8 to print and sell heretical schismatical blasphemous seditious and treasonable Bookes Pamphlets and Papers.” Accordingly, Charles banned all works wherein any Doctrine or Opinion shall be asserted or maintained which is contrary to Christian Faith or the Doctrine or Discipline of the Church of England or which shall or may tend or be to the scandall of Religion or the Church or the Government or Governors of the Church State or Common wealth.7 This act, which expired in 1679 but was renewed in 1685, drove Charles’s critics to subterfuge. Prose writers often drew parallels between the Restoration and earlier ages;8 comic playwrights took a different approach.
Load more

Recommended publications
  • Lyrical Ballads
    LYRICAL BALLADS Also available from Routledge: A SHORT HISTORY OF ENGLISH LITERATURE Second Edition Harry Blamires ELEVEN BRITISH POETS* An Anthology Edited by Michael Schmidt WILLIAM WORDSWORTH Selected Poetry and Prose Edited by Jennifer Breen SHELLEY Selected Poetry and Prose Edited by Alasdair Macrae * Not available from Routledge in the USA Lyrical Ballads WORDSWORTH AND COLERIDGE The text of the 1798 edition with the additional 1800 poems and the Prefaces edited with introduction, notes and appendices by R.L.BRETT and A.R.JONES LONDON and NEW YORK First published as a University Paperback 1968 Routledge is an imprint of the Taylor & Francis Group This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” Second edition published 1991 by Routledge 11 New Fetter Lane, London EC4P 4EE Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 Introduction and Notes © 1963, 1991 R.L.Brett and A.R.Jones All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data Wordsworth, William 1770–1850 Lyrical ballads: the text of the 1978 edition with the additional 1800 poems and the prefaces.
    [Show full text]
  • John Dryden and the Late 17Th Century Dramatic Experience Lecture 16 (C) by Asher Ashkar Gohar 1 Credit Hr
    JOHN DRYDEN AND THE LATE 17TH CENTURY DRAMATIC EXPERIENCE LECTURE 16 (C) BY ASHER ASHKAR GOHAR 1 CREDIT HR. JOHN DRYDEN (1631 – 1700) HIS LIFE: John Dryden was an English poet, literary critic, translator, and playwright who was made England's first Poet Laureate in 1668. He is seen as dominating the literary life of Restoration England to such a point that the period came to be known in literary circles as the “Age of Dryden”. The son of a country gentleman, Dryden grew up in the country. When he was 11 years old the Civil War broke out. Both his father’s and mother’s families sided with Parliament against the king, but Dryden’s own sympathies in his youth are unknown. About 1644 Dryden was admitted to Westminster School, where he received a predominantly classical education under the celebrated Richard Busby. His easy and lifelong familiarity with classical literature begun at Westminster later resulted in idiomatic English translations. In 1650 he entered Trinity College, Cambridge, where he took his B.A. degree in 1654. What Dryden did between leaving the university in 1654 and the Restoration of Charles II in 1660 is not known with certainty. In 1659 his contribution to a memorial volume for Oliver Cromwell marked him as a poet worth watching. His “heroic stanzas” were mature, considered, sonorous, and sprinkled with those classical and scientific allusions that characterized his later verse. This kind of public poetry was always one of the things Dryden did best. On December 1, 1663, he married Elizabeth Howard, the youngest daughter of Thomas Howard, 1st earl of Berkshire.
    [Show full text]
  • 1 MISS MORRIS and the STRANGER By
    MISS MORRIS AND THE STRANGER better eyelashes than mine. I write quite seriously. There is one woman who is above the common weakness of by Wilkie Collins vanity--and she holds the present pen. I. So I gave my lost stranger a lesson in politeness. The lesson took the form of a trap. I asked him if he would WHEN I first saw him, he was lost in one of the Dead like me to show him the way to the inn. He was still Cities of England--situated on the South Coast, and called annoyed at losing himself. As I had anticipated, he Sandwich. bluntly answered: "Yes." Shall I describe Sandwich? I think not. Let us own the "When you were a boy, and you wanted something," I truth; descriptions of places, however nicely they may be said, "did your mother teach you to say 'Please'?" written, are always more or less dull. Being a woman, I naturally hate dullness. Perhaps some description of He positively blushed. "She did," he admitted; "and she Sandwich may drop out, as it were, from my report of our taught me to say 'Beg your pardon' when I was rude. I'll conversation when we first met as strangers in the street. say it now: 'Beg your pardon.'" He began irritably. "I've lost myself," he said. This curious apology increased my belief in his redeeming qualities. I led the way to the inn. He followed "People who don't know the town often do that," I me in silence. No woman who respects herself can endure remarked.
    [Show full text]
  • The Presence of the Jungian Archetype of Rebirth in Steven Erikson’S Gardens Of
    The Presence of the Jungian Archetype of Rebirth in Steven Erikson’s Gardens of the Moon Emil Wallner ENGK01 Bachelor’s thesis in English Literature Spring semester 2014 Center for Languages and Literature Lund University Supervisor: Ellen Turner Table of Contents Introduction..........................................................................................................................1 The Collective Unconscious and the Archetype of Rebirth.................................................2 Renovatio (Renewal) – Kellanved and Dancer, and K’rul...................................................6 Resurrection – Rigga, Hairlock, Paran, and Tattersail.........................................................9 Metempsychosis – Tattersail and Silverfox.......................................................................15 The Presence of the Rebirth Archetype and Its Consequences..........................................17 Conclusion..........................................................................................................................22 Works Cited........................................................................................................................24 Introduction Rebirth is a phenomenon present in a number of religions and myths all around the world. The miraculous resurrection of Jesus Christ, and the perennial process of reincarnation in Hinduism, are just two examples of preternatural rebirths many people believe in today. However, rebirth does not need to be a paranormal process where someone
    [Show full text]
  • © in This Web Service Cambridge University
    Cambridge University Press 978-0-521-82837-6 - Restoration Drama and “The Circle of Commerce”: Tragicomedy, Politics, and Trade in the Seventeenth Century Richard Kroll Index More information Index Act of Toleration, 268 Bank of England, 283, 291, 292 Actio, 85 Barbaro, Daniel, 124 Addison, Joseph, 286, 290, 293 Barbon, Nicholas, 50, 285 Adorno, Theodor and Max Horkheimer, 290 Barry, Elizabeth, 251, 289 Aesop, 183 Barthes, Roland, 259 Aesopius, 75 Bate’s Case, 31 Agreement Betwixt the Present and the Former Baxandall, Michael, 124 Government, 272, 281 Beaumont, Francis and John Fletcher (see also Alberti, Leon Batista, 98, 122, 123, 124, 126, Fletcher), 3, 20–1, 22, 35, 106, 229, 269, 284; 127, 129, 130, 131, 132, 134, 136, 137, A King and No King, 21; The Maid’s Tragedy, 139, 148. See also Jones 21, 24–8, 32–3, 35, 38, 47, 94, 97; Philaster, 7 Alighieri, Dante. See Dante Behn, Aphra, 66, 69–70; The Feigned Courtesans, Amboyna, 44 246; Oroonoko, 246, 267; The Rover, 1, 58, Anne, Princess (later Queen), 271 231, 240–52, 254, 261, 262, 290, 291 Answer to the Nineteen Propositions. See Charles I Bellarmine, Roberto Francisco Romolo, Antipheron of Oreus, 121 Cardinal, 29 Appleby, Joyce, 44, 47, 51, 55, 293 Benjamin, Walter, 4, 5, 9, 282; The Origin of Aptness, 83 German Tragic Drama, 5 Architectural Style. See Rustic or Rustication Berman, Ronald, 229, 235 Architectural Treatise, 132 Betterton, Thomas, 75, 105, 279 Architecture, 11–12, 123–61; rhetoric and, 124–31. Blackfriars Theatre, 24, 94, 97, 103, 106, 108, See also Jones 200 Architecture, Orders of, 12, 100, 102, 157, 163; Bliss, Lee, 109 five orders of, 131; development of, 133–44; Boccaccio, Giovanni, 137 in St.
    [Show full text]
  • 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]
  • Aphra Behn the Author Aphra Behn (1640-1689) Was One of the First Successful Female Writers in English History
    Aphra Behn The Author Aphra Behn (1640-1689) was one of the first successful female writers in English history. She was born to Bartholomew Johnson and Elizabeth. Her most popular works included The Rover , Love-Letters Between a Nobleman and His Sister , and Oroonoko . Aphra Johnson married Johan Behn, who was a merchant of German or Dutch extraction. Little conclusive information is known about their marriage, but it did not last for more than a few years. Some scholars believe that the marriage never existed and Behn made it up purely to gain the status of a widow, which would have been much more beneficial for what she was trying to achieve. She was reportedly bisexual, and held a larger attraction to women than to men, a trait that, coupled with her writings and references of this nature, would eventually make her popular in the writing and artistic communities of the present day. Aphra Behn was also said to have been a spy for Charles II. She was given the code name Astrea under which she published many of her writings. Aphra Behn is known for being one of the first Englishwomen to earn a livelihood by authorship and is also credited with influencing future female writers and the development of the English novel toward realism. Attributing her success to her "ability to write like a man," she competed professionally with the prominent "wits" of Restoration England, including George Etherege, William Wycherley, John Dryden, and William Congreve. Similar to the literary endeavors of her male contemporaries, Behn's writings catered to the libertine tastes of King Charles II and his supporters, and occasionally excelled as humorous satires recording the A Playgoer’s Guide political and social events of the era.
    [Show full text]
  • And Nineteenth-Century Rake Character to Depictions Of
    TRACING THE ORIGINS OF THE EIGHTEENTH- AND NINETEENTH-CENTURY RAKE CHARACTER TO DEPICTIONS OF THE MODERN MONSTER COURTNEY A. CONRAD Bachelor of Arts in English Cleveland State University December 2011 Submitted in partial fulfillment of requirements for the degree MASTER OF ARTS IN ENGLISH LITERATURE at the CLEVELAND STATE UNIVERSITY MAY 2019 We hereby approve this thesis For COURTNEY A. CONRAD Candidate for the Master of Arts in English Literature degree for the Department of ENGLISH And CLEVELAND STATE UNIVERSITY’S College of Graduate Studies by ___________________________________________________ Thesis Chairperson, Dr. Rachel Carnell __________________________________________ Department & Date ___________________________________________________ Thesis Committee Member, Dr. Frederick Karem __________________________________________ Department & Date ___________________________________________________ Thesis Committee Member, Dr. Gary Dyer __________________________________________ Department & Date Student’s Date of Defense: May 3, 2019 TRACING THE ORIGINS OF THE EIGHTEENTH- AND NINETEENTH-CENTURY RAKE CHARACTER TO DEPICTIONS OF THE MODERN MONSTER COURTNEY A. CONRAD ABSTRACT While critics and authors alike have deemed the eighteenth- and nineteenth- century literary rake figure as a “monster” and a “devil,” scholars have rarely drawn the same connections between monsters to rakes. Even as critics have decidedly characterized iconic monsters like Victor Frankenstein and Dracula as rapists or seducers, they oftentimes do not make the distinction
    [Show full text]
  • Sir Robert Howard's Comedy "The Committee"
    TK -ti. a.v\c^ t^i\t^ci with Xva+vo <5c vx^.V\ on Wci"V^S V SIR ROBERT HOWARD'S COMEDY "THE COMMITTEE" Edited with Introduction and Notes BY CARRYL NELSON THURBER A. B. Cornell University, 1908. THESIS Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS IN ENGLISH IN THE GRADUATE SCHOOL OF THE UNIVERSITY OF ILLINOIS 1917 UNIVERSITY OF ILLINOIS THE GRADUATE SCHOOL ..5::^. /. IQI 7 I HEREBY RECOMMEND THAT THE THESIS PREPARED UNDER MY SUPER- VISION BY Q.A^1^.J.. 7h..&A:^.d!^... ENTITLED ..j^..(A=...Z2?{;^^.^. ^(^^Ig^tct^^ BE ACCEPTED AS FULFILLING THIS PART OF THE REQUIREMENTS FOR THE DEGREE OF 7J(LcOLy^J^. Qi^^J::^.. .Jj... .2., LJj=::C£::^~^^ L,..li^C> In Charge of Thesis Head of Department Recommendation concurred in Committee on Final Examination* *Required for doctor's degree but not for master's. 376623 TABLE OF CONTENTS INTRODUCTION Chapter Page I Howard: Man and Statesman 1 II Howard: Poet, Dramatist, 11 and Historian III "The Committee" and "Teague" 48 History and Criticism TEXT OP "THE COmilTTEE" 61 GLOSSARIAL NOTES 153 BIBLIOaRAPHY 165 Digitized by the Internet Archive in 2013 http://archive.org/details/sirroberthowardsOOthur 1 SIR ROBERT HOWARD'S COMEDY "THE COMMITTEE" INTRODUCTION Chapter I Howard: Man and Statesman Sir Robert Howard, bom in I626, was the sixth son of Thomas Howard, first earl of Berkshire, by Elizabeth, daugh- ter of William Cecil, lord Burghley, afterwards second earl of Exeter. About Howard's early life there is available practically no information further than that he was educated at Magdalene College, whether Oxford or Cambridge seems some- (2) what uncertain.
    [Show full text]
  • Sex, Death, and Philosophy: Libertinism and Eighteenth-Century British Literature” Winter 2018 – Mark Mcdayter
    ENG3341G: “Sex, Death, and Philosophy: Libertinism and Eighteenth-Century British Literature” Winter 2018 – Mark McDayter Because the popular image of the 17th and 18th centuries still prevalent evokes an era of stuffy aristocrats wearing uncomfortably voluminous and elaborate clothing, the extent to which sexuality formed a vital preoccupation of life in the period sometimes comes as a surprise. In fact, the men and women of England in the Restoration period thought of sex as enormously important as an expression of identity and an articulation of the human relationship to the world around. And they seem, on the basis of the literature and art of the time, to have engaged in a great deal of it. “Sex, Death, and Philosophy: Libertinism and Eighteenth-Century British Literature” (ENG3341G) is an honours course devoted to literary and cultural articulations of the phenomenon of “libertinism” as it was expressed from about 1660 to 1748. Libertinism represented a particular and surprisingly broad-ranging perspective on the world, and the place of humans within it: it addressed the shape of the cosmos, the mechanisms of human nature and understanding, and complexity of ethical and political structures and behaviour. And for many if not most libertines, sexuality stood as the ultimate human expression of the “freedom” that was promised (or threatened) by their radical philosophy. We will be reading libertinism through the lense of a variety of genres, including lyric and satirical poetry, drama, prose romance, the novel, and philosophical discourse. We will additionally be discussing the political, cultural, ideological, and social contexts that informed libertinism. The focus of the course is upon two authors who made important (and very different) contributions to the idea, expression, and indeed lifestyle of the libertine, John Wilmot, 2nd Earl of Rochester, and Aphra Behn, but other authors whose work we will be addressing include Thomas Hobbes, the Earl of Dorset, George Etherege, and Eliza Haywood, and John Cleland.
    [Show full text]
  • "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.
    [Show full text]
  • Characterization in the Comedies of Sir George Etherege
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1964 Characterization in the comedies of Sir George Etherege Leland Wayne Farley The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Farley, Leland Wayne, "Characterization in the comedies of Sir George Etherege" (1964). Graduate Student Theses, Dissertations, & Professional Papers. 1779. https://scholarworks.umt.edu/etd/1779 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. CHARACTERIZATION IN THE COMEDIES OF SIR GEORGE ETWREGB by LBLAND WAYNE PARLEY B. A. Montana State University, 1963 Presented in partial fulfillment of the requireia«its for the degree of Master of Arts MONTANA STATE UNIVERSITY 1964 ^proved by: dkUr»55;loàra^oflk"W4ers Detoj Gmm&€e 'School MAY 2 7 1964 bate UMI Number: EP34729 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent on the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMT OtoMmte PkMthbig UMI EP34729 Copyright 2012 by ProQuest LLC. All rights reserved. This edition of the work is protected against unauthorized copying under Title 17, United States Code.
    [Show full text]