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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. -
© 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. -
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. -
Empire on the English Stage 1660–1714
EMPIRE ON THE ENGLISH STAGE 1660–1714 BRIDGET ORR Assistant Professor, Fordham University, New York published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge cb22ru,UK 40 West 20th Street, New York NY 10011-4211, USA 10 Stamford Road, Oakleigh, vic 3166, Australia Ruiz de Alarc´on 13,28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org c Bridget Orr 2001 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2001 Printed in the United Kingdom at the University Press, Cambridge Typeface Baskerville 11/12.5 pt. System LATEX2ε [tb] A catalogue record for this book is available from the British Library. Library of Congress Cataloguing in Publication data Orr, Bridget. Empire on the English stage, 1660–1714 / Bridget Orr. p. cm. Includes bibliographical references (p. 323) and index. isbn 0 521 77350 4 1. English drama – Restoration, 1660–1700 – History and criticism. 2. English drama – 18th century – History and criticism. 3. Imperialism in literature. 4. Ethnicity in literature. 5. Colonies in literature. 6. Race in literature. i. Title. pr698.i45 o75 2001 0 822 .409358 – dc21 00 065091 ISBN 0521 77350 4 hardback Contents List of Illustrations page viii Acknowledgments ix 1 New Habits on the Stage 1 2 Enlarging the Poet’s Empire: Poetics, Politics and Heroic Plays, 1660-1714 28 3 The Great Turks: The Ottomans on Stage, 1660-1714 61 4 The Most Famous Monarchs of the East 97 5 Spain’s Grand Project of a Universal Empire 135 6 Brave New Worlds: Utopian Plays of the Restoration 188 7 The Customs of the Country: Colonialism and Comedy 212 8 Romans and Britons 251 Conclusion 272 Notes 282 Works Cited 323 Index 345 vii Illustrations Frontispiece “A large river with ships” from The Empress of Morocco. -
"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. -
|||GET||| the Man of Mode 1St Edition
THE MAN OF MODE 1ST EDITION DOWNLOAD FREE George Etherege | 9780713681932 | | | | | The Man of Mode Summary and Analysis of Prologue and Act I Visit the Australia site. Despite the subtitle, the fop Sir Fopling is only one of several minor characters; the rake Dorimant is the protagonist. This really depends on what specific elements you are referring to. He adds that his journeymen friends are benefitting from all the exploits of the dissolute rich of late. Loveit knows Dorimant is watching and pretends to like Fopling, which annoys Dorimant, although he has moved on to loving Harriet. Loveit to go to the Mall that evening since Fopling will be there. His relationship with Emilia was secret, and his father just decided to make a match for him, to which if he did not consent he would be disinherited. The two of them gossip with Emilia and talk of various affairs. Women as actors, seen to be something the Restoration heralded, had been done earlier as well. Bellair comes back, The Man of Mode 1st edition. Forgot your password? The play is set in Restoration London and follows the womanizer Dorimant as he tries to win over the young heiress Harriet and The Man of Mode 1st edition disengage himself from his affair with Mrs. Both young couples will marry. There are many guides to identifying first edition books, including AbeBooks' ownbut there is sometimes no definitive answer. Study Guide for The Man of Mode The Man of Mode study guide contains a biography of George Etherege, literature essays, quiz questions, major themes, characters, and a full summary and analysis. -
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. -
Diplomarbeit
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit “Gender Relations in Selected Restoration Comedies in the Mirror of Sociological Role Theory“ Verfasserin Johanna Holzer, Bakk. angestrebter akademischer Grad Magistra der Philosophie (Mag.phil) Wien, 2012 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: Diplomstudium Anglistik und Amerikanistik Betreuer: Univ.-Prof. Dr. Ewald Mengel 2 to <3 3 Contents 1 Introduction ............................................................................................................. 5 2 Role Theory ............................................................................................................ 9 2.1 Introduction & Definition .................................................................................... 9 2.2 Role-play ........................................................................................................ 11 2.3 Self-monitoring ................................................................................................ 12 2.4 Inner Nature .................................................................................................... 14 2.4.1. Asides ........................................................................................................ 14 2.4.2. Body Language and Reactions .................................................................. 15 3 Restoration Comedy ............................................................................................ -
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 -
Chapter 1: the Seventeenth Century Actresses
Notes CHAPTER 1: THE SEVENTEENTH CENTURY ACTRESSES 1. John Genest, Some Account of the English Stage from the Restoration to 1830, vol. I (Bath, 1832), p. 37. 2. Dr John Doran, Their Majesties' Servants: Annals of the English Stage, vol. I (London: William H. Allen & Co., 1864), p. 60. 3. E. K. Chambers, Modern Language Review, XI (October 1916) 466. Also, see Chambers's book The Medieval Stage, vol. II (London, 1948), p. 409. 4. As quoted in Genest, vol. I, p. 37 from Richard Brome's The Court Beggar (1632) and James Shirley's The Ball (1639) in which Freshwater, speaking of the plays in Paris, says, 'Yet the women are the best actors, they Play their own parts, a thing much desir'd in England.' 5. Thornton Shirley Graves, 'Women of the Pre-Restoration Stage,' Studies in Philology, XXII, No.2 (1925) 189, 192-3. The record on which Graves draws is Reyher's Les Masques Anglais, p. 25. 6. Robert Latham and William Matthews (eds), The Diary of Samuel Pepys, vol. I (London, 1970), p. 224. 7. John Downes, Roscius Anglicanus (London, 1708), p. 19. 8. Pepys, vol. II, p. 7. 9. Colley Cibber, An Apology for His Life (London, 1740), p. 55. 10. Pepys, vol. IX, p. 425. 11. Downes, p. 19. 12. She was introduced to the world by means of a hilarious prologue especially written by Thomas Jordan to show what a ridiculous figure the boy- actor had been cutting: Henry Wisham Lanier, The First English Actresses: 1660-1700 (New York, 1930), p. 31. -
A Study of the Fop in Residqration Drama 1
A STUDY OF THE FOP IN RESIDQRATION DRAMA 1 AGRWUL Ti: I' L . , SEP 27 193" A STUDY OF THE FOP IN RESTORATION DRAMA By KATHERINE MORONEY 11 Bachelor or Science Oklahoma .Agrioul tural and Meehanioal College .. Stillwater, Oklahoma Submitted to the Department ot English Oklahoma Agricultural and Mechanical College In Partial Fulfillment or the Requirements For the degree or MAST.ER OF ARTS 1938 . '") . .... • • i. .-. -· .,. ' . .' . ' . ., • J . • . .• . .. .: . .. .:.... C: • • ~ • . • • • t • .(,. ..• • . ~ .. .- ~ .. ; .: ; -.= ~ .... 11 ,,, ... 414.._ i APPROVED: Chairman or ihe !iigilsh Department 108568 111 To the Memory ot Nat P. Lawrence Teacher,. Scholar, Friend iy TABLE OF CONTENTS CHAPTER I. ORIGIN OF THE 10P Pagel Engli.eh Anoeetors ot the Fop Bis Frenoh Cousins CH.AP?ER II. THE BESTORA'l'I ON FOP Page lV A Oharaot•r ot the !"op His sooial Oharaoter The Fop' a .Intellect CHAPTER III. OONOLUSION Page 60 INTRODUCTION: ORIGIN OF THE FOP English Ancestors£! l!!!, Fop To say that the fop was produced by mutation in seventeenth century literature would claim undue encomiums for the Restoration dramatists. The :fop is the clown, the :rool, the buffoon, the coxcomb of the Restoration stage. He is the man in whom the essence of most or the satire in the play is found in one comical character. However, in earlier comedies ean be found characters showing evidence that they must have influenced his creation enough to be called literary prototypes. "Comedy," wrote Aristotle over two thousand years ago, "is an imitation of characters of a lower type. It consists in some defect or ugliness which is not painful or destruc tive."1 For many centuries the comic character was a soeial interpretation of this quotation. -
Part I ∗ 1895–1946
Cambridge University Press 978-1-107-49709-2 - The Cambridge History of British Theatre: Volume 3: Since 1895 Edited by Baz Kershaw Excerpt More information part i ∗ 1895–1946 © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-49709-2 - The Cambridge History of British Theatre: Volume 3: Since 1895 Edited by Baz Kershaw Excerpt More information © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-1-107-49709-2 - The Cambridge History of British Theatre: Volume 3: Since 1895 Edited by Baz Kershaw Excerpt More information 1 British theatre, 1895–1946: art, entertainment, audiences – an introduction dennis kennedy In 1895 three major figures in the history of British theatre came centre stage in revealing ways. Henry Irving, master of theatrical illusion and the most famous performer of the age, knelt before Queen Victoria and rose as the first actor in history to be knighted. Oscar Wilde, that Dubliner brilliant in his plays and impudent in society,had two productions running simultaneously in London: An Ideal Husband and The Importance of Being Earnest.G.B.Shaw, virtually unknown as a playwright, began a three-year mission of modernity and social- ism as theatre critic for the Saturday Review. Shaw complained frequently that Irving, whom he greatly admired, wasted his talents on weak and insignificant work, and he was disturbed to find himself laughing mechanically at Wilde’s masterpiece. Shortly after The Importance of Being Earnest’s brilliant opening, Wilde was in grave trouble with the law over his homosexuality.Just as his play marks the high point of Victorian comedy,so Wilde’s trial signals a turn in the history of Victorian righteousness.