Overseas Foods and Drugs in Seventeenth Century England

Total Page:16

File Type:pdf, Size:1020Kb

Overseas Foods and Drugs in Seventeenth Century England UNIVERSITY OF CALIFORNIA RIVERSIDE Foreign Infusion: Overseas Foods and Drugs in Seventeenth Century England A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History by Jillian Michelle Azevedo June 2014 Dissertation Committee: Dr. Thomas Cogswell, Chairperson Dr. Jonathan Eacott Dr. Christine Gailey Copyright by Jillian Michelle Azevedo 2014 This Dissertation of Jillian Michelle Azevedo is approved: __________________________________________ __________________________________________ __________________________________________ Committee Chairperson University of California, Riverside Dedication To my Parents and Grandparents iv ABSTRACT OF THE DISSERTATION Foreign Infusion: Overseas Foods and Drugs in Seventeenth Century England by Jillian Michelle Azevedo Doctor of Philosophy, Graduate Program in History University of California, Riverside, June 2014 Dr. Thomas Cogswell, Chairperson During the seventeenth century, the English were integrating foreign foods into their lives at an unprecedented, and previously unacknowledged, rate. This is apparent in both English homes and popular culture, as foreign foods were featured in contemporary recipe books, medical manuals, treatises, travel narratives, and even in plays performed during the period. Their inclusion in the English home and in popular culture is important; it illustrates that there was a general fascination with these foods that went beyond just eating them. When written about in travel narratives or incorporated into plays, the English were able to mentally consume such products. In this manner, they could think about, contemplate, and imagine foreign foods they may or may not have had access to, whether because of high costs or an inability to grow the product domestically. v When featured in contemporary recipe books, medicinal manuals, or treatises describing their virtues, there is an indication that foreign foods were available to the public and were being integrated into English culinary culture. Although it is impossible to discern from recipe books and medicinal texts whether foreign foods were actually being consumed and not simply written about by “armchair chefs,” the fact that they are featured in other aspects of English culture buoys the notion that they were physically being consumed. This unique relationship presents a duality of foreign food consumption, as the English were consuming foreign foods in both body and in mind. vi Table of Contents Introduction………………………………………………………………………………. 1 Chapter 1: Culinary Travels: William Dampier and Travel Narratives………………… 25 Chapter 2: “Let the skie raine Potatoes”: Foreign Foods in English Plays………………65 Chapter 3: “The Queens Closet Opened”……………………………………………... 100 Chapter 4: Foreign Additives in Domestic Remedies…………………………………..135 Chapter 5: Vices and Virtues: Tobacco, Chocolate, Coffee, and Tea in Print…………174 Conclusion……………………………………………………………………………...217 Appendix………………………………………………………………………………..223 Bibliography……………………………………………………………………………242 vii List of Figures Figure 1.1...……………………………………………………………………………... 37 Figure 1.2……………………………………………………………..………………… 46 Figure 1.3………………………………………………………………...……………... 47 Figure 1.4……………………………….………………………………………………. 48 viii Introduction Like many of the cookery books published in the seventeenth century, The Queens Closet Opened, published in 1661, contains recipes for food dishes as well as home remedies for a variety of ailments. One such recipe for a cure, entitled “A green oyntment good for Bruises, Swellings, and Wrenches in Man, Horse, or othr Beast.” advises as follows: Take six pound of May Butter unsalted, Oyl Olive one quarter, Barrows- grease four pound, Rosin, and Turpentine, of each one pound, Frankincense half a pound: then take these following-Hearbs, of each one handful: Balm, Smallege, Lovage, Red Sage, Lavender, Cotton, Marjoram, Rosemary, Mallows, Cammomile, Plaintain, Alheal, Chickweed, Rue, Parsley, Comfrey, Laurel leaves, Birch leaves, Longwort, English Tobacco, Groundswel, Woundwort, Agrimony, Briony, Carduus Benedictus, Betony, Adders Tongue, Saint Johns-wort, pick all these, wash them clean, and strain the water clean of them… For a man [to use] it must be well chafed in the Palme of the hand three or four times. If you use it for a Horse, put to it Brimstone finely beaten, and work it altogether, as aforesaid.1 The fermentation of this mixture may seem to be the most fascinating part, as the recipe later calls for the ointment to be set in “a Horse Dunghil one and twenty days.” Yet even more interesting is the diversity of the ingredients used. Although many of the ingredients, like betony, birch leaves, and St. John’s wort, are indigenous to Europe, what stands out are those that came from abroad. After all, the frankincense, cotton, plantains, and tobacco called for in this medicinal recipe were the products of English interaction with the Americas, Africa, and Asia. This integration of foreign goods into seventeenth century English recipes goes beyond the initial excitement of experimenting with foreign food items and illustrates a 1 Anonymous, The Queens Closet Opened (1661) Wing M99A, 36-38. 1 theme that was apparent in other aspects of English culture as well. Foods from Asia, Africa, and the Americas were being displayed, discussed, imagined, and commented on in contemporary books, broadsides, tracts, and even plays. While some foods were used and discussed more than others, it is obvious that the English were imagining and employing the dietary resources gained from their interactions with foreign lands. Not only did the incorporation of foreign foods revolutionize English popular culture, but it also provided women a way to actively engage with the growing empire without leaving their homes. The fact that the English were reaping the benefits of the new territories their country acquired indicates that they were becoming aware that their state, once restricted to the British Isles, was expanding into an overseas empire; an empire which could offer them new practical as well as luxury goods. Scholarship on Foreign Foods and English Food Culture Several genres of historical research on foreign foods in early modern England or English food culture have touched on foreign foods and the implications that can be drawn from them. As of yet, however, none have come together in an effort to understand what a study of foreign foods in seventeenth century texts can tell us. Studies of medieval and modern English cookery books and the foreign foods they call for have been completed, yet they do not address the emergence of transoceanic trade routes and the foreign foods gained from them. A great deal of work has been done on European medieval cuisine including the foreign spices that were very popular during this time. These texts offer a survey of the 2 period being analyzed, describing the common elements of European diet, as well as European endeavors to gain access to the spice trade. These include Ken Albala’s Cooking in Europe, 1250-1650 as well as his The Banquet: Dining in the Great Courts of Late Renaissance Europe and Eating Right in the Renaissance, Paul Freedman’s Out of the East: Spices and the Medieval Imagination, Jack Turner’s Spice: The History of Temptation, John Keay’s The Spice Route: A History, Andrew Dalby’s Dangerous Tastes: The Story of Spices, and Michael Krondl’s The Taste of Conquest.2 Such studies provide excellent background information regarding the state of the European diet prior to the early modern period and especially the way that foreign foods such as spices were consumed prior to transoceanic trade routes. Other authors have chosen to look specifically at England, restricting their study to either specific periods or regions. Kate Coloquhoun’s Taste: The Story of Britiain Through it’s Cooking, L.A. Clarkson and E. Margaret Crawford’s Feast and Famine, Joan Thirsk’s Food in Early Modern England, Annette Hope’s Londoners’ Larder, Maguelonne Toussaint-Samat A History of Food, and Joan Fitzpatrick’s Food in Shakespeare are all texts that explore the emergence and popularity of certain foods in differing aspects of English culture.3 While such studies prove insightful, they do not 2 Ken Albala, Cooking in Europe, 1250-1650 (Westport, Connecticut: Greenwood Press, 2006); Ken Albala, The Banquet; Ken Albala, Eating Right in the Renaissance (Berkeley: University of California Press, 2002); Freedman; Turner; John Keay, The Spice Route: A History (Berkeley: University of California Press, 2006); Andrew Dalby, Dangerous Tastes: The Story of Spices (Berkeley: University of California Press, 2000); Michael Krondl, The Taste of Conquest: The Rise and Fall of Three Great Spice Cities (New York: Ballentine Books, 2007). 3 Kate Coloquhoun, Taste: The Story of Britain Through Its Cooking (New York: Bloomsbury, 2007); L.A. Clarkson and E. Margaret Crawford, Feast and Famine: Food and Nutrition in Ireland 1500-1920 (Oxford: Oxford University Press, 2001); Anette Hope, Londoners’ Larder: English Cuisine from Chaucer to the Present (London: Mainstream Publishing, 2005); Maguelonne Toussaint-Samat, A History of Food 3 explore the relationship between foreign foods and seventeenth century English consumers. Still others have written histories of food items, illustrating the importance that particular products have had for prolonged periods of time. Sidney W. Mintz’s Sweetness and Power, Brian Cowan’s The Social Life of Coffee, Gary Y. Okihiro’s Pineapple Culture, Sandra Sherman’s
Recommended publications
  • The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2014 A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama Virginia Hanlon Murphy University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Literature in English, British Isles Commons Recommended Citation Murphy, Virginia Hanlon, "A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama. " PhD diss., University of Tennessee, 2014. https://trace.tennessee.edu/utk_graddiss/2773 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Virginia Hanlon Murphy entitled "A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. Heather A. Hirschfeld, Major Professor We have read this dissertation and recommend its acceptance: Rob Stillman, Laura Howes, Kate Buckley Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) A Mirror for Spectators: The Dramaturgy of Participation and Unreliable Mirror Figures in Sixteenth-Century Drama A Dissertation Presented for the Doctor of Philosophy Degree The University of Tennessee, Knoxville Virginia Hanlon Murphy May 2014 Copyright © 2014 by Virginia H.
    [Show full text]
  • The Theatre of Aphra Behn Pdf, Epub, Ebook
    THE THEATRE OF APHRA BEHN PDF, EPUB, EBOOK D. Hughes | 230 pages | 20 Feb 2001 | Palgrave MacMillan | 9780333760307 | English | Basingstoke, United Kingdom The Theatre of Aphra Behn PDF Book Visit Home Events Exhibitions Library. Tonson, Hugh James Rose. Her parentage has been traced to Wye, and tradition has it that she was born in This suggests the importance of visual spectacle, that the lighting effects and music and their splendour were as important to the dramatic experience as the plays itself. In this characterization, the country, wholesome and clean, promises to be a refuge from the temptations and evils of London for the puritanical Sir Patient Fancy in the play of the same name. Further, since that by which society defines sex is not found in the female form, that is, women do not have the necessary physical equipment to consummate what is culturally considered "the sex act," love between women is, by definition, "innocent," and therefore not subject to censure. Show More. Holt for Will. Although he made many vows, he betrayed her. The efforts to bar James from succeeding his brother spawned several dangerous plots, the most infamous of which was the Popish plot, which purported that Catholic insiders in Whitehall were planning to assassinate the King. See a problem on this page? Sir Patient Fancy: A Comedy. The speaker of the poem takes delight in his ability to play the game of love in appearances only, exempting himself from serious hurt. Public spaces and places are for the men, where they can meet, scheme, fight with each other, serenade ladies, or outwit fools.
    [Show full text]
  • The English Poets
    THE E NG L I S H P O E T S S E LE CT I O N S WITH CR ITI CA L I NTRODUCTI ONS MATTHE W A R NOLD E‘DH ED BY ' Y WA R H P H R D . THO MA S UM , M A L I V O . I ' B EN J ONS QN to D R YD E N Mfihm m m Quirk MA CMI LLA N A ND co. 1 8 8 0 C O NT E NT S . m as BEN J ONSON (1 5734637) ‘ ' Echo s Lam ent of Narcissus (from Cynthia s Revels) V enetian Song (from V olpone) S ong (from Epicae ne) ' Charis Triumph (from Underwoods) Truth (from Hym enaei) ‘ ’ Th e Shepherds Holiday (from Pan 5 Anniversary) M Song before th e Entry cf th e asquers (from Th e Fortunate Isles) Lde to Himself (after th e failure of Th e New I nn) — To Ce a om Th e Fo e Song . li (fr r st) Epigram s To my m ere E nglish Censurer On Court- Worm To Fool or Knave n L c o n e of Be f O u y, C u t ss d ord Epitaph on Salathiel Pavy be E a on E za L . H pit ph li th . An Ode to Himself (from Underwoods) To th e Memory of my Beloved Master William Shakespeare (from th e F Fo o irst li ) . Epitaph on th e Coun tess of Pembroke (from Underwoods) Epitaph on Master Philip G ray (from Underw oo ds) Epode (from Th e Forest) To Heaven (from Th e Forest) WI LLI AM DRUMMOND or HAWTHORND EN (1 585—1 649) H e Editor Extracts from th e Poems S onnets S extai n Song To Chloris Sonn o ir W A e ande et t S .
    [Show full text]
  • Bibliography
    206 Fletcherian Dramatic Achievement Bibliography Primary sources Apology for Actors Thomas Dekker, An Apology for Actors (1612), ed. Richard H. Per- kinson, New York 1941 Aristotle Poetics, tr. W. Hamilton Fyfe, The Loeb Classics Library, Cam- bridge, Mass., London 1927 St Augustine St Augustine, The Teacher, in Against the Academicians; and, The Teach- er, trans. Peter King, Indianapolis, Cambridge 1995 Bellenden The Chronicles of Scotland: Compiled by Hector Boece: Translated into Scots by John Bellenden, 1531, ed. R. W. Chambers and Edith C. Batho, vol. I, Edinburgh and London 1938 Bowers I-X The Dramatic Works in the Beaumont and Fletcher Canon, gen. ed. Fredson Bowers, 10 vols, Cambridge UP 1966–1996 [Cicero] Ad Herennium, tr. Harry Caplan; The Loeb Classical Library, Cambridge, Mass., London 1954 Demetrius and Enanthe MS John Fletcher, Demetrius and Enanthe, ed. Margaret McLaren Cook and F. P. Wilson, The Malone Society Reprints 1950 (1951) Dio Dio Cassius, Dio’s Roman History, tr. Earnest Cary, vol. vii, The Loeb Classical Library, Cambridge, Mass., London 1961 Faithful Friends The Faithful Friends, ed. G. R. Proudfoot and G. M. Pinciss, The Malone Society Reprints 1970 (1975) Henslowe’s Diary Henslowe’s Diary, ed. R. A. Foakes, 2nd edition, Cambridge UP 2002. Howard-Hill (1980) Sir John Van Olden Barnavelt: by John Fletcher and Philip Massinger, ed. T. H. Howard-Hill, The Malone Society Reprints 1979 (1980) Bonduca MS Bonduca: by John Fletcher, ed. W. W. Greg, The Malone Society Re- prints, 1951 Mann Thomas Mann, Doctor Faustus, tr. H. T. Lowe-Porter, Everyman’s Library, vol.80, 1992 Masque of Queens Ben Jonson, The Masque of Queens (1609), published in his Workes (1616): 945–964 Meres Francis Meres, Palladis Tamia (1598), Scholars’ Facsimiles & Re- prints, New York 1938 Metrical Boece (1858) The Buik of the Chroniclis of Scotland; or, A Metrical Version of the History of Hector Boece; By William Stewart (1535), ed.
    [Show full text]
  • Notes on the Bacon-Shakespeare Question
    NOTES ON THE BACON-SHAKESPEARE QUESTION BY CHARLES ALLEN BOSTON AND NEW YORK HOUGHTON, MIFFLIN AND COMPANY ftiucrsi&c press, 1900 COPYRIGHT, 1900, BY CHARLES ALLEN ALL RIGHTS RESERVED GIFT PREFACE AN attempt is here made to throw some new light, at least for those who are Dot already Shakespearian scholars, upon the still vexed ques- tion of the authorship of the plays and poems which bear Shakespeare's name. In the first place, it has seemed to me that the Baconian ar- gument from the legal knowledge shown in the plays is of slight weight, but that heretofore it has not been adequately met. Accordingly I have en- deavored with some elaboration to make it plain that this legal knowledge was not extraordinary, or such as to imply that the author was educated as a lawyer, or even as a lawyer's clerk. In ad- dition to dealing with this rather technical phase of the general subject, I have sought from the plays themselves and from other sources to bring together materials which have a bearing upon the question of authorship, and some of which, though familiar enough of themselves, have not been sufficiently considered in this special aspect. The writer of the plays showed an intimate M758108 iv PREFACE familiarity with many things which it is believed would have been known to Shakespeare but not to Bacon and I have to collect the most '; soughtO important of these, to exhibit them in some de- tail, and to arrange them in order, so that their weight may be easily understood and appreci- ated.
    [Show full text]
  • Witch, Warlock, and Magician, by 1
    Witch, Warlock, and Magician, by 1 Witch, Warlock, and Magician, by William Henry Davenport Adams This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Witch, Warlock, and Magician Historical Sketches of Magic and Witchcraft in England and Scotland Author: William Henry Davenport Adams Release Date: February 4, 2012 [EBook #38763] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK WITCH, WARLOCK, AND MAGICIAN *** Produced by Irma äpehar, Sam W. and the Online Distributed Proofreading Team at http://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.) Transcriber's Note Greek text has been transliterated and is surrounded with + signs, e.g. +biblos+. Characters with a macron (straight line) above are indicated as [=x], where x is the letter. Witch, Warlock, and Magician, by 2 Characters with a caron (v shaped symbol) above are indicated as [vx], where x is the letter. Superscripted characters are surrounded with braces, e.g. D{ni}. There is one instance of a symbol, indicated with {+++}, which in the original text appeared as three + signs arranged in an inverted triangle. WITCH, WARLOCK, AND MAGICIAN Historical Sketches of Magic and Witchcraft in England and Scotland BY W. H. DAVENPORT ADAMS 'Dreams and the light imaginings of men' Shelley J. W. BOUTON 706 & 1152 BROADWAY NEW YORK 1889 PREFACE.
    [Show full text]
  • The Rover by Aphra Behn
    By Shailesh Ranjan Assistant Professor Dept. of English, Maharaja College, Ara. About the Author Aphra Behn was one of the first English professional writers wrote plays, poetry, short stories and novels. Little information is known about her early life. She was born in about 1640 near Canterbury, England.Her family were Royalists, connected with powerful catholic families and the court. She may have been raised Catholic and educated in a convent abroad. As one of the first English women to earn her living by her writing, she broke cultural barriers and served as a literary role model for later generations of women authors. Rising from obscurity, she came to the notice of Charles II , who employed her as a spy in Antwerp. •After her return to London she started her writings. •She wrote under the pastrol pseudonym Astrea. •A staunch supporter of the Stuart Line, she declined an invitation from Bishop Burnet to write a welcoming poem to the new king William III. •She died shortly after. Her grave is not included in the Poets Corner but lies in the East Cloister near the steps to the church. •Virginia Woolf writes about her in her famous work ‘A Room of One’s Own’ - “ All women together ought to let flowers fall upon the tomb of Aphra Behn which is , most scandalously but rather appropriately, in Westminster Abbey, for it was she who earned them the right to speak their minds.” • She challenged with expressing herself in a patriarchal system that generally refused to grant merit to women’s views.Women who went against were in risk of being exiled from their communities and targeted to be involved in witch hunts.
    [Show full text]
  • University of Szeged Faculty of Arts Doctoral School of English and American Literatures and Cultures
    CB WSf University of Szeged Faculty of Arts Doctoral School of English and American Literatures and Cultures THE VICE-DEVICE: IAGO AND LEAR'S FOOL AS AGENTS OF REPRESENTATIONAL CRISIS PhD THESIS Submitted by Agnes MATUSKA Supervisor Dr. Attila KISS Szeged 2005 THE VICE-DEVICE: IAGO AND LEAR'S FOOL AS AGENTS OF REPRESENTATIONAL CRISIS INTRODUCTION 3 1. THEORETICAL BACKGROUND, METHODOLOGY 11 1. L THE QUESTION OF EPISTEMOLOGICAL CRISIS 12 1.2 DIALECTICAL TRAGEDY: EPISTEMIC CHANGE IN THEATRE 21 1.3 "IF ACODE IS CRUMBLING..." 25 1.4 REPRESENTATIONAL CRISIS IN SHAKESPEARE 28 2. HAPHAZARDLY AMBIDEXTROUS: THE VICE-FAMILY 35 2. L PROBLEMS OF DEFINITION 35 "YOU WILL LEARN TO PLAYE THE VICE": PROBLEMS OF INTERPRETATION 37 2.2 VICES 48 Merry Report 49 Ambidexter 52 Haphazard 56 Punisher or punished? 60 The Fool in the Vice 66 2.3. VICE-SUCCESSORS AND FOOLS 72 Intriguer villains 73 Sir John Falstaff: The Vice-Fool 77 The "corrupter of-words": Feste 81 Deceiver among deceivers: Parolles 85 Afterlife of post-vices and the common life of lago and the Fool 87 2.4. THE VICE-CLOWN ON THE SHAKESPEAREAN STAGE 91 3. METADRAMA 97 3. L METADRAMA AND THE VICE, A DEFINITION OF THE TERM 97 3.1.1 The Vice as mediator 97 3.1.2 Metadrama in Shakespeare-criticism 102 3.2 MEANING AS AN EVENT - IAGO AND METADRAMA IN OTHELLO 107 3.2.1 Commenting on drama, involving the audience 109 3.2.2 Iago's book of identity and role-playing 110 3.2.3 Plays -within - Iago as director 117 3.2.4 Representation as fiction 121 3.2.5 Iago's metadramatic effect—summary 122 3.3 METADRAMATIC ASPECTS OF THE FOOL 124 3.3.1 The Fool and his audience 125 3.3.2 "All thy other titles " 127 3.3.3 Plays of the fool -within and without.
    [Show full text]
  • Comparison of the Two Plays
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Eliška Poláčková Everyman and Homulus: analysis of their genetic relation Bachelor’s Diploma Thesis Supervisor: Mgr. Pavel Drábek, Ph.D. 2010 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Eliška Poláčková Acknowledgement I would like to thank my supervisor Mgr. Pavel Drábek, Ph.D. for his patient and kind help, Prof. PhDr. Eva Stehlíková for useful advice, and Mgr. Markéta Polochová for unprecedented helpfulness and support. Table of Contents Introduction ....................................................................................................................... 1 1 Morality Play and Its Representatives ........................................................................... 3 1.1 Morality Play .......................................................................................................... 3 1.2 Everyman ................................................................................................................ 5 1.3 Homulus .................................................................................................................. 7 2 Concept of Translation in The Middle Ages ................................................................. 9 3 Comparison of Everyman and Homulus ...................................................................... 11 3.1 Composition .........................................................................................................
    [Show full text]
  • 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.
    [Show full text]
  • Season of 1705-1706{/Season}
    Season of 1705-1706 anbrugh’s company began the autumn back at Lincoln’s Inn Fields V while they awaited completion of the theatre they had opened with a conspicuous lack of success the previous April. When the Queen’s Theatre in the Haymarket reopened on 30 October with the première of Vanbrugh’s own The Confederacy (a solid success), competition on something like an equal basis was restored to the London theatre for the first time since the union of 1682. Bitter as the theatrical competition of the late 1690s had been, it was always unequal: Rich had enjoyed two good theatre buildings but had to make do with mostly young and second-rate actors; the cooperative at Lin- coln’s Inn Fields included practically every star actor in London, but suffered from a cramped and technically inadequate theatre. By the autumn of 1705 the senior actors had become decidedly long in the tooth, but finally had a theatre capable of staging the semi-operas in which Betterton had long spe- cialized. Against them Rich had a company that had grown up: among its members were such stars as Robert Wilks, Colley Cibber, and Anne Oldfield. The failed union negotiations of summer 1705 left both managements in an ill temper, and for the first time in some years both companies made a serious effort to mount important new shows. Competition was at its hottest in the realm of opera. Under the circum- stances, this was hardly surprising: Betterton had been hankering after the glory days of Henry Purcell’s semi-operas since he was forced out of Dorset Garden in 1695; Vanbrugh was strongly predisposed toward experimenting with the new, all-sung Italianate form of opera; and Christopher Rich, having evidently made fat profits off Arsinoe the previous season, was eager for an- other such coup.
    [Show full text]
  • Tennyson's Poems
    Tennyson’s Poems New Textual Parallels R. H. WINNICK To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/944 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. TENNYSON’S POEMS: NEW TEXTUAL PARALLELS Tennyson’s Poems: New Textual Parallels R. H. Winnick https://www.openbookpublishers.com Copyright © 2019 by R. H. Winnick This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work provided that attribution is made to the author (but not in any way which suggests that the author endorses you or your use of the work). Attribution should include the following information: R. H. Winnick, Tennyson’s Poems: New Textual Parallels. Cambridge, UK: Open Book Publishers, 2019. https://doi.org/10.11647/OBP.0161 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/944#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/944#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher.
    [Show full text]