Titlebook: Restoration Comedy; Crises of Desire and Edward Burns Book 1987 Palgrave Macmillan, a division of Macmillan Publishers Limited 1987 comedy.

Lobotomy

Aphra Behn,power to organize his perceptions into ‘sights’ and to impose them on the second viewer, the audience. It is this power which our culture traditionally reserves for men. Our drama contains few enough roles that could be called female equivalents to Hamlet or Lear; but it is as hard to cite a female

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,Marriage and the Comedy of the 1690s — Dryden’s , and Crowne’s ,throne created a less dazzling image of monarchy, an image that their individual personalities did everything to confirm. Neither was interested in the stage, and Mary in particular was concerned to reform the moral climate in a way that may well have eventually killed off comedy as Charles II had k

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,The Last Restoration Comedies — Farquhar, Centlivre and Steele,energy. The ‘end’ of Restoration comedy is simply the falling away of the contingencies that had shaped it. George Farquhar, on whom the beginning of this chapter will concentrate, can seem to be a transitional figure; it is certainly true that his work spans a distinct change in comic styles, from

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,Conclusion: Newgate Pastoral — John Gay and ,he pastoral controversy, as the discussion surrounding this shift is sometimes called, could be summed up as an opposition of ‘simple’ pastoral to ‘complex’.. The complex—promoted by, among others, Pope, Gay and Swift—exploits the fictiveness of pastoral; its location in impossible time and place, t

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Introduction,xious and contradictory endeavour to create traditions and celebrate newness. We expect plays to ‘register’ the ‘tone’ of their period. But can these plays be said to be shaped by theirs? Are they sufficiently distinct from other plays and sufficiently like each other to constitute a literary genre?

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stratum-corneum

,‘The Wits’ Garden’ — Court Forms and Libertine Philosophies,the elaborate constructions of neo-platonism. Instead, the patronage games of courtiers as intent on furthering their own careers as those of their protégés produced an ambiguous, often ironic, set of mirrorings between playhouse and court.