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In Words and Deeds
Departing from earlier studies which regarded incest as a literary topos or dramatic metaphor foregrounding political, social, or legal issues, Words and deeds argues that the presence of incest on the Renaissance stage is a strategy for the enactment of the spectator's tragic experience. Incest is explored neither as a sin nor as a crime, but as an unspeakable experience filtered through dramatic words and deeds.
Poetic Theory and Practice in Early Modern Verse
Studies alternative concepts to received theories and practices of poetry in early modern England
Tis Pity She's A Whore
John Ford's tragedy 'Tis Pity She's A Whore was first performed between 1629 and 1633 and since then its themes of incest, love versus duty and forbidden passion have made it a widely studied and performed, if controversial, play. This guide offers students an introduction to its critical and performance history, including TV and film adaptations. It includes a keynote chapter outlining major areas of current research on the play and four new critical essays. Finally, a guide to critical, web-based and production-related resources and an annotated bibliography provide a basis for further individual research.
The Protestant Whore
After the restoration of the English monarchy in 1660, Protestants worried that King Charles II might favour religious freedom for Roman Catholics, and many suspected that the king was unduly influenced by his Catholic mistresses. Nell Gwyn, actress and royal mistress, stood apart by virtue of her Protestant loyalty. In 1681, Gwyn, her carriage surrounded by an angry anti-Catholic mob, famously declared 'I am the protestant whore.' Her self-branding invites an investigation into the alignment between sex and politics during this period, and in this study, Alison Conway relates courtesan narrative to cultural and religious anxieties. In new readings of canonical works by Aphra Behn, Daniel Defoe, Henry Fielding, and Samuel Richardson, Conway argues that authors engaged the same questions about identity, nation, authority, literature, and politics as those pursued by Restoration polemicists. Her study reveals the recurring connection between sexual impropriety and religious heterodoxy in Restoration thought, and Nell Gwyn, writ large as the nation's Protestant Whore, is shown to be a significant figure of sexual, political, and religious controversy.
Character and the Individual Personality in English Renaissance Drama
Character and the Individual Personality in English Renaissance Drama: Tragedy, History, Tragicomedy studies instantiations of the individualistic character in drama, Shakespearean and non-Shakespearean, and some of the Renaissance ideas allowing for and informing them. Setting aside such fraught questions as the history of Renaissance subjectivity and individualism on the one hand and Shakespearean exceptionalism on the other, we can find that in some plays, by a range of different authors and collaborators, a conception has been evidenced of who a particular person is, and has been used to drive the action. This evidence can take into account a number of internal and external factors that ...
Double Falsehood
Plays, playscripts.
Elizabeth Singer Rowe and the Development of the English Novel
Elizabeth Singer Rowe played a pivotal role in the development of the novel during the eighteenth century. Winner of the CHOICE Outstanding Academic Title of the Choice ACRL Elizabeth Singer Rowe and the Development of the English Novel is the first in-depth study of Rowe’s prose fiction. A four-volume collection of her work was a bestseller for a hundred years after its publication, but today Rowe is a largely unrecognized figure in the history of the novel. Although her poetry was appreciated by poets such as Alexander Pope for its metrical craftsmanship, beauty, and imagery, by the time of her death in 1737 she was better known for her fiction. According to Paula R. Backscheider, Rowe's...
Stuart Women Playwrights, 1613–1713
In the field of seventeenth-century English drama, women participated not only as spectators or readers, but more and more as patronesses, as playwrights, and later on as actresses and even as managers. This study examines English women writers' tragedies and tragicomedies in the seventeenth century, specifically between 1613 and 1713, which represent the publication dates of the first original tragedy (Elizabeth Cary's The Tragedy of Mariam) and the last one (Anne Finch's Aristomenes) written by a Stuart woman playwright. Through this one-hundred year period, major changes in dramatic form and ideology are traced in women's tragedies and tragicomedies. In examining the whole of the century from a gender perspective, this project breaks away from conventional approaches to the subject, which tend to establish an unbridgeable gap between the early Stuart period and the Restoration. All in all, this study represents a major overhaul of current theories of the evolution of English drama as well as offering an unprecedented reconstruction of the genealogy of seventeenth-century English women playwrights.
The Public’s Open to Us All
“The Public’s Open to Us All”: Essays on Women and Performance in Eighteenth-Century England considers the relationship between British women and various modes of performance in the long eighteenth century. From the moment Charles II was restored to the English throne in 1660, the question of women’s status in the public world became the focus of cultural attention both on and off the stage. In addition to the appearance of the first actresses during this period female playwrights, novelists, poets, essayists, journalists, theatrical managers and entrepreneurs emerged as skillful and often demanding professionals. In this variety of new roles, eighteenth-century women redefined shift...
Coyness and Crime in Restoration Comedy
Coyness and Crime examines the extraordinary focus on feminine coyness in forty English comedies by ten diverse playwrights of the late seventeenth-century. In contexts ranging from reaffirmations of church and king to emerging interests in liberty and novelty, these plays consistently reveal women caught in an ironic and nearly intractable convergence of objectification and culpability that allows them little innocent sexual agency; this is both the source and the legacy of coyness in Restoration comedy.
