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Colonial America prose and poetry.doc
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Restoration Commedy

Refinement meets burlesque in Restoration comedy. In this scene from George Etherege's Love in a Tub, musicians and well-bred ladies surround a man who is wearing a tub because he has lost his pants.

Restoration comedy is the name given to English comedies written and performed in the Restoration period from 1660 to 1700. After public stage performances had been banned for 18 years by the Puritan regime, the re-opening of the theatres in 1660 signalled a rebirth of English drama. Restoration comedy is famous or notorious for its sexual explicitness, a quality encouraged by Charles II (1660-1685) personally and by the rakish aristocratic ethos of his court. Socially diverse audiences were attracted to the comedies by up-to-the-minute topical writing, by crowded and bustling plots, by the introduction of the first professional actresses, and by the rise of the first celebrity actors. This period saw the first professional woman playwright, Aphra Behn.

Centered on tensions between the accepted social codes of behavior toward sex and marriage, and the rather more direct behavioral prerogatives of human lust and social ambition “war between the sexes” is a common theme THESE PLAYS ARE NOT WRITTEN IN VERSE

Examples of Restoration comedy include:

  William Wycherley: The Country Wife (1675) Featuring Mr. Horner, Mr. Pinchwife, Sir Jasper Fidget, Mrs. Squeamish, and Mrs. Dainty Fidget

 George Etherege’s The Man of Mode (1676) Featuring Mr. Dorimant, Sir Fopling Flutter, and Mrs. Loveit

 William Congreve: The Way of the World (1700), and Irish dramatist Featuring Millamant (a woman), Mirabell (a man), Mr. Fainall, Lady Wishfort, Foible (a woman), and Mincing (a woman)

 Richard Sheridan: The School for Scandal (1777) Featuring Sir Peter Teazle, Maria, Lady Sneerwell, Sir Benjamin Backbite, and Charles Surface

Irish   George Farquhar: The Beaux Stratagem (1707)

Colley Cibber

Love's Last Shift, or, Virtue Rewarded (1696)

It is regarded as an early herald of a massive shift in audience taste, away from the intellectualism and sexual frankness of Restoration comedy and towards the conservative certainties and gender role backlash of exemplary or sentimental comedy. It is often described as opportunistic (Hume), containing as it does something for everybody: daring Restoration comedy sex scenes, sentimental reconciliations, and broad farce.

Love's Last Shift is the story of a last "shift" or trick that a virtuous wife, Amanda, is driven to in order to reform and retain her out-of-control rakish husband Loveless. Loveless has been away for ten years, dividing his time between the brothel and the bottle, and no longer recognizes his wife when he returns to London. Acting the part of a high-class prostitute, Amanda inveigles Loveless into her luxurious house and treats him to the night of his dreams, confessing her true identity in the morning. Loveless is so impressed by her faithfulness that he immediately becomes a reformed character.

A minor part which was a great success with the première audience is the fop Sir Novelty Fashion, written by Cibber for himself to play. Sir Novelty flirts with all the women, but is more interested in his own exquisite appearance and witticisms.

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