By Deborah Payne Fisk
Those 4 performs within the Oxford English Drama sequence trap the diversity of responses to the modern and bold libertine move within the moment 1/2 the 17th century. A Fond Husband and Friendship in Fashion are lesser-known comedian gem stones of the recovery level; The guy of Mode is Etherege's masterpiece, and The Libertine is Shadwell's experimental and darkish model of the Don Juan tale. The texts are freshly edited utilizing sleek spelling. there's a serious creation, wide-ranging annotation, and an informative bibliography which jointly light up the performs' cultural context and theatrical power for reader and performer alike. The creation surveys the origins and improvement of libertinism and offers an in depth interpreting of the performs. It additionally considers staging, and appears on the performs now not basically as literary texts but additionally as scripts meant for functionality. This version additionally features a wide-ranging annotation and an informative biliography which jointly remove darkness from the performs' cultural context and theatrical strength for reader and performer alike.
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Additional resources for Four Restoration Libertine Plays
His enraptured imagining of Camilla (‘Now for the lovely, kind, yielding Camilla . . 595–7). Good nature in this play belongs not to the rake but to those who are normally marginalized or even scorned in libertine comedies: the fops, the put-upon wife, the abandoned mistress. Victoria, the Mrs Loveit of Friendship in Fashion, does not exact revenge against Mrs Goodvile or Camilla, who has just gained ascendancy in Goodvile’s heart. ’ and then, having concluded ‘never’, decides to ‘let my revenge light wholly on that false, perjured man.
At the conclusion of an act, all of the players exited and instrumental music would be played by theatre musicians, thus allowing the stage-hands to set up the shutters and wings for the next act. The reader is encouraged to keep these staging conventions in mind while reading. Plays invariably are written for a speciﬁc space; playhouse space also shapes dramatic convention. Asides to the audience, one of the hallmarks of Restoration comedy, would be impossible in a playhouse without a pronounced forestage.
57 My reading of Harriet and her relationship to Dorimant diﬀers markedly from the very good interpretation put forth by Pat Gill, who thinks that Harriet ‘functions as a mirror, reﬂecting Dorimant and refracting the women he seduced’; she thus provides ‘a way out of the monotonous cycle of corruption in which Dorimant ﬁnds himself ’. , 1994), 48. xxxiii introduction What might possibly ensue between Dorimant and Harriet––we have no way of knowing, of course––is the Restoration equivalent of a ‘political marriage’.
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