"Forget Scotland": plays by Scots on the London stage, 1667-1715
Article Abstract:
A few Scottish dramatists maintained a foothold upon the stage in London, England during the period from 1667 to 1715, while the theater scene in Scotland itself was largely nonexistent. The playwrights produced works that fit snugly within the contemporary Restoration mainstream and made little use of Scottish characters or settings except occasionally for comic effect. The works of Scottish dramatists Thomas St. Serfe, David Crawford, Newburgh Hamilton and Catherine Trotter are discussed. Crawford created perhaps the most convincing Scottish character of the time, the servant Willie in 'Courtship a-la-mode.'
Publication Name: Comparative Drama
Subject: Literature/writing
ISSN: 0010-4078
Year: 1997
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Canon, pedagogy, prospectus: redesigning "Restoration and eighteenth-century English drama."(Drama and Opera of the Enlightenment)
Article Abstract:
Teachers and students of Restoration and eighteenth-century English drama would benefit from a new anthology to replace the standard 1969 edition of 'British Dramatists from Dryden to Sheridan.' A new anthology should include more plays and less secondary material, such as historical essays, notes on the text and bibliographies. A new collection should also introduce the works of Thomas Southerne, Charles Macklin, Aphra Behn and John Crowne, whose talents have been recognized since the 1930s. The works of additional women dramatists, such as Hannah Cowley and Susannah Centlivre, should also be included.
Publication Name: Comparative Drama
Subject: Literature/writing
ISSN: 0010-4078
Year: 1997
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Falstaff's false staff: "Jonsonian" asexuality in 'The Merry Wives of Windsor.'
Article Abstract:
Jealousy and greed disguised as sexual desire are the main motives of Falstaff and Ford in Shakespeare's 'The Merry Wives of Windsor' and it is this asexual nature of the true plot which mark it as an early experiment in Jonsonian humors comedy. It was composed at about the same time as George Chapman's and Ben Jonson's humors comedies and Shakespeare's interest is revealed by his appearance in Jonson's plays. However, it is the use of language with an absence of regenerative ability that marks it as satiric rather than romantic comedy.
Publication Name: Comparative Drama
Subject: Literature/writing
ISSN: 0010-4078
Year: 1992
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