British: Restoration Comedy Flashcards
Restoration Comedy
Characteristics
Restoration Comedy
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)
The Restoration – Historical Context
The Restoration – Historical Context
Some people really worry about knowing historical information for the GRE. You shouldn’t. Knowing about the Restoration, and the names of a few kings and queens is all you really need to know.
This is probably more background information than you need, but I think it’s somewhat helpful.
The English Interregnum from 1649–1660 was a republican period in Britain, comprising the Commonwealth and the Protectorate of Oliver Cromwell after the regicide of Charles I and before the restoration of Charles II
During the Interregnum, England had been dominated by Puritan literature and the intermittent presence of official censorship (see, for example, Milton’s Areopagitica and his later retraction of that statement). While some of the Puritan ministers of Oliver Cromwell wrote poetry that was elaborate and carnal (e.g. Andrew Marvell’s “Mower” poems and To His Coy Mistress), such poetry was not published. Similarly, some of the poets who published with the Restoration produced their poetry during the Interregnum. However, the official break in literary culture caused by censorship and radically moralist standards effectively created a gap in literary tradition. At the time of the English Civil War, poetry had been dominated by Metaphysical poetry of the John Donne, George Herbert, and Richard Lovelace sort. Drama had developed the late Elizabethan theater traditions and had begun to mount increasingly topical and political plays (the drama, for example, of Thomas Middleton). However, the Interregnum put a stop, or at least a caesura to these lines of influence and allowed a seemingly fresh start for all forms of literature after the Restoration.
The last years of the Interregnum were turbulent, as the last years of the Restoration period would be, and those who did not go into exile were called upon to change their religious beliefs more than once. With each religious preference came a different sort of literature, both in prose and poetry (the theaters were closed during the Interregnum). When Cromwell himself died and his son, Richard Cromwell, threatened to become Lord Protector, politicians and public figures scrambled to show themselves allies or enemies of the new regime. Printed literature was dominated by odes in poetry, and religious writing in prose. The industry of religious tract writing, despite official efforts, did not reduce its output. Figures such as the founder of the Society of Friends, George Fox, were jailed by the Cromwellian authorities and published at hazard.
During the Interregnum, the royalist forces attached to the court of Charles I went into exile with the twenty-year old Charles II and conducted a brisk business in intelligence and fund-raising for an eventual return to England. Some of the royalist ladies installed themselves in convents in Holland and France, and these convents offered safe haven for indigent and travelling nobles and allies. The men similarly stationed themselves in Holland and France, with the court-in-exile being established in The Hague before setting up more permanently in Paris. The nobility who travelled with (and later travelled to) Charles II were therefore lodged for over a decade in the midst of the continent’s literary scene. However, as Holland and France in the 17th century were little alike, so the influences picked up by courtiers in exile and the travellers who sent intelligence and money to them were not monolithic. Charles spent his time attending plays in France, and he developed a taste for Spanish plays. Those nobles living in Holland began to learn about mercantile exchange as well as the tolerant, rationalist prose debates that circulated in that officially tolerant nation. John Bramhall, for example, had been a strongly high church theologian, and yet, in exile, he debated willingly with Thomas Hobbes and came into the Restored church as tolerant in practice as he was severe in argument. Courtiers also received an exposure to the Roman Catholic Church and its liturgy and pageants, as well as, to a lesser extent, Italian poetry.
When Charles II came to the throne in 1660, the sense of novelty in all forms of literature was tempered by a sense of suddenly participating in European literature in a way that England had not before. One of Charles’s first moves to was reopen the theaters and to establish Letters patent and mandates for the theater owners and managers. William Davenant received one of the patents, and Thomas Killigrew received the other. Drama was public and a matter of royal concern, and therefore both theaters were charged with producing a certain number of old plays, and Davenant was charged with presenting material that would be morally uplifting. Additionally, the position of Poet Laureate was recreated, complete with payment by a barrel of “sack” (brandy), and the requirement for birthday odes.
Charles II was a man who prided himself on his wit and his worldliness. He was well known as a philanderer as well. Consequently, highly witty, playful, and sexually wise poetry had court sanction. Additionally, Charles, and the Duke of York (the future James II of England), were sponsors of mathematics and natural philosophy, and so, again, spirited skepticism and investigation into nature were favored by the court. Charles II sponsored the Royal Society, and courtiers were eager to join the Royal Society (for example, the noted diarist Samuel Pepys was a member), just as Royal Society members moved in court. Charles and his court had also learned the lessons of exile, and so, although Charles was High church (and secretly vowing to convert to Roman Catholicism on his death) and James, Duke of York was crypto-Catholic, Charles’s policy was to be generally tolerant of religious and political dissenters. While Charles II did have his own version of the Test Act, he was slow to jail or persecute Puritans, preferring merely to keep them from public office (and therefore to try to rob them of their Parliamentary positions). As a consequence, the prose literature of dissent, political theory, and economics increased in Charles II’s reign.
The general first reaction to Charles’s return was for authors to move in two directions. On the one hand, there was an attempt at recovering the English literature of the Jacobean period, as if there had been no disruption, but, on the other, there was a powerful sense of novelty, and authors approached Gallic models of literature and elevated the literature of wit (particularly satire and parody). The novelty would show in the literature of skeptical inquiry, and the Gallicism would show in the introduction of Neo-classicism into English writing and criticism.
Poetry
The Restoration was an age of poetry. Not only was poetry the most popular form of literature, but it was also the most significant form of literature, as poems affected political events and immediately reflected the times. It was, to its own people, an age dominated only by the king, and not by any single genius. Throughout the period, the lyric, ariel, historical, and epic poem was being developed.
The English epic
Even without the introduction of Neo-classical criticism, English poets were aware that they had no national epic. Edmund Spenser’s Faerie Queene was well known, but England, unlike France with Song of Roland or Spain with El Cid or, most of all, Italy with Aeneid, had no epic poem of national origins. Several poets attempted to supply this void.
William D’Avenant, operator of the first playhouse opened after the Restoration, was also a playwright and an epic poet.William D’Avenant was the first Restoration poet to attempt an epic. His Gondibert was of epic length, and it was admired by Hobbes. However, it also used the ballad form, and other poets, as well as critics, were very quick to condemn this rhyme scheme as unflattering and unheroic (Dryden Epic). The prefaces to Gondibert show the struggle for a formal epic structure, as well as how the early Restoration saw themselves in relation to Classical literature.
Although today he is studied separately from the Restoration, John Milton’s Paradise Lost was published during the Restoration. Milton no less than Davenant wished to write the English epic. He chose blank verse as his form. However, Milton rejected the cause of English exceptionalism. His Paradise Lost seeks to tell the story of all mankind, and his pride is in Christianity rather than Englishness.
Significantly, Milton began with an attempt at writing an epic on King Arthur, for that was the matter of English national founding. While Milton rejected that subject, in the end, others made the attempt. Richard Blackmore wrote both a Prince Arthur and King Arthur. Both attempts were long, soporific, and failed both critically and popularly. Indeed, the poetry was so slow that the author became known as “Never-ending Blackmore” (see Alexander Pope’s lambasting of Blackmore in The Dunciad).Lyric poetry, pastoral poetry, ariel verse, and odes
Lyric poetry, where the poet speaks of his or her own feelings in the first person and expresses a mood, was not especially common in the Restoration period. Poets expressed their points of view in other forms, usually public or formally disguised poetic forms, such as odes, pastoral poetry, and ariel verse. One of the characteristics of the period is its devaluation of individual sentiment and psychology in favor of public utterance and philosophy. The sorts of lyric poetry found later in the Churchyard Poets would, in the Restoration, only exist as pastorals.
Formally, the Restoration period had a preferred rhyme scheme. Rhyming couplets in iambic pentameter was by far the most popular structure for poetry of all types. Neo-Classicism meant that poets attempted adaptations of Classical meters, but the rhyming couplet in iambic pentameter held a near monopoly. According to Dryden (“Preface to The Conquest of Grenada”), the rhyming couplet in iambic pentameter has the right restraint and dignity for a lofty subject, and its rhyme allowed for a complete, coherent statment to be made. Dryden was struggling with the issue of what later critics in the Augustan period would call “decorum”: the fitness of form to subject (q.v. Dryden Epic). It is the same struggle that Davenant faced in his Gondibert. Dryden’s solution was a closed couplet in iambic pentameter that would have a minimum of enjambment. This form was called the “heroic couplet,” because it was suitable for heroic subjects. Additionally, the age also developed the mock-heroic couplet. After 1672 and Samuel Butler’s Hudibras, iambic tetrameter couplets with unusual or unexpected rhymes became known as “Hudibrastic verse.” It was a formal parody of heroic verse, and it was primarily used for satire. Jonathan Swift would use the Hudibrastic form almost exclusively for his poetry.
Although Dryden’s reputation is greater today, contemporaries saw the 1670s and 1680s as being the age of courtier poets in general, and Edmund Waller was as praised as any. Dryden, Rochester, Buckingham, and Dorset dominated verse, and all were attached to the court of Charles. Aphra Behn, Matthew Prior, and Robert Gould, on the other hand, were outsiders who were profoundly royalist. The court poets follow no one particular style, except that they all show sexual awareness, a willingness to satirize, and a dependence upon wit to dominate their opponents. Each of these poets wrote for the stage as well as the page.
Dryden was prolific. Indeed, he was accused of “plagiarizing from himself,” he wrote so well and quickly. Both before and after his Laureateship, he wrote public odes. He attempted the Jacobean pastoral along the lines of Walter Raleigh and Philip Sidney, but his greatest successes and fame came from his attempts at apologetics for the restored court and the Established Church. His “Absalom and Achitophel” and “Religio Laici” both served the King directly by making controversial royal actions seem reasonable. He also pioneered the mock-heroic. Although Samuel Butler had invented the mock-heroic in English with Hudibras (written during the Interregnum but published in the Restoration), Dryden’s “MacFlecknoe” set up the satirical parody. Dryden was himself not of noble blood, and he was never awarded the honors that he had been promised by the King (nor was he repaid the loans he had made to the King), but he did as much as any peer to serve Charles II. Even when James II came to the throne and Roman Catholicism was on the rise, Dryden attempted to serve the court, and his “The Hind and the Panther” praised the Roman church above all others. After that point, Dryden suffered for his conversions, and he was the victim of many satires.
Buckingham wrote some court poetry, but he, like Dorset, was a patron of poetry more than a poet. On the other hand, Rochester was a prolix and outrageous poet. Rochester’s poetry is almost always sexually frank and is frequently political. Inasmuch as the Restoration came after the Interregnum, the very sexual explicitness of Rochester’s verse was a political statement and a thumb in the eye of Puritans. His poetry often assumes a lyric pose, as he pretends to write in sadness over his own impotence (“The Disabled Debauchee”) or sexual conquests, but most of Rochester’s poetry is a parody of an existing, Classically-authorized form. He has a mock topographical poem (“Ramble in St James Park”), which is about the dangers of darkness for a man intent on copulation and the historical compulsion of that plot of ground as a place for fornication, several mock odes (“To Signore Dildo,” concerning the public burning of a crate of “contraband” from France on the London docks), and mock pastorals. Rochester’s interest was in inversion, disruption, and the superiority of wit as much as it was in hedonism. Rochester’s venality led to an early death, and he was later frequently invoked as the exemplar of a Restoration rake.
Aphra Behn has been unjustly called “the female Rochester.” While she was best known publicly for her drama (in the 1670s, only Dryden’s plays were staged more often than hers), she wrote a great deal of poetry that would be the basis of her later reputation. Edward Bysshe would include numerous quotes from her verse in his Art of English Poetry. While her poetry was occasionally sexually frank, it was never as graphic or intentionally lurid and titilating as Rochester’s. Rather, her poetry was, like the court’s ethos, playful and honest about sexual desire. One of the most remarkable aspects of Behn’s success in court poetry, however, is that Behn was herself a commoner. She had no more relation to peers than Dryden, and possibly quite a bit less. As a woman, a commoner, and Kentish, she is remarkable for her success in moving in the same circles as the King himself. She was likely a spy for the Royalist side during the Interregnum, and she was certainly a spy for Charles II in the Second Anglo-Dutch War, but she had neither exceptional beauty nor any wealth at all (indeed, she may have spent time in debtor’s prison), and her ability to write poetry that stands among the best of the age gives some lie to the notion that the Restoration was an age of female illiteracy and verse composed and read only by peers.
If Behn is a curious exception to the rule of noble verse, Robert Gould breaks that rule altogether. Gould was born of a common family and orphaned at the age of thirteen. He had no schooling at all and worked as a domestic servant, first as a footman and then, probably, in the pantry. However, he was attached to the Earl of Dorset’s household, and Gould somehow learned to read and write, as well as to read and write Latin. In the 1680s and 1690s, Gould’s poetry was very popular. He attempted to write odes for money, but his great success came with “Love Given O’er, or A Satyr Upon … Woman” in 1692. It was a partial adaptation of a satire of Juvenal, but with an immense amount of explicit invective against women. The misogyny in this poem is some of the harshest and most visceral in English poetry: the poem sold out all editions. Gould also wrote “a Satyr on the Play House” with detailed descriptions of the actions and actors involved in the Restoration stage. He followed the success of Love Given O’er with a series of misogynistic poems, all of which have specific, graphic, and witty denunciations of female behavior. His poetry has “virgin” brides who, upon their wedding nights, have “the straight gate so wide/ It’s been leapt by all mankind,” noblewomen who have money but prefer to pay the coachman with oral sex, and noblewomen having sex in their coaches and having the cobblestones heighten their pleasures. Gould’s career was brief, but his success was not a novelty of subliterary misogyny. After Dryden’s conversion to Roman Catholicism, Gould even engaged in a poison pen battle with the Laureate. His “Jack Squab” attacked Dryden’s faithlessness viciously, and Dryden and his friends replied. That a footman even could conduct a verse war is remarkable. That he did so without, apparently, any prompting from his patron is astonishing.
Other poets (translations, controversialists, etc.)
Roger L’Estrange was a significant translator, and he also produced verse translations. Others, such as Richard Blackmore, were admired for their “sentence” (declamation and sentiment) but have not been remembered. Also, Elkannah Settle was, in the Restoration, a lively and promising political satirist, though his reputation has not fared well since his day. After booksellers began hiring authors and sponsoring specific translations, the shops filled quickly with poetry from hirelings. Similarly, as periodical literature began to assert itself as a political force, a number of now anonymous poets produced topical, specifically occasional verse.
The largest and most important form of incunabula of the era, however, was satire. In general, publication of satire was done anonymously. There were great dangers in being associated with a satire. On the one hand, defamation law was a wide net, and it was difficult for a satirist to avoid prosecution if he were proven to have written a piece that seemed to criticize a noble. On the other hand, wealthy individuals would respond to satire as often as not by having the suspected poet physically attacked by ruffians. John Dryden was set upon for being merely suspected of having written the Satire on Mankind. A consequence of this anonymity is that a great many poems, some of them of merit, are unpublished and largely unknown. In particular, political satires against The Cabal, against Sunderland’s government, and, most especially, against James II’s rumored conversion to Roman Catholicism, are uncollected. However, such poetry was a vital part of the vigorous Restoration scene, and it was an age of energetic and voluminous satire.
Restoration Comedy
William Congreve
William Congreve
The Way of the World
The play is based around the two lovers Mirabell and Millamant. In order for the two to get married and receive Millamant’s full dowry, Mirabell must receive Millamant’s aunt, Lady Wishfort’s blessing. Unfortunately, she is a bitter lady who hates Mirabell and wants her own nephew, Sir Witwoud to marry Millamant.
Other characters include Fainall who is having a secret affair with Mrs. Marwood, a friend of Mrs. Fainall’s, who in turn once had an affair with Mirabell.
Waitwell is Mrs. Fainall’s servant and is married to Foible, Mrs. Wishfort’s servant. Waitwell pretends to be Sir Rowland and on Mirabell’s command, tries to trick Lady Wishfort into a false engagement.
Restoration Comedy
William Wycherley
William Wycherley
The Country Wife
A product of the tolerant early Restoration period, the play reflects an aristocratic and anti-Puritan ideology, and was controversial for its sexual explicitness even in its own time. Even its title contains a lewd pun. It is based on several plays by Molière, with added features that 1670s London audiences demanded: colloquial prose dialogue in place of Molière’s verse, a complicated, fast-paced plot tangle, and many sex jokes. It turns on two indelicate plot devices: a rake’s trick of pretending impotence in order to safely have clandestine affairs with married women, and the arrival in London of an inexperienced young “country wife”, with her discovery of the joys of town life, especially the fascinating London men.
The Country Wife is more neatly constructed than most Restoration comedies, but is typical of its time and place in having three sources and three plots. The separate plots are interlinked but distinct, each projecting a sharply different mood. They are:
Horner’s impotence trick
the married life of Pinchwife and Margery
the courtship of Harcourt and Alithea
Restoration Comedy
Richard Brinsley Sheridan
Richard Brinsley Sheridan
Sheridan is one of the few Restoration commedians that wrote more than one noteworthy play. Don’t worry too much about knowing the plots; focus instead on knowing the names of the characters.
The Rivals (1775) ETS likes to test over the character of Mrs. Malaprop because it is from her character that the word malapropism derives.
The play is set in Bath in the 18th century, a town legendary for conspicuous consumption and fashion at the time. People would travel there to take the waters which were believed to have healing properties. The town was much less exclusive than London, and provides an ideal setting for the characters.
The plot centres around two characters: Lydia Languish and Captain Jack Absolute. Lydia is obsessed with the romantic ideals of love she reads in popular novels of the time, and is drawn into a relationship with Captain Absolute, who pretends to be a poor soldier called Ensign Beverly. Lydia finds the idea of eloping with a poor soldier romantic. In reality, Captain Absolute is a rich gentleman, the son of Sir Anthony Absolute. Both Sir Anthony and Mrs Malaprop, Lydia’s aunt, want to prevent their secret romance. Mrs Malaprop wants Lydia to marry for financial reasons.
The marriage arranged by Sir Anthony is, in fact, with Lydia, but when Lydia finds out who Ensign Beverly really is, she refuses to marry him, clinging to her romantic notions of eloping with a poor soldier.
Faulkland, who is a close friend of Jack, falls in love with Julia, Sir Anthony’s ward. However, he has irrational doubts about Julia’s love for him and eventually decides to test her love. Julia rejects him.
Bob Acres decides to fight a duel against the fictional Ensign Beverly, and Sir Lucius O’Trigger wants to duel against Jack Absolute. Lydia stops the fight at the prospect of Jack’s death and admits that she loves him and Julia forgives Faulkland.
The School for Scandal (1777)
Brothers Joseph and Charles Surface, and their cousin Maria, are orphans in the care of their uncle, Sir Peter Teazle. Both brothers wish to marry Maria. Lady Sneerwell, a malicious gossip and founder of The School for Scandal, wants to marry Charles and spreads false rumours about an affair between Charles and Lady Teazle in an attempt to make Maria reject Charles. Meanwhile, Joseph is attempting to seduce Lady Teazle. The brothers have a rich uncle, Sir Oliver, whom they have never met, and who visits them both incognito to test their characters before deciding which of them shall inherit his fortune. He finds that Joseph is a sanctimonious hypocrite, and that Charles is a generous libertine, and prefers Charles.
In a farcical scene involving characters hiding behind furniture, Sir Peter learns of the plotting between Joseph and Lady Sneerwell, that the rumours about Charles and Lady Teazle are false, and that his wife is merely a victim of Joseph’s flattery. He is therefore reconciled with his wife, and decides that Charles deserves to marry Maria. Lady Teazle, who has had a narrow escape from ruin, delivers an epilogue warning of the dangers of scandal-making.
Restoration Comedy
Oliver Goldsmith
Oliver Goldsmith
She Stoops to Conquer (1773)
In essence, the play is a farce, full of misunderstandings.
The hero is Charles Marlow, a wealthy young man who is being forced by his family to consider a potential bride whom he has never met. He is anxious about meeting her, because he suffers from shyness and can only behave naturally with women of a lower class. He sets out with a friend to travel to the home of his prospective in-laws, the Hardcastles, but they become lost on the road.
While the bride-to-be is awaiting his arrival, her half-brother, Tony Lumpkin (one of literature’s great comic characters), while out riding, comes across the two strangers, and, realising their identity, plays a practical joke by telling them that they are a long way from their destination and will have to stay overnight at an inn. The “inn” he directs them to is in fact the home of his parents. When they arrive, their hosts, who have been expecting them, go out of their way to make them welcome. However, the two men, believing themselves in a hostelry, behave rudely.
Meanwhile, Tony’s sister, Kate, learning of the error and also acquainted with her suitor’s shyness, masquerades as a serving-maid in order to get to know him. He falls in love with her and plans to elope with her. Needless to say, all misunderstandings are sorted out in the end, and Charles and Kate live happily ever after.
Restoration Comedy
Colley Cibber
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.
