Fourteen specially commissioned essays provide essential information about staging, playwrights, themes and genres in the drama of the Restoration.

Deborah C. Payne explores how the duopoly of 1660 impacted company practices, stagecraft, the box office, and actors and writers.

The second edition of the book, with its emending and updated text, provides a glimpse into the English life and culture, starting from the middle ages to the twenty-first century. As the English life and culture are inextricably interwoven with the literary traditions of England and its myriad aspects, this study provides significant insights into the field of English literature and the contexts it emerges from. The text begins with a description of English life and culture from the Medieval period to the Renaissance. The author gives a masterly analysis of such subjects as Feudalism, Medieval Drama and literature, the Renaissance, the Reformation and most significantly, the Elizabethan Theatre. A new sub-section on 'Women Writers of the Renaissance' has been added to this chapter. Then, the text goes on to describe in detail about the Restoration Period and the Age of Reason. Besides, the book gives a wealth of information on important topics like Romanticism, the Industrial Revolution, Victorianism and Victorian literature. The text concludes with a chapter that deals on Modernism, Literature and Culture in the Postmodern World, and Aspects of Contemporary Culture and Society. In the last chapter, two sub-sections have been introduced on 'British Fiction in the Twenty-First Century' and 'Brexit'. What distinguishes the text is the provision of a Glossary at the end of each chapter, which gives not only the meaning and definition of the terms but also provides the entire cultural background and the history that these terms are associated with. Students of English literature—both undergraduate honours and postgraduate students—will find this book highly informative, enlightening, and refreshing in its style. In addition, all those who have an abiding interest in English life and culture will find reading this text a stimulating and rewarding experience TARGET AUDIENCE • BA (Hons.) English • MA English Literature/English

It attests to Farquhar's stature as a man that he composed this warm-hearted and vibrant play while he was dying. Like The Recruiting Officer, the play is set in a provincial town and its plot is slight: Aimwell and Archer, two impecunious London gentlemen, arrive in Lichfield looking for an heiress to marry. Aimwell, posing as his elder brother, falls in love with his 'prey' Dorinda and confesses his imposture to her; his 'man-servant' Archer arouses the wistful interest of the unhappily married Mrs Sullen. The introduction to this edition discusses the play for its theatrical merits and argues that it dramatises the ills of marriage in early modern England, shown by Farquhar to be more injurious to the wife than to the husband, and calls for a reform of the divorce laws.

Thomas Middleton and Early Modern Textual Culture is a comprehensive companion to The Collected Works of Thomas Middleton, providing detailed introductions to and full editorial apparatus for the works themselves as well as a wealth of information about Middleton's historical and literary context.

This volume argues against Gérard Genette’s theory that there is an “insurmountable opposition” between drama and narrative and shows that the two forms of storytelling have been productively intertwined throughout literary history. Building on the idea that plays often incorporate elements from other genres, especially narrative ones, the present study theorises drama as a fundamentally narrative genre. Guided by the question of how drama tells stories, the first part of the study delineates the general characteristics of dramatic narration and zooms in on the use of narrative forms in drama. The second part proposes a history of dramatic storytelling from the Renaissance to the twenty-first century that transcends conventional genre boundaries. Close readings of exemplary British plays provide an overview of the dominant narrative modes in each period and point to their impact in the broader cultural and historical context of the plays. Finally, the volume argues that throughout history, highly narrative plays have had a performative power that reached well beyond the stage: dramatic storytelling not only reflects socio-political realities, but also largely shapes them.

Proper Words in Proper Places: Dialectical Explication and English Literary History explores how literary history intertwines cultural, political, philosophical, religious, and commercial influences with literary production to create new ways of reading, meaning, and understanding. The text provides a delightful and surprising mix of canonical and non-canonical texts that merge many genres and literary allusions to highlight the complexities of literary historiography. Simultaneously, Proper Words in Proper Places digests the challenges of literary history and prepares readers to formulate for themselves the multiplicity of its nature and function. Drawing from texts published between 1670 and 1920, Robert J. Merrett demonstrates how the mixing and involvement of literary forms with such influences as painting, music, theatre, natural history, and notions of civility and spirituality erode simplistic ideas about the nature of narrative. His keen analysis of the traditional and experimental rhetoric of the texts serves to illustrate the double vision of the humanities and shows how the liberal arts enlighten contemporary moral issues. Additionally, the chapters probe, through their diverse models of reading, how mixed literary genres oblige us to create textual memories as our readings unfold. Merrett’s linguistic and contextual analyses heighten cognitive, psychological, and aesthetic processes, thereby demonstrating that poems, plays, novels, and other literary forms mix lexical registers and interdisciplinary discourses to counter literal-mindedness. Proper Words in Proper Places is a unique work, unsettling notions of periodicity, promoting interdisciplinarity, and countering educational indifference toward literary and aesthetic cultures. Its explanations of the diversity of literary historiography could easily inform new design models for survey courses and help prepare those about to enter teaching professions, who are expected to be familiar with the philosophical and contextual problems that motivate literary texts. It promises stimulating and thought-provoking study and invites readers to develop a sense of how literature operates as a system based on philosophical contraries and logical paradoxes.

``In 1700, when The Way of the World was performed on the English stage at Lincoln's Inn Fields (a new theatre that William Congreve managed), it was not a popular success. This was the last play Congreve was to write, perhaps for that reason. Since that time, however, this play has come to be regarded not only as Congreve's masterpiece, but as a classic example of the Comedy of Manners. The play is aptly named for two reasons. First, its action takes place in the ````present,```` which means it reflects the same social period during which the play was originally performed. Second, as a comedy of manners, its purpose is to expose to public scrutiny and laughter the often absurd yet very human passions and follies that characterize social behavior. It therefore transcends its time by holding a mirror to the fashionable world in all of its frivolity and confusion while posing something more precious and sensible as an antidote. As with all comedies of this type, the principle comic material consists of sexual relations and confrontations. Marriages are made for the sake of convenience and tolerated within precise social limits. Affairs are conventional, jealousies abound, lovers are coy, and gallantry is contrived. Dowries are the coin of the marriage realm and therefore they are of central concern in all contracts and adulterous intrigues. Congreve makes clear that the general way of the world may be funny but it is not particularly nice. In the way of all romantic comedies the ````marriage of true minds```` is finally achieved, but humiliation, cruelty, and villainy are the means by which the action goes forward. His comedy is not intended to remedy the world, of course, but to offer an insightful and amusing view of both its seedy and sympathetic aspects.`` Descriptor(s): LITERARY FORMS | NOVELS | LITERARY STYLE | COMEDY | LITERARY CRITICISM