XThe Seventeenth Century: Part II

2020 ◽  
Author(s):  
William Baker ◽  
Ryan Netzley ◽  
Jennifer Airey
Keyword(s):  
Seventeenth Century ◽  
Restoration Drama

Abstract This chapter has five sections: 1. General; 2. Poetry Excluding Dryden; 3. Restoration Drama Excluding Dryden; 4. Dryden; 5. Poetry and Prose. Section 1 is by William Baker; section 2 is by Ryan Netzley and is divided into six parts: (a) Marvell; (b) Traherne; (c) Vaughan; (d) Cowley; (e) Herrick; (f) Metaphysical and Religious Poets; sections 3 and 4 are by Jennifer Airey; section 5 is by William Baker and is divided into five parts: (a) Hobbes; (b) Locke; (c) Bunyan; (d) Aubrey, Walton, and Bishop Tillotson; (e) Rochester.

scholarly journals Libertinism in English Restoration drama: a cognitive-pragmatic perspective

2019 ◽  
Keyword(s):  
Seventeenth Century ◽  
General Public ◽  
Role Models ◽  
Thomas Hobbes ◽  
Focus Of Attention ◽  
Restoration Drama ◽  
English Restoration ◽  
New Type ◽  
English Identity ◽  
Charles Ii

This paper aims to explore LIBERTINISM as a discourse-generative concept of the English Restoration and its manifestations in the 17th century drama. In the focus of attention are: the dramatic discourse of the seventeenth century and social and historical conditions that predetermined the origin and development of libertinism in the Restoration drama. In this article, I argue that during the Restoration LIBERTINISM thrived along with such concepts as EMPIRE, HONOUR, LOVE, MODE, SCIENCE, TRADE, and WIT. It is stated that after years of bans and prohibitions libertinism began to develop as a reaction against an overly religious dominant worldview that was imposed on the English people during the Interregnum. It is confirmed that libertinism was widely disseminated in the play-houses which were reopened by Charles II after almost a twenty-year break. In this article, I argue that libertinism takes its ideas from the teachings of René Descartes and Thomas Hobbes; it viewed as extreme hedonism and rejection of all moral and religious dogmas. Charles II himself set an example which was emulated by his courtiers and therefore libertine modes of behaviour were demonstrated to the general public as role models by the aristocracy which regained power with the Restoration. I also claim that as during the English Restoration many play wrights either were libertines or wrote about libertine behaviour and adventures in their plays, the dramatic discourse of the seventeenth century gave rise to a new type of English identity–the English Restoration libertine-aristocrat. Accordingly, the dramatic discourse and dramatic performances of the seventeenth century were the means of establishment, reiteration, and dissemination of the libertine ethos.

scholarly journals Politeness in eighteenth-century drama: a discursive approach

2016 ◽  
Vol 12 (1) ◽  
Author(s):  
Andreas H. Jucker
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Middle Class ◽  
Moral Values ◽  
Communicative Acts ◽  
Restoration Drama ◽  
Testing Ground ◽  
History Of ◽  
Early Eighteenth Century ◽  
Good Behaviour

AbstractFictional texts constitute complex communicative acts between an author and an audience, and they regularly depict interactions between characters. Both levels are susceptible to an analysis of politeness. This is particularly true for early eighteenth-century drama, which – in the context of the age of politeness – established new dramatic genres to educate and edify their audiences. Characters were used to demonstrate good or bad behaviour as examples to be followed or avoided. Early eighteenth-century drama was a reaction against what was considered to be the immorality and profanity of Restoration drama of the seventeenth century. Two plays serve as illustrations and a testing ground for an analysis of fictional politeness that considers both communicative levels; the play itself and the interactions within the play. Richard Steele’s sentimental comedy “The Conscious Lovers” (1722) gives an example of good behaviour by being exceedingly polite to the audience in the theatre through characters that are exceedingly polite to each other; and George Lillo’s domestic tragedy “The London Merchant, or the History of George Barnwell” (1731) shows the “private woe” of everyday characters in order to warn the younger generation against wrongdoing and to propagate middle-class virtues and moral values.

The Seventeenth Century: Part II

2021 ◽  
Author(s):  
William Baker ◽  
Jennifer Airey
Keyword(s):  
Seventeenth Century ◽  
Restoration Drama

Abstract This chapter has five sections: 1. General and Poetry; 2. Restoration Drama Excluding Dryden; 3. Dryden; 4. Prose; 5. Miscellaneous. Sections 1, 4, and 5 are by William Baker; sections 2 and 3 are by Jennifer Airey.

scholarly journals DISCOURSE CATEGORIES: A CASE FOR ENGLISH RESTORATION DRAMA

2021 ◽  
Author(s):  
Olena Marina
Keyword(s):  
Seventeenth Century ◽  
Middle Class ◽  
Religious Discourse ◽  
Restoration Drama ◽  
English Restoration ◽  
Powerful Means ◽  
Upper Middle Class ◽  
Communicative Discourse

In this article, the notions of discourse and discourse categories are considered within the framework of a cognitive-communicative paradigm. In particular, three groups of discourse categories: cognitive, communicative and metadiscursive are considered in this paper. Within the group of cognitive discourse categories, I consider Restoration ideology and argue, that the institution of theatre and the dramatic discourse of the period became powerful means royal propaganda. I argue, that the dramatic discourse of the English Restoration performed two main functions: entertainment and dissemination of a new ideology. In this paper, I substantiate that the religious discourse of English Puritanism was replaced by the secular Restoration one. Within the group of cognitive categories, I also single out basic discourse-generative concepts of the dramatic discourse of the English Restoration. As to the group of communicative discourse categories, I focus on the values, chronotope, and the participants of the dramatic discourse of the English Restoration. I argue, that Restoration discourse disseminated libertine values such as licentiousness and debauchery. As to the chronotope of the dramatic discourse of the English Restoration, in this article, I state that the events in Restoration drama take place mostly in popular and familiar to both readers and viewers places of the London of the seventeenth century and discourse participants are mostly representatives of a wealthy upper middle class and the nobility. Within the group of metadiscursive discourse categories, I focus on the existing variety of genres inherent in the dramatic discourse of the English Restoration.

scholarly journals The flourishing of female playwriting on the Augustan stage: Mary Pix’s "The innocent mistress"

2014 ◽  
Vol 12 ◽  
pp. 149
Author(s):  
José M. Yebra
Keyword(s):  
Seventeenth Century ◽  
Gender Relations ◽  
Women's Writing ◽  
Restoration Drama ◽  
The Impact ◽  
Women’S Writing

This article aims at analysing Mary Pix’s The Innocent Mistress (1697) as a paradigmatic example of the boom in female playwriting at the end of the seventeenth century in England. It is my main aim to determine whether and to what extent Pix’s play can be considered a derivative or innovative text. In other words, does The Innocent Mistress stick to the reformist atmosphere prevailing at the end of the seventeenth century or, on the contrary, is the play fully indebted to the hard Restoration drama of the 1670s? In contrast to the classic view of the Restoration stage as a monolith, this essay shows the evolution from the libertarian Carolean plays to the essentially reformist Augustan drama, and the impact and role of women’s writing in this process. Thus, after briefly delving into the main traits of both traditions –especially those concerning gender relations– my essay concludes that The Innocent Mistress proves to be clearly a product of its time, adapting recurrent Carolean devices to Augustan Reformism, but also the product of a female playwright and her limited room for transgression.

X The Seventeenth Century: Part II

2019 ◽  
Vol 98 (1) ◽  
pp. 550-581
Author(s):  
Ryan Netzley ◽  
William Baker ◽  
Jennifer Airey
Keyword(s):  
Seventeenth Century ◽  
Restoration Drama

AbstractThis chapter has five sections: 1. General; 2. Other Poetry; 3. Restoration Drama Excluding Dryden; 4. Dryden; 5. Prose. Section 1 is by Ryan Netzley; section 2 is by William Baker; sections 3 and 4 are by Jennifer Airey; section 5 is by William Baker.

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