The Restoration Muslim Tangerines Caliban and Sycorax in Dryden-Davenant’s Adaptation of Shakespeare’s The Tempest

This article analyses the filtering of Shakespeare’s The Tempest (1611) in the Restoration drama repertoire, showing the Restoration revision of the Shakespearean stereotypical delineation of the ‘half-moor’ Caliban in the light of Restoration England’s complex relations of admiration and trepidation with regard to the Muslim Moors and Turks. Dryden-Davenant’s The Tempest or The Enchanted Island (1667) complicates the figures of Caliban and Sycorax as Muslim Moorish friends or foes and possible subjects of Charles II’s English Tangier on the Barbary coast. Dryden-Davenant’s The Enchanted Island makes historical parallels and allusions to Charles II’s marriage to the Portuguese Catherine of Braganza and the English possession of Tangier as a part of the marriage dowry.

The Seventeenth Century: Part II

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.

DISCOURSE CATEGORIES: A CASE FOR ENGLISH RESTORATION DRAMA

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.

ПІДХОДИ ДО ВИВЧЕННЯ АНГЛІЙСЬКОЇ РЕСТАВРАЦІЇ

This study applied cognitive-pragmatic, literary criticism and theory of theatre approaches to summarize findings on the dramatic discourse of English Restoration. In this article, I set out the main points of Stuart Restoration ideology, sum-marize findings on the predominant concepts of that time, substantiate that the institution of theatre became a leading ide-ological instrument during the English Restoration, and single out its two main functions: entertainment and dissemination of absolutist ideology. In this paper, the subject matter and dramatis personae of Restoration drama have been character-ized. The paper focuses on generalizing the research results of comparative studies of Restoration and Elizabethan drama which concern their scope, genres, and morality. The conclusions reached in the studies that reported on borrowings in repertoire from native, French and Spanish sources at the beginning of Restoration and the influence of English and con-tinental writers have been synthesized. Further investigation of English Restoration drama revealed an unprecedented genre variety and combination which demonstrated signs of development in different directions during the 1660s. In this article, I state that the existing studies have reported on active behaviour of Restoration audiences during the perfor-mances, describe usual patterns of their behavior, and make conclusions as to the direct influence of such behavior on the processes of drama production and perception. The existing research has demonstrated weak points in some key areas, such as Restoration audiences’ composition. Despite the fact that scholars point to various sources of information as to the theatre-goers’ personalities in the seventeenth century, there is still no consensus of opinions on this issue. Although Restoration drama research demonstrably improved over the 20th and 21st centuries, further research on Elizabethan and Restoration drama cognitive construals of the world, comparative analysis of original plays and adaptations, literary genres origin and development, interactional patterns of viewers and characters of Restoration drama is recommended.Key words: English Restoration theatre, dramatic discourse, play, ideology. У статті наведено узагальнення результатів наукових досліджень, присвячених дискурсу часів англійської Реставрації, з позицій когнітивно-прагматичного, літературного й театрального підходів. У дослідженні окреслено основні положення ідеології Реставрації Стюартів, узагальнено знахідки наукових досліджень, присвячених вивченню основних концептів того часу, обґрунтовано, що інститут театру став провідним ідеологічним інструментом за часів англійської Реставрації, та виділено дві основні його функції: розваги й розповсюдження ідеології абсолютизму. У роботі описано тематику й схарактеризовано персонажів драматичних творів часів англійської Реставрації. Наукова розвідка фокусується на узагальненні результатів наукових досліджень, присвячених порівнянню масштабів охоплення тематики, жанрів і моралі драматичних творів часів англійської Реставрації та драматургії часів королеви Єлизавети Тюдор. У дослідженні також синтезуються знахідки наукових розвідок, присвячених запозиченням у репертуарі з англійських, французьких та іспанських джерел на початку епохи англійської Реставрації, а також впливу власне англійських та європейських авторів. Подальше вивчення драматургії часів англійської Реставрації демонструє безпрецедентне розмаїття та поєднання жанрів, що демонструють ознаки розвитку в різних напрямах у 1660 роки. У статті стверджується, що наукові дослідження повідомляють про активну поведінку глядачів на виставах часів англійської Реставрації та робиться висновок про те, що така поведінка безпосередньо вплинула на процеси створення та сприйняття драматичних творів. Наявні дослідження демонструють прогалини в основних сферах, таких як контингент глядацької аудиторії вистав часів англійської Реставрації. Не зважаючи на той факт, що вчені вказують на різні джерела інформації щодо складу театральної глядацької аудиторії в сімнадцятому столітті, досі не існує єдності поглядів на це питання. Хоча дослідження драматургії часів англійської Реставрації значно покращилися у XX і XXI століттях, рекомендовано вивчення концептуальної картини світу в драматичних творах часів англійської Реставрації та королеви Єлизавети, порівняльний аналіз оригінальних п’єс та адаптацій, виникнення та розвитку літературних жанрів, моделі взаємодії глядачів і персонажів у п’єсах часів англійської Реставрації.Ключові слова: театр часів англійської Реставрації, драматичний дискурс, п’єса, ідеологія.

Thomas Southerne's Muslim Settings and the Politics of the Succession Crisis: A Critical Study of The Loyal Brother

This paper argues that Thomas Southerne used Muslim characters and settings in his play The Loyal Brother (1682) as an allegory for the Succession Crisis of the Restoration period in England. As Southerne's play was published during a time of extreme political tension and controversy, the political discourse the playwright presents in his work reflects the increasing partisanship in the English political nation. In a sense, the representations of Muslim characters in Southerne's play were heavily influenced by the contemporary politics of Restoration England. Obviously, a Tory writer like Southerne employed the image of the Muslim character to emphasize pro-Stuarts political ideas. Keywords: Thomas Southerne, The Loyal Brother, Succession Crisis, Restoration Drama

Introduction

This chapter introduces Restoration theatre and Restoration cosmopolitanism, a form of cosmopolitics born out of the newly energized merger of vigorous global ambitions with an intensified striving for sophistication — the convergence, we might say, of the risky and the risqué — and on display on stage. It emerged in the context of two major factors: first, that the monarch and much of the court had spent many years in exile during the civil wars, and second, that during those years they witnessed ways in which the continental monarchs and their courts had enriched themselves through trade, aggression, and plunder in Asia, Africa, and the Americas. The chapter explores Restoration cosmopolitanism as engaged, critiqued, and embodied by the theater, and as a force, like the Enlightenment itself, with profoundly mixed implications. It explains how the book alters standard narratives about Restoration drama by showing how attention to this highly contested cosmopolitanism, which grew out of the period's most intriguing accomplishments and disturbing atrocities, reveals an otherwise elusive consistency among comedy, tragedy, heroic plays, and tragicomedy; disrupts a generally accepted narrative about early capitalism; and offers a fresh perspective on theatrical performances.

Ways of the World

This book explores cosmopolitanism as it emerged during the Restoration and the role theater played in both memorializing and satirizing its implications and consequences. Rooted in the Stuart ambition to raise the status of England through two crucial investments — global traffic, including the slave trade, and cultural sophistication — this intensified global orientation led to the creation of global mercantile networks and to the rise of an urban British elite who drank Ethiopian coffee out of Asian porcelain at Ottoman-inspired coffeehouses. Restoration drama exposed cosmopolitanism's most embarrassing and troubling aspects, with such writers as Joseph Addison, Aphra Behn, John Dryden, and William Wycherley dramatizing the emotional and ethical dilemmas that imperial and commercial expansion brought to light. Altering standard narratives about Restoration drama, the book shows how the reinvention of theater in this period helped make possible performances that held the actions of the nation up for scrutiny, simultaneously indulging and ridiculing the violence and exploitation being perpetuated. In doing so, it reveals an otherwise elusive consistency between Restoration genres (comedy, tragedy, heroic plays, and tragicomedy), disrupts conventional understandings of the rise and reception of early capitalism, and offers a fresh perspective on theatrical culture in the context of the shifting political realities of seventeenth- and eighteenth-century Britain.

XThe Seventeenth Century: Part II

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.