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This facsimile edition reproduces the extant works of the seventeenth-century poet, 'Ephelia'. By tradition, the identity of 'Ephelia' has been a long-contested debate in English letters. In her extended Introductory Note, Maureen Mulvihill culls evidence from the 'Ephelia' texts and from contemporary sources to show that the most likely candidate is Mary Villiers, later Stuart, Duchess of Richmond and Lennox (1622-1685). The volume opens with the reproduction of A Poem To His Sacred Majesty, On the Plot... (1678) from the copy held at the Bodleian Library. This is a large broadsheet poem prompted by The Popish Plot, expressing support for King Charles II. A new addition to the corpus of 'Ephelia's work is a variant of this 1678 parent-text, displaying a woodcut printer's ornament (factotum, with inset typepiece 'H'), which may hold special significance. This volume reproduces the copy preserved at the Huntington Library, and supplies with the facsimile an enlarged image of the ornament. Female Poems on several Occasions (1679) offers a rich variety of material: political verse, excerpted material from the poet's 'lost' play, love poetry and coterie verse critical of the moral decline of the Stuart court. The copy of the book reproduced here is that preserved at the Folger Shakespeare Library. The final printed work in the volume is Advice To His Grace ([1681]) in which 'Ephelia' admonishes the Duke of Monmouth and advocates the purity of the Stuart line and the integrity of the Stuart succession. The copy reproduced here is preserved at the Beinecke Library. The volume concludes with three appendices: two Van Dyck portraits of Lady Mary Villiers; a signed manuscript elegy, preserved at Nottingham, with an enlarged image of its armorial watermark; and the title-page of the poet's Female Poems (1682).
A biography of the poet and libertine the Earl of Rochester. Of the glittering, licentious court around King Charles II, John Wilmot, the second Earl of Rochester, was the most notorious. Simultaneously admired and vilified, he personified the rake-hell. Libertine, profane, promiscuous, heshocked his pious contemporaries with his doubts about religion and his blunt verses that dealt with sex or vicious satiric assaults on the high and mighty of the court. This account of Rochester and his times provides the facts behind his legendary reputation as a rake and his deathbed repentance. However, it also demonstrates that he was a loving if unfaithful husband, a devoted father, a loyal friend, a serious scholar, a social critic, and an aspiring patriot. An Emeritus Professor of English at the University of Rochester, James William Johnson is the author or editor of nine books and many articles treating British and American Literature.
In the late seventeenth and eighteenth centuries, the 'woman writer' emerged as a category of authorship in England. Publishing the Woman Writer in England, 1670-1750 seeks to uncover how exactly this happened and the ways publishers tried to market a new kind of author to the public. Based on a survey of nearly seven hundred works with female authors from this period, this book contends that authorship was constructed, not always by the author, for market appeal, that biography often supported an authorial persona rooted in the genre of the work, and that authorship was a role rather than an identity. Through an emphasis on paratexts, including prefaces, title pages, portraits, and biographical notes, Leah Orr analyses the representation of women writers in this period of intense change to make two related arguments. First, women writers were represented in a variety of ways as publishers sought successful models for a new kind of writer in print. Second, a new approach is needed for studying early women writers and others who occupy gaps in the historical record. This book shows that a study of the material contexts of printed books is one way to work with the evidence that survives. It therefore begins with a very familiar kind of author-centric literary history and deconstructs it to conclude with a reception-centered history that takes a more encompassing view of authorship. In addition to analysis of many little-known and anonymous authors, case studies include Aphra Behn, Catharine Trotter/Cockburn, Laetitia Pilkington, Marie-Catherine d'Aulnoy, and Anne Dacier.
Building on the strength of Keith Walker’s acclaimed The Poems of John Wilmot, Earl of Rochester (1984), leading scholar Nicholas Fisher presents a thoroughly revised and updated edition of the work of one the greatest Restoration wits. Includes the text of Lucina’s Rape, Rochester’s adaptation of Fletcher’s revenge tragedy Valentinian, in a text that readily identifies Rochester’s revisions Presents the poems in versions that were current during Rochester’s lifetime, allowing the reader to experience the poems as Rochester’s contemporaries did Incorporates insights and discoveries made over the last twenty-five years and texts of manuscripts that previously were unavailable for study
The Female Wits: Women and Gender in Restoration Literature and Culture reúne trabajos sobre varias escritoras inglesas del siglo XVII. Algunas son bien conocidas hoy en día, como Margaret Cavendish y Aphra Behn, mientras que para otras su reconocimiento académico aún está por llegar (Mary Pix, Catharine Trotter, Elizabeth Singer Rowe, etc.). Los ensayos atienden tanto a la forma en que ellas contribuyeron a la transformación de los géneros literarios al uso en su época como a la relación que establecieron con sus coetáneos masculinos.
John Eccles’s active theatrical career spanned a period of about sixteen years, though he continued to compose occasionally for the theater after his semi-retirement in 1707. During his career he wrote incidental music for more than seventy plays, writing songs that fit perfectly within their dramatic contexts and that offered carefully tailored vehicles for his singers’ talents while remaining highly accessible in tone. This edition includes music composed by Eccles for plays beginning with the letters R–W, along with secular songs and catches by Eccles that were not associated with plays. These plays were fundamentally collaborative ventures, and multiple composers often supplied the music; thus, this edition includes all the known songs and instrumental items for each play. Plot summaries of the plays are given along with relevant dialogue cues, and the songs are given in the order in which they appear in the drama (when known).