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Beginning 19 - each bulletin contains details of curricula, course description, college rules, etc., for one of the schools or colleges at Western Reserve University.
The Restoration represents an exhilarating period of English history. With Charles II, the ‘Merry Monarch’ restored to the throne, the country saw artistic and literary talent flourish. Charles was an enthusiastic patron of the theatre and helped breathe new life into British drama, reopening the playhouses after the gray years of closure under Puritanical rule. One of the most significant innovations in Restoration theatre was the introduction of actresses on the English stage. This exciting new history is dedicated to the life and times of two of the Restoration’s most celebrated actresses: Mrs Elizabeth Barry and Mrs Anne Bracegirdle. It details their family roots, the beginnings and progression of their London stage careers, their retirement from the limelight, and their eventual demise. Their lives and work are set against the lively and often dangerous atmosphere that epitomized seventeenth-century London and its theaters, and the places where Mrs Barry and Mrs Bracegirdle lived and worked alongside their fellow players, dramatists and others of their times. There are references to the actresses’ admirers and lovers within and without the world of theatre. Along with more favorable critical appraisals, there are explicit and derogatory lines, satirically written, regarding their supposed reputations. This insightful biography places Elizabeth and Anne back in the limelight, and includes transcriptions taken from contemporary works, letters, poems and wills, all adding depth and color to this fascinating subject.
Though once a favourite of no fewer than four English monarchs, Restoration playwright Thomas Durfey has long been neglected by scholars. In his own day he had a lowly reputation in the world of polite letters - before his death his plays had more or less ceased to be produced; his 'serious' poems had died long before that, and even his songs were soon thought of as common property or 'folk' songs. In this new study, author John McVeagh re-examines Durfey's literary output, finding merit and interest where it has long been presumed that none existed, and restoring Durfey to his proper place in late 17th- and early 18th-century literature. Durfey's creative lifetime spanned the entire Restoration period and continued into and beyond the reign of Queen Anne. McVeagh's book studies his continuing ability to adapt to shifts in taste, fashion and personnel in the world of the theatre. It examines in detail his numerous experiments in new kinds of dramatic writing, both responding to and influencing the conditions of theatrical and artistic production. Among the topics covered are Durfey's attempts to feminize Restoration comedy, his political satires in drama in the late Stuart years, his anticipations of sentimental comedy, his search for a new language for lower class tragedy, and his musical-dramatic experimentations in the 1680s and 1690s, focusing particularly on his collaborative work with Matthew Locke, Samuel Ackroyde, John Eccles, Daniel and Henry Purcell and other composers. In addition, the author discusses Durfey's numerous satiric, narrative and other poems, and relates his writings to their social, political and cultural contexts. The book includes a performance record, listing the plays by performance date. The record includes such information, if known, as: where it was performed; by what company; cast list; to whom it was dedicated; a brief description of the prologue and epilogue; when it was published; what music it contained; and details of any revivals.
This book examines the theories and practices of narrative and drama in England between 1650 and 1700, a period that, in bridging the Renaissance and the Enlightenment, has been comparatively neglected, and on which, at the time of writing, there is a dearth of new approaches. Critical consensus over these two genres has failed to account for its main features and evolution throughout the period in at least two ways. First, most approaches omit the manifold contradictions between the practice and the theory of a genre. Writers were generally aware of working within a tradition of representation which they nevertheless often challenged, even while the theory was being drafted (e.g., by John Dryden). The ideal and the real were in unacknowledged conflict. Second, critical readings of these late Stuart texts have fitted them proactively into a neat evolutionary pattern that reached eighteenth-century genres without detours or disjunctions, or else they have oversimplified the wealth of generic conventions deployed in the period, so that to the present-day reader, for instance, Restoration drama consists only of either city comedies or Dryden's tragedies. A cursory survey of the critical history of seventeenth-century drama and fiction confirms these views. Although the 1970s and 1980s brought about a crop of interesting reassessments of the field, fiction continues to be seen as a genre that emerged in the eighteenth century. Most critics still treat earlier manifestations as marginal or as prenovelistic experiments; and in most instances it is even possible to discern a sexist bias to justify this treatment, as these works were written by women, unlike much of the canonical fiction of the eighteenth century. A revision of the critical foundations hitherto held and a re-evaluation of the works of fiction written in the seventeenth century is therefore in order. This study adopts, as a basic and essential methodological tenet, the need to decenter the analysis of Restoration fiction and drama from the traditional canon, too limited and conservative and featuring works that are not always suitable as paradigmatic instances of the literary production of the period. These studies have thus been based on a larger than usual--if not on a full--corpus of works produced within the period, and have sought to ascertain the role played in the development of each of the genres under consideration by works, topics, or even by authors hitherto somewhat outside mainstream literary criticism. This opens the field of English literature further through the framing of new questions or revising of old ones, as well as to beginning a dialogue, yet again, as to the meanings of these literary works and also to their circulation from their inception up to the present time. In addition, the rare attention given to works by women makes this all the more an important book for collections in English literature of the period.