By Susan J. Owen
This 'Companion' illustrates the energy and variety of dramatic paintings 1660 to 1710. Twenty-five essays by means of major students within the box compile the easiest fresh insights into the complete variety of dramatic perform and innovation on the time.
• Introduces readers to the new increase in scholarship that has revitalised recovery drama
• Explores ancient and cultural contexts, genres of recovery drama, and key dramatists, between them Dryden and Behn
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Additional resources for A Companion to Restoration Drama
Southern, Richard (1952). Changeable Scenery. London: Faber and Faber. Styan, J. L. (1986). Restoration Comedy in Performance. Cambridge: Cambridge University Press. ). (1965). The London Stage, 1660-1800. Part I: 1660-1700, ed. Emmett L. Avery and Arthur H. Scouten. Carbondale: Southern Illinois University Press. Visser, Colin (1975). 'The Anatomy of the Early Restoration Stage: The Adventures of Five Hours and John Dryden's "Spanish" Comedies', Theatre Notebook 29, 56-69 and 114-19. A Companion to Restoration Drama.
As a result, Rymer's preface assumes a nationalistic fervour that is almost non-existent in Rapin's text. 28 Paul D. Cannan The appearance in the summer of 1677 of Rymer's next work, The Tragedies of the Last Age Consider'dand Examin'd by the Practice of the Ancients, and by the Common Sense of All Ages, makes perfect sense in the context of the current trends in late seventeenthcentury English criticism. Rymer's close analysis of three plays by Beaumont and Fletcher - The Bloody Brother, A King and No King and The Maid's Tragedy — is a contribution to two relatively long-standing and related controversies among playwrights: the relationship between ancient and modern drama, and the extent to which playwrights of the 'last age' should serve as models.
If Dryden's prefatory pronouncements are scarcer after his comments on tragicomedy and audience taste in the dedication to The Spanish Fryar (1681), his authorial presence in them remains prominent. Even in the dedicatory epistle to his last play, Love Triumphant (1694), he admittedly digresses from his praise of James Cecil, fourth Earl of Salisbury, to address authorial concerns of composition and interpretation. While no other late seventeenth-century playwright matched the output or assertive tone of Dryden's prefatory pronouncements, his influence is nevertheless clearly identifiable in the critical dedications and prefaces of important writers such as Aphra Behn, Nahum Täte, Thomas Southerne and William Congreve.