Even among the richly talented generation who wrote for the stage during the Restoration, Etherege was, from the start, considered to be a very special kind of innovator. His first play, The Comical Revenge (1664), with its partisan portrait of the Cavalier gentry during the last years of the Revolution and its bravura interweaving of four separate plots, deftly caught an early Restoration mood and enjoyed great popularity. Its successor, She Would if She Could (1668), marks a deliberate change in direction. Audiences, expecting a sequel more akin to The Comical Revenge, were at first faltering in their response, but by 1671 Thomas Shadwell was confidently calling it the best comedy to have been written since the return of the king in 1660. Etherege's masterpiece, however, is his last play, The Man of Mode (1676), which in clarity of vision and freshness of detail surpasses both its predecessors and in the early years of the eighteenth century became a central text in the debate about the worth of Restoration comedy. This edition includes annotated texts of all three plays, prefaced by an account of Etherege's life and the reception of his plays on the stage and in criticism.
Verbal brilliance, urbane sophistication and sexual conquest are the measures of success for the fashionable set who watched themselves being represented on the Restoration stage. Yet idealisation and satire, as this edition of Etherege's masterpiece shows, are flip sides of the same coin, and the play betrays deep anxieties about ridicule and social failure. Any London beau would emulate Dorimant, the unconscionable rake who loves 'em and leaves 'em, but he would also secretly fear that he in fact resembled Sir Fopling Flutter, the model of all Restoration fops, in his vanity and affectation. The women fare no better, being offered for identification Dorimant's discarded mistress Loveit, scheming for revenge, or the beautiful but hard-headed Harriet, who dares Dorimant to woo her in the country, for 'I know all beyond Hyde Park is a desert to you and that no gallantry can draw you farther'.
After the restoration of King Charles II to the British throne in 1660, dramatists experienced new freedom in an age that broke from the strict morality of puritan rule and in which elegance and wit became the chief virtues. Irreverent, licentious and cynical, the three plays collected here hold up a mirror to this dazzling era and satirize the gulf between appearances and reality. In Etherege's The Man of Mode (1676), the womanizing Dorimant meets his match when he falls in love with the unpretentious Harriet, while Wycherley's The Country Wife (c. 1675) depicts the rakish Horner who fakes impotence to fool trusting husbands into giving him easy access to their wives. And in Congreve's Love for Love (1695), the extravagant Valentine can only win his beloved Angelica if he loses his inheritance.
English historians in the Middle Ages is an overview of the history of English historians and their works in the Middle Ages. English historians helped lay the groundwork for modern historical methodology, provided vital accounts of the early history of England, its culture, and revelations about the historians themselves. The most remarkable period of historical writting was during the High Middle Ages in the 12th and 13th centuries, when English chronicles produced works with a variety of interest, wealth of information and amplitude of range. However one might choose to view the reliability.
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