A New Source for Two Aphra Behn Plays: The Dutch Lady, A Restoration Comedy in Manuscript

2019 ◽  
Vol 33 (2-3) ◽  
pp. 228-233
Author(s):  
Joseph F. Stephenson ◽  
Darren Freebury-Jones
Keyword(s):  
Aphra Behn ◽  
Restoration Comedy

Restoration Theatre and the Novel

2018 ◽  
Author(s):  
Jenny Davidson
Keyword(s):  
Eighteenth Century ◽  
Literary Form ◽  
The Novel ◽  
Cultural Transition ◽  
Strong Affinity ◽  
History Of ◽  
Restoration Theatre ◽  
Restoration Comedy ◽  
London Stage

This chapter explores the broad cultural transition from drama to novel during the Restoration period, which triggered one of the most productive periods in the history of the London stage. However, when it comes to the eighteenth century proper, the novel is more likely to be identified as the century's most significant and appealing popular genre. The chapter considers why the novel has largely superseded drama as the literary form to which ambitious and imaginative literary types without a strong affinity for verse writing would by default have turned their attention and energies by the middle of the eighteenth century. Something important may have been lost in the broad cultural transition from drama to novel. This chapter, however, contends that many things were preserved: that the novel was able to absorb many of the functions and techniques not just of Restoration comedy but of the theatre more generally.

scholarly journals La escritura femenina en lengua inglesa en el siglo XVII

Hikma ◽  
2008 ◽  
Vol 7 ◽  
pp. 9
Author(s):  
M. del Mar RIVAS CARMONA
Keyword(s):  
Aphra Behn ◽  
Las Mujeres ◽  
Escritura Femenina

Pese a las numerosas dificultades que encontraron, las mujeres del XVII consiguieron hacerse un hueco en un mundo literario tradicionalmente masculino. Entre otros problemas, las teorías que apoyaban una superioridad de los hombres en el ámbito intelectual llevaron a difundir el estereotipo de la escritora rebelde, insensata y desvergonzada. Siguiendo la estela de Aphra Behn, la primera escritora profesional, numerosas autoras comenzaron paulatinamente a contribuir con sus ingresos a la economía del propio hogar. Sus escritos se enmarcan en géneros muy diversos (Aughterson 1995), desde manuales del hogar y cartas personales a controversias políticas y obras dramáticas, pasando por poesía, prosa sentimental, ficción en prosa o escritos religiosos. El presente estudio pretende repasar y valorar la labor heroica y transgresora de las primeras mujeres, esas primeras voces “feministas” (Richards 1980), que decidieron que su papel no podía estar ligado exclusivamente a la aguja y al fogón.

The Sentimental Mask

PMLA ◽  
1963 ◽  
Vol 78 (5) ◽  
pp. 529-535 ◽  
Author(s):  
Paul E. Parnell
Keyword(s):  
The Self ◽  
Recent Developments ◽  
Adequate Definition ◽  
Restoration Comedy

Fifty years after the modern study of sentimentalism was inaugurated by Ernest Bernbaum, the problem remains whether the term has ever been satisfactorily defined or described. Two recent developments reveal some of the difficulties: Arthur Sherbo in The English Sentimental Drama takes five basic criteria considered by most authorities as typical, and shows that they may all apply to plays demonstrably not sentimental. John Harrington Smith, in the preface to The Gay Couple in Restoration Comedy (1948), announces that he has completely avoided the term “sentimental” as too vague to be of much value. Yet Ronald Crane, writing fourteen years before, assumed the essential traits of sentimentalism to be fairly clear, and Norman Holland has implied that two criteria borrowed from Bernbaum and Krutch still supply an adequate definition. There is not even agreement whether sentimentality is a positive or negative quality. Krutch and Sherbo feel that it is false and dishonest, therefore bad. Crane concedes that it is somewhat limited intellectually, but emphasizes its humanitarianism and emotional warmth, especially the “self-approving joy” that makes virtue satisfying. Bernbaum vacillates between sympathy and contempt.

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