First published in 1979, this book traces comedy of manners from the 1660s to the then present — a scope beyond the traditional focus on the Restoration and early twentieth century. It uncovers an underestimated subversive potential and socially critical force in this particularly English dramatic form, emphasising the distinctive subjects and style that distinguish it from more general forms of witty social satire. The author discusses the major comic dramatists of the post-Restoration period; reassesses the significance of Sheridan, Wilde and Coward; and examines the continuation of the tradition in modern writers. This book will be of interest to students of English literature and drama.

Interpreting Ladies explores the defense by the Restoration comedy of manners of an ideal of aristocratic, conservative, English masculinity against the heavily satirized encroachments of French foppishness and the pretensions of the aspiring merchant class. Using Freud's theory of obscene wit, in which obscene jokes become reassuring testimonies of male privilege, as well as more recent theoretical descriptions of the discursive processes of meaning and desire, Gill considers the position of both the female protagonists and the female spectators in Restoration satire. She sketches the historical events and issues that create the link between morality and rhetoric and that serve to connect each to class and status. Gill posits that the moral indeterminacy and slippage in satiric language is closely linked to male uneasiness about female honesty, and the dramatists' arguments in defense of their satiric treatments of female hypocrisy, duplicity, and sexual desire expose the gap in the moral premise of Restoration comic satire. It is a gap, Gill contends, that has everything to do with women - with female characters and putative female spectators - and it is why she states that "any reading that proposes to account for the equivocal satiric practice of Restoration comedy must therefore of necessity include a feminist critique".

“The Contrast“, which premiered at New York City's John Street Theater in 1787, was the first American play performed in public by a professional theater company. The play, written by New England-born, Harvard-educated, Royall Tyler was timely, funny, and extremely popular. When the play appeared in print in 1790, George Washington himself appeared at the head of its list of hundreds of subscribers. Reprinted here with annotated footnotes by historian Cynthia A. Kierner, Tyler’s play explores the debate over manners, morals, and cultural authority in the decades following American Revolution. Did the American colonists' rejection of monarchy in 1776 mean they should abolish all European social traditions and hierarchies? What sorts of etiquette, amusements, and fashions were appropriate and beneficial? Most important, to be a nation, did Americans need to distinguish themselves from Europeans—and, if so, how? Tyler was not the only American pondering these questions, and Kierner situates the play in its broader historical and cultural contexts. An extensive introduction provides readers with a background on life and politics in the United States in 1787, when Americans were in the midst of nation-building. The book also features a section with selections from contemporary letters, essays, novels, conduct books, and public documents, which debate issues of the era.

Dryden's audiences in 1671, both aristocratic and middle-class, would have been quick to respond to the themes of disputed royal succession, Francophilia and loyalty among subjects in his most successful tragicomedy. In the tragic plot, written in verse, young Leonidas has to struggle to assert his place as the rightful heir to the throne of Sicily and to the hand of the usurper's daughter. In the comic plot, written in prose, two fashionable couples (much more at home in London drawing-rooms than at the Sicilian court) play at switching partners in the 'modern' style. The introduction of this edition argues that Dryden's own ambivalence about King Charles and his entourage, on whom he came to rely more on more for patronage, manifests itself in both plots; most of all perhaps in the excessively Francophile Melantha, whose affectation cannot quite hide her endearing joie-de-vivre.

An exploration of the ways in which Restoration comedy was performed, using the costume, customs, manners and behaviour of the age as a way of understanding its theatre and drama. It also considers problems encountered in early twentieth century revivals of plays by authors such as Etherege, Dryden, Congreve and Farquhar.

Tor Classics are affordably-priced editions designed to attract the young reader. Original dynamic cover art enthusiastically represents the excitement of each story. Appropriate "reader friendly" type sizes have been chosen for each title--offering clear, accurate, and readable text. All editions are complete and unabridged. American teenager Daisy miller was on a holiday--and Europe might never recover. From Switzerland to Rome, she caused scandals everywhere: because Daisy Miller did w"hatever" she wanted, with "whomever" she wanted, "whenever "she chose. And she truly didn't care what society thought. But Winterbourne, a dignified, proper, upper-crust young man, was utterly fascinated by her. To the horror of his relatives and friends, Winterbourne helplessly followed Daisy across a continent. Even though Daisy was too much woman for WInterbourne to every understand... And even though Daisy Miller might be a danger to herself.

Seven-year-old Huxley searches for a best friend but life is confusing when he doesn't know who is trustworthy.