Fourteen specially commissioned essays provide essential information about staging, playwrights, themes and genres in the drama of the Restoration.

This volume of twelve original essays is the first comprehensive study of feminist issues in Restoration drama. The late seventeenth century marks a pivotal era in the history of feminism, when Renaissance assumptions about gender and patriarchy were being directly challenged. For the first time, women appeared onstage as actresses, made their presence felt as spectators and patrons, and wrote a number of the plays produced in theaters. In an unusually direct and probing way, drama of the Restoration period raised radical questions about the place of women in the family and in society, and about the essential nature of men and women. The essays examine feminist issues from a variety of historical and theoretical approaches across a spectrum of plays—comedies, tragedies, tragicomedies, and heroic drama. By addressing the acute questions of gender raised in the drama, Broken Boundaries presents a vivid portrait of the uncertainties and changing perceptions in all areas of intellectual, political, and social life during the last decades of the seventeenth century.

If the Renaissance was the Golden Age of English comedy, the Restoration was the Silver. These comedies are full of tricksters attempting to gain estates, the emblem and the reality of power in late feudal England. The tricksters appear in a number of guises, such as heroines landing their men, younger brothers seeking estates, or Cavaliers threatened with dispossession. The hybrid nature of these plays has long posed problems for critics, and few studies have attempted to deal with their diversity in a comprehensive way. Now one of the leading scholars of Restoration drama offers a cultural history of the period's comedy that puts the plays in perspective and reveals the ideological function they performed in England during the latter half of the seventeenth century. To explain this function, J. Douglas Canfield groups the plays into three categories: social comedy, which underwrites Stuart ideology; subversive comedy, which undercuts it; and comical satire, which challenges it as fundamentally immoral or amoral. Through play-by-play analysis, he demonstrates how most of the comedies support the ideology of the Stuart monarchs and the aristocracy, upholding what they regarded as their natural right to rule because of an innate superiority over all other classes. A significant minority of comedies, however, reveal cracks in class solidarity, portray witty heroines who inhabit the margins of society, or give voice to folk tricksters who embody a democratic force nearly capable of overwhelming class hierarchy. A smaller yet but still significant minority end in no resolution, no restoration, but, at their most radical, playfully portray Stuart ideology as empty rhetoric. Tricksters and Estates is a truly comprehensive work, offering serious critical readings of many plays that have never before received close attention and fresh insights into more familiar works. By juxtaposing the comedies of such lesser-known playwrights as Orrery, Lacy, and Rawlins with those of more familiar figures like Behn, Wycherley, and Dryden, the author invites a greater appreciation than has previously been possible of the meaning and function of Restoration comedy. This intelligent and wide-ranging study promises is a standard work in its field.

The book examines how gentility was portrayed at London's theatres during the early modern era.

Making babies was a mysterious process in early modern England. Mary Fissell employs a wealth of popular sources - ballads, jokes, witchcraft pamphlets, Prayer Books, popular medical manuals - to produce the first account of women's reproductive bodies in early-modern cheap print. Since little was certain about the mysteries of reproduction, the topic lent itself to a rich array of theories. The insides of women's reproductive bodies provided a kind of open interpretive space, a place where many different models of reproductive processes might be plausible. These models were profoundly shaped by cultural concerns; they afforded many ways to discuss and make sense of social, political, and economic changes such as the Protestant Reformation and the Civil War. They gave ordinary people ways of thinking about the changing relations between men and women that characterized these larger social shifts. Fissell offers a new way to think about the history of the body by focusing on women's bodies, showing how ideas about conception, pregnancy, and childbirth were also ways of talking about gender relations and thus all relations of power. Where other histories of the body have focused on learned texts and male bodies, this study looks at the small books and pamphlets that ordinary people read and listened to - and provides new ways to understand how such people experienced political conflicts and social change.