Restoration Comedies : The Parsons Wedding; The London Cuckolds; Sir Courtly Nice, or It Cannot Be

This collection, "Restoration Comedies," revisits the resurgence of English stage plays with a focus on comedies that emerged in the wake of the Puritan ban of theatrical performances in 1642. The book delves into the transitional period following the austere rule of the Puritans when the reopening of theaters marked a renewed appetite for drama that grappled with the moral and social customs of the time.

Within the broader context of English literary history, these plays represent a defiant reclamation of cultural expression and a significant evolution from the previous era's theatrical giants like Shakespeare and Fletcher. The anthology features works from a variety of playwrights who thrived during this prolific period, including John Ford's psychological explorations and the poised creations of Philip Massinger and James Shirley. The text illustrates the continuity of the dramatic tradition, even as newer talents like Richard Brome and Sir William Davenant brought their unique perspectives to the stage.

The primary techniques employed in these works include intricate plotting, biting satire, and a penchant for exploring the foibles of high society, as evidenced by the included pieces like "The Parsons Wedding," "The London Cuckolds," and "Sir Courtly Nice, or It Cannot Be." These comedies not only reflect the thematic depth of the era, focusing on social norms and individual desires but also the stylistic breadth, from the bawdy to the ethereal.

The book also considers the integration of these plays with the broader cultural and artistic movements of the time, noting how playwrights collaborated with or drew inspiration from other art forms, such as poetry and masquerade, to enrich their narratives.

In sum, "Restoration Comedies" provides a vivid lens through which to view the spirited revival of the English theater, encapsulating the enduring power of laughter and satire to comment on and cope with the changing tides of society. The collection serves as a testament to the resilience of art in the face of censorship, and the indomitable human spirit that revels in wit, even amidst recovery from repression.

This collection, "Restoration Comedies," revisits the resurgence of English stage plays with a focus on comedies that emerged in the wake of the Puritan ban of theatrical performances in 1642. The book delves into the transitional period following the austere rule of the Puritans when the reopening of theaters marked a renewed appetite for drama that grappled with the moral and social customs of the time.

Within the broader context of English literary history, these plays represent a defiant reclamation of cultural expression and a significant evolution from the previous era''s theatrical giants like Shakespeare and Fletcher. The anthology features works from a variety of playwrights who thrived during this prolific period, including John Ford''s psychological explorations and the poised creations of Philip Massinger and James Shirley. The text illustrates the continuity of the dramatic tradition, even as newer talents like Richard Brome and Sir William Davenant brought their unique perspectives to the stage.

The primary techniques employed in these works include intricate plotting, biting satire, and a penchant for exploring the foibles of high society, as evidenced by the included pieces like "The Parsons Wedding," "The London Cuckolds," and "Sir Courtly Nice, or It Cannot Be." These comedies not only reflect the thematic depth of the era, focusing on social norms and individual desires but also the stylistic breadth, from the bawdy to the ethereal.

The book also considers the integration of these plays with the broader cultural and artistic movements of the time, noting how playwrights collaborated with or drew inspiration from other art forms, such as poetry and masquerade, to enrich their narratives.

In sum, "Restoration Comedies" provides a vivid lens through which to view the spirited revival of the English theater, encapsulating the enduring power of laughter and satire to comment on and cope with the changing tides of society. The collection serves as a testament to the resilience of art in the face of censorship, and the indomitable human spirit that revels in wit, even amidst recovery from repression.