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City comedy 125 roles. Here Sir Giles plans with Wellborn (the name is ironic) to help him make a useful marriage; but Wellborn also has his own ideas. OVERREACH You may wonder, nephew, After so long an enmity between us, I should desire your friendship. WELLBORN So I do, sir; ’Tis strange to me. OVERREACH But I’ll make it no wonder; And what is more, unfold my nature to you. We worldly men, when we see friends and kinsmen Past hope sunk in their fortunes, lend no hand To lift them up, but rather set our feet Upon their heads, to press them to the bottom; As, I must yield, with you I practised it: But, now I see you in a way to rise, I can and will assist you; this rich lady (And I am glad of ’t) is enamoured of you; ’Tis too apparent, nephew. WELLBORN No such thing: Compassion rather, sir. OVERREACH Well, in a word, Because your stay is short, I’ll have you seen No more in this base shape; nor shall she say, She married you like a beggar, or in debt. WELLBORN [aside] He’ll run into the noose, and save my labour. THE END OF THE RENAISSANCE THEATRE After Shakespeare and the other major dramatists of the time, it is easy for critics to say that drama went into decline. This is, however, to ignore the works of several writers: Jonson continued to write for the theatre well into the 1630s, and some of his later plays, such as The Staple of News (printed 1631), deserve to be more widely known and performed.
126 The Renaissance 1485–1660 The same can be said for the plays of Richard Brome and James Shirley. They are quite different in style, but both are highly inventive and versatile within their chosen forms. Shirley’s tragedies The Cardinal (1641) and The Traitor (1631) tackle religious and political themes. Brome’s most successful works are comic – A Jovial Crew (1641) and The City Wit (printed 1653). These works show that, despite Puritan opposition, the theatre continued to be a lively art-form right up until the theatres were closed in 1642. It should, however, be remembered that Puritanism does not simply represent opposition to theatrical activity and similar pursuits. Several dramatists, most notably Middleton, identified themselves with Puritan beliefs, although not in an extremist way. Puritan thought aimed, in its most literal sense, to purify and simplify the spiritual mindset of the time: only later did the extreme of revolution become an option. The result of extreme Puritan moralistic pressure was that, in 1642, the Long Parliament put an end to theatrical performances. The closure of the theatres brought to an end the greatest period of English drama. Never again was drama to be the most popular literary genre or such a vital forum for the discussion of the major themes of the age.
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The Routledge History of Literature
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First published 1997 by Routledge 1
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Contents List of illustrations Fore
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Contents ix The Gothic and the subl
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Contents xi THE TWENTIETH CENTURY:
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Illustrations Figure 1 Linguistic b
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xvi Foreword The Routledge History
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xviii Foreword and burlesque and sa
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From the earliest stages, Malcolm B
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Beowulf, the Dane, dear king of his
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6 Old and Middle English 600-1485 T
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8 Old and Middle English 600-1485 t
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10 Old and Middle English 600-1485
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22 Figure 2 The greatest extent of
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The Renaissance 1485-1660
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58 The Renaissance 1485-1660 centur
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60 The Renaissance 1485-1660 would
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62 The Renaissance 1485-1660 were n
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64 The Renaissance 1485-1660 ‘To
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66 The Renaissance 1485-1660 I find
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68 The Renaissance 1485-1660 Mid-su
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70 The Renaissance 1485-1660 and a
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72 The Renaissance 1485-1660 I had
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Page 150 and 151: Thy wars brought nothing about; Thy
Page 152 and 153: Contexts and conditions 131 Sea; no
Page 154 and 155: Early Milton 133 Revolution was the
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Page 158 and 159: Early Milton 137 the hero from the
Page 160 and 161: Restoration drama 139 many lives as
Page 162 and 163: Restoration drama 141 Revenge! PIER
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Page 168 and 169: Restoration drama 147 LOVELESS No,
Page 170 and 171: Restoration drama 149 PRIM Do they
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Page 174 and 175: Dryden 153 what it saw as the highe
Page 176 and 177: Dryden 155 his best, and his transl
Page 178 and 179: Pope 157 POPE True wit is nature to
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Page 182 and 183: Scottish Enlightenment, diarists an
Page 188 and 189: The novel 167 and the social awaren
Page 190 and 191: The novel 169 Each serial volume of
Page 192 and 193: The novel 171 paraphrase Pope: what
Page 194 and 195: The novel 173 polemic comes when he
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The novel 175 That kingdom he hath
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The novel 177 opportunity to set fo
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The novel 179 sentence of death. He
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Criticism 181 to do with that work.
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Johnson 183 (1712). Swift took the
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Johnson 185 There are some hostile
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Sterne, Smollett and Scottish voice
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Drama after 1737 195 MISS HARDCASTL
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Poetry after Pope 197 Thomas Gray
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Poetry after Pope 199 Nor rural sig
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Poetry after Pope 201 but by no mea
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Melancholy, madness and nature 203
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The Gothic and the sublime 209 Burk
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The Gothic and the sublime 211 conc
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The Gothic and the sublime 213 all
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Bliss was it in that dawn to be ali
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Contexts and conditions 219 and mor
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Contexts and conditions 221 economi
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Contexts and conditions 223 past, p
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Blake, Wordsworth and Coleridge 225
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Keats 235 and completing the poetic
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Keats 237 beauty but at the same ti
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Shelley 239 Keats also gives us occ
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Shelley 241 or sail around Venice.
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Byron 243 Each like a corpse within
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Byron 245 What I have done is done;
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Byron 247 Though the night was made
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Romantic prose 249 Bright yellow is
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Romantic prose 251 one of the Immor
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The novel in the Romantic period 25
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Jane Austen 255 the remotest antiqu
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Jane Austen 257 she wrote in her le
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Jane Austen 259 LANGUAGE NOTE Jane
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Scott 261 and scarcely even picture
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Scott 263 She coloured highly, and
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From Gothic to Frankenstein 265 flu
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The Scottish regional novel 267 (18
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The nineteenth century
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272 The nineteenth century of Queen
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274 The nineteenth century Smollett
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276 The nineteenth century Hard Tim
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278 The nineteenth century Podsnap
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280 The nineteenth century income a
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282 The nineteenth century cover su
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284 The nineteenth century in some
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286 The nineteenth century earlier
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288 The nineteenth century the end.
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290 The nineteenth century Charlott
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292 The nineteenth century by Dicke
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294 The nineteenth century the ‘v
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296 The nineteenth century LATE VIC
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298 The nineteenth century fathers
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300 The nineteenth century In his l
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302 The nineteenth century An old w
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304 The nineteenth century is a cla
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308 The nineteenth century Renaissa
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328 The nineteenth century also saw
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330 The nineteenth century aware so
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332 The nineteenth century Stitch!
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334 The nineteenth century Her robe
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336 The nineteenth century year as
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338 The nineteenth century twentiet
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340 The nineteenth century But if y
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342 The nineteenth century we can r
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The twentieth century 1900-45
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348 The twentieth century: 1900-45
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544 Timelines 802 Egbert of Wessex
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546 Timelines 1189 Accession of Kin
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548 Timelines became King Henry VI
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550 Timelines 1513 Niccolo Machiave
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552 Timelines 1578 Opening of The T
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554 Timelines 1685 Death of Charles
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556 Timelines 1811-12 The campaign
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558 Timelines the USA expanded towa
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560 Timelines USA, which demanded t
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562 Timelines conceded. The phrase
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564 Timelines policy, with enormous
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Acknowledgements W.H. AUDEN, Their
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568 Acknowledgements D.H. LAWRENCE,
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Select bibliography The following b
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572 Select bibliography Dollimore,
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574 Select bibliography Miner, Earl
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576 Select bibliography Burrow, J.W
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578 Select bibliography Sinfield, A
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580 Index Ballantyne, R(obert) M(ic
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582 Index Cockburn, Alison (c.1712-
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584 Index Gaskell, (Mrs) Elizabeth
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586 Index Keats, John (1795-1821) 1
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588 Index Morris, William (1834-96)
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590 Index Seneca, Lucius Annaeus (c
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592 Index Waugh, Evelyn (1903-66) 3
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