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Restoration drama 145 prohibiting ‘the acting of anything contrary to religion and good manners’. Less than forty years later, censorship became official. Just as the first blows were being struck against it, Restoration drama produced its greatest masterpieces, in the plays of William Congreve, Sir John Vanbrugh (also an eminent architect), and George Farquhar, who was to die before he was 30, just as his final play, The Beaux’ Stratagem, achieved renown. Congreve also reached success by the age of 30, and then wrote nothing else for the stage. His first three comedies in the 1690s – The Old Bachelor, The Double Dealer, and Love for Love – lead to the climactic work of all Restoration comedy, The Way of the World (1700). MILLAMANT I’ll never marry, unless I am first made sure of my will and pleasure. MIRAB1ELL Would you have ’em both before marriage? Or will you be contented with the first now, and stay for the other till after grace? MILLAMANT Ah, don’t be impertinent – My dear liberty, shall I leave thee? My faithful solitude, my darling contemplation, must I bid you then adieu? Ah-y adieu – my morning thoughts, agreeable wakings, indolent slumbers, all ye douceurs, ye sommeils du matin, adieu – I can’t do it, ’tis more than impossible. – Positively, Mirabell, I’ll lie a-bed in a morning as long as I please. MIRABELL Then I’ll get up in a morning as early as I please. MILLAMANT Ah! Idle creature, get up when you will – And d’ye hear, I won’t be called names after I’m married; positively, I won’t be call’d names. MIRABELL Names! MILLAMANT Ay, as wife, spouse, my dear, joy, jewel, love, sweetheart, and the rest of that nauseous cant, in which men and their wives are so fulsomely familiar, – I shall never bear that. – Good Mirabell don’t let us be familiar or fond, nor kiss before folks, like my Lady Fadler and Sir Francis: not go to Hyde Park together the first Sunday in a new chariot, to provoke eyes and whispers; and then never be seen there together again; as if we were proud of one another the first week, and ashamed of one another ever after. Let us never visit together, nor go to a play together, but let us be very strange and well-bred: let us be as
146 Restoration to Romanticism 1660–1789 strange as if we had been married a great while; and as wellbred as if we were not married at all. MIRABELL Have you any more conditions to offer? Hitherto your demands are pretty reasonable. MILLAMANT Trifles, – as liberty to pay and receive visits to and from whom I please; to write and receive letters, without interrogatories or wry faces on your part; to wear what I please; and choose conversation with regard only to my own taste; to have no obligation upon me to converse with wits that I don’t like, because they are your acquaintance; or to be intimate with fools, because they may be your relations. Come to dinner when I please, dine in my dressing-room when I’m out of humour, without giving a reason. To have my closet inviolate; to be sole empress of my tea-table, which you must never presume to approach without first asking leave. And lastly wherever I am, you shall always knock at the door before you come in. These articles subscribed, if I continue to endure you a little longer, I may by degrees dwindle into a wife. What raises Congreve above many of his contemporaries is the acute observation of the social and emotional pressures on characters who are more richly drawn than traditional stereotypes. Like many later writers of comedy, Congreve was something of an outsider, having been brought up in Ireland, and perhaps the outsider’s eye gave him a privileged viewpoint on the society he portrayed with such insight, sympathy, and wit. Vanbrugh’s The Relapse and The Provok’d Wife (1696 and 1697) particularly outraged Jeremy Collier. They take linked plots to new heights, with richly drawn characters – such as Sir Novelty Fashion, Sir Tunbelly Clumsy, Sir John and Lady Brute, Lord Foppington, Lady Fancyfull – and a series of intrigues and impersonations, which bear out the implications of the characters’ names and attributes. Here, Loveless has his way with Berinthia – notice how she objects! BERINTHIA Heavens, what do you mean? LOVELESS Pray, what do you think I mean? BERINTHIA I don’t know. LOVELESS I’ll show you. BERINTHIA You may as well tell me.
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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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10 Old and Middle English 600-1485
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The Renaissance 1485-1660
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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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90 The Renaissance 1485-1660 Shakes
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Page 150 and 151: Thy wars brought nothing about; Thy
Page 152 and 153: Contexts and conditions 131 Sea; no
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Page 192 and 193: The novel 171 paraphrase Pope: what
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Page 196 and 197: The novel 175 That kingdom he hath
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Page 200 and 201: The novel 179 sentence of death. He
Page 202 and 203: Criticism 181 to do with that work.
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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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The Gothic and the sublime 209 Burk
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The Gothic and the sublime 211 conc
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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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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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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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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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