Winter Fruit: English Drama, 1642-1660
University Press of Kentucky, 2014 M10 17 - 472 pages
Probably the most blighted period in the history of English drama was the time of the Civil Wars, Commonwealth, and Protectorate. With the theaters closed, the country at war, the throne in fatal decline, and the powers of Parliament and Cromwell growing greater, the received wisdom has been that drama in England largely withered and died.
Throughout the official hiatus in playing, he shows, dramas continued to be composed, translated, transmuted, published, bought, read, and even covertly acted. Furthermore, the tendency of drama to become interestingly topical and political grew more pronounced.
In illuminating one of the least understood periods in English literary history, Randall's study not only encompasses a large amount of dramatic and historical material but also takes into account much of the scholarship published in recent decades. Winter Fruit is a major interpretive work in literary and social history.
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... on roundheads and royalists Thomas Killigrew (1612-83) Title page of a pamphlet on Ranters Major General John Lambert on a playing card The “Rump” being roasted William Cavendish (1592–1676) and Elizabeth Brackley Margaret Cavendish ...
Nevertheless, I want to give public thanks for generous support from the John Simon Guggenheim Memorial Foundation, the Folger Shakespeare Library, the National Endowment for the Humanities, the American Philosophical Society, ...
Since many scholars—including Thornton S. Graves, David M. Bevington, John N. King, and Annabel Patterson—have helped to explore this complex issue, a small handful of specific instances should suffice here. In April 1559, very early in ...
And Verdi's Masked Ball (1859) as we know it was the result of a major revamping intended to blur the political parallels in its original form. In the earlier twentieth century John Millington Synge's Playboy of the Western World (1907) ...
[A3r] James Shirley himself, in an address to readers of the Francis Beaumont and John Fletcher folio (1647), offers a wry variation on the venerable comparison of stage and life, then tries to put on a happy face: “And now Reader in ...
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