Broken Boundaries: Women and Feminism in Restoration Drama PDF
Preview Broken Boundaries: Women and Feminism in Restoration Drama
Brokerz Boundaries Broken Boundaries Women & Feminism in Restoration Drama Katherine M. Quinsey Editor The University Press of Kentucky Frontispiece: Nell Gwyn rising from the dead to speak the epilogue to Dryden's Tyrannick Love, published as the frontispiece to A Key to the Rehearsal (1714) in The Dramatick Works of his Grace George Villiers, late Duke ofB uckingham (1715), vol. 2. By permission of the Department of Special Collections, Stanford University Libraries. Copyright © 1996 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine College, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Club, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 00 99 98 97 96 5 4 3 2 1 Library of Congress Cataloging-in-Publication Data Broken boundaries : women and feminism in Restoration drama / edited by Katherine M. Quinsey. p. cm. Includes bibliographical references and index. ISBN 0-8131-1945--6 Calk. paper). -ISBN 0-8131-0871-3 Cpbk. : alk. paper) 1. English drama-Restoration, 1660--1700---History and criticism. 2. Feminism and literature-England-History-17th century. 3. Literature and society-England-History-17th century. 4. Women in the theater-England-History-17th century. 5. Women and literature-England-History-17th century. 6. Theater-England History-17th century. 7. Gender identity in literature. 8. Sex role in literature. 9. Women in literature. I. Quinsey, Katherine M.,1955- PR698.F45B76 1996 822'.409352042--<ic20 96-5329 This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence of Paper for Printed Library Materials. Manufactured in the United States of America Contents List oj Illustrations vii Acknowledgments ix Introduction 1 PART 1 Instruments ofP ropagation: Plays by Women Blacker Than Hell Creates: 13 Pix Rewrites Othello Jacqueline Pearson Unmanned with Thy Words: 31 Regendering Tragedy in Manley and Trotter Rebecca Merrens In the Carnival World 54 ojA dam's Garden: Roving and Rape in Behn's Rover Dagny Boebel Closure and Subversion in Behn 's Comedies 71 Peggy Thompson Lady Fulbank and the Poet's Dream in Behn 's Lucky Chance 89 Robert A. Erickson PART 2 Chased Desire: Women and Feminism in Plays by Men Tupping Your Rival's Women: Cit-Cuckolding 113 as Class Warfare in Restoration Comedy ]. Douglas Canfield Almahide Still Lives: Feminine Will and 129 Identity in Dryden's Conquest of Granada Katherine M. Quinsey Resisting a Private Tyranny in 150 Two Humane Comedies James E. Evans The Way of the Word: Telling Differences 164 in Congreve's Way of the World Pat Gill 3 PART The Gaze Reversed: Theory and History of Performance Rape, Voyeurism, 185 and the Restoration Stage Jean I. Marsden Reading Masks: The Actress and the 201 Spectatrix in Restoration Shakespeare Laura]. Rosenthal Sticks and Rags, Bodies and Brocade: 219 Essentializing Discourses and the Late Restoration Playhouse Cynthia Lowenthal Contributors 235 Index 237 Illustrations Nell Gwyn frontispiece Almeria in The Mourning Bride 34 Mrs. Siddons as Zara 39 Aphra Behn 90 Frontispiece to The Rehearsal 130 Anne Quin 202 Anne Bracegirdle 225 This page intentionally left blank Acknowledgments ("'pecial thanks go to my research U;ssistant, Maria Magro, for her ex haustive, precise, and intelligent proofreading of this volume in manuscript, and to Mrs. Lucia Brown and her team at the University of Windsor for their admirable efficiency in preparing it for press. Above all, as editor I should like to express my deep appreciation for the grace, efficiency, and professionalism shown by each of the contribu tors to this collection, in every stage of our working together: they have embodied scholarship in all its best senses.
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