English Restoration Comedy has long been equated with Comedy of Manners as written by Etherege, Congreve or Wycherley with a setting in London in upper class society. There are exceptions, however. Some comedies are set in the country, as for instance Farquhar's The Recruiting Officer, or in foreign countries such as Italy (Dryden's Secret Love and Behn's The Rover I); some include characters from the lower classes of society, even criminals (Thomas Shadwell's The Squire of Alsatia) or fantastic creatures like witches (Shadwell's The Lancashire Witches).
For this paper the period labelled Restoration Drama has been delimited somewhat arbitrarily by the Restoration itself at the beginning, and the death of Dryden at the end of it.1 The 1660's, after the re-establishment of the theatrical companies, showed a varied mix of plays, which included performances of the traditional English comedies and tragedies by for instance Shakespeare, Beaumont and Fletcher, Jonson with his humours' comedies, and also their adaptations. A new type of drama was introduced by the Cavaliers returning from their continental exile, containing French or Spanish influences such as from Moliére, or from Spanish intrigue comedy with its highly complicated plot, among the dramatis personae often two young, high-spirited ladies, a gallant and his friend, male adverse authority in the figure of father or brother, roguish attendants, 'honour touched and honour righted ... the comedy of cloak and sword.' (Ward, Cambridge, VIII/5/§15). Van Lennep in his The London Stage (I/cxxii) described it as 'the Spanish romance, based upon a Spanish source, … its emphasis upon a rigid code of conduct, … a plot filled with intrigue, and … one or more high-spirited women in the dramatis personae.'
In this category fall Sir Samuel Tuke's The Adventures of Five Hours. (January 1663, the Spanish source of it then attributed to Calderón, now generally to Antonio Coello; written at the request of Charles II, Tuke's play opened on 8 January 1663 before a full house and achieved an excellent run of thirteen consecutive performances.),2 or Lord Digby's Elvira (November 1664),3 Thomas Porter's The Carnival (ca 1664). 'The reliance upon an intrigue plot became the chief characteristic in the hands of later writers in this mode, such as Mrs Aphra Behn.'
Table of Contents
- 1. Introduction
- 1.1. Historical Background
- 1.2. The Stereotype of the Spaniard
- 1.3. The Playwrights
- 2. John Dryden
- 2.1. The Rival Ladies
- 2.1.1. The Play Itself
- 2.1.2. The Spanish Setting
- 2.2. An Evening's Love
- 2.2.1. The Play Itself
- 2.2.2. The Spanish Setting
- 2.2.3. The English versus the Spanish
- 2.3. The Spanish Friar
- 2.3.1. The Play Itself
- 2.3.2. The Spanish Setting
- 2.3.3. The Issue of Religion
- 2.3.3.1. The Moor and the Jew
- 2.3.3.2. The Catholic
- 3. Aphra Behn
- 3.1. The Dutch Lover
- 3.1.1. The Play Itself
- 3.1.2. The Spanish Setting in Place and Time
- 3.1.2. The Spanish in Comparison
- 3.2. The Rover II
- 3.2.1. The Play Itself
- 3.2.2. The Spanish Setting
- 3.2.3. Different Nationalities and Beliefs
- 3.3. The False Count
- 3.3.1. The Play Itself
- 3.3.2. The Spanish Setting
- 3.3.3. Languages
- 3.3.4. Religion
- 4. Mary Pix and The Spanish Wives
- 4.1. The Play itself
- 4.2. Place Names Referring to the Spanish Peninsula
- 4.3. The Characters - Names and Physical Appearance
- 4.5. The Catholic Element
Objectives and Key Themes
This paper analyzes seven Restoration comedies set in Spain, exploring the authors' reasons for choosing this setting and investigating common features arising from this shared location. The study examines how the complex historical relationship between England and Spain, marked by both conflict and diplomacy, is reflected in the plays. * The portrayal of Spain and the Spanish in Restoration comedy. * The use of Spanish settings to advance plot and character development. * The influence of Spanish dramatic conventions on English playwrights. * Religious and cultural differences between England and Spain as depicted in the plays. * The stereotype of the Spaniard and its evolution in Restoration drama.Chapter Summaries
1. Introduction: This introductory chapter establishes the context for the study. It challenges the conventional view of Restoration comedy as solely focused on London high society, highlighting exceptions set in other countries or featuring diverse social classes. The chapter introduces the concept of Spanish intrigue comedy, its characteristics, and its influence on Restoration drama. It then narrows the focus to seven specific plays set in Spain by Dryden, Behn, and Pix, which will form the core of the analysis. The chapter also briefly touches upon the complex and evolving relationship between England and Spain, setting the stage for an examination of how this relationship is portrayed in the selected plays.
2. John Dryden: This chapter delves into three plays by John Dryden: *The Rival Ladies*, *An Evening's Love*, and *The Spanish Friar*. It analyzes how Dryden utilizes the Spanish setting in each play, exploring the specific ways in which the setting contributes to the plot, character development, and thematic concerns. The chapter will likely highlight the differing ways Dryden uses the Spanish setting in his comedies, showing its function not only as a backdrop but also as a meaningful element shaping the narrative and character dynamics. The analysis will likely pay attention to how Dryden incorporates or subverts prevailing stereotypes of the Spanish people and culture within the context of each play.
3. Aphra Behn: This section examines three comedies by Aphra Behn: *The Dutch Lover*, *The Rover II*, and *The False Count*. The chapter will explore how Behn uses the Spanish setting to create intrigue, contrast cultural norms, and develop her characters. It will specifically investigate the ways in which Behn incorporates elements of Spanish culture, language, and social customs into her narratives. The analysis will likely consider how Behn's portrayal of Spain and the Spanish reflects both contemporary perceptions and her own unique perspective as a female playwright of the Restoration era.
4. Mary Pix and The Spanish Wives: This chapter focuses on Mary Pix's *The Spanish Wives*, exploring its unique portrayal of Spain and the Spanish within the context of Restoration comedy. The analysis will likely examine how Pix's play differs from those of Dryden and Behn, considering the evolution of the Spanish stereotype in Restoration drama. The chapter will specifically investigate the use of place names, character names and physical descriptions, as well as the treatment of the Catholic element to highlight the playwright's approach to portraying the Spanish setting.
Keywords
Restoration comedy, Spanish intrigue comedy, John Dryden, Aphra Behn, Mary Pix, Spain, Spanish stereotype, national identity, cultural exchange, religion, Catholicism, gender roles, English-Spanish relations.
Frequently Asked Questions: Analysis of Restoration Comedies Set in Spain
What is the focus of this academic paper?
This paper analyzes seven Restoration comedies set in Spain by John Dryden, Aphra Behn, and Mary Pix. It explores the authors' reasons for choosing this setting and investigates common features arising from this shared location, examining how the complex historical relationship between England and Spain is reflected in the plays.
Which plays are analyzed in this paper?
The paper analyzes the following plays: John Dryden's The Rival Ladies, An Evening's Love, and The Spanish Friar; Aphra Behn's The Dutch Lover, The Rover II, and The False Count; and Mary Pix's The Spanish Wives.
What are the key themes explored in the paper?
Key themes include the portrayal of Spain and the Spanish in Restoration comedy; the use of Spanish settings to advance plot and character development; the influence of Spanish dramatic conventions on English playwrights; religious and cultural differences between England and Spain as depicted in the plays; and the stereotype of the Spaniard and its evolution in Restoration drama.
How is the paper structured?
The paper is structured into four chapters. Chapter 1 provides an introduction, establishing the context and outlining the scope of the study. Chapters 2, 3, and 4 analyze the plays of Dryden, Behn, and Pix respectively, exploring their individual approaches to the Spanish setting and the portrayal of Spanish characters and culture. Each chapter provides detailed summaries of the chosen plays and analyzes specific aspects of the plays' relationship to the historical context.
What is the significance of the Spanish setting in these plays?
The paper argues that the Spanish setting is not merely a backdrop but a significant element shaping the plot, character development, and thematic concerns of the plays. The choice of Spain reflects the complex historical relationship between England and Spain, allowing the playwrights to explore themes of national identity, cultural exchange, and religious differences.
How does the paper address the stereotype of the Spaniard?
The paper examines the evolution of the Spanish stereotype in Restoration drama, tracing how different playwrights utilized and possibly subverted common perceptions of the Spanish people and their culture. This analysis considers how these stereotypes relate to the broader political and cultural context of the time.
What are some of the specific aspects analyzed within each play?
The analysis includes examination of plot elements, character development, the use of language, religious and cultural elements, and the role of place names and character descriptions in reinforcing or challenging stereotypes. The influence of Spanish dramatic conventions on the English playwrights is also considered.
What are the key words associated with this research?
Key words include Restoration comedy, Spanish intrigue comedy, John Dryden, Aphra Behn, Mary Pix, Spain, Spanish stereotype, national identity, cultural exchange, religion, Catholicism, gender roles, and English-Spanish relations.
- Citation du texte
- Elisabeth Enzler (Auteur), 2003, The Spanish Setting in Restoration Comedy, Munich, GRIN Verlag, https://www.grin.com/document/31989
