Abstract
AbstractOne of the most prominent scenes in Frances Burney's The Wanderer (1814) is the amateur theatrical performance of Sir John Vanbrugh and Colley Cibber's The Provok'd Husband (1728). This episode was recycled from a discarded fragment, which has not been previously discussed, from Burney's Camilla (1796). Ostensibly Burney uses these scenes to comment on the late eighteenth‐century private theatrical vogue, but her use of The Prokov'd Husband in both novels highlights her editorial practice as a writer of long fiction and, more significantly, her failure to espouse theories of realistic characterisation during the last years of her literary career.
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