Abstract
This paper is not so much concerned with Burnaby's debt to Shakespeare with this loose adaptation of Twelfth Night as with his covert participation in debate about the place of the theatre in contemporary social life. In a period when the “Reformation of Manners” was a distinct movement, and when he had already had a brush with the reformers in earlier work, Burnaby deployed the extra-dramatic material of Love Betray'd in tacit defiance of the reformers, directing both playgoers and readers to recognise emotional realism behind the gender confusion in his revamped plot of Shakespeare's comedy.
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