Thomas Otway Research Articles

The play of personality in the Restoration theatre

Part 1 The king, the mistresses, and the courtiers: Barbara Castlemain, Nell Gwyn, Louise de Querouaille Buckingham, Rochester. Part 2 Gentlemen playwrights: Etherege, Sackvill, Wycherley Roger Boyle (Orrery), Robert, Edward and James Howard. Part 3 The professionals: John Dryden, Thomas Otway, Thomas Shadwell. Part 4 Four craftsmen and one woman: John Crowne, Elkanah Settle, Nathanael Lee, Edward Ravenscroft, Aphra Behn. Part 5 Players and playhouses: the king's private theatres: Killigrew, Davenant, Betterton, Mrs Barry Nokes, Underhill, Leigh (Lee) hart, Mohun, Kynaston Nell Gwyn, Mary Knep, Lacey, Haynes, Anne Bracegirdle, Mountfort.

Restoration Comedy: Crises of Desire and Identity.

Preface - Introduction - What is Restoration Comedy? - Jonsonian Moralists and Caroline Decorum - 'A Lantskip of these Kingdoms' - 'The Scene, London the Time Equal to that of the Presentation' - From 'Decorum' to 'Nature': Etherege and the Wits - William Wycherley - 'The Wits' Garden': Court Forms and Libertine Philosophies - Professional Dramatists - Thomas Otway - Aphra Behn - Marriage and the Comedy of the Nineties: Dryden's Amphitryon and Crowne's The Married Beau - The Etheregean Revival - Congreve - The Last Restoration Comedies: Farquhar, Centlivre and Steele - Conclusion: Newgate Pastoral John Gay and 'The Beggars Opera' - Index

"Plain as the light in the Cowcumber": A Note on the Conspiracy in Thomas Otway's "Venice Preserv'd"

Previous articleNext article No AccessNotes and Documents"Plain as the light in the Cowcumber": A Note on the Conspiracy in Thomas Otway's "Venice Preserv'd"Jessica MunnsJessica Munns Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Modern Philology Volume 85, Number 1Aug., 1987 Article DOIhttps://doi.org/10.1086/391596 Views: 1Total views on this site Copyright 1987 The University of ChicagoPDF download Crossref reports no articles citing this article.

Four Restoration Playwrights: A Reference Guide to Thomas Shadwell, Aphra Behn, Nathaniel Lee, and Thomas Otway

Four Restoration Playwrights: A Reference Guide to Thomas Shadwell, Aphra Behn, Nathaniel Lee, and Thomas Otway

'The Orphan': Tragic Form in Thomas Otway

'The Orphan': Tragic Form in Thomas Otway

The Genesis of David Garrick's Romeo and Juliet

DAVID GARRICK's 1750 PRODUCTION OF Romeo and Juliet at Drury Lane attracted much attention of the Town at the time and has attracted many scholars since.' Garrick had provided London with a better Romeo and Juliet two years before, but that has been almost completely overlooked. The circumstances of the 1750 production were spectacular. Spranger Barry and Susanna Cibber had defected to Covent Garden, and Garrick boldly met the challenge head on: when it became apparent that John Rich would stage Romeo and Juliet at Covent Garden, capitalizing on the suitability and previous success of Barry and Cibber in the lead roles, Garrick resolved to do the part of Romeo himself, with young George Anne Bellamy as his Juliet. The consequent battle confined London to an exclusive diet of Romeo and Juliet from the 28th of September until Covent Garden faltered and played The Beggar's Opera on the 12th of October.2 Although Shakespeare's original play had been revived in 1662, it was displaced by Thomas Otway's History and Fall of Caius Marius (1679), which interpolated great chunks of Romeo and Juliet into a new plot drawn from North's Plutarch. The love story of Marius Junior and Lavinia is subordinated in the beginning to the political and military struggle between Marius Senior and Metellus (Lavinia's father), but assumes a dominant part as the play progresses. Although Otway was criticized for his rather expedient borrowing (readily acknowledged in his Prologue), he blended the material with some skill, and his play has effective passages beyond Shakespeare's borrowed glory. It continued to be acted in the first three decades of the eighteenth century, one or two performances in most seasons through 1727, the final performance coming in 1735 with Theophilus Cibber's eccentric sister, Mrs. Charlotte Charke, playing Marius Junior as a trousers role.3 In those years Romeo and Juliet was not performed.

The Image of Rebellion in Thomas Otway's Venice Preserv'd and Edward Young's Busiris

The Image of Rebellion in Thomas Otway's Venice Preserv'd and Edward Young's Busiris

REVIEWS

REVIEWS Get access Thomas Otway: The Orphan. Edited by ALINE MACKENZIE TAYLOR Pp xxx+118 (Regents Restoration Drama Series) Lincoln University of Nebraska Press, 1976; London Edward Arnold, 1977. Cloth, £8; paper, £3 95 net Thomas Southerne: Oroonoko. Edited by MAXIMILLIAN E. NOVAK and DAVID STUART RODES Pp. xlii+144 (Regents Restoration Drama Series) Lincoln University of Nebraska Press, 1976; London Edward Arnold, 1977. Cloth, £8; paper, £3 95 net DEREK HUGHES DEREK HUGHES Search for other works by this author on: Oxford Academic Google Scholar The Review of English Studies, Volume XXIX, Issue 115, August 1978, Pages 342–344, https://doi.org/10.1093/res/XXIX.115.342 Published: 01 August 1978

Dryden and History: A Problem in Allegorical Reading

The attempt to understand the relation between history and literature in the seventeenth century encounters the problem of allegory immediately. The more closely we read certain plays and non-dramatic poems, the more they seem to be offering covert advice on contemporary politics, and the greater is the temptation to translate their figures (in both senses) into topical allusions. The process is invited by Absalom and Achitophel or The Duke of Guise, but what are we to make of the stag-hunt in Cooper's Hill, or Dryden's epistle to Dr. Charleton, or the political overtones of heroic tragedy? I shall refer mainly to works by Dryden, but one section of my argument will be illustrated from Denham, Sir Robert Howard, and Thomas Otway. I have already revealed that I am using the word allegory, in a sense that is fast becoming antiquated, to mean the hiding of a specific reference, either conceptual or topical, behind a metaphoric veil. By definition, allegorical poems then possess levels of significance, translatable meaning, and neat analogical equations. Spenserian criticism of the past five years, however, has mounted a concerted attack on the theory implied by such paraphrase, without altogether avoiding paraphrase in practice. The Faerie Queene has been cut loose from its moorings to a rigid conceptual framework outside the text, and has been explored either as a poem of rhetorical process which develops complex psychological reactions in the reader, or as a world of its own that generates subtle meanings within itself. It is becoming harder to distinguish allegory from other kinds of poetic discourse, although Rosemond Tuve has concluded that true allegory is always fundamentally religious and concerned with matters of right belief. The crest of the latest critical wave has not yet hit us, and the next five years are likely to see the rewriting of Northrop Frye's dictum that all commentary is allegorical interpretation so as to read commentary turns all works into

Thomas Otway

Thomas Otway Get access C. A. T. C. A. T. Search for other works by this author on: Oxford Academic Google Scholar Notes and Queries, Volume 199, Issue may, 1 May 1954, Page 226, https://doi.org/10.1093/nq/199.may.226c Published: 01 May 1954

The ancestry of Thomas Otway

The ancestry of Thomas Otway

The Works of Thomas Otway: Plays, Poems and Love-Letters

The Works of Thomas Otway: Plays, Poems and Love-Letters

The Works of Thomas Otway.

The Works of Thomas Otway. Get access Notes and Queries, Volume CLXII, Issue may14, 14 May 1932, Pages 359–360, https://doi.org/10.1093/nq/CLXII.may14.359d Published: 14 May 1932

Additional material for a life of Thomas Otway

Additional material for a life of Thomas Otway

Thomas Otway, Rochester, and Mrs. Barry

Journal Article Thomas Otway, Rochester, and Mrs. Barry Get access Roswell J. Ham Roswell J. Ham 1Yale University New Haven, Conn Search for other works by this author on: Oxford Academic Google Scholar Notes and Queries, Volume CXLIX, Issue sep05, 5 September 1925, Pages 165–167, https://doi.org/10.1093/nq/CXLIX.sep05.165 Published: 05 September 1925

The portraits of Thomas Otway

The portraits of Thomas Otway

New light on some episodes in the life of Thomas Otway

New light on some episodes in the life of Thomas Otway

New light on some episodes in the life of Thomas Otway

New light on some episodes in the life of Thomas Otway

New light on some episodes in the life op Thomas Otway

New light on some episodes in the life op Thomas Otway

Thomas Otway and Mrs. Barry

Thomas Otway and Mrs. Barry