Restoration Literature

Topics: Comedy, Puritan, Elizabeth I of England Pages: 11 (4166 words) Published: April 21, 2013
Discuss the characteristics of the Restoration age
The spirit of the restoration period was different from the Elizabethan the year 1660 Elizabethan romanticism had but spent it-self of the great figure of the earlier era only one survived, John Milton was of the part.At the restoration he retired and worked his great poem reveals no sign of the time in which his later years were spent In restoration period the break with the past is almost absolute.Subject and style look on a new spirit and outlook different attitude and aim .Hence, the post-restoration period was an antithesis of the Elizabethan age The Elizabethan age marked with the new spirit of patriotism and creative vigor,was replaced by the new spirit of realism .The puritan spirit its moral earnestness and individualism was all driven out.The spirit of gaiety and moral turpitude filled in the void. Imitation of the ancients:

lacking the genius and creative vigor of the Elizabethans the author of the time turned to the great-classic writers,in particular to the Latin writers instruction and inspiration the habit ,perceptible Dryden's time,deepened and hardened during pope's era. Imitation of the french :

The literature and literature tendencies of the restoration period were deeply influenced by the French models.since shakespeare and other Elizabethan held no interest for the authors of the age began to imitate the french master with whose works they had just grown far .Here begins the So-called period of French influence which wrought a profound influence on english literature for the next century instead of italian inflence which had been more pronounced during the Elizabethan age .The Famous french writers such as pascal,Bossuet,Malherbe,corneille,Racine,Moliere deeply influenced the restoraion writers.In particular ,the french influence penetrated deeply into Drama,especially comedy which was the most copious literary prodution of the restoration age.Of french comedy Moliere was the outstanding exponents of comedy .In the more formal tragedy ,French and classical Models were combined to produce a new type of drama,called the Heroic play which were represented by Dryden's "Tyrranic love"

comedy of manners
The comedy of manners is a genre of play which satirizes the manners and affectations of a social class or of multiple classes, often represented by stereotypical stock characters, such as themiles gloriosus ("boastful soldier") in ancient times, the fop and the rake during the Restoration, or an old person pretending to be young. Restoration comedy is used as a synonym of Comedy of manners.[1] The plot of the comedy, often concerned with scandal, is generally less important than its witty dialogue. A great writer of comedies of manners was Oscar Wilde, his most famous play being The Importance of Being Earnest. The comedy of manners was first developed in the new comedy of the Ancient Greek playwright Menander. His style, elaborate plots, and stock characters were imitated by the Romanplaywrights Plautus and Terence, whose comedies were widely known and copied during the Renaissance. The best-known comedies of manners, however, may well be those of the Frenchplaywright Molière, who satirized the hypocrisy and pretension of the ancien régime in such plays as L'École des femmes (The School for Wives, 1662), Le Misanthrope (The Misanthrope, 1666), and most famously Tartuffe (1664).

The Comedy of Manners|
 Put simply, the comedy of manners is a style of comedy that reflects the life, ideals and manners of upper class society in a way that is essentially true to its traditions and philosophy. The players must strive to maintain the mask of social artifice whilst revealing to the audience what lies behind such manners. In other words it is to make:The real artificial and the artificial real.As a theatre form, it has transformed over the years.Some considerations:The Restoration period heralded an exciting and boisterous period in theatre...
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