...Kirk Combe The College of William & Mary 2000 Shadwell as Lord of Misrule: Dryden, Varronian Satire, and Carnival Throughout his literary criticism, Dryden instructs us how to read his own creative works.1 It should...

... by their Whig targets and interlocutors, like Thomas Shadwell, Elkanah Settle, and John Dennis. In their disputes, Tories established a taxonomy of “bad” poetry that possessed (somewhat con- tradictory) attributes like ephemerality, hackish production, didactic zeal, or theological “enthusiasm,” or whose...

... of George Etherege, William Wycherley, John Dryden, Aphra Behn, Thomas Shadwell, William Congreve, Catherine Trotter, Thomas Southerne, John Vanbrugh, Eighteenth-Century Life Volume 38, Number 3, Fall 2014  doi 10.1215/000982601-2774109...

...” that were battling a new science apparently characterized by greed and selfishness (Sena, 48). The practice of experi- menting on the poor, however, could also be seen to denote the virtuoso’s irresponsibility as he pretends to a false expertise. In The Virtuoso (1676), Thomas Shadwell targets...

... as blundering, low-life “Teagues” who would do and say anything for money.12 The Irish priest, Tegue O’Divelly, who is the butt of much of the aggressive slapstick humor in Thomas Shadwell’s very Whiggish com- edy, The Lancashire-Witches (1681), for example, is arrested at the end of this play for having...

... between Milton’s depiction of animate substance and Pope’s “one poor word” the inter- mediary echo (subterranean wind?) of Dryden’s Mac Flecknoe. Dryden’s allusion to Shadwell’s capacity to “torture one poor word ten thousand ways” serves as a more proximate source for Pope’s “one poor word...

... of the danger of failing to reckon with the extreme scrappiness of the performance calendar. We have record of Shadwell’s 1674 “operatic” version of The Tempest being performed 8 times between April and the end of November that year. By all accounts it was exceptionally popular. At an unknown date...

... the bad literary eminence of Paradise Lost, Poem of the Restoration Period 1 1 Richard Flecknoe, Thomas Shadwell, Lewis Theobald, and Colley Cib- ber.2 Milton’s mock-epic style is subtly preserved in local allusions like these. But that style is also superseded in that Dryden...

... contemporary images of him, most of them satiric caricatures on the order of Shadwell’s Bayes, that “abject” and over- rated “Hackney-rayler.”6 Eighteenth-century portraits of Dryden, like those of Congreve and Dennis, mainly posit antidotes to these rebarbative sketches...

... apolitical satires), and others are sober and pompously moral. In dramatic satire in particular, we see more distributive justice, didacticism, and exemplary satire, the last a category familiar from works like Shadwell’s The Squire of Alsatia and The Scowrers. Compared to the late...

.... The most widely ­known are Michel Tournier’s Vendredi, ou les limbes du Pacifique (1967) and J. M. Coetzee’s Foe (1986), but the story has had a considerable afterlife in written, televised, and cinematic versions. 4. The year after the first volume was published, Charles Shadwell described its...

...- Shadwell operatic Tempest of 1674 removed from the count, I calculate perfor- mances of reasonably faithful versions of Shakespeare at 226 cm. Obviously, the borderline between Shakespeare and adaptation of Shakespeare can be endlessly disputed. McGirr s comparison with Centlivre seems bizarre, and she...

... Pope (London: Methuen, 1950), 355, book 4, ll. 145 – 46. 28.  In Thomas Shadwell’s The Virtuoso (London, 1676), Sneer explains why he has come to a brothel to be flogged: “I was so us’d to ’t at Westminster School, I cou’d never leave it off since” (46). 29.  William Waring...

... in England. Milton gave his approval of this elected king in his Letters Patents.15 He was kept in mind, not only in centenary, bicentenary, and tercentenary celebrations, but in later literature. Sobieski was not just Thomas Shadwell’s “pretty man,”16 but shorthand for “hero” in later texts...

...? 70. “Prologue” to The Empress of Morocco, l. 3 (Danchin, ed., 1:543); Sir Charles Sedley, Prologue to Thomas Shadwell’s Epsom Wells (1672, pub. 1673), ll. 21–22. 71. The Diary of Samuel Pepys, ed. Robert Latham & William Matthews, 11 vols. (Berke- ley...

... gesture toward comedy's investment in the breaking of bonds that becomes complete in Farquhar's final play. 3. See John Harrington Smith, “Shadwell, the Ladies, and the Change in Comedy,” Modern Philology 46 (1948): 22–33; Laura Brown, English Dramatic Form, 1660–1700: An Essay in Generic...