Restoration Drama & Wycherley’s The Country

Wife

The End of Renaissance Drama

Renaissance drama prospers through the early 17th century—after Elizabeth’s death in 1603, we know it as Jacobean drama (for James I, a Stuart).

Political and religious conflicts culminate in the English Civil War, which pitted the Parliamentarians (a.k.a. Roundheads, Puritans) against those loyal to Charles I (a.k.a. Royalists, Cavaliers)

The Parliamentarians, led by Oliver Cromwell, ultimately capture and execute Charles I in

1649—they abolish the monarchy and establish a Commonwealth under Cromwell.

Parliamentarians are largely Puritan, and on moral and religious grounds, they close all theaters in 1642.

The Restoration

Oliver Cromwell dies in 1658. His son Richard rules for a while, but is ultimately ousted, leaving a power vacuum.

English lords invite the exiled son of Charles I—Charles II—to reclaim the throne in 1660, initiating the restoration of the monarchy.

Charles repeals the strict moral codes imposed by the Puritans (including a ban on Christmas celebrations).

Within months of Charles’ return, the theaters reopen.

Charles II: 1660-1685

Restoration Culture relaxed sexual mores—rakes and

libertines

increased worldliness, commercial sophistication

increased French and Italian cultural influence (Charles had travelled extensively during exile)

increasing rejection of religious enthusiasm, and a greater focus on rationality and science

emphasis on “wit” and satire

emergence of proto-feminist attitudes

development of new, fashionable public spaces outside the “City,” especially after the Great Fire of 1666

Restoration Theater Theaters are now entirely indoors—and more socially

exclusive

Theater interiors are brightly lit; people in the audience are able to see one another throughout the performance.

The pit is no longer home to lower-class groundlings, but it is still rowdy, popular with the gentry, literary critics, “wits”, and whores—in other words, people who wanted (or were willing) to be seen.

Theaters now use elaborate scenery.

Women are permitted to act; they are especially popular in “breeches roles.”

There are excellent Restoration tragedies—but the era is best known for comedy, usually bawdy.

Comedy of Manners

A dramatic genre which originated during the 3rd century B.C. as Greek “New Comedy”—Menander was the most comedic playwright. Comedies of manners satirize the manners and affectations of a social class or of multiple classes, often represented by stereotypical stock characters, such as the boastful soldier (in ancient times), the fop and the rake (during the Restoration), or an old person pretending to be young.

Characters are stock types; their names usually describe their distinctive personality traits:

e.g. Pinchwife, Horner, Squeamish, Sir Fopling Flutter, Lady Wishfort

William Wycherley (1640-1715)

Gentleman of modest fortune

Partially educated in France during the Interregnum

Spent time “studying” law, but was more interested in writing and pleasure

Lived a libertine lifestyle

During the height of his fame, he enjoyed the patronage of Charles II and his brother James.

Wycherley died in relative poverty and obscurity, due to a brief, secret marriage and legal troubles.

The Country Wife First performed in 1675

The plot draws on several contemporary French sources—primarily Moliere—as well as the classical Roman play Eunuchus , by Terence

Wycherley designed The Country Wife with a particular cast in mind; many of the roles play to the strengths of particular actors and actresses.

The most dynamic, famous actors were assigned to the Horner-related roles (not the Harcourt/Alethea plot) which suggests the Horner storyline was more important to Wycherley.

The play was immensely and immediately popular—though it disappeared entirely from the stage after 1753; it was not performed again for 171 years.

The Country Wife: Study Questions

1. Comedies traditionally involve courtship and a wedding (or weddings). In The Country Wife, how do various characters view marriage? What might Wycherley himself suggest?

2. In the context of this play, what is wit? How does Wycherley differentiate between true wit and foppery? How does wit reflect (or affect) a character’s power/agency? How might his depictions reflect Restoration society?

3. To what extent are signs or reputations reliable in The Country Wife? Does Wycherley place more weight on words or actions? How do various characters react to appearances—and what might those reactions indicate?

4. In what ways does Wycherley differentiate between gentlemen and businessmen? How might these characterizations relate to Wycherley’s own perspectives—and/or to contemporary audiences?