Group+Seven

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Explorations of Identities in Restoration Theater:  An Investigation of Truth in Comedy,  A Brief Analysis of: 


     <span style="display: block; font-size: 23pt; color: rgb(255, 5, 5); font-family: Georgia,serif; text-align: center;">//The Way of the World// by William Congreve

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=<span style="font-size: 12pt; font-family: Georgia,serif;"> = =<span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="color: rgb(235, 93, 5); font-family: Georgia,serif;">Th <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="color: rgb(235, 93, 5); font-family: Georgia,serif;">e Cultivation of an Author's Identity    = <span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-family: Georgia,serif;"> <span style="font-size: 12pt; font-family: Georgia,serif;">Central to any work, be it a play, narrative, poem, or ballad, is the identity of the author. The author’s sense of identity, like that of any other person, is rooted in numerous influences throughout their entire life. A major influence on the author’s identity is their upbringing and life, are they of a high class standing or are they poor, was their family highly religious or radical heretics, did they suffer serious misfortune, or outrageous scandals? Perhaps more influential in their adult life is the social and political climate they lived in. What did society expect of its members? How free were the citizens of the author’s nation? What did the author’s audience want? Examining the author’s life can be useful in discovering their identity, but perhaps even more telling, is the themes found throughout their works. Whether an author wrote primarily gripping dramas or light comedies might reveal much of who they were and how they viewed the world. <span style="font-size: 12pt; font-family: Georgia,serif;">William Congreve was born on January 24th, 1670 to his mother, Mary, and his father, also named William. Although born in England, Congreve would spend much of his younger years in Ireland, traveling along with his military father, who rose to the rank of Colonel. Congreve would be educated in Kilkenny until 1686 and attend Trinity College in Dublin for two or three years further (Hodges). He would then go on to study law at the Middle Temple in London but would find himself “averse to participation in legal affairs” (Hodges). Congreve would soon find himself drawn towards literature and drama. His career was rather short; consisting of only five plays written between 1693 and 1700, four comedies and one tragedy. His area of focus was in Comedies of Manners, playing off of highbrow sexual humour. While appreciated as fine works today, the public’s attention was not long held by such comedies, and favor soon turned elsewhere, effectively ending Congreve’s artistic career. Congreve would turn to a political career next, joining the Whigs and holding six political offices, among them the position of Secretary of Jamaica (Hodges). Though he never married, Congreve was suspected of having affairs with both Anne Bracegirdle, whom had parts written for her in his plays, and later Henrietta Godophin, the 2nd Duchess of Marlborough. It is believed that the Duchess’s fifth child was fathered by Congreve, a theory supported by Congreve’s will, which left most of his estate to Henrietta (Hodges).

//<span style="font-family: Georgia,serif;">Branden Boynton // <span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-size: 12pt; font-family: Georgia,serif;"> <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;">

<span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-size: 12pt; color: rgb(224, 211, 0); font-family: Georgia,serif;">Religion as identity in Early 18th Century England
<span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-size: 12pt; font-family: Georgia,serif;"> <span style="font-family: Times New Roman,serif;"><span style="font-size: 110%; font-family: Georgia,serif;">The belief of God or the lack thereof has always existed as a core prerequisite for the terms in which people identify themselves. Thus following, religion stands as a system of practices people prescribe to, according to these beliefs. The meaning with which people live their lives lies dependent on religion. This is no exception in //<span style="font-size: 110%; font-family: Georgia,serif;">The Way of the World //<span style="font-size: 110%; font-family: Georgia,serif;">. With the separate social classes gaping so devastatingly, one's culture depended on rank and these cultures depended on religion. More obliquely, the impact religion had on the culture of the era heavily influenced ideals such as hope and love. <span style="font-size: 110%; font-family: Georgia,serif;">

<span style="font-family: Times New Roman,serif;"><span style="font-size: 110%; font-family: Georgia,serif;">In order to gauge the relationship between England's religion and society, a deeper understanding of the religion itself must be taken into account. Such an understanding is most readily found with the members themselves of this religion. Surprisingly enough, the gaps between the social standings extended quite heavily onto the Clergy of the Church. The more well-off a member was, the higher their rank shot above the poor(Sykes). When one did not have any relations to means of promotion in the ecclesiastical order, their positions relied completely on a “lottery” in which names were drawn out of a spinning wheel(Sykes). However, when one did by some means achieve Bishopdom, their life was very much indeed dependent on lay society. Because the Church of England was under strict jurisdiction of the residing king, Bishops for a large part were forced to engulf themselves in his affairs so that they might keep their jobs and thus spent most of the year in London(Sykes). In having to serve the king, the Bishops essentially had to rely on a secular power rather than devoting their entire time to ecclesiastical purposes. Not only would this widen the deep ravine between the ecclesiastical orders, but introduce secular traditions to the higher Holy Offices. As the practitioners of the English Church evolved to accommodate the newly budding secular society, so must the Church itself. <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-family: 'Times New Roman',Times,serif; text-align: left; display: block;"><span style="font-size: 110%; font-family: Georgia,serif;"> While the effects of society on religion are now somewhat apparent, the influence religion held on society remains more obscure. Religion held an influence not only on the characters presented in //<span style="font-size: 110%; font-family: Georgia,serif;">The Way of The World //<span style="font-size: 110%; font-family: Georgia,serif;"> but also on the author, William Congreve, himself. As such, it is worth while to delve deeper into the Religious tendencies and roots of the period in England. Any period of time is a time of transition and tension. This is seen almost especially so in the "world" of Congreve's England. The cultural identity was shifting with rather welcome arms to conform to the new age of Ideas and Reason set forth by Enlightenment Philosophers such as John <span style="font-family: 'Times New Roman',Times,serif; text-align: left; display: block;"><span style="font-size: 110%; font-family: Georgia,serif;">Locke(Stromberg). As such, this universal acceptance of Reason, for the most part, worked in accordance to Religion rather than against it. People began viewing Religion in the light of supreme Reason rather than as a strict fanatical devotion(Stromberg). Being the highest expression of culture, Religion was naturally a candidate for the blossoming spirit of exploration that hung about, tense, in the air. Intellectuals began speaking their minds in ways that would have previously cost them their lives, which lead not only to various radical sects but to a general sense of relaxation in the habits of Religion(Stromberg). The fuel for such bold new steps can be to some extent attributed to the lessening of the harsh grasp the Puritans held on the English Society until 1660. Within this changing backdrop, Orthodoxy, too, began to take a new, more liberal form(Stromberg). <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-family: Times New Roman,serif;"><span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-family: Times New Roman,serif;"><span style="font-size: 110%; font-family: Georgia,serif;"> Whereas in earlier times, such as with “Caedmon's Hymn”, love would have largely been understood as a spiritual relationship between God and man, man in the 18th century was beginning to grasp the secular implications of society. As coffee houses and opera theaters began cropping up about the city, people would have not only been aware of a relation between themselves and God, but also between themselves and those around them. With daily lives of the upper-classes being so secular, their dependence on having a relationship with God would falter, giving rise to the notion of love being able to be applied to anything. Many prominent intellectuals of the time, such as Voltaire, had given <span style="font-family: Georgia,serif;">authority and importance to the budding religion of Deism and the gaining acceptance of Deism in England at the time might have also been influential to the changing perspective of love(Stromberg). While Deists hold a view of God being an entity which merely gave birth to a mechanical world of reason and logic, the supernatural is viewed as nothing but fanatical(Stromberg). As such, lo  <span style="font-family: Times New Roman,serif;"><span style="font-size: 110%; font-family: Georgia,serif;"><span style="font-family: Georgia,serif;">ve became not so much a supernatural miracle  <span style="font-size: 110%; font-family: Georgia,serif;"><span style="font-family: Georgia,serif;">of God's grace, but a rational phenomenon which could be reasonably applied to any occurrence. <span style="font-size: 110%; font-family: Georgia,serif;"><span style="font-family: Georgia,serif;"> <span style="font-family: Georgia,serif;"> <span style="font-family: Times New Roman,serif;"><span style="font-size: 110%; font-family: Georgia,serif;"><span style="font-family: Georgia,serif;"> With such a mindset, Congreve is able to portray love in his humorously satiric fashion because love had become something within the grasp of man. We can laugh with Congreve and empathize with the love forlorn Mirabel. Love was no longer some unreachable, straight-faced passion, but something to feel and hold in our beautifully filthy human hands. In this age, love had a human face, the face of the characters in Congreve's //<span style="font-size: 110%; font-family: Georgia,serif;"><span style="font-family: Georgia,serif;">The Way of the World  //<span style="font-size: 110%; font-family: Georgia,serif;"><span style="font-family: Georgia,serif;">  <span style="font-size: 110%; font-family: Georgia,serif;"><span style="font-family: Georgia,serif;">and the face of the audience, silently watching.

<span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-size: 12pt; font-family: Georgia,serif;"> //Stephen Mather// <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;">

<span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 12pt; font-family: Georgia,serif;"> <span style="color: rgb(29, 144, 46);">**Class and Identity in William Congreve’s //The Way of the World//**

<span style="font-size: 12pt; font-family: Georgia,serif;">//The Way of the World// is a classic example of a “Comedy of Manners:” a play that mocks the frivolity of human behaviors in society. Written during the Restoration, Congreve set //The Way of the World// in the “present time,” around 1700, so its characters reflect the attitudes of the middle class concerning society and class structure during this time period. During the 17th century the newly formed middle class emerged in England. They lived, primarily, in the cities rather than the countryside, and frequented venues such as chocolate houses, parks, and salons, as do the characters in //The Way of the World.// Chocolate Houses emerged as a fashionable place for men to go to discuss sports, politics, business, science, and art (wikipedia). Women were rarely included, as is evident by the fact that Mirabell and Fainall, both male characters, go to the chocolate house; Betty, the waitress, is the only female character present in this setting. The salon developed as a place for women to discuss the most recent gossip with one another. As with men and the chocolate house, salons were a woman's domain; they became a fashionable accessory for wealthy, middle-class women such as Mrs. Marwood and Lady Wishfort. "Malls," such as the one in Saint James Park in //The Way of the World//, served as a place where both men and women could socialize in an acceptable fashion (Lynch).

<span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-size: 12pt; font-family: Georgia,serif;">The characters in //The Way of the World//, are constantly concerned with gossip about dowries, affairs, and marriage; their conversations are frivolous and lack an real substance. Congreve uses these ridiculous conversations between characters like Fainall and Mirabell, to mock the frivolity of the emerging middle class in the 17th century. The middle class was living a new life of wealth and prosperity; however, this new wealth was supported by the cruelties of colonization in places such as Africa and South America, providing new industry and imported products to Europe, such as the cocoa bean which was consumed in places like chocolate houses. The middle class, although much of Africa and South America were being cruelly exploited for the good of Europe, was unaware of the atrocities taking place overseas so that they may live a life of comfort of and wealth (Lynch). They were more concerned with tricking one another in to marriage, dowries, and affairs, than what was happening in politics and overseas. "The World," to them, reached no further than the borders of Europe; Africa and South America were completely foreign to these middle class men and women. However, it is colonization and "trade [that] underpins the lavish spending and personal fortunes the characters in [//The Way of the World//] fight to control" (Lynch). The characters are oblivious to the sufferings of others and only concerned with themselves. <span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 12pt; font-family: Georgia,serif;">The characters in the play do not treat their servants well. Foible and Waitwell are used as pawns for Mirabell's and Millamant's benefit; neither character has any regard for his or her servants' well-being (Lynch). The relationships of the middle-class characters of the play with their servants is symbolic of the middle-classes' attitude toward colonization abroad, as mentioned earlier. They do not care how their servants are treated as long as they are served and benefit in some way. Even when Waitwell is thrown in prison because of the disguise and trick that Mirabell has ordered him to participate in, Mirabell shows little remorse and even leaves Waitwell in prison. This uncaring attitude toward Waitwell and Foible reflects the attitudes of the middle class toward the lower classes. They exploit their servants for their own gain.



====<span style="font-size: 110%; font-family: Georgia,serif;">Class and social status also determined where a person would be allowed to view the play from in a theater. The ideal seat was at the center back of the auditorium, aptly named “the Duke’s Chair,” because only the wealthiest nobleman could sit in this position. The higher a person’s status, the closer they would be allowed to sit to this vantage point (wikipedia). The poorest of the audience sat in what was called “the pit,” or the area directly in front of the stage where the view was very limited; this section was many times standing room only (Gosse). ====



====//<span style="font-size: 110%; font-family: Georgia,serif;">The Way of the World //<span style="font-size: 110%; font-family: Georgia,serif;">, though appreciated today as a clever satire of the English middle class, was not a great success when it was first performed. This was largely due to the fact that Congreve’s play was written in such a scholarly, elevated diction, that it could not hold the interest of “the pit,” or the lower classes, which had difficulty understanding the performance (Gosse). Congreve not only employed elevated diction, but also included literary quotations, many of them unfinished and confusing for the uneducated lower classes whom often times could not read (Lynch). ====

//Suzanne Ball// <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"> <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;">

<span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"> <span style="color: rgb(4, 0, 255);"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: 'Trebuchet MS',Helvetica,sans-serif;">**<span style="font-size: 12pt; font-family: Georgia,serif;">Women’s Roles and Identities in **    <span style="color: rgb(4, 0, 255);"><span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 12pt; font-family: Georgia,serif;">**William Congreve’s The Way of the World**    <span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="color: rgb(4, 0, 255);"><span style="font-size: 110%; font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 12pt; font-family: Georgia,serif;"> <span style="font-size: 11pt; font-family: 'Trebuchet MS',Helvetica,sans-serif;"> <span style="font-family: Georgia,serif;">Restoration comedies tended to shift focus away from initial attraction and toward relationships and marriage. Some think the first female actresses, who appeared on stage during the Restoration period, may have influenced this change. Others believe that this was due to the many female audience members during the “War of The Theaters”. Throughout this "war", writers sought to please as many people as possible by providing humor and insight for the rich, the poor, the male and the female in order to ensure box office success. Furthermore, King Charles II encouraged the lewdness and notorious sexual explicitness consistently present on the English Stage during Restoration Comedies, like William Congreve’s //<span style="font-family: Georgia,serif;">The Way of the World (World). //<span style="font-family: Georgia,serif;"> Since this play was first performed in 1700, the audience was incredibly diverse. People from the aristocracy as well as commoners enjoyed the wittiness and humor presented in //<span style="font-family: Georgia,serif;">World //<span style="font-family: Georgia,serif;"> (Hume). <span style="font-family: Georgia,serif;"> <span style="font-family: Georgia,serif;">

One of the most intriguing subject areas of restoration comedy in general, and this play in particular, is the role of women in their society and their individual identities. In the case of the heroine, Millamant, the audience is presented an intelligent, capable woman. However, women, viewed independently, can be gossips, liars, and coquettes, but still be considered virtuous” as long as they refuse sex until marriage. In the case of all female characters, women, when examined socially, can fall into a few very constraining categories: idle hands who are lucky to be members of the leisure class, potential sources of income for unfortunate men, or as sexual objects. Often women’s identities were tied to social class, appearance, and most prominently their sexuality (Gill, //<span style="font-family: Georgia,serif;">Gender, Sex and Marriage //<span style="font-family: Georgia,serif;">). <span style="font-size: 8pt; font-family: Georgia,serif;"><span style="font-family: Georgia,serif;"> <span style="font-family: Georgia,serif;">Congreve explores complex themes of female choice (and its limited realm), female sexuality (and its lack of satisfaction), and female bodies (and their treatment as male territory). // <span style="font-family: Georgia,serif;">The Way of the World // <span style="font-family: Georgia,serif;">is an exciting glimpse into a world of extreme tension between the feminine and masculine identities in society during the Restoration period.

A woman's primary goal in life, as seen in all female characters in //<span style="font-family: Georgia,serif;">World //<span style="font-family: Georgia,serif;"> is to marry. All of the central characters in the play, but more predominantly the women of the work, are identified by their marital relations. The entire text of the play revolves around the courtship and eventual marriage of Millamant and Mirabell. Among the male characters, Millamant is purely discussed as "witty", "beautiful", and "unfoolish", but only in the context of being a wife. Unsurprisingly, her brilliant charms, dazzling wits, or cleverness are never presented as qualities that can be used to acomplish something other than finding a mate.
 * <span style="font-family: Georgia,serif;">Women, Identity and Marriage **<span style="font-family: Georgia,serif;">

**<span style="font-family: Georgia,serif;">Women, Identity and Sexuality **   <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"> <span style="font-size: 11pt; font-family: 'Trebuchet MS',Helvetica,sans-serif;">

<span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-size: 11pt; font-family: 'Trebuchet MS',Helvetica,sans-serif;">     <span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 11pt; font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-family: Georgia,serif;">Millamant     <span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-size: 11pt; font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-family: Georgia,serif;">   <span style="font-family: Georgia,serif;">is the play's heroine, a popular stock character of the time, she is witty, intelligent, and "virtuous". The literal meaning of "virtuous" to describe a woman is this time, is of course, "virgin". Even words themselves had different meaning between men and women based on sexuality. For example, the term "ruined" to describe a person connotes financial disaster for a man, while it signifies loss of virginity for a woman (Pearson 69). This view is clearly expressed by the character Fainall in Congreve's //<span style="font-family: Georgia,serif;">World //<span style="font-family: Georgia,serif;">, "I'd no more play with a man that slighted his ill fortune than I'd make love to a woman who undervalued the loss of her reputation (Congreve 2230). Women were also limited in the ways they were able to express their physical passions, since the perfect woman was to be inferior, submissive and //<span style="font-family: Georgia,serif;">modest. //<span style="font-family: Georgia,serif;"> "Men can freely 'tell their passion tho' it be rejected', while women must 'stifle ours tho' it would be received' (Gill 68). <span style="font-size: 11pt; font-family: 'Trebuchet MS',Helvetica,sans-serif;">


 * <span style="font-family: Georgia,serif;">The First Female Stage Actresses **

//<span style="font-family: Georgia,serif;">The Way of The Wold //<span style="font-family: Georgia,serif;"> was performed during the time the first female actresses presented themselves on the English stage. Millamant, the lead, was played by Anne Bracegirdle who was long rumored to be having an affair with William Congreve himself. <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 11pt; font-family: 'Trebuchet MS',Helvetica,sans-serif;"> <span style="font-size: 11pt; font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-family: Georgia,serif;"> Many scholars believe he wrote parts, like that of Millamant, specifically for her. She was widely considered talented and beautiful, but like all actresses of her time not largely respected. <span style="font-family: Georgia,serif;"> Common people as well as the aristocracy viewed female actresses as little more than glamorized prostitutes. This most likely started by actresses flirting with men or acting promiscuously to obtain certain parts in stage productions. Furthermore, women and men criticized playwrights such as William Congreve, because they would purposely place in scenes where women were dressed as men. Congreve and his peers argued that this was for comedic effect, but many opponents of the "gimmick" found that the male clothing was far more revealing than female clothing. A tight pant showed off a woman's shapely hips, thighs, and butt; while their normally voluminous skirts and dresses left everything to the imagination. Thus, these stage actresses were viewed as sex objects rather than serious artists by most of the community.

For more information on women in the theatre during the restoration period, click this [|link]. Although that site specifically focuses on Aphra Behn, it provides great insight and general information pertaining to women and the theatre in the 17th and early 18th centuries.
 * <span style="font-family: Georgia,serif;">Women, Class and Identity **<span style="font-family: Georgia,serif;">

The importance of women, as well as the amount of control they had over their own lives was largely determined by their social class. Women who came from wealthy families, although still limited, enjoyed a greater degree of freedom than those who were part of the lower classes. This type of wealthy, intelligent, and powerful woman is represented by Millamant in Congreve's //<span style="font-family: Georgia,serif;">The Way of The World. //<span style="font-family: Georgia,serif;"> While a poor woman could be forced into marriage, Millamant is able to marry a person she loves regardless of wealth. This is also serves to express the cultural shift during the restoration period on views of marriage itself. During the Elizabethan Era and long before, marriage was long considered an economic arrangement rather than a romantic one. With the relationship presented in //<span style="font-family: Georgia,serif;">World, //<span style="font-family: Georgia,serif;"> one sees a relationship that is based on love rather than money.

**<span style="font-family: Georgia,serif;">Women as Sources of Income **<span style="font-family: Georgia,serif;">

During the Restoration Era, as well as in times before it, women were often viewed as sources of income, particularly in marriage. The character Fainall is a great depiction of how a man who is purely motivated by greed and fortune uses the women in his life. For example, he is unfaithful to his wife, carrying on an affair with Mrs. Marwood, yet he depends on the fortune and estate of his wife to allow him to live his life of luxury. He even plans to obtain control over the estate of his mother-in-law. Since he also expresses the attitude that women are to be valued for their property and virginity, Fainall clearly views women as little more than pawns that he can manipulate. <span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 11pt; font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-family: Georgia,serif;">    <span style="font-family: Georgia,serif;"> <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 11pt; font-family: 'Trebuchet MS',Helvetica,sans-serif;">//<span style="font-family: Georgia,serif;">Jaqui Bell // <span style="font-size: 8pt; font-family: 'Trebuchet MS',Helvetica,sans-serif;">   <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;">

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=<span style="color: rgb(170, 38, 253); font-family: Georgia,serif;">Elizabethan Era Women's Clothing and Identity = <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;">_ William Congreve's //<span style="font-size: 110%; font-family: Georgia,serif;">The Way of the World //<span style="font-size: 110%; font-family: Georgia,serif;"> was presented to the public in 1700, at a theater <span style="font-size: 110%; font-family: Georgia,serif;">in Lincoln's-Inn-Fields, England. It's wardrobe comes from the period of dress in the late 1600's. However, there was still an influence from the Elizabethan Era. While in the 1600's, high waisted fashion was replaced by a low waisted look, Elizabeth herself seemed to have already taken on this idea in her time. <span style="font-size: 110%; font-family: Georgia,serif;"> Women still used tight corsets, still used the low puffy sleeves, and still had stunning hair dos and hair pieces. I present to you a brief history of the Elizabethan Era, so that we may see where alot of the 1600's dress ideas came from. <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;">17th century brought about the Elizabethan period, which was a period often referred to as the “Golden Age”, for its stark contrast to the periods before and after it. This was a time in England where new thought processes were being formed in the sciences, literature and in art. Elizabethan plays went against all other rules of plays and stories that had previously been set forth by past generations. It was a good time to be English, money was good (and far better off than othe <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;">r countries) and the citizens were for the most part happy. They as a nation had suffered such debt under previous rulers, but with Elizabeth evoking such strenuous policies, the debt was eased quickly and the country began to enjoy a surplus.

One significant part of this period is the clothing and how it really represented order and social status, although Elizabethans took it to a much higher level. Looking at how one was dressed, it could be easily judged of their wealth and their social standing in the community, and to be dressed in clothing that didn’t fit your status was considered unthinkable. <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;"> ==<span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;">Sumptuary Laws == <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;">This point is further driven home by the <span class="wiki_link_ext"><span style="font-size: 110%; font-family: Georgia,serif;">[|Sumptuary Laws] <span style="font-size: 110%; font-family: Georgia,serif;"> that were created. It stated that basically citizens that dressed in a manner that was not acceptable (or of their status) could be fined, have their land taken or way, or even death. This means if you were caught by your neighbor prancing <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;"> around in a fancy rich dress (or even one that imitated it) you had better hoped they didn’t report you. Now, it is much said that these rules weren’t always enforced due to the fact that England did not have a fashion police squad who was able to ride around and catch people that were “cross dressing”, but there has been history to show that when caught, they were enforced. It was made to sound harmless in a decree by Elizabeth:

<span style="font-size: 110%; font-family: Georgia,serif;">“… //<span style="font-size: 110%; font-family: Georgia,serif;">particularly the wasting and undoing of a great number of young gentlemen, otherwise serviceable, and others seeking by show of apparel to be esteemed as gentlemen, who, allured by the vain show of those things, do not only consume themselves, their goods, and lands which their parents left unto them, but also run into such debts and shifts as they cannot live out of danger of laws without attempting unlawful acts, whereby they are not any ways serviceable to their country as otherwise they might be…” //<span style="font-size: 110%; font-family: Georgia,serif;">  <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">- Queen Elizabeth I, Greenwich, 15 June 1574

<span style="font-size: 110%; font-family: Georgia,serif;">Her lawmakers made it seem that prohibiting those from imitating the wealthy or upper class prevented serious debt to the country, stating that even imitation of rich clothing ( <span style="font-size: 110%; font-family: Georgia,serif;">knockoffs) w<span style="font-size: 110%; font-family: Georgia,serif;">as harmful in the identification <span style="font-size: 110%; font-family: Georgia,serif;"> process of who belonged to which class. Pretty good, huh?

<span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;">Royalty
<span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;">Each class had it's own particular set of rules, and the Royal class was no different (well, except that they got the finest of every category). One of the particulars of the Royal class (taken straight from <span style="font-size: 110%; font-family: Georgia,serif;">[|Elizabeth's Sumptuary Laws] <span style="font-size: 110%; font-family: Georgia,serif;"> was the color purple. She states: //<span style="font-size: 110%; font-family: Georgia,serif;">"None shall wear in his apparel: // <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;"> //<span style="font-size: 110%; font-family: Georgia,serif;">Any silk of the color of purple, cloth of gold tissued, nor fur of sables, but only the King, Queen, King's mother, children, brethren, and sisters, uncles and aunts; and except dukes, marquises, and earls, who may wear the same in doublets, jerkins, linings of cloaks, gowns, and hose; and those of the Garter, purple in mantles only." // <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">- Queen Elizabeth I, Greenwich, 15 June 1574  <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"> ==<span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">Women's styles  == <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">
 * <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;">Sleeves- narrower than previous periods. Elizabeth saw the outdoing of "trumpet sleeves".
 * <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;">[|Bodice] <span style="font-size: 110%; font-family: Georgia,serif;">- extremely high necked, or in a low, square shape.
 * <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;">Ruff- a HUGE part of Elizabethan apparel. A ruff is a circular piece of fabric (that went higher than the collar) that had been <span style="font-size: 110%; font-family: Georgia,serif;">[|sewn into frills] <span style="font-size: 110%; font-family: Georgia,serif;">, and resembles to us a frilly neck brace. The larger and more elaborate, the better. With starch now being available to England, ruffs became more stiff and extravagant.

<span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;">Gowns
<span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;">Gowns in this period were often lined with fur and were used indoors and out. They were usually put over the corset and their underwear, and then had the bodice and other pieces placed over it. Puffed sleeves were also an option.

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<span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;">Under garments
<span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;">Consisted of some type of chemise (silk for the upper class normally) and usually paired off with briefs that resemble men's boxers of the present day. <span style="font-size: 110%; font-family: Georgia,serif;">[|Corsets] <span style="font-size: 110%; font-family: Georgia,serif;"> in this period were also considered part of woman's underwear, and were used to help make a woman's body more shapely. The hourglass figure was very popular in this period.

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<span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;">Headgear
<span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"><span style="font-size: 110%; font-family: Georgia,serif;">Women in this period followed with the tradition of having their hair pinned up and covered if they were married. The way that they keep their hair covered was to wear a hat, hood, or cap. It became acceptable in this period for women to wear men's caps as well. Widows usually wore caps of all black. Royalty usually wore extravagant head pieces that resembled tiaras and were made of precious metals and adorned with jewels.

//<span style="font-size: 120%; font-family: Georgia,serif;">Judy Viskoe //
<span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"> <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"> <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"> <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"> =<span style="font-family: Georgia,serif;"><span style="display: block; color: rgb(255, 0, 159); text-align: center;">Missing Passages = =<span style="font-family: Georgia,serif;"><span style="display: block; color: rgb(255, 0, 159); text-align: center;">Act 1/2 from //<span style="font-family: Georgia,serif;"><span style="display: block; color: rgb(255, 0, 159); text-align: center;">The Way of the World  //= <span style="font-size: 120%; font-family: Georgia,serif;"><span style="font-size: 110%; font-family: Georgia,serif;">

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<span style="font-family: Georgia,serif;">//<span style="font-family: Times New Roman,serif;"> Mirabell is sitting at a table near a window in his home. It appears that he has started playing cards, but does not move for several moments. His face is perplexed and he seems more thoughtful every minute. // ======

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<span style="font-family: Georgia,serif;"><span style="font-family: Times New Roman,serif;"> MIRABELL: Yes? Oh, the tea. Yes, it would be fit to pour me a cup. I am so very tense on this day, and am unsure as to what be the cause of my restlessness. ======

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<span style="font-family: Georgia,serif;"> WAITWELL: Sir? Perhaps I have caused you undue troubles, unfortunately, ‘twas I who was not helpful in keeping Mrs. Millamant company for longer hours. I was not quick enough to offer her more time with you, which could have definitely placed you in her higher graces. I am so sincerely and truly apologetic for that misfortune and if there is much else I can do, I shall be quick to do any task you shall bid me. ======

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<span style="font-family: Georgia,serif;"><span style="font-family: Times New Roman,serif;"> MIRABELL: Your statements do not ring false, but they cannot be the only contributor to my jumbled mind and grave demeanor. I have her brilliance weighing heavier upon my mind than I do your faults. I do believe that all of my time and labors with the fair Mrs. Millamant are not successful in the ways that I desire. ======

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<span style="font-family: Georgia,serif;"><span style="font-family: Times New Roman,serif;"> MIRABELL: She has the beauty, wit and charm to occupy all of my desires; but it seems each day she is distant, out of reach tho’ she be standing still in front of me! I cannot understand her motives for the time she spends with not only I but other men of this town, she seems coy but then expresses no need for my presence…However, perhaps it be so that this unimportance she places on our relationship be the very thing that makes me not able to discontinue thoughts of her day and night. It is all terribly confusing. ======

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<span style="font-family: Georgia,serif;"><span style="font-family: Times New Roman,serif;"> WAITWELL: Sir, you are one of the most desirable men of this entire land, handsome, intelligent and kind—any of the fairer sex would be a fool herself if not to find herself in want of your company. ======

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<span style="font-family: Georgia,serif;"><span style="font-family: Times New Roman,serif;"> MIRABELL: If only I could be so sure, that the words which you speak and the true way of the world, but alas my true love, Millamant, seems to be proving your very statement inaccurate. The one love that I need is either unabashedly talented at playing the games women play in relation to the men they seek, or the more likely case be that she simply does not have the passion for me that I harbor for her. ======

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<span style="font-family: Georgia,serif;"> WAITWELL: Sir, I simply refuse to believe it so. As promised, sir, I am wholly devoted to any cause or task which will help you to achieve your ultimate desire to wed Mrs. Millamant. As committed, I am here upon your call. Sir, may I make a suggestion? ======

<span style="font-family: Georgia,serif;">
<span style="font-family: Georgia,serif; font-size: 120%;">Part Two - Suzanne Ball <span style="font-size: 110%; font-family: Georgia,serif;"> = = <span style="font-size: 110%; font-family: Georgia,serif;">MIRABELL: Ah, that is a splendid idea. The chocolate house is a marvelous place for discussion of such matters as these. //<span style="font-size: 110%; font-family: Georgia,serif;">Waitwell calls on Fainall and he agrees to come to Mirabell’s. Fainall enters the house. //<span style="font-size: 110%; font-family: Georgia,serif;"> FAINALL: Mirabell, how are you on this fair evening? My servant has told me that you suffer greatly. What has your mind so unsettled? MIRABELL: If it pleases you, Sir, I should wish to tell you the source of my troubled thoughts at the Chocolate House near St. James Park, instead; I am finding this house to be quite stuffy at the moment. FAINALL: Ah, but of course Mirabell, that is a wonderful idea. I should love to accompany you to the chocolate house, but certainly you would not withhold just the slightest hint as to what is troubling you so? <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;"> MIRABELL: First, allow me to call upon my footman to gather the carriage; but I suppose once we are en route to the chocolate house I could divulge just a small piece of that which I desire… FAINALL: Splendid! I am certain that I shall be able to help with that which troubles your mind so. MIRABELL: I do hope so, Sir, for I suffer greatly. FAINALL: May I suggest that we discuss these sensitive matters over a game of //<span style="font-size: 110%; font-family: Georgia,serif;">La Bete // <span style="font-size: 110%; font-family: Georgia,serif;">? <span style="font-size: 110%; font-family: Georgia,serif;"> MIRABELL: Why of course, Sir. I do find that a game of cards helps my disposition considerably. <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;"> FAINALL: Wonderful! So, what are these matters that have caused you such agony? MIRABELL: Oh, Sir, I hopelessly desire the fair lady, Millamant’s, hand in marriage, yet, I do not believe that she desires the same. FAINALL: Ah, Mirabell, these are troublesome matters, but I have every confidence that I should be able to help you in your troubled situation. I do believe that I have at this very moment heard your carriage pull up to the door. Shall we be on our way so that I may be able to give you some advice? MIRABELL: Certainly, Sir, it would be greatly appreciated. //<span style="font-size: 110%; font-family: Georgia,serif;">Mirabell and Fainall enter the carriage. //<span style="font-size: 110%; font-family: Georgia,serif;"> //<span style="font-size: 110%; font-family: Georgia,serif;">[Mirabell to his footman] //<span style="font-size: 110%; font-family: Georgia,serif;"> MIRABELL: Stephen, please drive us to the chocolate house near St. James Park. And make haste. STEPHEN: Certainly, Sir. <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 120%; font-family: Georgia,serif;">Part Three - Stephen Mather <span style="font-family: Georgia,serif;"> [  //<span style="font-family: Georgia,serif;"> Enter  //<span style="font-family: Georgia,serif;">  <span style="font-family: Georgia,serif;"> MIRABELL   //<span style="font-family: Georgia,serif;"> and  //<span style="font-family: Georgia,serif;">  <span style="font-family: Georgia,serif;"> FAINALL   //<span style="font-family: Georgia,serif;"> in a rather fashionable carriage  // <span style="font-family: Georgia,serif;"> ]    <span style="font-family: Georgia,serif;"> FAINALL: And I dare say, the city about us seems alike to a lady with its constant fickle changes and temptations every way. <span style="font-family: Georgia,serif;"> [ //<span style="font-family: Georgia,serif;"> pause  //<span style="font-family: Georgia,serif;"> ]   <span style="font-family: Georgia,serif;"> FAINALL: Why, I'd go so far as to say the mere sight of it is beautifully provocative. <span style="font-family: Georgia,serif;"> MIRABELL: But as with a lady, I can't help but feel the dull melancholy of never quite getting any place. Though I rather don't mind the diversion of a theater or two when a real lady's company is begrudgingly intolerable, which, I dare say, is too often than not. <span style="font-family: Georgia,serif;"> FAINALL: O to listen to you! As if you were the pitiful Caliban sulking about on a barren island of wrought! Dear sir, a lady is nothing but nature's solution for the boredom of a young heart and that should be left at that! <span style="font-family: Georgia,serif;"> MIRABELL: While you poke and make light with your gaiety, you know quite well that to one who is in love the “boredom” of the heart is more like a sea, and a lady more like a sinking ship. And I'll thank you to put an end to that unfortunate subject! I've had enough talk of oceans and ships; the rockings of this carriage are making me feel positively unwell. <span style="font-family: Georgia,serif;"> [ //<span style="font-family: Georgia,serif;"> the carriage passes St. James's Park.]  //<span style="font-family: Georgia,serif;"> <span style="font-family: Georgia,serif;"> FAINAILL: To put your mind at rest, our “port” is nay but a scant stretch away; we now pass St. James's Park. <span style="font-family: Georgia,serif;"> MIRABELL: 'Sheart! They'll have a park for each and every saint in good time! These parks keep popping up about the city like wildflowers. <span style="font-family: Georgia,serif;"> FAINALL: The city, she must have a pretty flower or two to pick and keep in her pocket. =<span class="Apple-style-span" style="font-size: 15px; font-family: Georgia,serif;"> Part Four - Judy Viskoe = = = =<span class="Apple-style-span" style="font-family: Georgia; font-size: 14px; font-weight: normal; line-height: 21px;">//Mirabell and Fainall are continuing along in their carriage ride towards the chocolate house. A brief silence has passed after a discussion of the city and women, and Mirabell's mind is plagued with the thought of the marriage to Millamant.// = //<span style="font-family: Georgia,serif;"> [Mirabell clears his throat while continuing to look out the window] //<span style="font-family: Georgia,serif;"> MIRABELL: Oh out with it you silly fool, I know that I am not the only one thinking of this complexity! FAINALL: Oh dear friend, unless you are thinking of Mrs. Marwood's legs, then I highly doubt we are two minds alike! //<span style="font-family: Georgia,serif;"> [There is a brief pause while Fainall looks deep in thought] //<span style="font-family: Georgia,serif;"> FAINALL: Though, confessedly, for a passionate thinker, friend, I can began to imagine the complexities of a woman's legs… MIRABELL: I'll tell thee, Fainall, the world could crumble into a million pieces, and there sitting, with a gay look on his face none the less, would be Mr. Fainall, oblivious to all around him, but a smile on his face and a woman's legs on his mind! FAINALL: Ay, ay, friend, though if it be asked by another, I shall claim you a false and stupid man! //<span style="font-family: Georgia,serif;"> [They both laugh, and Mirabell looks serious again] //<span style="font-family: Georgia,serif;"> MIRABELL: There be no other pleasure greater in the world than jolly times with a dear friend, alas, troubles plague me, sir. FAINALL: And what troubles plague thee? MIRABELL: Troubles greater than the Lord faced amongst his days of creation… FAINALL: Creation?? MIRABELL: Troubles greater than Anne Boleyn could ever witness whilst she walked to her death… FAINALL: //<span style="font-family: Georgia,serif;"> [excited]  //<span style="font-family: Georgia,serif;"> Do tell sir, do tell!! MIRABELL: There hath been no greater match than a woman scorned my friend! FAINALL: //<span style="font-family: Georgia,serif;"> [pauses, visibly confused and seemingly disappointed]  //<span style="font-family: Georgia,serif;"> Er, come again? MIRABELL: Lady Wishfort, my friend. Afford me your compassion, good sir, for I, Mirabell, am up against at treacherous witch who plots against me at night, stirring and brewing the finest witchcraft to foil my plans to marry Millament! FAINALL: //<span style="font-family: Georgia,serif;"> [nervous]  //<span style="font-family: Georgia,serif;"> W-w-witchcraft, you say? <span style="font-size: 120%; font-family: Georgia,serif;">Part Five - Branden Boynton // <span style="font-size: 110%; font-family: Georgia,serif;">[Interior: Chocolate House,   //<span style="font-size: 110%; font-family: Georgia,serif;"> MIRABELL //<span style="font-size: 110%; font-family: Georgia,serif;">and //<span style="font-size: 110%; font-family: Georgia,serif;"> FAINALL //<span style="font-size: 110%; font-family: Georgia,serif;">enter] //<span style="font-size: 110%; font-family: Georgia,serif;">  <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">MIRABELL <span style="font-size: 110%; font-family: Georgia,serif;">: Silence now. Let us be discreet until we are aware of the company here. <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">FAINALL <span style="font-size: 110%; font-family: Georgia,serif;">: Company Sir? I see not a soul. The clerk herself is unattendant. How are we to have our delicacies if we are not served? I shall ring the bell. <span style="font-size: 110%; font-family: Georgia,serif;"> //<span style="font-size: 110%; font-family: Georgia,serif;">[Enter //<span style="font-size: 110%; font-family: Georgia,serif;"> BETTY //<span style="font-size: 110%; font-family: Georgia,serif;">] //<span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">BETTY <span style="font-size: 110%; font-family: Georgia,serif;">: Your business gentlemen? <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">FAINALL <span style="font-size: 110%; font-family: Georgia,serif;">: Yes, a round of your finest truffles, with haste. <span style="font-size: 110%; font-family: Georgia,serif;"> //<span style="font-size: 110%; font-family: Georgia,serif;">[Exit //<span style="font-size: 110%; font-family: Georgia,serif;"> BETTY //<span style="font-size: 110%; font-family: Georgia,serif;">] //<span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">MIRABELL <span style="font-size: 110%; font-family: Georgia,serif;">: Now, my dear Fainall, are we in agreement? Will you aid me in my endeavor to bend the will of Lady Wishfort? <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">FAINALL <span style="font-size: 110%; font-family: Georgia,serif;">: O, do you inquire with seriousness Sir? Are we not friends Mirabell? I shall assuredly aid you in your plotting. A cold heart would it be not to swindle a decrepit woman in order to rob her of her fortunes, Sir. <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">MIRABELL <span style="font-size: 110%; font-family: Georgia,serif;">: You make me sound a horrid creature. Is the path I intend so terrible a course? No. The Lady is undeserving of her riches and I am in want of them. Besides, I pursue a course of love. That is a noble enough cause to leave my resolve unaffected. <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">FAINALL <span style="font-size: 110%; font-family: Georgia,serif;">: Your conscience seems heavy Mirabell. However, Sir, you should stay your running tongue. I am not so disapproving of your course. I know your affections to be true and your want of gold powerful. I will conspire along your side with a clean conscience. <span style="font-size: 110%; font-family: Georgia,serif;"> //<span style="font-size: 110%; font-family: Georgia,serif;">[Enter //<span style="font-size: 110%; font-family: Georgia,serif;"> BETTY //<span style="font-size: 110%; font-family: Georgia,serif;">with a plate of truffles] //<span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">BETTY <span style="font-size: 110%; font-family: Georgia,serif;">: Your refreshments Sirs. <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">FAINALL <span style="font-size: 110%; font-family: Georgia,serif;">: My thanks, although your return seems quite delayed, surely chocolates can not hide themselves? <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">MIRABELL <span style="font-size: 110%; font-family: Georgia,serif;">: Leave her be Fainall, we have our truffles do we not? Let’s enjoy them over a game of //<span style="font-size: 110%; font-family: Georgia,serif;">La Bete //<span style="font-size: 110%; font-family: Georgia,serif;">. Let us sit. //<span style="font-size: 110%; font-family: Georgia,serif;">[To //<span style="font-size: 110%; font-family: Georgia,serif;"> BETTY //<span style="font-size: 110%; font-family: Georgia,serif;">] //<span style="font-size: 110%; font-family: Georgia,serif;"> Bring us a pack of cards so we can whittle away the hours until the messenger brings us what we await. //<span style="font-size: 110%; font-family: Georgia,serif;">[Exit //<span style="font-size: 110%; font-family: Georgia,serif;"> BETTY //<span style="font-size: 110%; font-family: Georgia,serif;">] //<span style="font-size: 110%; font-family: Georgia,serif;"> Fainall, I believe I owe you for our last game. I can take my revenge upon you as we discuss the intricacies of our plan. <span style="font-size: 110%; font-family: Georgia,serif;"> //<span style="font-size: 110%; font-family: Georgia,serif;">[Enter //<span style="font-size: 110%; font-family: Georgia,serif;"> BETTY //<span style="font-size: 110%; font-family: Georgia,serif;">with cards] //<span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">FAINALL <span style="font-size: 110%; font-family: Georgia,serif;">: Ha Ha Ha. I should like to see that. Alright, we have hourglasses to turn and lamp oil to burn. Let us sit down to a game, I shall serve you further cause for vengeance.

<span style="display: block; font-size: 120%; color: rgb(10, 10, 10); font-family: Georgia,serif; text-align: center;">

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<span style="font-family: Georgia,serif;"><span style="display: block; font-family: Georgia,serif; text-align: center;"> <span style="color: rgb(255, 0, 128);">**A**   <span style="font-family: Georgia,serif;">  <span style="color: rgb(255, 0, 128);">**ct 1/2 from the contemporary version of**      <span style="font-family: Georgia,serif;">//<span style="font-family: Georgia,serif;"><span style="display: block; font-family: Georgia,serif; text-align: center;">  <span style="color: rgb(255, 0, 128);">**The Way of the World**     // ======

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<span style="font-family: Georgia,serif;">//Mr. Brian Perry is sitting at a table, viewing the gorgeous view of the pacific ocean from his large, bay window. Although he appears very successful, he seems complacent.// ======

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<span style="font-family: Georgia,serif;">BRIAN: Well, she is on my mind very much. I would like to propose to her, but I feel that she will reject me or leave if she ever finds out about all of my other women. ======

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<span style="font-family: Georgia,serif;">BRIAN: I know, I've already done that. But, I am afraid that I'll go back to my old playboy lifestyle—I love Sahsa, but can she ever compare to the luxury of fine cars, fine wine, and fine women all experienfced simultanteoulsy? ======

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<span style="font-family: Georgia,serif;">JUANITA: Sir! Por Supuesto, I do not serve you in the same manner I serve my husband. There are many deberos wives do that housekeepers do not. Quiza you should marry Sasha, then you will know what I talk about! Should I send the driver to pick up Mr. Barker por otra Boy's night out? ======

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<span style="font-size: 110%; font-family: Georgia,serif;">BRIAN <span style="font-size: 110%; font-family: Georgia,serif;">: Gracias Juanita…that’s a bueno idea. I’ll text Barker and we’ll hit the bars. ======

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<span style="font-size: 110%; font-family: Georgia,serif;">BRIAN <span style="font-size: 110%; font-family: Georgia,serif;">(in a text): Wut up? Want 2g2 Sunset 2nite? Its Taco Tues. at Kona and later we can hit up Jack’s fo drinks. ======

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<span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER <span style="font-size: 110%; font-family: Georgia,serif;">: Brian, what up? So, I called your house earlier and Juanita answered; I think she said something about you and Sasha… ======

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<span style="font-size: 110%; font-family: Georgia,serif;">BRIAN <span style="font-size: 110%; font-family: Georgia,serif;">: I don’t know…honestly, I’d rather not talk about it right now; I need a drink before I do anything. ======

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<span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER <span style="font-size: 110%; font-family: Georgia,serif;">: Ok, dude. Lets get out of here then. You want me to drive? I got the smart car. ======

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<span style="font-size: 110%; font-family: Georgia,serif;">BRIAN <span style="font-size: 110%; font-family: Georgia,serif;">: Dude, don’t even go there tonight. That’s what I’m worried about. I think Sasha might know about the other ladies…and I was gonna ask her to marry me; but now I think she’s gonna say “No” cuz I’ve been cheatin’ on her. ======

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<span style="font-size: 110%; font-family: Georgia,serif;">BRIAN <span style="font-size: 110%; font-family: Georgia,serif;">: Lets just go; I need a drink. Juanita, can you get my keys from upstairs por favor? ======

Part Three - Stephen Mather
<span style="font-size: 110%; font-family: Georgia,serif;">[ //<span style="font-size: 110%; font-family: Georgia,serif;">Enter //<span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">Brian  //<span style="font-size: 110%; font-family: Georgia,serif;">and //<span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">Mr. Barker //<span style="font-size: 110%; font-family: Georgia,serif;">in their sporty new Smart Car // <span style="font-size: 110%; font-family: Georgia,serif;">]   <span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER: What a sight, this town is a riot! Socal, yeah that's the wench for me! Give me a beer and a babe and I'm set for life just so long as I got my Socal to live. <span style="font-size: 110%; font-family: Georgia,serif;">BRIAN: Ya know, there's more to life than sex and booze. Just look at that ocean! Don't ya feel anything with the windows down and the wind in your hair? Personally, you'll think it's wussy, but it all makes me think of love. Staring out into the sea, all I wish is for some new romance by my side. <span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER : Man, you should listen to yourself talk! You've been listening to too much Marvin Gaye! [ //<span style="font-size: 110%; font-family: Georgia,serif;">Turns off the Radio //<span style="font-size: 110%; font-family: Georgia,serif;">] <span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER: Now if you ask me, a shot of whiskey should set your confused little mind straight. Imagine ranting about true love and oceans while drunk! A damn good thing we're goin' to the bar! <span style="font-size: 110%; font-family: Georgia,serif;">BRIAN: It's as if you've never been in love! And what about the ol' ball and chain? I bet you don't even know where you two first kissed! <span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER: As a matter of fact, I am absolutely positive that my wife and I's first kiss was square on the lips! <span style="font-size: 110%; font-family: Georgia,serif;">BRIAN:While you party and prance about, people are suffering and dying somewhere! I mean we must be here for some reason! How lonely it must be to only like girls for sex! <span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER: You sir, are apparently having the wrong kind of sex! <span style="font-size: 110%; font-family: Georgia,serif;">BRIAN: Whatever, play your stupid games. I wish this tiny car was smart enough to go faster. I have a goddam pit in my stomach! MR. BARKER: Hey man, I think I have some chips someone in the glove compartment, only a couple weeks old, I swear. <span style="font-size: 110%; font-family: Georgia,serif;">BRIAN: Forget your grease and mass consumption! I only eat organic chips. They're better for the immune system and I look trendy as hell. <span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER: Either way, it can't be too much farther to go.

Part Four - Judy Viskoe
<span style="font-size: 110%; font-family: Georgia,serif;"><span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;"> [Brian looks over at a drunken Mr. Barker, who is blowing his breath onto the window, and drawing smiley faces, while giggling] <span style="font-size: 110%; font-family: Georgia,serif;">BRIAN <span style="font-size: 110%; font-family: Georgia,serif;">: Can you stop with that giggling man? You're so loud that I'm afraid someone will hear you and think you're in here tickling me or something. <span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER: <span style="font-size: 110%; font-family: Georgia,serif;"> No one can hear, no one can hear [cups hands around mouth and places them onto the window] HELLO! Can you hear me?? <span style="font-size: 110%; font-family: Georgia,serif;">BRIAN: <span style="font-size: 110%; font-family: Georgia,serif;"> You've lost it, seriously. <span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER: <span style="font-size: 110%; font-family: Georgia,serif;"> Never had it my boy! That's the difference! <span style="font-size: 110%; font-family: Georgia,serif;">BRIAN: <span style="font-size: 110%; font-family: Georgia,serif;"> Can't you just be serious for one damn second? I've got to figure out this thing with Sasha. <span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER: <span style="font-size: 110%; font-family: Georgia,serif;"> You're going to tell hr about all the other women? <span style="font-size: 110%; font-family: Georgia,serif;">BRIAN: <span style="font-size: 110%; font-family: Georgia,serif;"> [sarcastically] Yes, man, how did you know? That's exactly what I'm going to do, tell her about the cheating in hopes of pushing her to accept my marriage offer. <span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER: <span style="font-size: 110%; font-family: Georgia,serif;"> [shouts] NO! Telling her about the other women will surely convince her NOT to accept your proposal! <span style="font-size: 110%; font-family: Georgia,serif;">BRIAN: <span style="font-size: 110%; font-family: Georgia,serif;"> [snaps in Barker's face] Glad you're finally wake man. Look alive, that's exactly what I'm stressing about! <span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER: <span style="font-size: 110%; font-family: Georgia,serif;"> Well, that's easily fixable... [shouts] KILL THEM ALL! <span style="font-size: 110%; font-family: Georgia,serif;">BRIAN: <span style="font-size: 110%; font-family: Georgia,serif;"> Kill? Kill?? What the hell are you talking about man?? I'm trying to figure out a way to disguise my affairs and you want to go shooting people! I said hide it from her, not bury it in a grave! <span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER: <span style="font-size: 110%; font-family: Georgia,serif;"> Bury in a grave? What? At this hour?? Who's crazy, you want to go about digging graves at 2 in the morning! <span style="font-size: 110%; font-family: Georgia,serif;">BRIAN: <span style="font-size: 110%; font-family: Georgia,serif;"> Agggh, never mind, I should have known better to discuss this with you, who's sick in the head. [pause] Wait, that's it! Sick! I shall tell all of my past lovers that Sasha is sick! Dying of cancer! Then they'll pity her so much that they'll never have the guts to tell her! <span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER: <span style="font-size: 110%; font-family: Georgia,serif;"> STAB THEM IN THE GUTS! <span style="font-size: 110%; font-family: Georgia,serif;">BRIAN: <span style="font-size: 110%; font-family: Georgia,serif;"> Oh shut up, you old loon! <span style="font-size: 120%; font-family: Georgia,serif;"> Part Five - Branden Boynton

//[<span style="font-size: 110%; font-family: Georgia,serif;">Interior: Bar, //<span style="font-size: 110%; font-family: Georgia,serif;"> BRIAN //<span style="font-size: 110%; font-family: Georgia,serif;">and //<span style="font-size: 110%; font-family: Georgia,serif;"> MR. BARKER //<span style="font-size: 110%; font-family: Georgia,serif;">enter] //<span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">BRIAN <span style="font-size: 110%; font-family: Georgia,serif;">: God man! Keep it down Barker! You’re an embarrassment! <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER <span style="font-size: 110%; font-family: Georgia,serif;">: Embarrassment? It’s still early! There’s nobody here! Hell, the bartender’s not even out. Who’s gonna get us our Margaritas and Tacos!? //<span style="font-size: 110%; font-family: Georgia,serif;">[Shouts] //<span style="font-size: 110%; font-family: Georgia,serif;"> HEY! A LITTLE SERIVCE? HELLO?! <span style="font-size: 110%; font-family: Georgia,serif;"> //<span style="font-size: 110%; font-family: Georgia,serif;">[Enter //<span style="font-size: 110%; font-family: Georgia,serif;"> KATE //<span style="font-size: 110%; font-family: Georgia,serif;">] //<span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">KATE <span style="font-size: 110%; font-family: Georgia,serif;">: //<span style="font-size: 110%; font-family: Georgia,serif;">[annoyed] //<span style="font-size: 110%; font-family: Georgia,serif;"> Well, My favorite customers. What can I get you? <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER <span style="font-size: 110%; font-family: Georgia,serif;">: Margaritas. OH! And tacos! LOTS OF THEM! And hurry up will ya? <span style="font-size: 110%; font-family: Georgia,serif;"> //<span style="font-size: 110%; font-family: Georgia,serif;">[Exit //<span style="font-size: 110%; font-family: Georgia,serif;"> KATE //<span style="font-size: 110%; font-family: Georgia,serif;">] //<span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">BRIAN <span style="font-size: 110%; font-family: Georgia,serif;">: So, Barker man, do we have a deal? Are you gonna help me with my little Sasha problem? Maybe it can be solved through her aunt, Miss Averice and her money… I mean, I’m doing fine but really, who couldn’t use more money? <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER <span style="font-size: 110%; font-family: Georgia,serif;">: Oh man, are you serious my boy? Brian, Brian, aren’t we friends? Aren’t we Buddies? Besides, you know I love to pull off these little capers. //<span style="font-size: 110%; font-family: Georgia,serif;">[Sarcastically] //<span style="font-size: 110%; font-family: Georgia,serif;"> And what kind of good hearted man would I be if I didn’t help you try and fool a young innocent girl and steal her rotting old aunt’s money? <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">BRIAN <span style="font-size: 110%; font-family: Georgia,serif;">: God you’re making me sound bad. Am I really that much of a jackass? Nah, nah I can’t be. I mean I love her right? I just made some mistakes. Well, a lot of mistakes. Repeatedly. A whole lifestyle of mistakes… And her aunt’s old, what does she need the money for? It’d be much better spent on a nice big new house for Sasha and I. Maybe a shiny new sports car, you know? A little wedding present for myself. <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER <span style="font-size: 110%; font-family: Georgia,serif;">: Dude, Brian, SHUT UP. You are guilty as Sin my boy, as Sin. I was kidding man, kidding. It’s called SARCASM. You love her, I know, and you’re right who couldn’t use extra money. No worries, I am one-hundred percent guilt free in helping you. <span style="font-size: 110%; font-family: Georgia,serif;"> //<span style="font-size: 110%; font-family: Georgia,serif;">[Enter //<span style="font-size: 110%; font-family: Georgia,serif;"> KATE //<span style="font-size: 110%; font-family: Georgia,serif;">with two margaritas and a platter of tacos] //<span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">KATE <span style="font-size: 110%; font-family: Georgia,serif;">: Here you go, two margaritas and tacos, “lots of them”. <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER <span style="font-size: 110%; font-family: Georgia,serif;">: [ //<span style="font-size: 110%; font-family: Georgia,serif;">drawn out] //<span style="font-size: 110%; font-family: Georgia,serif;"> Well Thank You. What did you do raise the cows and slaughter them back there, pick the lettuce yourself? You throw some meat in a shell, how long can it take? <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">BRIAN <span style="font-size: 110%; font-family: Georgia,serif;">: Barker, leave her alone, we’ve got the tacos. They’re portable; let’s play some darts while we eat them. Come on. We’ve got some time to kill. Besides Barker, you’re ahead after that last game. I’ll tie it up while we figure out what to do about Sasha and Averice. <span style="font-size: 110%; font-family: Georgia,serif;"> <span style="font-size: 110%; font-family: Georgia,serif;">MR. BARKER <span style="font-size: 110%; font-family: Georgia,serif;">: HA! Yeah, Right, I’d like to see that! Alright, let’s play a game. I’ll pull so far ahead you’ll never dream of getting a tie dude. I will own you. But come on, let’s hear the plan, spill it my boy.

<span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"> <span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;"> <span style="font-size: 120%; font-family: Georgia,serif;"> **Works Cited** ====<span style="font-size: 14pt; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;">Congreve, William. //<span style="font-size: 80%; font-family: Georgia,serif;">The Way of The World.The Norton Anthology: English Literature: The Restoration and the Eighteenth Century. //<span style="font-size: 80%; font-family: Georgia,serif;"> W.W. Norton & Company, Inc.: New York,2006. ==== ====<span style="font-size: 14pt; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;"> Corman, Brian. “Comedy.” //<span style="font-size: 80%; font-family: Georgia,serif;">The Cambridge Companion to English Restoration Theatre. //<span style="font-size: 80%; font-family: Georgia,serif;"> Cambridge: Cambridge University Press, 2000. ==== ====<span style="font-size: 14pt; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;"> Gill, Pat. "Gender, Sexuality, and Marriage." //<span style="font-size: 80%; font-family: Georgia,serif;">The Cambridge Companion to English Restoration //<span style="font-size: 80%; font-family: Georgia,serif;"> //<span style="font-size: 80%; font-family: Georgia,serif;">Theatre. //<span style="font-size: 80%; font-family: Georgia,serif;"> Cambridge: Cambridge University Press, 2000. <span style="font-size: 80%; font-family: Georgia,serif;">  ==== ====<span style="font-size: 14pt; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;">Gill, Pat. “Gender and Genre: Men’s Images of Women in Comedy, Tragedy and the Sentimental.” //<span style="font-size: 80%; font-family: Georgia,serif;">Interpreting Ladies: Women, Wit, and Morality in the Restoration Comedy of Manners. //<span style="font-size: 80%; font-family: Georgia,serif;"> Athens: University of Georgia press, 1994. <span style="font-size: 80%; font-family: Georgia,serif;">  ==== ====<span style="font-size: 14pt; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;">Howe, Elizabeth. //<span style="font-size: 80%; font-family: Georgia,serif;">The First English Actresses: Women and Drama 1660–1700 //<span style="font-size: 80%; font-family: Georgia,serif;">. Cambridge: Cambridge University Press, 1992. <span style="font-size: 12pt; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;">   ==== ====<span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-size: 14pt; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;">Hume, Robert D. //<span style="font-size: 80%; font-family: Georgia,serif;">The Development of English Drama in the Late Seventeenth Century. //<span style="font-size: 80%; font-family: Georgia,serif;"> Oxford: Clarendon Press, 2000. <span style="font-size: 80%; font-family: Georgia,serif;">   ==== ====<span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-size: 14pt; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;">Markley, Robert. “The Canon <span style="font-size: 12pt; font-family: Georgia,serif;"><span style="font-size: 80%; font-family: Georgia,serif;"> and its Critics.” //<span style="font-size: 80%; font-family: Georgia,serif;">The Cambridge Companion to English Restoration Theatre. //<span style="font-size: 80%; font-family: Georgia,serif;"> Cambridge: Cambridge University Press, 2000. <span style="font-size: 14pt; font-family: Georgia,serif;"><span style="font-size: 80%; font-family: Georgia,serif;">   <span style="font-size: 14pt; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;">     ==== ====<span style="font-size: 14pt; font-family: Georgia,serif;"><span style="font-size: 14pt; font-family: Georgia,serif;"><span style="font-size: 12pt; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;">Nestvold, Ruth. "Women and Restoration Theatre". Lit Arts. November 22, 2008 < <span style="font-size: 80%; font-family: Georgia,serif;">http://www.lit-arts.net/Behn/theater.htm <span style="font-size: 80%; font-family: Georgia,serif;">>. <span style="font-size: 80%; font-family: Georgia,serif;">  ==== ====<span style="font-size: 14pt; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;">Pearson, Jacqueline. //<span style="font-size: 80%; font-family: Georgia,serif;">The Prostituted Muse: Images of Women and Women Dramatists 1642- 1737. //<span style="font-size: 80%; font-family: Georgia,serif;"> London: Harvester Wheatsheaf, 1988. <span style="font-size: 80%; font-family: Georgia,serif;">  ==== ====<span style="font-size: 14pt; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;">Roach, Joseph. “The Performance.” //<span style="font-size: 80%; font-family: Georgia,serif;">The Cambridge Companion to English Restoration Theatre. //<span style="font-size: 80%; font-family: Georgia,serif;"> Cambridge: Cambridge University Press, 2000. <span style="font-size: 80%; font-family: Georgia,serif;">  ====

<span style="font-size: 14pt; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;"> -Jaqui Bell
<span style="font-family: 'Trebuchet MS',Helvetica,sans-serif;">

<span style="font-family: Georgia,serif; font-size: 90%;"> "The Way of the World." www.wikipedia.com. Gosse, Edmund. "The Life of William Congreve." London: Walter Scott, 1888. Pp. 135-139. Lynch, Jack. "William Congreve, //<span style="font-family: Georgia,serif; font-size: 90%;">The Way of the World //<span style="font-family: Georgia,serif; font-size: 90%;">." www.faculty.goucher.edu/eng211.

-Suzanne Ball



<span style="font-family: Georgia,serif;"> "William Congreve" www.wikipedia.com. Hodges, John C.. "Fresh Manuscript Sources for a Life of William Congreve". __<span style="font-family: Georgia,serif;">PMLA, Vol. 54, No. 2 __<span style="font-family: Georgia,serif;"> Jun 1939: 432-438.

-Branden Boynton

<span style="font-family: Times New Roman,serif;"><span style="font-family: Georgia,serif;">Stromberg, Roland N. __<span style="font-family: Georgia,serif;">Religious Liberalism in Eighteenth-Century England __ <span style="font-family: Georgia,serif;">. London: Oxford University Press, 1954. <span style="font-family: Georgia,serif;"> <span style="font-family: Times New Roman,serif;"> <span style="font-family: Georgia,serif;">Sykes, Norman. __<span style="font-family: Georgia,serif;">Church and State in England in the Eighteenth Century __ <span style="font-family: Georgia,serif;">. Hamden: Archon Books, 1934. <span style="font-family: Georgia,serif;"> <span style="font-family: Georgia,serif;">-Stephen Mather

"Bodice" http://en.wikipedia.org/wiki/Bodice <span style="font-size: 14pt; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;">Congreve, William. //<span style="font-size: 80%; font-family: Georgia,serif;">The Way of The World.The Norton Anthology: English Literature: The Restoration and the Eighteenth Century. //<span style="font-size: 80%; font-family: Georgia,serif;"> W.W. Norton & Company, Inc.: New York,2006. "Corset" http://en.wikipedia.org/wiki/Corset

I, Elizabeth. "Elizabethan Suptuary Laws." __Elizabethan Org__. 01 JAN 2008. 01 OCT 2008 <http://elizabethan.org/sumptuary/who-wears-what.html>.

Schuessler, Melanie. "How to Starch an Elizabethan Ruff." __Faucet__. 01 JAN 2008. 01 OCT 2008 <http://www.faucet.net/costume/period/ruff.html>. ====<span style="font-size: 14pt; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;"> <span style="font-size: 80%; font-family: Georgia,serif;">  "William Congreve" www.wikipedia.com.====

-Judy Viskoe <span style="font-family: Georgia,serif;"> <span style="font-family: Georgia,serif;">