The first female dramatists

Ballaster, Ros

doi:10.1017/cbo9780511470363.015

Cited by 7 publications

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“…The aims of the present note are to (re-)unearth that source and analyse how Ariadne adapted the male-authored original for her own purposes as a woman dramatist, combined it with a farcical subplot, and endeavoured to tailor it to the new tastes of the town. 3 As far as I could trace, only Pérez Vides (2002) and Spencer (1994) pay considerable attention to this play, but brief comments about it can also be found in Ballaster (1996), Hughes (1996), Hume (1976), Kewes (1998), Novak (1975), Pearson (1988), Rubik (1998) and Straznicky (1997).…”

Section: Discussionmentioning

confidence: 99%

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2009

Sederi

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The beginning of negotiations in 1614 for a dynastic marriage between Prince Charles and the Infanta Maria of Spain caused great concern among English people who still held strong anti-Catholic and anti-Spanish prejudices. King James's decision in 1618 to use the marriage negotiations in order to mediate in the confessional conflict in Europe added to this concern. England was then politically divided between those willing to help James's son-in-law, Frederick, who had accepted the Bohemian crown following the rebellion of the Protestant estates against the Habsburg King Ferdinand, and those who supported the Stuart monarch's decision to keep England safe from continental struggles.Despite the censorship of the state, a group of writers began a campaign against the Spanish Match which had a great influence on public opinion. Among the most prominent of these was Thomas Scott, whose first work, Vox Populi (1620), became one of the most controversial political tracts of the period. This article analyses Scott's pamphlet and considers how he also made use of the discourse against Catholicism and Spain to introduce further commentaries on the monarchical system and the citizens' right to participate in government.

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Section: Discussionmentioning

confidence: 99%

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2009

Sederi

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Ariadne’s Adaptation of Alexander Oldys’s The Fair Extravagant in She Ventures and He Wins

Dorrego

2009

Sederi

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In the preface to She Ventures and He Wins (1695), the young woman signing as “Ariadne” says that the plot of this play is taken from “a small novel,” the title of which she does not mention. Neither the editors Lyons and Morgan (1991) nor any of the few critics that have recently commented on this piece have identified the text upon which the play is drawn. The answer to this riddle is to be found in The Lives and Characters of the English Dramatick Poets (1699). The main plot of that comedy is Alexander Oldys’s The Fair Extravagant, or The Humorous Bride, a practically unknown text that has not been reprinted since 1682. The aim of this paper is to (re-)unearth that source, and to analyse how Ariadne adapted the male-authored original for her own purposes as a woman dramatist, combined it with a farcical sub-plot, and endeavoured to tailor it to the new tastes of the town.

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Margaret Cavendish, Shakespeare Critic

Romack¹

2016

A Feminist Companion to Shakespeare

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The first female dramatists

Cited by 7 publications

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Ariadne’s Adaptation of Alexander Oldys’s The Fair Extravagant in She Ventures and He Wins

Margaret Cavendish, Shakespeare Critic

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