The Broadview Anthology of Restoration and Early Eighteenth-Century Drama, Concise Edition, with twenty-one plays, is half the length of the full anthology without compromising its breadth. Concentrating on plays from the heyday of 1660-1737, it focuses on Restoration drama proper and Revolution drama, with a selection from the early Georgian period and the later Georgian period's "laughing comedy." Seven of the nine sub-genres (personal tragedy, tragicomic romance, social comedy, subversive comedy, corrective satire, menippean satire, and laughing comedy) of the full anthology are represented, with the preponderance of exposure given to the jewel of this theatre, its comedy. Each play is fully annotated and prefaced with an historical introduction. Also included are a general introduction, a statement of procedures, and a glossary.

The Broadview Anthology of Restoration and Early Eighteenth-Century Drama, Concise Edition, with twenty-one plays, is half the length of the full anthology without compromising its breadth. Concentrating on plays from the heyday of 1660-1737, it focuses on Restoration drama proper and Revolution drama, with a selection from the early Georgian period and the later Georgian period’s “laughing comedy.” Seven of the nine sub-genres (personal tragedy, tragicomic romance, social comedy, subversive comedy, corrective satire, menippean satire, and laughing comedy) of the full anthology are represented, with the preponderance of exposure given to the jewel of this theatre, its comedy. Each play is fully annotated and prefaced with an historical introduction. Also included are a general introduction, a statement of procedures, and a glossary.

This is the first new full-scale anthology of Restoration and eighteenth-century drama in over sixty years. Concentrating on plays from the heyday of 1660-1737, it focuses especially on Restoration drama proper (1660-1688) and Revolution drama (1689-1714), with a smaller selection of plays from the early Georgian period (1715-1737) and a glimpse at the later Georgian period’s “laughing comedy” (1770s and 80s). It includes nine sub-genres (heroic romance, political tragedy, personal tragedy, tragicomic romance, social comedy, subversive comedy, corrective satire, menippean satire, and laughing comedy), with the preponderance of exposure given to the jewel of this theatre, its comedy. The core canonical plays from the era—from Dryden’s All for Love and Behn’s The Rover to Congreve’s The Way of the World and Sheridan’s School for Scandal—are all here, but so are a remarkably wide range of non-canonical works. There are many more plays by women than in any previous general anthology of drama of the period. Also included are a number of works from the neglected 1660s, whose comedies feature delightful, subversive, levelling folk elements. In all there are forty-one plays; each is fully annotated and prefaced with an historical introduction. Also included are a general introduction, head-notes for each genre, and a glossary.

This is the first new full-scale anthology of Restoration and eighteenth-century drama in over sixty years. Concentrating on plays from the heyday of 1660-1737, it focuses especially on Restoration drama proper (1660-1688) and Revolution drama (1689-1714), with a smaller selection of plays from the early Georgian period (1715-1737) and a glimpse at the later Georgian period’s “laughing comedy” (1770s and 80s). It includes nine sub-genres (heroic romance, political tragedy, personal tragedy, tragicomic romance, social comedy, subversive comedy, corrective satire, menippean satire, and laughing comedy), with the preponderance of exposure given to the jewel of this theatre, its comedy. The core canonical plays from the era—from Dryden’s All for Love and Behn’s The Rover to Congreve’s The Way of the World and Sheridan’s School for Scandal—are all here, but so are a remarkably wide range of non-canonical works. There are many more plays by women than in any previous general anthology of drama of the period. Also included are a number of works from the neglected 1660s, whose comedies feature delightful, subversive, levelling folk elements. In all there are forty-one plays; each is fully annotated and prefaced with an historical introduction. Also included are a general introduction, head-notes for each genre, and a glossary.

Ranging in approach from feminist to historicist, the eleven essays in this collection share the culturalist premise that the drama of late Stuart and early Georgian England helped to constitute the dominant ideology of the period. The contributors' varied approaches allow for the reconsideration of libertinism, the politics of sexual desire, and other classic issues, as well as such newer concerns as the social construction of the first English actresses, empiricism as an emergent epistemological discourse, cultural anxiety about novelty and repetition, and shifting tropes of inherent worth. By reading well-known works in unexpected ways and focusing on less frequently studied dramatists, from Sedley, Motteux, Pix, and Behn to Manley, Trotter, and Shadwell, the contributors also test the limits of the canon. In addition, they suggest that earlier critical perceptions, perhaps even more than the “innate worth” of the plays, determined the shape of the canon. These essays present a different image of Restoration and eighteenth-century theater, one that reveals how the drama was a site as important for the negotiation of cultural meaning as were novels and verse satires.

The ten plays in this new collection show both the continuity and the changes in comedy over the course of the Restoration and eighteenth century. Each play includes its original prologue and epilogue, as well as an historical introduction and full annotation. The editor’s Introduction provides a rich historical and literary context for the plays’ composition and production. A glossary of frequently used words likely to be unfamiliar to general readers is also included.