The Restoration period in English literature, spanning from 1660 to 1700, marked a significant shift in theatrical expression following the reopening of theatres after an extended closure during Puritan rule. This era, characterized by the restoration of the monarchy under Charles II, saw the emergence of distinct dramatic forms that reflected the changing social and cultural landscape of England.
Context and Characteristics
The closure of theatres in 1642 by the Puritan-dominated Parliament halted dramatic production for nearly two decades. The reopening of theatres in 1660 ushered in the Restoration era, a period marked by a rejection of Puritanical ideals and a revival of aristocratic influence in English society. Theatrical productions during this time catered predominantly to the tastes of the aristocratic class, emphasizing wit, satire, and social critique over the moralistic and religious themes prevalent in earlier Elizabethan drama.
Restoration drama reflected the cosmopolitan and sophisticated nature of the court and upper-class society. The theatre became a platform for exploring themes of love, infidelity, social status, and the intricacies of human behavior. Unlike the national and populist appeal of Elizabethan drama, Restoration plays were tailored to the refined sensibilities of the aristocracy, focusing on urban settings, fashionable lifestyles, and the pursuit of pleasure.
Comedy of Manners
The Comedy of Manners emerged as the dominant genre of Restoration drama, characterized by its satirical portrayal of the manners and morals of the upper class. Playwrights like John Dryden, William Wycherley, and William Congreve excelled in depicting the witty repartee, sexual intrigue, and social pretensions of their contemporary society.
Comedy of Manners plays often featured clever dialogue, intricate plots centered on romantic entanglements and mistaken identities, and sharp critiques of societal hypocrisy. These comedies satirized the superficiality and moral decadence of the aristocracy while celebrating the art of wit and repartee. Characters were often depicted as foppish or libertine, engaging in scandalous behavior that highlighted the disconnect between appearance and reality in Restoration society.
Key Playwrights and Works
- John Dryden: Initially influenced by French comedic styles, Dryden's early comedies like The Wild Gallant (1663) showcased his experimentation with comedic form.
- William Wycherley: Known for his bold and provocative plays, Wycherley's The Country Wife (1675) and The Plain Dealer (1676) satirized the hypocrisy and sexual politics of the upper class.
- William Congreve: Celebrated for his wit and sophisticated dialogue, Congreve's comedies such as Love for Love (1695) and The Way of the World (1700) are masterpieces of Comedy of Manners, exploring themes of love, betrayal, and social ambition.
Heroic Tragedy
In contrast to Comedy of Manners, Heroic Tragedy was another prominent genre of Restoration drama, heavily influenced by French neoclassical principles. These tragedies depicted noble protagonists engaged in epic conflicts, often portrayed in elevated language and heroic couplets.
Heroic Tragedy sought to uphold moral virtues and explore themes of honor, duty, and love. Characters were idealized and possessed superhuman qualities, reflecting an idealized vision of heroism. Plays in this genre, such as John Dryden's Tyrannic Love (1669) and The Conquest of Granada (1670), were structured according to the principles of unity of time, place, and action, aiming for emotional intensity and moral instruction.
However, Heroic Tragedy faced criticism for its bombastic style and lack of psychological depth. Critics argued that it prioritized spectacle and rhetoric over genuine emotional engagement, leading to a decline in its popularity by the late 17th century.
Legacy and Criticism
Restoration drama, particularly Comedy of Manners, has been both celebrated and criticized throughout history. Initially condemned by Romantic critics like Percy Bysshe Shelley and Charles Lamb for its perceived immorality and lack of moral seriousness, these plays have seen a revival of interest in recent years for their sharp wit, satirical edge, and insightful portrayal of Restoration society.