By Susanna Centlivre
Although critics and literary historians have continually needed to admit that Susanna Centlivre's comedies have been highly regarded, they've got tended to commit themselves to a look for proof in them of intended deficiencies of 'the girl pen,' and to pay as a lot recognition to the playwright's marriages and amorous liasons than to the performs themselves. in simple terms lately has Centlivre end up well-known particularly straightforwardly as on of the main fabulous playwrights of her time. A daring Stroke for a spouse could be the best instance of Centlivre's masterful plotting of comedian intrigue. The soldier Fainwell and Anne attractive are in love, yet their route to the altar is blocked by means of her guardians, every one of whom has a special view of what kind of husband might make the suitable fit. Fainwell motels to disguises of social forms. The play hence offers a variety of chance for Centlivre to satirize Tory respectability, spiritual propriety and capitalist speculative greed—and to provide voice to tolerance: 'tis liberty of selection that sweetens life.' but in spite of everything it really is Centlivre's comedian muse that provides enduring lifestyles to the play as probably the most unique of eighteenth-century comedies.
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Extra resources for A Bold Stroke for a Wife
Coherence had become such a despised characteristic by the early twentieth century, however, that many dramatists tried to elimi nate it, just as the so-called literary or narrative element had been removed from much painting and sculpture. The play was meant to be sheerly a juxtaposition of words that did not allow the mind to pass through it in the usual way and so slip back into the cycle of time. The normal comprehen sion of any sentence is necessarily an act in time, so that if you could halt comprehension, the words would become or might appear to become ulti mate fragments of the universe, thereby producing a semblance of eternity.
What happens on the stage transcends, and often contradicts, the words spoken by the characters" (7). What happens, moreover, never takes place in the context of traditional dramatic genres: instead, the somber often becomes the grotesque (as in the precursory esperpentos of Ramon Maria del Valle-Inclan from the twenties), and the comic frequently takes on tragic overtones (as in the anarchic farces of Joe Orton). The world is "neutralized," even turned on its head, by these writers' deriding of everything that in the past was taken seriously, or by their transforming of what most people have considered to be ludicrous into something ominous, powerful, and affecting.
But Breton conceded that dialogue as verbal com munication was the most suitable channel for what he called automatic writing. "It is to the dialogue that the forms of Surrealist language are best adapted" (34), he declared. And in an effort "to restore dialogue to its abso lute truth" (35), Breton rejected the use of dialogue for polite or superficial conversation. Rather, it was to be a confrontation of two streams of spoken thought, neither particularly relevant to the other or having any inherent sequential order, but each provoking a spontaneous response from its op posite number.
A Bold Stroke for a Wife by Susanna Centlivre