A critical edition of The triumphant widow, or, The medley of humours by William Cavendish and Thomas Shadwell

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dc.contributor.author Hoare, Sally Ann en
dc.date.accessioned 2010-03-02T02:53:03Z en
dc.date.available 2010-03-02T02:53:03Z en
dc.date.issued 2010 en
dc.identifier.citation Thesis (PhD--English)--University of Auckland, 2009. en
dc.identifier.uri http://hdl.handle.net/2292/5681 en
dc.description.abstract The title-page of the Restoration drama, The Triumphant Widow, or the Medley of Humours (1677) attributes the work to 'His Grace the Duke of Newcastle'. However, it has long been recognized that the comedy is the fruit of a collaborative venture between William Cavendish, first Duke of Newcastle Upon Tyne (1593-1676) and the dramatist Thomas Shadwell (1641-1692). Newcastle was an influential patron to many prominent seventeenth-century playwrights who assisted him with his own dramatic compositions. His collaborator in the case of The Triumphant Widow, Thomas Shadwell, was the author of a number of highly successful post-Restoration dramas. This thesis consists of an old-spelling, critical edition of The Triumphant Widow, or the Medley of Humours, prepared in broad accordance with modern editorial practices. It includes a Commentary on the play's text with a full set of annotations. A comprehensive Introduction examines dramatic analogues relevant to the play and its evolution from disparate pieces of text, possibly composed in different decades. I discuss the likely nature of the collaboration between Newcastle and Shadwell and their respective literary interests in relation to The Triumphant Widow. My Introduction places the play in its socio-historic context and documents its concern with the erosion of traditional aristocratic codes of civility and sociability. I discuss The Triumphant Widow as an exemplar of the way in which stage widowhood is nuanced in Restoration drama to reflect the dilemma of real-life widows who wish to maintain their independence. Several contemporary plays offer a satirical treatment of the 'poetaster' figure and I consider the work's implication in the topical debate concerning attribution, plagiarism and literary property, with particular relation to the dispute amongst Shadwell, Dryden and Settle. The sub-title of The Triumphant Widow signals its incorporation of a medley of dramatic elements, challenging our assumptions about contemporary dramatic form. The comedy's self-conscious theatricality and distinctiveness warrant our critical attention. The work is known to have been performed at the Dorset Garden Theatre in November 1674 and a section of the Introduction discusses The Triumphant Widow in the context of contemporary methods of stage production en
dc.publisher ResearchSpace@Auckland en
dc.relation.ispartof PhD Thesis - University of Auckland en
dc.relation.isreferencedby UoA1960246 en
dc.rights Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. en
dc.rights.uri https://researchspace.auckland.ac.nz/docs/uoa-docs/rights.htm en
dc.title A critical edition of The triumphant widow, or, The medley of humours by William Cavendish and Thomas Shadwell en
dc.type Thesis en
thesis.degree.discipline English en
thesis.degree.grantor The University of Auckland en
thesis.degree.level Doctoral en
thesis.degree.name PhD en
dc.date.updated 2010-03-02T02:53:03Z en
dc.rights.holder Copyright: The author en
pubs.local.anzsrc 200302 - English Language en
pubs.org-id Faculty of Arts en

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