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important. Then the scene changes with Bayes bragging about
Amaryllis speaking very well about the situation. Amaryllis speaks two words and is then cut off by music. The usurpers that are on the thrones perceive that the real kings are coming, and decide to leave. Then the rightful kings descend on clouds singing, symbolising their divine right to rule. Bayes tries to emphasise the kings’ importance by having them speak in rhyme. However the kings’ speech is garbled nonsense. At the end of the speech, fiddlers come out and the kings say they are going to play a coranto. Meanwhile, the fiddlers play a totally irrelevant song. Smith points out that the way the kings are speaking is just confusing. Bayes defends himself by explaining they need to speak in rhyme because they came down from the clouds. The kings call for a dance before they discuss "serious counsel." The kings’ army then arrives to warn thekings that war approaches. The kings pay them, and while Amaryllis is trying to speak again a fight breaks out over the money sent to the army. The kings flee.
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have a lute in one hand and a sword in the other. They carry out their battle in the form of a recitative, each singing of the battle to be fought by huge armies. Bayes says the battle is interrupted by a double eclipse in the form of a dance. Luna is concealed by her veil, like an eclipse, and calls for earth to appear. The sun soon joins them. They dance. Bayes calls an end to the eclipse and another battle ensues. Bayes calls out commands for the battle. The soldiers, some on hobby horses, fight, and one man, Drawcansir, comes in and kills everyone on both sides. Drawcansir then has a brief monologue about how good a fighter he is. He has apparently killed thousands of people and he thinks he stronger than other heroes of literature. He exits.
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about something. Volscius response that he will listen but there is no way that Pretty-Man's love is greater than his. Pretty-Man and
Volscius begin to go back and forth arguing about how great their loves are. They declare their loves are so divine that even gods cannot compare. Their comparisons are very extreme and outlandish. Parthenope is the woman that Prince Volscius loves and Cloris is she whom Prince Pretty-Man loves. At the end of the scene the argument is not actually resolved, because Bayes drops his wig. Johnson wonders why the scene is suddenly all in verse in comparison to the rest of the play and Bayes's responds that the subject is too lofty for prose. Bayes continues to congratulate himself on the magnificence of his writing.
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rest of his life. The two usurpers both loved
Lardella, and are determined to stab themselves rather than live without her. However, Pallas intervenes and informs them that Lardella is actually alive and they should have a banquet in place of the funeral. To add to the ridiculous scene, Pallas presents a lance full of wine, a pie in her helmet, and a buckler made of cheese. This "nuptial banquet" is then interrupted by Drawcansir's arrival. He snatches the usurper's bowls of wine, threatening anyone who would try to prevent him: "Who e'er to gulp one drop of this dares think I'l stare away his very pow'r to drink. I drink, I huff, I strut, look big and stare, And all this I can do, because I dare."
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steps out to speak to "Mr. Ivory." Johnson and Smith leave before he returns. Bayes and the players return and Bayes wonders where the men went and goes to find them. One of the actors reads a paper that Bayes left behind that is another bit of "plot." These actors leave for dinner. Bayes enters again; he couldn't find the gentlemen. He then ridicules them for leaving his play early. The stage manager enters, and says that all of the other players have left. Bayes is insulted and starts ranting about how horrible the players are. He says he wants to sell the play to another theatre. He leaves, resolving to take his play with him. Then the remaining players all go to dinner after a short dance.
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very popular in the "new style" of writing. In fact, the further the play continues, the less sense it makes, and the more Bayes defends it. Discussion continues to include Bayes' approval of such devices as "songs, ghosts, and dances," as a way of filling the theatre seats. Finally, Bayes calls his play a "Touch-stone," and says he will be able to judge the character of any man by observing his reaction to the play.
203:.) However, for readers and viewers what was most delightful was the way that Buckingham effectively punctures the puffed up bombast of Dryden's plays. By taking Dryden's own words out of context and pasting them together, Buckingham disrupts whatever emotions that might have gone with them originally and exposes their inherent absurdity.
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Johnson and Smith, who has just come to the city from the country, meet by chance and begin talking about the new plays that are currently being shown. The author and director of a new play, Bayes, appears and introduces his production to the two men, boasting about the greatness of his work. Lacking
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Bayes introduces the next scene in which Prince Pretty-Man and Prince
Volscius argue because they love two different women. They are arguing over whose woman is better. Bayes keeps interjecting comments about how excellent the lines are. Pretty-Man starts out saying how he wants to talk to Volscius
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Prince
Volscius falls in love with a barmaid's daughter, who ignores his advances. He is putting on his boots while talking about his love and how he feels love sick. He is giving the boot-putting-on process a second meaning. Boot-putting-on process = indecision. Bayes, Johnson, and Smith talk about
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The supposed killer is a fisherman, whom Prince Pretty-Man had believed was his father. Bayes expects his audience to already know that the Prince was a foundling raised as a son by the fisherman, information that was not given during the earlier scenes of the play. The prince then finds out that he
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Act III begins after Bayes's injury from his previous fall, whereupon he tells
Johnson and Smith he plans to end every act with a dance. Bayes then continues to describe his style of writing, adding that some scenes of his play might be entirely unnecessary to the plot, but are full of "Wit" and are
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Johnson and Smith suggest that the dead characters cannot be carried offstage, since there is no one to carry them. Bayes finds this ridiculous because they are not actually dead, so he commands the soldiers to just walk off stage because the audiences knows that they are not actually dead, then he
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At this point Bayes is trying to defend his play from
Johnson and Smith. This happens in an interim in acts between the play. They talk about having a fight scene, and Bayes says that there is one coming up. The fight scene is a mockery of fighting because the two actors meant to fight the war each
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Yet another new actor comes out as Prince Pretty-man and immediately falls asleep, allegedly as a symptom of his love for Cloris. A woman actress enters, supposedly Prince Pretty-man's love interest, whom he describes as "a blazing comet." Prince Pretty-man falls asleep again, then suddenly awakes,
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This scene is centred around a funeral. The funeral is for a new made-up character, Lardella, who drowned at sea. Bayes has created her brother as well, Drawcansir, a fierce warrior-hero in the play who "frights his mistress, snubs up kings, baffles Armies, and does what he will, without regard to
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Four actor-soldiers enter and kill one another. Despite their deaths, they are expected to stand up and perform a difficult dance. Bayes offers abusive criticism on their dancing. The actors complain that they are unable to dance to this music, since it begins fast and ends slow. Bayes attempts to
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The whispering conspirators return, apprehensive that their whispers from the opening scene were overheard. This scene, according to Bayes, is meant to show the audience how businessmen ought to discuss business. In light of their predicament, the two actors pull out their swords and claim the two
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One proposed prologue or perhaps epilogue of Bayes’ play features the characters
Thunder and Lightning, who threaten the audience. The prologue is ludicrous and Smith once again questions Bayes about what's happening. Bayes defends himself and the play by stating that it is a "new way of writing."
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Act IV Scene I begins with Bayes’ reading of a letter that he wrote from
Lardella as her final words, to be written to her cousin, the King. This final note is a ridiculous metaphor comparing herself to a "humble bee" forever to buzz around in the after-life, essentially haunting the king for the
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Bayes introduces his play, and claims that it will begin with two men whispering to one another. The egotistical playwright justifies the whispering on the grounds that they're politicians and not supposed to talk about matters of state. We later discover the two men are plotting against the two
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contained a Key that identified the
Restoration plays to which Buckingham and his collaborators allude in their work. The Key was originally attributed to Buckingham himself, but is actually the work of Morphew Briscoe. Briscoe's Key contains some accurate information, but also has deficiencies.
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Because it lacks logic or continuity, Smith constantly asks Bayes about the plot of the play. However, Bayes asserts that Smith doesn't understand because he's been in the country for too long. Johnson spurs Bayes on, because he wants to see the foolishness of the play and to irritate his close
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The scene begins with the revelation that someone has died; however, exactly who has died is a rather obscure matter. Cordelio enters with a message that is difficult to grasp because all the audience can understand is that someone has died based on one person's words from one kingdom through
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At the very beginning of Act V Bayes introduces a scene with many characters including the two usurper kings, four cardinals, and two princes, as well as many of the lovers and the two usurper kings. Two cardinals are dressed differently from the others but Bayes won't tell them why this is
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Two kings enter the stage, hand in hand. They begin speaking of the whispering between the usher and the physician which Smith once again questions, as the kings were not present in the previous scene. Bayes faults the actors by saying they should have entered earlier.
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a turn away from the Classical heroes of Dryden's heroic drama. However, new plays with exaggerated heroes who mouth impossibly high-sounding moral sentiments and accomplish impossibly extravagant actions continued to be written through to the 1740s (see, for example,
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When the three men arrive at the rehearsal stage, the actors are seen struggling to understand how they should portray their roles. Bayes continually intervenes to explain what's going on in the play to Smith and Johnson and also to direct the players.
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inspiration for original material, Bayes steals all of his ideas from different epics and plays of the time, as well as classical authors such as Seneca and Pliny. Wanting to show off his play, he offers to bring Johnson and Smith to a rehearsal.
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The epilogue says that there has been no plot to this play. There is also no wit. The remainder is to deplore that plays in that time are ridiculous and nonsensical. The epilogue hopes no more such plays will be written.
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declaring "it" is resolved. No one is sure, other than Bayes, what "it" is. When questioned, Bayes declares that this is the new style of writing, where one doesn't need to explain oneself.
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another's words, incomprehensible. Smith questions Bayes on the identity of who has died, and Bayes still refuses to reveal the character, even suggesting that "she" may still not be dead.
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The play is credited with putting an end to heroic drama, but, in the long run, it did not. If "heroic drama" is understood only as the writings of Dryden in an heroic vein, then perhaps
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infuriated Dryden, and it is not possible to see the satire without some political cause or effect. (Dryden would not forget the satire, and he made Buckingham into the figure of
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Because at first he doesn't understand that Smith is criticising, Bayes just answers all the questions as if they were purely academic queries and not patronising questions.
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a director/author attempts to put on a new play, and he lectures his actors and critics with impossible and absurd instructions on the importance of what they are doing.
157:). However, the poet laureate at the time of the play was Dryden, and most of the excerpts in the play-within-a-play are liftings from Dryden. In particular, Dryden's
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The play concerns a playwright named Bayes attempting to stage a play. The play he is going to put on is made up almost entirely of excerpts of existing
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Scene 2 of the play includes 3 major plot developments: the mysterious death, the fisherman/prince conundrum, and the boots/love affair.
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thrones; somehow this indicates that these two men have overthrown the kings and are now the new kings. They exit triumphantly.
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is not actually the fisherman's son. He is disturbed by this because he would rather be the son of a fisherman than a bastard.
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In fact, he had been so prolific in that vein that Martin Clifford accused him of "stealing from himself." The reason that
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this dilemma as if it were a real struggle. The scene concludes with a dance to top off the act – Bayes's signature.
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and generally at the sententious and overly ambitious theatre of the
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Reproduced from the first edition, but adjusted to modern spelling.
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show them how it's done, but falls on his face, breaking his nose.
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Short View of the Immorality and Profaneness of the English Stage
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17th-century play by George Villiers, 2nd Duke of Buckingham
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102:. The play was first staged on 7 December 1671 at the
287:Later commentators have worked to improve upon it.
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577:, Edward Arber, ed., London, 1869; pp. 18–20.
573:George Villiers, Second Duke of Buckingham,
607:The Cambridge History of English Literature
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259:form of a play-within-a-play goes back to
511:good manners, justice or numbers." (4.1)
71:Learn how and when to remove this message
34:This article includes a list of general
108:George Villiers, 2nd Duke of Buckingham
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149:. The previous poet laureate had been
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171:was such a target, however, is the
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145:. The name "Bayes" indicates the
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269:and forward to the contemporary
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222:made popular by the acting of
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1439:Plays set in the 17th century
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263:satire of pantomime plays in
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778:The Cutter of Coleman Street
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600:public domain audiobook at
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401:Attendants of Men and Women
94:play aimed specifically at
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1098:The Marriage-Hater Matched
175:to the printed version of
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266:A Midsummer Night's Dream
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177:The Conquest of Granada.
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1002:A Commonwealth of Women
169:The Conquest of Granada
160:The Conquest of Granada
55:more precise citations.
1391:Second Anglo-Dutch War
1210:The Recruiting Officer
810:She Would If She Could
313:Two Kings of Brentford
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200:Absalom and Achitophel
1114:The Canterbury Guests
1034:The Squire of Alsatia
922:Friendship in Fashion
1376:Lincoln's Inn Fields
1218:The Beaux' Stratagem
1202:The Careless Husband
1178:The Way of the World
238:Chrononhotonthologos
1170:The Constant Couple
1050:The Fortune Hunters
1026:A Fool's Preferment
962:The London Cuckolds
802:The Mulberry-Garden
794:The Comical Revenge
155:The Siege of Rhodes
134:Bishop of Rochester
100:Restoration tragedy
858:Marriage à la mode
826:Sir Solomon Single
643:Restoration comedy
334:Lieutenant General
214:came out. Whether
132:founder and later
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1325:Comedy of manners
1186:Sir Harry Wildair
1162:Love and a Bottle
1138:Love's Last Shift
1058:The English Friar
970:Sir Barnaby Whigg
954:The Woman Captain
818:An Evening's Love
749:William Wycherley
664:Susanna Centlivre
486:Act III, Scene II
450:Act II, Scene III
370:Sergeants at Arms
316:Prince Pretty-man
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1122:The Married Beau
1082:The Wives Excuse
1066:Sir Anthony Love
1010:Sir Courtly Nice
890:The Plain-Dealer
874:Love in the Dark
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739:John Vanbrugh
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669:Colley Cibber
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406:Plot synopsis
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284:The Rehearsal
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276:The Producers
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261:Shakespeare's
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247:The Rehearsal
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216:The Rehearsal
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191:The Rehearsal
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147:poet laureate
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142:heroic dramas
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130:Royal Society
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112:Samuel Butler
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104:Theatre Royal
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87:The Rehearsal
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61:December 2021
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32:
23:
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1355:
1345:Fleet Prison
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978:The Royalist
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946:A True Widow
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714:Thomas Otway
704:James Howard
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181:heroic drama
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126:Thomas Sprat
115:
86:
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67:
58:
39:
18:
1371:Libertinism
1294:Georg Monck
1146:The Relapse
994:Dame Dobson
906:Tom Essence
850:Epsom Wells
679:John Dryden
651:Playwrights
358:Two Heralds
340:Tom Thimble
233:Henry Carey
220:she-tragedy
96:John Dryden
53:introducing
1434:1671 plays
1418:Categories
1340:Drury Lane
1264:Charles II
1230:Characters
659:Aphra Behn
561:References
555:Drawcansir
386:Parthenope
328:Drawcansir
271:Mel Brooks
252:The Critic
36:references
1042:Bury Fair
1018:Bellamira
392:Lightning
380:Amaryllis
343:Fisherman
325:Physician
245:reworked
92:satirical
1429:Parodies
1350:Hedonism
767:Notable
602:LibriVox
549:See also
355:Soldiers
337:Cordelio
117:Hudibras
1284:Molière
352:Players
349:Thunder
331:General
307:Johnson
257:parodic
218:or the
197:in his
173:Preface
49:improve
1366:(film)
1358:(1994)
1315:Bedlam
1221:(1707)
1213:(1706)
1205:(1704)
1197:(1703)
1189:(1701)
1181:(1700)
1173:(1699)
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821:(1668)
813:(1668)
805:(1668)
797:(1664)
789:(1663)
781:(1661)
389:Pallas
383:Cloris
367:Judges
124:, and
120:fame,
90:was a
38:, but
1330:Court
1243:Spark
769:plays
528:Act V
398:Earth
375:Women
364:Mayor
310:Smith
304:Bayes
195:Zimri
1381:Mode
1248:Rake
395:Moon
128:, a
1403:Wit
1238:Fop
346:Sun
299:Men
235:'s
228:was
114:of
1420::
279:.
136:.
635:e
628:t
621:v
74:)
68:(
63:)
59:(
45:.
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