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• W2765163602 abstract "Reviewed by: The Horror Plays of the Restoration by Anne Hermanson Bridget Orr Hermanson, Anne. The Horror Plays of the Restoration. Farnham, Surrey and Burlington, VT: Ashgate, 2014. 194 pp. In contrast to the excess, disruption, and violence that characterize her subject, Anne Hermanson's book is a model of lucidity. Her aim is to explore the generic particularity of a set of serious plays written and performed on the London stage in the 1670s by Lee, Otway, Behn, Settle, Dryden, Shadwell, and Rochester. Noting that they all contained unprecedented (and unrepeated) scenarios of violence and horror, she seeks to differentiate them from the heroic play per se, arguing that collectively they articulate unresolved collective trauma deriving from England's mid-century troubles. In a decade in which the restored regime lost the confidence of much of the political nation, anxieties over potential crises in familial and dynastic order and a radical questioning of religious conviction resurfaced in plays that dramatize political collapse and individual transgression in the most lurid possible terms. Hermanson's account is securely located within extant scholarship. Building on Robert Hume's identification of a subgenre of blood-and-torture villain plays she stresses the distinctiveness of the horror tragedies. Rejecting both J. Douglas Canfield's multiplicity of generic categories and Felicity Nussbaum's much broader understanding of heroic drama, she provides an account of the horror plays comparable to Nancy Klein Maguire's analysis of the rhymed heroic play of the 1660s and Susan Owens' account of the serious drama associated with the Exclusion Crisis of the 1680s. She uses Jonathan Scott's England's Troubles (2000) as her guide to the political and religious conflicts of the period, accepting his view that the Restoration saw the re-enactment of similar stresses to the mid-century and she uses contemporary trauma theory (developed by Paul Connerton, Dominic LaCapra and Geoffrey Hartman) to argue that the horror plays compulsively articulate anxieties about a return to civil strife and fears of unlimited sovereign power (55). The introductory chapters also explore the exploitation of new theatrical scenes and machines to produce unprecedented images of sexualized violence, and document the tension caused by suspicion of the King's mistresses, his predilection for Catholicism, his [End Page 75] pro-French policies and his preference for personal rule. Four chapters of close analysis follow, addressing plays that focus on monstrous women, degenerate rulers, patrilineal discord, and forsaken justice in turn. Hermanson's argument about the distinctiveness of the plays generically and the cultural anxieties they process is in many ways persuasive. I found the book's neglect of much recent historical and literary scholarship that would inflect her readings to rather different effect disappointing and surprising. Hermanson's London is not the capital of a three nation state whose politics involve Scotland and Ireland, the East and West Indies and the Continent in the historiography that has followed J.G.A. Pocock, Colin Kidd, Steven Pincus, David Armitage, and others, but a much smaller and more parochial place. The literary scholarship that has accompanied the globalization of early modern British history is also almost entirely absent from her account, with no reference to work by Bruce Kramer, Heidi Hutner, Bernadette Andrea, Ros Ballaster, Chi-Min Yang, Siraj Ahmed, Srinivas Aravamudan, Adam Beach, Mathew Braidwood, or Humberto Garcia. What difference does this make to her argument? If we take Settle's The Empress of Morocco (1673) as an example, one might say, quite a lot. In this play, Hermanson argues, Settle casts the queen mother Laula as a villain in the Protestant tradition of Catherine de'Medici (67); as with other women in the horror plays, her appropriation of the male role renders her monstrous. Hermanson identifies an earlier example of this type in Lyndaraxa, villainess of The Conquest of Granada (1670/1) but argues that de'Medici is her closest avatar. This ignores the fact that both the travel writers on whom playwrights drew for 'fables' and the many dramatists who depicted Islamic and other 'Eastern' courts frequently stressed that in palace intrigue the women take the best part of the most important transactions (Bernier, 1671, 31-2). It was perfectly..." @default.
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• W2765163602 date "2017-01-01" @default.
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• W2765163602 title "The Horror Plays of the Restoration by Anne Hermanson" @default.
• W2765163602 doi "https://doi.org/10.1353/rst.2017.0004" @default.
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