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• W3036719089 abstract "In February 1777 new management of Drury Lane under -^-Sheridan's superintendence opened with A Trip to Scarborough, Sheridan's alteration of Sir John Vanbrugh's The Relapse (1696). As new manager of Garrick's playhouse Sheridan had already included revisions of Congreve's The Old Bachelor and Love for Love in repertoire. A few years later, in his metatheatrical piece The Critic, dramatist made following comment on his audience's taste- think worst alteration is in nicety of audience - No double entendre, no smart innuendo admitted; even Vanbrugh and Congreve to undergo a bungling (my emphasis).' In criticizing contemporary taste Sheridan underscores his authorial distance from popular aesthetic imperatives, which is, at once, refuted by his tacit acceptance of them. Because essential question who obliges? is suppressed, and real answer the audience does is implied, there is a transposition of authority from Sheridan to his public. The word obliged veils precisely his own commitment to reformation of these seventeenth- century plays, however bungling it may be.I intend to show how wisely2 Sheridan transformed a radical and complex text into a non-contradictory, innocuous one to endorse very assumptions demolished by Vanbrugh. I hasten to add that his venture was not devoid of problems. Since Sheridan appropriates drama often in a morally and aesthetically contrary way, it is not altogether convincing- thus, result contains loose ends and inconsistencies. Nonetheless, version was successful enough to oust original from repertoire 3 thanks to Sheridan's acute sense of contemporary taste. I shall concentrate on major strategic moves by which he accommodated his text so effectively to his audience's sensibilities. But first it is necessary to see his most important alterations, several of which are instrumental in reformation of original.In subplot Sheridan more-or-less retains central scenes in their entirety while removing their satirical edges to avoid offending his audience. He omits Foppington's lines on dullness of church-going on Sunday, and object of his scorn is changed from church to opera-going. Moreover, he altogether removes Bull (Chaplain to Tunbelly), who, in Vanbrugh, exemplifies church corruption. In this sense, he silences his predecessor's satire of religion as an institution that relies on empty forms of devotion and on self-interest of its representatives. This satire, however, is part of Vanbrugh's overall awareness of radical discrepancy between moral ideologies and human practices reflected, predominantly, in language of characters in main plot. Bowdlerisation also dictates that Sheridan censor original by substituting Mrs. Coupler, a decent professional matchmaker, for Vanbrugh's male homosexual bawd while omitting Hoyden's bigamous plans and her line on pleasure of two wedding-nights (IV.i.129).These alterations are indicative of Sheridan's strategy of suppressing Vanbrugh's problematics of desire, which postulates its anarchical character. Inevitably, purging of original sexual indecencies is articulated in a language which, divested of bawdiness, tames mordant satire. Significantly also, it ceases to reflect instability intrinsic to sexual positioning of characters both in main plot and in subplot. What Sheridan's purified language attempts to produce, in place of Vanbrugh's verbal ambiguities, is an even, uncomplicated text rid of radical ambivalence marking original. The elision of sexually problematical areas in subplot expands, in main plot, into far more systematic elimination of precisely splitting inconsistencies that protagonists perceive as endemic to their position vis-6-vis desire.In main plot, on which wish to concentrate, adaptation inscribes an intricate web of amalgamations and omissions of original scenes as well as a considerable softening of language and aggressive sexual politics of The Relapse. …" @default.
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• W3036719089 date "2000-12-01" @default.
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• W3036719089 title "A Trip to Scarborough: Or How To Undergo a Bungling Reformation" @default.
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