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- W3089755432 abstract "In the early years of the so-called Whig Supremacy (1714–1760),London theatres became, once again, exceedingly political,responding to the general climate of rivalry between the rulingWhigs and the discredited Tories and the principles for whichthese parties stood. In the early 1720s, a wave of playsappeared setting the well-known story of unhappy lovers fromopposing families within the framework of the then currentpolitical animosities. To an extent, each of these more or lessopenly referred to Shakespeare’s Romeo and Juliet, which wasthen known to London audiences primarily through Thomas Otway’shighly political adaptation The History and Fall of CaiusMarius (1679). This paper will focus on three such works –Benjamin Griffin’s Whig and Tory (1720), John Sturmy’s TheCompromise (1723), and Susanna Centlivre’s The Artifice (1722)– observing how they reflect early 18th-century English partypolitics and how their respective authors worked with theconventions of the unhappy love story to express their own (ortheir theatres’) political sympathies." @default.
- W3089755432 created "2020-10-08" @default.
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- W3089755432 date "2019-01-01" @default.
- W3089755432 modified "2023-09-27" @default.
- W3089755432 title "Romeo and Juliet in the Midst of Early 18th-Century EnglishParty Politics" @default.
- W3089755432 hasPublicationYear "2019" @default.
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