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David Fletcher

that appeared on the Restoration stage embraced both the cynicism and permissiveness that emerged from this time of moral crisis. 4 The life-cycle event of the marriage ceremony is central to the structure of many of these plays, particularly the comedies, so marriage is a theme that is rarely out of sight. Although the comedies have positive things to say about marriage, there is also a darker side and the institution is frequently degraded. Some modern critics have argued that, as the

in Religion and life cycles in early modern England
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), p. 400. 45 Christa Grossinger, Humour and Folly in Secular and Profane Prints of Northern Europe 1430–1540 (London: Harvey Miller, [ c . 2002]), p. 44. 46 Grossinger, World Turned Upside Down , p. 67. 47 Diane Scillia, ‘Hunter Rabbits / Hares in Fifteenth- and Sixteenth- Century Northern European Arts Parody and Carnival’, in David Smith (ed.), Parody and Festivity in Early Modern Art: Essays on Comedy

in Manchester Cathedral
Biblical plays between Czech drama and English comedy in early modern Central Europe
Pavel Drábek

.) These are the words of Adam Tesák Brodský at the beginning of his father Juraj Tesák Mošovský's Comedy from a Book of God's Testament Named Ruth ( Komedie z Kníhy Zákona Božího, jenž slove Ruth ; Ruth 1604), printed in Prague in 1604. What is more, Tesák Brodský admonishes that ‘nadto nesluší těmi, kteréž ex fontibus Israel, to jest, z studnic Písem svatých jsou sebrané, pohrdati’ (‘above all, it is unbeholding to scorn those comedies that are composed ex fontibus Israel , that is, from the springs of the Holy Scriptures’, A2r). 1

in Enacting the Bible in medieval and early modern drama
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Religion and life cycles in early modern England
Caroline Bowden, Emily Vine, and Tessa Whitehouse

‘life cycles’. Rebecca Whiteley’s analysis of ‘birth figures’ ( Chapter 2 ), anatomical drawings found predominantly in midwifery manuals, has important implications for how printed images shaped medical and religious understandings of pregnancy and childbirth. Rosemary Keep’s study of the Aston portrait demonstrates how birth, death, childhood, adulthood and intense piety interact in close proximity within a single painting ( Chapter 11 ). David Fletcher’s examination of Restoration comedy focuses on the

in Religion and life cycles in early modern England
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Hugh Adlington, Tom Lockwood, and Gillian Wright

textual culture, Swift seems later to have found his place in its social culture far harder to regulate, at least as far as the uneasy jokes of his Directions to Servants suggest. Some of the fierceness with which their parody operates may be in proportion to the distaste with which they look back on a young man’s social awkwardness and disappointment. The chaplains of Swift’s Directions are regularly the straight men to the larger comedy of the household. Be ‘pert and sawcy to all Mankind, especially to the Chaplain’, Swift advises the Footman; ‘if you happen to be

in Chaplains in early modern England
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Lionel Laborie

observers compared the Prophets’ assemblies for this reason Going public 125 Figure  4. S. Conneand, New Prophets:  Their Historical and True Picture (London, 1708), Houghton Library, Harvard University, EB7 L1196 P708c. to a troupe of actors performing a play: ‘What an idle and insignificant mixture of Comedy and Tragedy is contain’d in this Farce, sometimes acting like an Antick or Buffoon, in singing French to an English Assembly that understood none’, once mocked Richard Kingston.18 Such theatrical parallel made sense, for the Prophets presented themselves as the

in Enlightening enthusiasm
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A Vatican rag
Alana Harris

‘introduce the vernacular into portions of the mass, to replace Latin, and to widen somewhat the range of music permissible in the liturgy’, he offered this as an example of re-doing ‘liturgical music in popular song form’ so as ‘to sell the product, in this secular age’.2 The song’s notoriety in Britain was assured by Lehrer’s regular slot as resident musical satirist on the irreverent weekly comedy programme The Frost Report (1966–67), an apt companion piece to his compositions for the episode on ‘Sin’ running on 17 March 1966.3 Whether given comedic (and caustic

in Faith in the family
William Rawley and Francis Bacon
Angus Vine

I and VI (Oxford: Oxford University Press, 2009), pp. 53–5. 46 L. Jardine and A. Stewart, Hostage to Fortune: The Troubled Life of Francis Bacon (London: Victor Gollancz, 1998), p. 521. 47 LPL, MS 2086, fol. 41r. 48 See Mr. William Shakespeares, Comedies, Histories, & Tragedies. Published according to the True Originall Copies (1623), sig. A3r: ‘we pray you do not envie his Friends, the office of their care, and paine, to haue collected & publish’d them; and so to haue publish’d them, as where (before) you were abus’d with diuerse stolne, and surreptitious

in Chaplains in early modern England
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Freedom of belief, freedom from belief
John Pritchard, Andrew Brown, and Emma Cohen

, such as the capacity to know and remember, are more readily conceptualised as floating free of physical and biological properties and constraints than psychobiological states, such as the capacities to 9780719082542_C07.qxd 154 8/9/11 15:51 Page 154 Religion and rights feel hungry or sexually aroused. An interesting potential implication of these findings is that the very same mechanisms that support the acquisition of certain kinds of afterlife concepts may underpin the intuitive catchiness of the notion of brain transplants, or comedic body swaps, or

in Religion and rights
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David Geiringer

, just as it was advertised to do. The inconsistency of experience led to the method being dubbed Vatican Roulette by certain commentators and indeed doctors – this formulation was adopted as the title for the American version of Lodge’s comedic novel of 1965, The British Museum Is Falling Down . Written twenty years earlier than his most famous fictionalisation of Catholic marriage How Far

in The Pope and the pill