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Gilli Bush-Bailey

repetition of this Christian name in Behn’s play surely makes the possibility that she played Flauntit more likely’.41 It is interesting here to consider the extent to which Behn capitalised on Currer’s success in Crowne’s play and tailored Flauntit to exploit Currer’s talents and the audience’s expectation – made clear by using the familiar ‘Betty’ to reinforce the point. Currer’s next two roles in Behn plays build on her comic gifts and evidently play into the mistress/whore roles she had made her own. In The Counterfeit Bridegroom (1677) Currer appears in the first of

in Treading the bawds
Margaret J. M. Ezell

1675. Many of the most amusing (to us) stress the contemporary anxieties over the King’s lack of an heir and his attention to his many highly visible mistresses, as well as the increasing visibility of Catholicism at his court and that of his brother James. 10 There was also no shortage of cheap pamphlets reporting sensational murders and trials, such as The Bloody

in Reading and writing recipe books, 1550–1800
Luz Elena Ramirez

(1877) and Pharaohs, Fellahs, and Explorers ( 1891 ), her protégé Flinders Petrie, author of Ten Years’ Digging in Egypt 1881–1891 (1893) and E. A. Wallis Budge, who amassed artefacts for the British Museum, translated The Book of the Dead (1895) and published, among other Egyptological studies, Easy Lessons in Egyptian Hieroglyphics (1899), a guide for novice linguists. Building on the work of Champollion, his contemporaries and successors, Edwards, Petrie and Budge provided a treasure trove of concepts, images and arguments which

in Victorian literary culture and ancient Egypt
Abstract only
Indira Ghose

would justify the marginal jests of the debauched imagination, or when what has been marginal would lead to the centre, every trace of the centre would be lost. 3 The manuscripts Jorge alludes to were burlesque representations of events in the Scriptures, secretly sniggered over by novices, but in full awareness of their transgression

in Shakespeare and laughter
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The Citizens’ Theatre (Glasgow), 1972, and Northern Broadsides (Halifax), 1995
Carol Chillington Rutter

tease and wicked laughter: Octavius had been trounced by her mistress's triumph. Shortly, he'd know it. Entering upstage, looking into the scene from behind the wire and seeing that he'd been robbed of his trophy, ‘her life in Rome’ (5.1.65), Cryer's Octavius hurled himself against the fence, a snarling beast, his face twisted in a grimace of fury and pain, his fingers clutching the mesh but really snatching only at empty air (see 5.4 ). 5

in Antony and Cleopatra
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Warren Oakley

morbid fancy’. Possibly there was a flicker of this future 82 Thomas ‘Jupiter’ Harris in his behaviour, in his need for control and the fervour with which he held on to it.48 One man, other than Harris and Rutherford, believed that he had suffered because of it. The straight-talking Charles Macklin felt that he had been left out in the cold. The great Shylock had been overlooked in favour of mere novices and ‘under Actors’ because of daring to speak his mind to Colman. Advising caution, Macklin had told him ‘not to plague or fret himself by contending with his

in Thomas ‘Jupiter’ Harris
Michael J. Franklin

-rooms, &c. &c. in a style, no set of words I am mistress of can convey to your imagination;—and under this prodigious structure are the family offices in general; the exceptions are store-houses, with the offices, at a distance, instead of gardens. The hall is, it seems, on all occasions, the place where dinner and supper are served up; and, when illuminated, as the lustres† and girandoles† bespeak, must be fit for the reception of a royal guest. The outside of the walls is washed with a white composition, called chinam,† that, in like manner with the scenes in your

in Hartly House, Calcutta
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Romances, novels, and the classifications of Irish Romantic fiction
Christina Morin

mistress, and our modern novelists’, Eleanor is depicted as even more seriously misguided than her sister, Cassandra ( The convent , vol. 1, p. 16). Although tedious and irrational, Cassandra is nevertheless committed to feminine modesty and virtue. In contrast, Eleanor is not only jealous and mean-spirited, but also determined to get what she wants, even if that means engaging in unfeminine activity. In a telling incident, therefore, Eleanor writes to Stanhope to express her love for him. In so doing, Eleanor confirms her ‘fallen’ nature. Stanhope accordingly begs

in The gothic novel in Ireland, c. 1760–1829