What were the causes of Restoration drama's licentiousness? How did
the elegantly-turned comedy of Congreve become the pointed satire
of Fielding? And how did Sheridan and Goldsmith reshape the
materials they inherited? In the first account of the entire period
for more than a decade, Richard Bevis argues that none of these
questions can be answered without an understanding of Augustan and
Georgian history. The years between 1660 and 1789 saw considerable
political and social upheaval, which is reflected in the eclectic
array of dramatic forms that is Georgian theatre's essential
characteristic.
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