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.

In a book that is part memoir, part documentary and part fictional narrative, Richard Bevis follows an assortment of teenage "savages" as they descend on Yellowstone Park in 1957, looking for action (and each other) while working at a variety of jobs. Blending comedy and seriousness, *Dudes and Savages: The Resonance of Yellowstone* moves from geology to romance, from history to salesmanship, from mountain climbing to practical jokes on the hapless "dudes." The book traces the well-intentioned but blundering Mason Dixon from his setting off to his return home, and in its final chapters considers the impact that Yellowstone had on him and some other characters over the years. William Wordsworth wrote, There are in our existence spots of time, That with distinct pre-eminence retain A renovating virtue, whence... our minds Are nourished and invisibly repaired.... Mason wonders if that summer of 1957 among the bears and geysers could have been one of them.

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.

In a book that is part memoir, part documentary and part fictional narrative, Richard Bevis follows an assortment of teenage "savages" as they descend on Yellowstone Park in 1957, looking for action (and each other) while working at a variety of jobs. Blending comedy and seriousness, *Dudes and Savages: The Resonance of Yellowstone* moves from geology to romance, from history to salesmanship, from mountain climbing to practical jokes on the hapless "dudes." The book traces the well-intentioned but blundering Mason Dixon from his setting off to his return home, and in its final chapters considers the impact that Yellowstone had on him and some other characters over the years. William Wordsworth wrote, There are in our existence spots of time, That with distinct pre-eminence retain A renovating virtue, whence... our minds Are nourished and invisibly repaired.... Mason wonders if that summer of 1957 among the bears and geysers could have been one of them.