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Politics, Patriotism, and Gender: The Standing Army Debate on the English Stage, circa 1689–1720

Published online by Cambridge University Press:  21 December 2012

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Copyright © North American Conference of British Studies 2011

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References

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22 Ibid., 93–94.

23 Quarrell, W. H. and Mare, Margaret, eds., London in 1710: From the Travels of Zacharias Conrad von Uffenbach (London 1934), 138–39Google Scholar, cited in Loftis, Politics of Drama, 54–55. For highly politicized responses to drama, see Loftis, Politics of Drama, 57–58; Brewer, Pleasures of the Imagination, 351–54.

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25 This was the army officer Charles Shadwell’s The Fair Quaker of Deal; or, The Humours of the Navy (London, 1710). John Blanch’s unperformed (and probably unstageable) Swords into Anchors: A Comedy (Gloucester, 1725) appears to be a lone example of an “anti-army” play in that it argues in its dedication to Caroline, Princess of Wales, for “many Thousands of the younger Sons of our Nobility and Gentry … be brought from Military Employments, and fix’d in their proper Stations of Merchandize.” For plays featuring the navy, see Glass, Robert E., “The Image of the Sea Officer in English Literature, 1660–1710,” Albion 26, no. 4 (Winter 1994): 583–99Google Scholar; Ennis, Daniel James, Enter the Press-Gang: Naval Impressment in Eighteenth-Century British Literature (Newark, NJ, 2002), esp. 8187Google Scholar.

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32 Ibid., 11.

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46 Owen, Restoration Theatre and Crisis, 4–5; Dawson, Gentility and the Comic Theatre, 30–34. For other theatrical attacks on anti-army cits, see D’Urfey, The Campaigners, 8–9; George Farquhar, The Constant Couple, in Farquhar, Recruiting Officer, 9; [Walker, William], Marry; or, Do Worse (London, 1704), 56, 14Google ScholarPubMed.

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62 For dramatic representations of the fop, see Gardner, “Theatrum Belli,” 50; Susan Staves, “A Few Kind Words for the Fop,” Studies in English Literature, 1500–1900 22, no. 3 (Summer 1982): 413–28.

63 Shadwell, The Volunteers, 19.

64 Ibid., 7.

65 Ibid., 20.

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69 For rakish but ultimately reforming soldiers, see Captain Bellemein in Carroll’s Beau’s Duel; Colonel Peregrine in Mary Pix’s The Spanish Wives (London, 1696); Colonel Lovely in John Leigh’s Kensington-Gardens; or, The Pretenders (London, 1720).

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73 Ibid., 19.

74 Ibid., 47.

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76 Farquhar, Recruiting Officer, 240.

77 Childs, British Army of William III, 205.

78 Gregg, “‘A Truly Christian Hero,’” 21–22.

79 Steele, Richard, The Christian Hero: An Argument Proving that No Principles but Those of Religion are Sufficient to Make a Great Man (London, 1701)Google Scholar, dedication and preface; Richard Steele, The Christian Hero, ed. Rae Blanchard (Oxford, 1932), ix–xxix; Jeremy Gregory, “Homo Religiosus: Masculinity and Religion in the Long Eighteenth Century,” in English Masculinities, 1660–1800, ed. Tim Hitchcock and Michèle Cohen (Harlow, 1999), 91–92; McGirr, Heroic Mode, 136–37.

80 Steele, Christian Hero, dedication.

81 Steele, The Funeral, 22.

82 For the soldier as a liberator of women, see also Captain Trueman in George Farquhar’s The Twin Rivals (1702).

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86 Ibid., 29.

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95 “An Epilogue Recommending the Cause of Liberty to the Beauties of Great Britain: Spoken by Mrs Oldfield at the Theatre Royal,” in A Collection of State Songs, Poems Etc. That Have Been Publish’d Since the Rebellion (London, 1716), 90–91; Avery, London Stage, 1:391–93; Lafler, Joanne, The Celebrated Mrs Oldfield: The Life and Art of an Augustan Actress (Carbondale, IL, 1989), 128Google Scholar. For a similar sentiment, see Addison, , Freeholder, 5253Google Scholar.

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99 Addison, Freeholder, 54.

100 Cibber, Non-Juror, 5, 32, 75.

101 Ibid., 75.

102 Ibid., 76.

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104 [Carroll], Beau’s Duel, 54.

105 Bowyer, Centlivre, 12.

106 Centlivre, Perplex’d Lovers, 3–4.

107 Ibid., 23.

108 Ibid., 55.

109 Centlivre, Bold Stroke for a Wife, 9.

110 Shadwell, The Volunteers, 31.

111 Steele, The Funeral, 88; Dawson, Gentility and the Comic Theatre, 97.

112 Addison, Freeholder, 74.

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118 This was a follow-up of sorts to Shadwell’s successful “navy play,” The Fair Quaker of Deal; or, The Humours of the Navy (London, 1710).

119 Shadwell, Humours of the Army, 20.

120 Ibid., 55.

121 Kathryn R. King, “Political Verse and Satire: Monarchy, Party, and Female Political Agency,” in Women and Poetry, 1660–1750, ed. Sarah Prescott and David E. Shuttleton (Basingstoke, 2003), 214, 218–19; Wilson, Island Race, 108–9; Colley, Linda, Britons: Forging the Nation, 1707–1837 (London, 1994), 268–77Google Scholar. For changing attitudes toward female militarism in the late eighteenth century, see Wahrman, Dror, “Percy’s Prologue: From Gender Play to Gender Panic in Eighteenth-Century England,” Past and Present 159, no. 1 (May 1998): 113–60Google Scholar.

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126 Avery, London Stage, 1:18, 21, 27, 29, 31, 37, 46–48, 51, 67, 92, 107, 122, 126.

127 Ibid., 1:128.

128 Ibid., 1:267–68, 292, 294.

129 Ibid., 1:259–302.

130 Arthur H. Scouten and Robert D. Hume, “‘Restoration Comedy’ and Its Audiences, 1660–1776,” in Hume, The Rakish Stage, 64–74.

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132 See Avery, London Stage, 1:308 onward; and Avery, London Stage, vol. 2, passim.

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135 Loftis, Politics of Drama, 55–56, 61.

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