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Keywords = Susanna Centlivre

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12 pages, 277 KB  
Article
Sibling Rivalry, (Dis)Inheritance and Politics in Aphra Behn’s The Younger Brother and Susanna Centlivre’s The Artifice
by Margarete Rubik
Humanities 2024, 13(2), 53; https://doi.org/10.3390/h13020053 - 15 Mar 2024
Viewed by 2926
Abstract
Behn and Centlivre used their comedies about the rivalry between an elder and a younger brother concerning an inheritance to make a political statement. Primogeniture was customary in early-modern England, and if an estate was entailed (rather than held in fee simple), it [...] Read more.
Behn and Centlivre used their comedies about the rivalry between an elder and a younger brother concerning an inheritance to make a political statement. Primogeniture was customary in early-modern England, and if an estate was entailed (rather than held in fee simple), it was difficult, though not impossible, to will it away to another person. The reasons meriting disinheritance were widely discussed, but in the two plays, the Tory fathers disinherit their Whig elder sons for political reasons. As The Younger Brother was staged posthumously and altered by Charles Gildon, it is arguable what Behn’s manuscript looked like, but there are indications that the elder brother was meant to be a downright republican and that Behn saw to it that the estate would go to the Tory younger brother, whose political stance she shared. In The Artifice, the father disinherits his upright elder son because he punished a Jacobite clergyman (whom the Whigs would have considered traitorous), but Centlivre—a zealous Whig herself—engineered an ending that reinstates the elder brother but also provides the younger with a comfortable income. Both dramatists also dealt with the inheritance prospects of women and the power of disposal they have over their portions. Full article
(This article belongs to the Section Literature in the Humanities)
15 pages, 286 KB  
Article
Squaring the Triangle: Queer Futures in Centlivre’s The Wonder
by Ziona Kocher
Humanities 2021, 10(1), 53; https://doi.org/10.3390/h10010053 - 16 Mar 2021
Cited by 2 | Viewed by 3744 | Correction
Abstract
Susanna Centlivre’s The Wonder: A Woman Keeps a Secret (1714) presents a model of female relations invested in queer futurity and queer temporality, disrupting the patriarchal geometry of courtship in order to provide the play’s heroines access to an alternate future grounded in [...] Read more.
Susanna Centlivre’s The Wonder: A Woman Keeps a Secret (1714) presents a model of female relations invested in queer futurity and queer temporality, disrupting the patriarchal geometry of courtship in order to provide the play’s heroines access to an alternate future grounded in their relationship with one another. Though the play ends with both women married, their relationship is central and is cemented by Violante’s marriage to Isabella’s brother, which transforms the friends into sisters. Their dedication opens up the possibility that a relationship between women might be more important than the marriages they strive for, illustrating an important intervention into the construction of plot in comedy from the early eighteenth century. The Wonder’s queer potential is developed in the language that both women use to describe their devotion and the actions that embody it. Violante and Isabella are able to expand the triangle of homosocial exchange into a more equitable square that not only allows for happy marriages but visible, loving relationships between the play’s heroines. As such, they manage to create a queer future where their relationship can remain at the forefront of their lives and rewrite the marriage plot as a means to an end. Full article
(This article belongs to the Special Issue Queer Culture and Literature in Eighteenth-Century Studies)
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