Skip to main content Accessibility help
×
Hostname: page-component-cd9895bd7-dk4vv Total loading time: 0 Render date: 2024-12-27T18:20:38.355Z Has data issue: false hasContentIssue false

Bibliography

Published online by Cambridge University Press:  18 October 2024

Deborah C. Payne
Affiliation:
American University, Washington DC
Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2024
Creative Commons
Creative Common License - CCCreative Common License - BYCreative Common License - NC
This content is Open Access and distributed under the terms of the Creative Commons Attribution licence CC-BY-NC 4.0 https://creativecommons.org/cclicenses/

References

Primary Sources

Catalogue of Charles II’s Library. British Library, Harley MS 4180.Google Scholar
Charles II. Patent for Theatre Royal Drury Lane, issued in 1662. Victoria and Albert Museum, London. https://collections.vam.ac.uk.Google Scholar
Gould, Robert. “The Play-House. A Satyr.” British Library, Add. MS 30492.Google Scholar
Gould, Robert. “The Play-House. A Satyr.” Leeds University Library, Brotherton Collection, MS Lt 54Google Scholar
Gould, Robert. “The Play-House. A Satyr.” University of Nottingham Library, Portland Collection, Pw V 40/113, 192r–203r.Google Scholar
Oldys, William. “Ms. Additions” to Gerard Langbaine’s An Account of the English Dramatick Poets. 2 vols. Oxford, 1691. British Library, Add. MSS 22,592–93, I: fol. 110r.Google Scholar
“Satyr on the Players.” British Library, Harley MS 7317, 96–100.Google Scholar

Secondary Sources

The Actors Remonstrance, or Complaint: For The silencing of their profession, and banishment from their several Play-houses. London, 1643.Google Scholar
Banks, John. The Island Queens: Or, The Death of Mary, Queen of Scotland. London, 1684.Google Scholar
Banks, John. The Rival Kings; or, The Loves of Oroondates and Statira. London, 1677.Google Scholar
[Barbon, Nicholas]. A Discourse Shewing the Great Advantages that New-Buildings, and the Enlarging of Towns and Cities Do Bring to a Nation. London, 1678.Google Scholar
Behn, Aphra. Oroonoko, The Rover and Other Works. Edited by Todd, Janet. London: Penguin Books, 2003.Google Scholar
Behn, Aphra. The Works of Aphra Behn. Edited by Todd, Janet. 7 vols. Columbus: Ohio State University Press, 1992–96.Google Scholar
Bennet, Henry. “To His Most Honour’d Uncle Mr. Thomas Killigrew, on his two excellent Playes, the Prisoners and Claracilla.” In The Prisoners and Claracilla, by Killigrew, Thomas, A2r–A3v. London, 1641.Google Scholar
The Book of Common-Prayer, and Administration of the Sacraments, and other Rites and Ceremonies of the Church, According to the Use of the Church of England. London, 1662.Google Scholar
Boyer, Abel. Achilles: or, Iphigenia in Auslis. 2nd ed. London, 1714.Google Scholar
Brokesby, Francis. A Letter of Advice to a Young Gentleman at the University. To which are subjoined, Directions for Young Students. London, 1701.Google Scholar
Brome, Richard. The Court Beggar. London, 1653.Google Scholar
Brougham, Henry, et al. Biographia Britannica: or, the Lives of the Most Eminent Persons Who have Flourished in Great Britain and Ireland, From the Earliest Ages, Down to the Present Times. 6 vols. London: W. Innys, 1747–66.Google Scholar
Brown, Thomas. The Second Volume of the Works of Mr. Thomas Brown, Serious and Comical In Prose and Verse. 5th ed. London, 1720.Google Scholar
Bulstrode, Richard. “The Bulstrode Papers. Vol. 1, 1667–1675.” In The Collection of Autograph Letters and Historical Documents Formed by Alfred Morrison, edited by Morrison, Alfred, 18821893, 2nd ser. London: Printed for Private Circulation, 1897.Google Scholar
Calendar of State Papers, Domestic Series, of the Reign of Charles I. Vol. 12, 1637–1638, edited by Bruce, John. London: Longmans, Green, 1869.Google Scholar
Calendar of State Papers, Domestic Series, of the Reign of Charles II. Vol. 1, 1660–1661, edited by Green, Mary Anne Everett. London: Longman, Green, Longman, & Roberts, 1860.Google Scholar
Calendar of State Papers, Domestic Series, of the Reign of Charles II. Vol. 2, 1661–1662, edited by Green, Mary Anne Everett. London: Longman, Green, Longman, & Roberts, 1861.Google Scholar
Calendar of State Papers, Domestic Series, of the Reign of Charles II. Vol. 4, 1664–1665, edited by Green, Mary Anne Everett. London: Longman, Green, Longman, & Roberts, 1863.Google Scholar
Calendar of State Papers and Manuscripts, Relating to English Affairs, Existing in the Archives and Collections of Venice, and in Other Libraries of Northern Italy. Vol. 28, 1647–1652, edited by Hinds, Allen B.. London: His Majesty’s Stationary Office, 1927.Google Scholar
Carew, Thomas. “To my worthy Friend, M. D’avenant, Upon his Excellent Play, The Just Italian.” In The Just Italian, by Davenant, William, A3v–A4r. London, 1630.Google Scholar
Carlell, Lodowick. “The Author’s Advertisement” to Heraclius, Emperour of the East, by Pierre Corneille, A3r–v. Translated by Lodowick Carlell. London, 1664.Google Scholar
Cartwright, William. “To My Honour’d Friend Mr. Thomas Killigrew, On these his Playes, the Prisoners and Claracilla.” In The Prisoners and Claracilla, by Killigrew, Thomas, A5r–A6v. London, 1641.Google Scholar
Caryll, John. Sir Salomon; or, The Cautious Coxcomb. London, 1671.Google Scholar
Cavendish, Margaret, Duchess of Newcastle. The Life of William Cavendish, Duke of Newcastle. Edited by C. H. Firth. 2nd ed. London: George Routledge & Sons, 1907.Google Scholar
Cibber, Colley. An Apology for the Life of Colley Cibber: With an Historical View of the Stage During His Own Time. Edited by Fone, B. R. S.. Ann Arbor: University of Michigan Press, 1968.Google Scholar
Collier, Jeremy. A Short View of the Immorality, and Profaneness of the English Stage. London, 1698.Google Scholar
A Comparison Between the Two Stages. London, 1702.Google Scholar
Congreve, William. The Complete Plays of William Congreve. Edited by Davis, Herbert. Chicago: University of Chicago Press, 1967.Google Scholar
Congreve, William. The Double Dealer. London, 1694.Google Scholar
Congreve, William. The Mourning Bride. London, 1697.Google Scholar
The Constant Nymph: or, The Rambling Shepheard. London, 1678.Google Scholar
The Country Gentleman’s Vade Mecum: Or His Companion for the Town. London, 1699.Google Scholar
Craufurd, David. Courtship A-la-mode. London, 1700.Google Scholar
Crowne, John. Andromache. London, 1675.Google Scholar
Crowne, John. Caligula. London, 1698.Google Scholar
Crowne, John. Calisto: or, The Chaste Nimph. London, 1675.Google Scholar
Crowne, John. The English Frier: or, The Town Sparks. London, 1690.Google Scholar
Crowne, John. Juliana, or The Princess of Poland. London, 1671.Google Scholar
Crowne, John. Sir Courtly Nice: or, It cannot Be. London, 1685.Google Scholar
Davenant, William. The Cruelty of the Spaniards in Peru. London, 1658.Google Scholar
[Davenant, William.] The First Days Entertainment at Rutland-House, By Declamations and Musick: After the Manner of the Ancients. London, 1656.Google Scholar
Davenant, William. The Just Italian. London, 1630.Google Scholar
Davenant, William. The Platonick Lovers. London, 1635.Google Scholar
Davenant, William. The Play-house to be Lett. In The Works of Sr William Davenant Kt. 2 vols. London, 1673.Google Scholar
Davenant, William. Poem, to the King’s Most Sacred Majesty. London, 1663.Google Scholar
[Davenant, William]. The Siege of Rhodes. London, 1656.Google Scholar
Davenant, William. The Wits. London, 1636.Google Scholar
Davenant’s Patent.” In A New History of the English Stage, edited by Fitzgerald, Percy, 7377. 2 vols. London: Tinsley Brothers, 1882.Google Scholar
[de Courtin, Antoine]. The Rules of Civility. London, 1671.Google Scholar
de Croissy, Colbert. Colbert de Croissy to Charles II, January 11, 1669. Quoted in Colin Visser, “Theatrical Scandal in the Letters of Colbert de Croissy, 1669.” Restoration: Studies in English Literary Culture, 1660–1700 7, no. 2 (1983): 54–57.Google Scholar
Dekker, Thomas. Satiro-mastix. Or The untrussing of the Humorous Poet. London, 1602.Google Scholar
Dennis, John. “The Causes of the Decay and Defects of Dramatick Poetry, and of the Degeneracy of the Publick Taste.” In The Critical Works of John Dennis. Vol. 2, 1711–1729, edited by Hooker, Edward Niles, 275–99. Baltimore, MD: Johns Hopkins Press, 1943.Google Scholar
Dennis, John. The Critical Works of John Dennis. Edited by Hooker, Edward Niles. 2 vols. Baltimore, MD: Johns Hopkins Press, 1943–45.Google Scholar
Dennis, John. Iphigenia. London, 1700.Google Scholar
Dennis, John. The Musical Entertainments in the Tragedy of Rinaldo and Armida. London, 1699.Google Scholar
Downes, John. Roscius Anglicanus, or An Historical Review of the Stage. Edited by Milhous, Judith and Hume, Robert D.. 1708. Reprint, London: Society for Theatre Research, 1987. Page references are to the 1987 edition.Google Scholar
[Dryden, John]. Miscellany Poems. London, 1684.Google Scholar
Dryden, John. Thomas Shadwell, and John Crowne. Notes and Observations on the Empress of Morocco. London, 1674.Google Scholar
Dryden, John. “To Mr. Southern; on His Comedy, Called the Wives’ Excuse.” In The Wives Excuse: or, Cuckolds Make Themselves. London, 1692.CrossRefGoogle Scholar
Dryden, John. The Works of John Dryden. Edited by Hooker, Edward Niles and Swedenberg, H. T., Jr. 20 vols. Berkeley: University of California Press, 1956–2000.Google Scholar
[Duffett, Thomas]. The Empress of Morocco. A Farce. London, 1674.Google Scholar
Durfey, Thomas. The Comical History of Don Quixote. Part 3. London, 1696.Google Scholar
Durfey, Thomas. A Fond Husband; or, The Plotting Sisters. In Four Restoration Libertine Plays. Edited by Fisk, Deborah Payne. Oxford: Oxford University Press, 2005.Google Scholar
Durfey, Thomas. New Operas, with Comical Stories, Poems, &c. London, 1721.Google Scholar
Durfey, Thomas. The Songs to The New Play of Don Quixote. Part 1. London, 1694.Google Scholar
Durfey, Thomas. Trick for Trick: or, The Debauch’d Hypocrite. London, 1678.Google Scholar
Entry Book: November 1670.” In Calendar of Treasury Books. Vol. 3, 1669–1672, edited by Shaw, William A, 680–97. London: His Majesty’s Stationary Office, 1908. British History Online. www.british-history.ac.uk.Google Scholar
Etherege, Sir George. Letters of Sir George Etherege. Edited by Bracher, Frederick. Berkeley: University of California Press, 1974.Google Scholar
Etherege, Sir George. The Man of Mode; or, Sir Fopling Flutter. In Four Restoration Libertine Plays, edited by Fisk, Deborah Payne, 85172. Oxford: Oxford University Press, 2005.Google Scholar
Evelyn, John. The Diary of John Evelyn. Edited by de Beer, E. S.. 6 vols. Oxford: Clarendon Press, 1955.Google Scholar
Fane, Sir Francis. Love in the Dark, or the Man of Bus’ness. London, 1671.Google Scholar
[Filmer, Edward]. The Unnatural Brother. London, 1697.Google Scholar
Finch, Sir Henry. Law, or, A Discourse Thereof in Foure Books. London, 1627.Google Scholar
Flecknoe, Richard. The Damoiselles a la Mode. London, 1667.Google Scholar
Flecknoe, Richard. Love’s Dominion. London, 1654.Google Scholar
Flecknoe, Richard. Love’s Kingdom. London, 1664.Google Scholar
Flecknoe, Richard. “A Short Discourse of the English Stage.” In Love’s Kingdom, G4r–G8r. London, 1664.Google Scholar
[Flecknoe, Richard]. Sr William D’avenant’s Voyage to the Other World. London, 1668.Google Scholar
Gailhard, J[ean]. The Compleat Gentleman: or Directions For the Education of Youth. London, 1678.Google Scholar
The General Shop Book: or, The Tradesman’s Universal Director. London, 1753.Google Scholar
[Gildon, Charles.] Poeta Infamis: Or, a Poet not worth Hanging. London, 1692.Google Scholar
Gould, Robert. Innocence Distress’d: or, The Royal Penitents. London, 1737.Google Scholar
Gould, Robert. “The Play-House. A Satyr.” In Poems Chiefly consisting of Satyrs and Satyrical Epistles, 155–85. London, 1689.Google Scholar
Gould, Robert. Poems Chiefly consisting of Satyrs and Satyrical Epistles. London, 1689.Google Scholar
Gould, Robert. The Works of Mr. Robert Gould: In Two Volumes. London, 1709.Google Scholar
Granville, George. Heroick Love. London, 1698.Google Scholar
Hall, Joseph. Psittacorum Regio. The Land of Parrots: Or, The She-lands. London, 1669.Google Scholar
Hatton, Edward. A New View of London; Or, An Ample Account of that City. Vol. 1. London, 1708.Google Scholar
Historical Manuscripts Commission. Fourth Report of the Royal Commission on Historical Manuscripts. Part 1, Report and Appendix. London: Printed for Her Majesty’s Stationery Office by Eyre and Spottiswoode, 1874.Google Scholar
Hobbes, Thomas. “Of Systems Subject, Political and Private.” In Leviathan, edited by Curley, Edwin, 146–54. Indianapolis, IN: Hackett Publishing, 1994.Google Scholar
Hooke, Robert. The Diary of Robert Hooke, 1672–1680. Edited by Robinson, Henry W. and Adams, Walter. 1935. Reprint, London: Wykeham Publications, 1968. Page references are to the 1968 edition.Google Scholar
Horace, . Satires, Epistles, and Ars Poetica. Translated by H. Rushton Fairclough. Vol. 194, Loeb Classical Library. 1926. Revised and reprint, Cambridge, MA: Harvard University Press, 1929.Google Scholar
House of Lords Committee on the Decay of Rents and Trade. Quoted in David Ormrod, The Rise of Commercial Empires: England and the Netherlands in the Age of Mercantilism, 1650–1770. Cambridge: Cambridge University Press, 2003.Google Scholar
Howard, Edward. The Man of Newmarket. London, 1678.Google Scholar
[Howard, Edward.] The Six days Adventure, or The New Utopia. London, 1671.Google Scholar
Howard, Edward. The Usurper. London, 1668.Google Scholar
Howard, Edward. The Womens Conquest. London, 1671.Google Scholar
Howard, James. All Mistaken, or The Mad Couple. London, 1672.Google Scholar
[Howard, Sir Robert]. The Country Gentleman: A “Lost” Play and Its Background. Edited by Scouten, Arthur H. and Hume, Robert D.. Philadelphia: University of Pennsylvania Press, 1976.CrossRefGoogle Scholar
Howard, Sir Robert. The Great Favourite, Or, the Duke of Lerma. London, 1668.Google Scholar
The Humours, and Conversation of the Town, Expos’d in Two Dialogues, The First, of the Men. The Second, of the Women. London, 1693.Google Scholar
Johnson, Samuel. “Dryden.” In Johnson’s Lives of the Poets: A Selection, edited by Lonsdale, Roger and Mullan, John, 121217. Oxford: Oxford University Press, 2009.Google Scholar
Jones, Inigo, and Davenant, William. Salmacida Spolia. London, 1640.Google Scholar
Jones, Inigo, and Davenant, William. The Temple of Love. London, 1634.Google Scholar
Jonson, Benjamin. The Workes of Benjamin Jonson. London, 1616.Google Scholar
Joyner, William. The Roman Empress. London, 1671.Google Scholar
Killigrew, Thomas. The Prisoners and Claracilla. London, 1641.Google Scholar
Killigrew’s Patent.” In A New History of the English Stage, edited by Fitzgerald, Percy, 7780. 2 vols. London: Tinsley Brothers, 1882.Google Scholar
King, Gregory. “Natural and Political Observations and Conclusions.” In The Earliest Classics: John Graunt and Gregory King, edited by Laslett, Peter. New York: Gregg, 1973.Google Scholar
The King and Queenes Entertainement at Richmond. Oxford, 1636.Google Scholar
Kirkman, Francis. A True, perfect, and exact Catalogue of all the Comedies, Tragedies, Tragi-Comedies, Pastorals, Masques and Interludes, that were ever yet printed and published, till this present year 1661. London, 1661.Google Scholar
Lacy, John. The Old Troop: or, Monsieur Raggou. London, 1672.Google Scholar
Lady Alimony; or, The Alimony Lady. London, 1659.Google Scholar
Langbaine, Gerard. An Account of the English Dramatick Poets. 2 vols. Oxford, 1691.Google Scholar
[La Roche-Guilhen, Anne de.] Rare en Tout. London, 1677.Google Scholar
Leanerd, John. The Rambling Justice, or The Jealous Husbands. London, 1678.Google Scholar
Lee, Nathaniel. Theodosius. London, 1684.Google Scholar
Lee, Nathaniel. The Tragedy of Nero, Emperour of Rome. London, 1675.Google Scholar
London Gazette. December 26, 1672. www.thegazette.co.uk.Google Scholar
London Gazette. January 25, 1674. www.thegazette.co.uk.Google Scholar
London Gazette. September 24, 1674. www.thegazette.co.uk.Google Scholar
London Gazette. December 11, 1676. Quoted in Michael Tilmouth, “Nicola Matteis.” Musical Quarterly 46, no. 1 (1960): 2240.Google Scholar
London Gazette. February 15, 1677. Quoted in Michael Tilmouth, “Nicola Matteis.” Musical Quarterly 46, no. 1 (1960): 2240.Google Scholar
London Gazette. November 21, 1678. www.thegazette.co.uk.Google Scholar
Magalotti, Lorenzo. Travels of Cosmo the Third, Grand Duke of Tuscany, through England, during the Reign of King Charles the Second. 1669. Reprint, London: 1821. Page references are to the 1821 edition.Google Scholar
Misselden, Edward. Free Trade. Or, The Meanes to Make Trade Florish. 2nd ed. London, 1622.Google Scholar
Misson, Henri. M. Misson’s Memoirs and Observations in His Travels over England. Translated by Mr. Ozell. London, 1719.Google Scholar
Monconys, Balthasar de. Quoted in David Coke and Alan Borg, Vauxhall Gardens: A History. New Haven, CT: Yale University Press, 2011.Google Scholar
Motteux, Peter. Beauty in Distress. London, 1698.Google Scholar
Nashe, Thomas. “Pierce Penilesse His Supplication to the Divell.” In The Works of Thomas Nashe. Vol. 1, edited by McKerrow, R. B., 137245. London: Sidgwick & Jackson, 1910. Quoted in Ann Jennalie Cook, The Privileged Playgoers of Shakespeare’s London, 1576–1642. Princeton, NJ: Princeton University Press, 1981.Google Scholar
Newcastle, Duchess of. See Cavendish, Margaret.Google Scholar
Nicole, Pierre. Moral Essays. Vol. 3. London, 1680.Google Scholar
North, Roger. Roger North on Music. Edited by Wilson, John. London: Novello, 1959.Google Scholar
Oldmixon, John. The Grove, or, Love’s Paradice. London, 1700.Google Scholar
Otway, Thomas. Friendship in Fashion. In Four Restoration Libertine Plays, edited by Payne Fisk, Deborah, 247330. Oxford: Oxford University Press, 2005.Google Scholar
Otway, Thomas. The Works of Thomas Otway: Plays, Poems, and Love-Letters. Edited by Ghosh, J. C.. 2 vols. 1932. Reprint, Oxford: Clarendon Press, 1968. Page references are to the 1968 edition.Google Scholar
Oxford Gazette. November 7, 1665, 2.Google Scholar
Penn, William. No Cross, No Crown: Or Several Sober Reasons against Hat-Honour, Titular-Respects, You to A single Person, with the Apparel and Recreations of the Times. London, 1669.Google Scholar
Pepys, Samuel. The Diary of Samuel Pepys. Edited by Latham, Robert and Matthews, William. 11 vols. Berkeley: University of California Press, 2000.Google Scholar
Pix, Mary. The Innocent Mistress. London, 1697.Google Scholar
Playford, John. Catch that Catch Can: or The Musical Companion. London, 1667.Google Scholar
Playford, John. Choice Songs and Ayres for One Voyce to Sing to a Theorbo-Lute, or Bass-Viol. London, 1673.Google Scholar
Pope, Alexander. The Dunciad in Four Books. Edited by Rumbold, Valerie. 2nd ed. London: Routledge, 2009.Google Scholar
Powell, George. The Fatal Discovery; or, Love in Ruines. London, 1698.Google Scholar
[Powell, George]. The Imposture Defeated: or, A Trick to Cheat the Devil. London, 1698.Google Scholar
Powell, George. The Treacherous Brothers. London, 1690.Google Scholar
Prynne, William. Histrio-Mastix: The Players Scourge, or, Actors Tragædie. London, 1633.Google Scholar
[Ramesey, William.] The Gentlemans Companion: or, a Character of True Nobility and Gentility. London, 1672.Google Scholar
Ravenscroft, Edward. The Anatomist: or, The Sham Doctor. London, 1697.Google Scholar
Ravenscroft, Edward. The Careless Lovers. London, 1673.Google Scholar
Ravenscroft, Edward. The Citizen Turn’d Gentleman. London, 1672.Google Scholar
Ravenscroft, Edward. The Italian Husband. London, 1698.Google Scholar
[Rawlins, Thomas]. Tunbridge-Wells, or, A Days Courtship. London, 1678.Google Scholar
Reflexions Upon a late Pamphlet, Intituled, A Narrative Written by E. Settle. London, 1683.Google Scholar
Remarques on the Humours and Conversations of the Town. London, 1673.Google Scholar
Reresby, Sir John. Memoirs of Sir John Reresby: The Complete Text and a Selection from His Letters. Edited by Browning, Andrew. 2nd ed. London: Royal Historical Society, 1991.Google Scholar
Rochester, Earl of. See Wilmot, John.Google Scholar
Rymer, Thomas. The Tragedies of the Last Age Consider’d and Examin’d by the Practice of the Ancients. London, 1678.Google Scholar
Salvetti, Giovanni. Quoted in John Orrell, “A New Witness of the Restoration Stage, 1660–1669.” Theatre Research International 2 (1976): 1628.Google Scholar
Schellink, William. The Journal of William Schellink’s Travels in England, 1661–1663. Translated and edited by Exwood, Maurice and Lehmann, H. L.. London: Royal Historical Society, 1993.Google Scholar
The Session of the Poets, Holden at the Foot of Parnassus-hill. London, 1696.Google Scholar
Serfe, Thomas St. Tarugo’s Wiles: or, The Coffee-House. London, 1668.Google Scholar
Settle, Elkanah. The Conquest of China, By the Tartars. London, 1676.Google Scholar
Settle, Elkanah. The Empress of Morocco. London, 1673.Google Scholar
Settle, Elkanah. Ibrahim the Illustrious Bassa. London, 1677.Google Scholar
[Settle, Elkanah]. Notes and Observations on the Empress of Morocco Revised. London, 1674.Google Scholar
Shadwell, Thomas. Epsom-Wells. London, 1673.Google Scholar
Shadwell, Thomas. The Humorists. London, 1671.Google Scholar
Shadwell, Thomas. The Lancashire-Witches, and Tegue o Divelly the Irish-Priest. London, 1682.Google Scholar
Shadwell, Thomas. The Sullen Lovers. London, 1668.Google Scholar
Shadwell, Thomas. A True Widow. London, 1679.Google Scholar
Shadwell, Thomas. The Virtuoso. London, 1676.Google Scholar
Shakespeare, William. His True Chronicle Historie of the Life and Death of King Lear and His Three Daughters. London, 1608.Google Scholar
Shakespeare, William. A Midsommer nights dreame. London, 1600.CrossRefGoogle Scholar
Shakespeare, William. The Most Excellent Historie of the Merchant of Venice. London, 1600.Google Scholar
Shipman, Thomas. Henry the Third of France, Stabb’d by a Fryer. London, 1678.Google Scholar
Smith, H[enry]. The Princess of Parma. London, 1699.Google Scholar
Smith, John. Cytherea, or The Enamouring Girdle. London, 1677.Google Scholar
Sorbière, Samuel. Quoted in John Sayer, Jean Racine: Life and Legend. Oxford: Peter Lang, 2006.Google Scholar
Southerne, Thomas. The Fatal Marriage; or, The Innocent Adultery. In The Works of Thomas Southerne, edited by Jordan, Robert and Love, Harold. Vol. 2. Oxford: Clarendon Press, 1988.Google Scholar
Southerne, Thomas. The Maid’s Last Prayer. In The Works of Thomas Southerne, edited by Jordan, Robert and Love, Harold. Vol. 1. Oxford: Clarendon Press, 1988.Google Scholar
Southerne, Thomas. Sir Anthony Love; or, the Rambling Lady. In The Works of Thomas Southerne, edited by Jordan, Robert and Love, Harold. Vol. 1. Oxford: Clarendon Press, 1988.Google Scholar
Southerne, Thomas. The Wives’ Excuse; or, Cuckolds make Themselves. In The Works of Thomas Southerne, edited by Jordan, Robert and Love, Harold. Vol. 1. Oxford: Clarendon Press, 1988.Google Scholar
Southerne, Thomas. The Works of Thomas Southerne. Edited by Jordan, Robert and Love, Harold. 2 vols. Oxford: Clarendon Press, 1988.Google Scholar
[Southland, Thomas]. Love a la Mode. London, 1663.Google Scholar
Stubbes, Phillip. The Anatomie of Abuses. London, 1583.Google Scholar
Temple, Sir William. Quoted in Paul Slack, The Invention of Improvement: Information and Material Progress in Seventeenth-Century England. Oxford: Oxford University Press, 2015.Google Scholar
[Tonsons, Jacob the elder and younger]. The Literary Correspondence of the Tonsons. Edited by Bernard, Stephen. Oxford: Oxford University Press, 2015.Google Scholar
The Tryal of Charles Lord Mohun before the House of Peers in Parliament, for the Murder of William Mountford. London, 1693.Google Scholar
Tuke, Sir Samuel. The Adventures of Five Hours. London, 1663.Google Scholar
Vanderlint, Jacob. Money Answers All Things. London, 1734. Quoted in Robert D. Hume, “The Economics of Culture in London, 1660–1740.” Huntington Library Quarterly 69, no. 4 (2006): 487533.Google Scholar
Ward, C. E., ed. The Letters of John Dryden, with Letters Addressed to Him. Durham: University of North Carolina Press, 1942.Google Scholar
Ward, Edward. The London-Spy Compleat, In Eighteen Parts. 2 vols. London, 1703.Google Scholar
Wilmot, John, Earl of Rochester. “An Allusion to Horace, the Tenth Satyr of the First Book.” In The Complete Poems of John Wilmot, Earl of Rochester, edited by Vieth, David M., 120–26. New Haven, CT: Yale University Press, 1962.Google Scholar
Wilmot, John, Earl of Rochester. “A Satire on Charles II.” In The Works of John Wilmot, Earl of Rochester, edited by Love, Harold, 1115. Oxford: Oxford University Press, 1999.Google Scholar
Wood, Anthony. Quoted in Peter Walls, “Bannister, John (1634/5–1679).” In ODNB. Oxford University Press, 2004; online ed., 2004, www.Oxforddnb.com.Google Scholar
Woodcroft, Bennet. Reference Index of Patents of Invention, from March 2, 1617 (14 James I.) to October 1, 1852 (16 Victoriæ). London: George Edward Eyre and William Spottiswoode, 1862.Google Scholar
Wright, James. Historia Histrionica: An Historical Account of the English Stage. London, 1699.Google Scholar
[Wright, Joseph]. Thyestes, A Tragedy. London, 1674.Google Scholar
Wycherley, William. The Gentleman Dancing-Master. In The Plays of William Wycherley, edited by Friedman, Arthur. Oxford: Clarendon Press, 1979.CrossRefGoogle Scholar
Aaron, Melissa. “Theatre as Business.” In The Oxford Handbook of Shakespeare, edited by Kinney, Arthur F., 420–32. Oxford: Oxford University Press, 2012.Google Scholar
Adams, Joseph Quincy, ed. The Dramatic Records of Sir Henry Herbert, Master of the Revels, 1623–1673. New Haven, CT: Yale University Press, 1917.Google Scholar
Ahmed, Sara. Queer Phenomenology: Orientations, Objects, Others. Durham, NC: Duke University Press, 2006.Google Scholar
Appleby, Joyce Oldham. Economic Thought and Ideology in Seventeenth-Century England. Princeton, NJ: Princeton University Press, 1978.Google Scholar
Archer, Jayne Elisabeth, Goldring, Elizabeth, and Knight, Sarah, eds. The Progresses, Pageants, and Entertainments of Queen Elizabeth I. Oxford: Oxford University Press, 2007.Google Scholar
Arnott, Peter D. An Introduction to the French Theatre. Totowa, NJ: Rowman and Littlefield, 1977.Google Scholar
Ashbee, Andrew. Records of English Court Music. Vol. 1, 1660–1685. Snodland, UK: Andrew Ashbee, 1991.Google Scholar
Astington, John H. Actors and Acting in Shakespeare’s Time: The Art of Stage Playing. Cambridge: Cambridge University Press, 2010.CrossRefGoogle Scholar
Astington, John H. English Court Theatre, 1558–1642. Cambridge: Cambridge University Press, 1999.Google Scholar
Astington, John H.John Rhodes: Draper, Bookseller and Man of the Theatre.” Theatre Notebook 57, no. 2 (2003): 8389.Google Scholar
Astington, John H.Jolly, George (bap. 1613, d. in or before 1683).” In ODNB. Oxford University Press, 2004; online ed., 2004. www.Oxforddnb.com.Google Scholar
Astington, John H.Mohun [Moone], Michael (c. 1616–1684).” In ODNB. Oxford University Press, 2004; online ed., 2004. www.Oxforddnb.com.Google Scholar
Astington, John H.Why the Theatres Changed.” In Moving Shakespeare Indoors: Performance and Repertoire in the Jacobean Playhouse, edited by Gurr, Andrew and Karim-Cooper, Farah, 1531. Cambridge: Cambridge University Press, 2014.CrossRefGoogle Scholar
Avery, Emmett L., ed. The London Stage, 1660–1800. Part 2, 1700–1729. 2 vols. Carbondale: Southern Illinois University Press, 1960.Google Scholar
Avery, Emmett L.The Restoration Audience.” Philological Quarterly 45, no. 1 (1966): 5464.Google Scholar
Aylmer, G. E. The King’s Servants: The Civil Service of Charles I, 1625–1642. New York: Columbia University Press, 1961.CrossRefGoogle Scholar
Backscheider, Paula R.Barry, Elizabeth (1656x8–1713).” In ODNB. Oxford University Press, 2004; online ed., 2004. www.Oxforddnb.com.Google Scholar
Baines, Paul, and Rogers, Pat. Edmund Curll, Bookseller. New York: Oxford University Press, 2007.CrossRefGoogle Scholar
Baker, C. H. Collins. Lely and the Stuart Portrait Painters: A Study of English Portraiture before and after Van Dyck. Vol. 1. London: Philip Lee Warner, 1912.Google Scholar
Bakewell, Lyndsey. “Changing Scenes and Flying Machines: Re-examination of Spectacle and the Spectacular in Restoration Theatre, 1660–1714.” PhD diss., Loughborough University, 2015. https://hdl.handle.net.Google Scholar
Baldwin, Olive, and Wilson, Thelma. “Butler, Charlotte (fl. 1674–1693).” In ODNB. Oxford University Press, 2004; online ed., 2004. www.Oxforddnb.com.Google Scholar
Balio, Tino. Hollywood in the New Millennium. London: British Film Institute, 2013.CrossRefGoogle Scholar
Bannister, Mark. “The Crisis of Literary Patronage in France, 1643–1655.” French Studies 39, no. 1 (1985): 1830.CrossRefGoogle Scholar
Barish, Jonas. The Antitheatrical Prejudice. Berkeley: University of California Press, 1981.Google Scholar
Barnard, John. “Dryden, Tonson, and the Patrons of The Works of Virgil (1697).” In John Dryden: Tercentenary Essays, edited by Hammond, Paul and Hopkins, David, 174–239. Oxford: Oxford University Press, 2000.Google Scholar
Baron, S. A.Nicholas, Sir Edward (1593–1669).” In ODNB. Oxford University Press, 2004; online ed., 2004. www.Oxforddnb.com.Google Scholar
Bawcutt, N. W., ed. The Control and Censorship of Caroline Drama: The Records of Sir Henry Herbert, Master of the Revels, 1623–73. Oxford: Clarendon Press, 1996.Google Scholar
Beauclerk, Charles. Nell Gwyn: Mistress to a King. New York: Atlantic Monthly Press, 2005.Google Scholar
Bedford Street and Chandos Place Area: Chandos Place.” In Survey of London: Volume 36, Covent Garden, edited by Sheppard, F. H. W., 263–65. London: London County Council, 1970. British History Online. www.british-history.ac.uk.Google Scholar
Bellany, Alastair. “Killigrew, Sir Robert (1579/80–1633).” In ODNB. Oxford University Press, 2004; online ed., 2004. www.Oxforddnb.com.Google Scholar
Bennett, Kate. “Shadwell, Thomas (c. 1640–1692).” In ODNB. Oxford University Press, 2004; online ed., 2004. www.Oxforddnb.com.Google Scholar
Bentley, Gerald Eades. The Profession of Dramatist in Shakespeare’s Time, 1590–1642. Princeton, NJ: Princeton University Press, 1971.Google Scholar
Bentley, Gerald Eades. The Profession of Player in Shakespeare’s Time, 1590–1642. Princeton, NJ: Princeton University Press, 1984.CrossRefGoogle Scholar
Berlant, Lauren. Desire/Love. Brooklyn, NY: Punctum Books, 2012.CrossRefGoogle Scholar
Berman, Harold J. Law and Revolution, II: The Impact of the Protestant Reformations on the Western Legal Tradition. Cambridge, MA: Harvard University Press, 2003.Google Scholar
Billings, Malcolm. London: A Companion to Its History and Archaeology. London: Kyle Cathie, 1994.Google Scholar
Blanch, William Harnett. Dulwich College and Edward Alleyn. London: E.W. Allen, 1877.Google Scholar
Bloom, Paul. How Pleasure Works: The New Science of Why We Like What We Like. New York: W. W. Norton & Company, 2010.Google Scholar
Boswell, Eleanore. The Restoration Court Stage, 1660–1702: With a Particular Account of the Production of Calisto. Cambridge, MA: Harvard University Press, 1932; New York: Barnes & Noble, 1966.CrossRefGoogle Scholar
Botica, Allan Richard. “Audience, Playhouse and Play in Restoration Theatre, 1660–1710.” PhD diss., Oxford University, 1986.Google Scholar
Bottomley, Sean. The British Patent System during the Industrial Revolution, 1700–1852: From Privilege to Property. Cambridge: Cambridge University Press, 2014.CrossRefGoogle Scholar
Boulton, Jeremy. “Food Prices and the Standard of Living in London in the ‘Century of Revolution’, 1580–1700.” The Economic History Review 53, no. 3 (2000): 455–92.CrossRefGoogle Scholar
Boulton, Jeremy. “London 1540–1700.” In The Cambridge Urban History of Britain. Vol. 2, 1540–1840, edited by Clark, Peter, 315–46. Cambridge: Cambridge University Press, 2000.Google Scholar
Bourdieu, Pierre. Outline of a Theory of Practice. Translated by Richard Nice. Cambridge: Cambridge University, Press, 1977.CrossRefGoogle Scholar
Britland, Karen. “Henry Killigrew and Dramatic Patronage at the Stuart Courts: New Perspectives.” In Thomas Killigrew and the Seventeenth-Century English Stage: New Perspectives, edited by Major, Philip, 91112. Farnham, UK: Ashgate, 2013.Google Scholar
Brockett, Oscar G., and Hildy, Franklin J.. History of the Theatre. 8th ed. Boston: Allyn and Bacon, 1999.Google Scholar
Brooks, Christopher W. Law, Politics and Society in Early Modern England. Cambridge: Cambridge University Press, 2008.Google Scholar
Brooks, William. Philippe Quinault, Dramatist. Medieval and Early Modern French Studies, vol. 6. Oxford: Peter Lang, 2009.Google Scholar
Brown, Bill. “Thing Theory.” Critical Inquiry 28, no. 1 (2001): 122.CrossRefGoogle Scholar
Burkholder, J. Peter, Grout, Donald Jay, and Palisca, Claude V. A History of Western Music. 7th ed. New York: W. W. Norton & Company, 2006.Google Scholar
Burling, William J.Doggett, Thomas (c. 1670–1721).” In ODNB. Oxford University Press, 2004; online ed., 2004. www.Oxforddnb.com.Google Scholar
Bush-Bailey, Gilli. Treading the Bawds: Actresses and Playwrights on the Late-Stuart Stage. Manchester: Manchester University Press, 2006.CrossRefGoogle Scholar
Butler, Martin. “Adult and Boy Playing Companies, 1625–1642.” In The Oxford Handbook of Early Modern Theatre, edited by Dutton, Richard, 104–19. Oxford: Oxford University Press, 2009.Google Scholar
Butler, Martin. “The Court Masque.” In The Cambridge Edition of the Works of Ben Jonson Online, edited by Bevington, David, Butler, Martin, and Donaldson, Ian. Cambridge: Cambridge University Press, 2014. https://universitypublishingonlineorg/cambridge/benjonson.Google Scholar
Butler, Martin. Theatre and Crisis, 1632–1642. Cambridge: Cambridge University Press, 1984.Google Scholar
Caldwell, John. The Oxford History of English Music. Vol. 1, From the Beginnings to c. 1715. Oxford: Clarendon Press, 1991.CrossRefGoogle Scholar
Campbell, James. “Bishopsgate Street.” In Map of Early Modern London, edited by Jenstad, Janelle. Victoria: University of Victoria. Updated September 15, 2020. https://mapoflondon.uvic.ca.Google Scholar
Carlton, Charles. Charles I: The Personal Monarch. 2nd ed. London: Routledge, 1995.Google Scholar
Carter, Stephanie Louise. “Music Publishing and Compositional Activity in England, 1650–1700.” PhD diss., University of Manchester, 2010. www.escholar.manchester.ac.uk.Google Scholar
Cerasano, S. P.Economics.” In A Concise Companion to English Renaissance Literature, edited by Hamilton, Donna B., 1131. Oxford: Blackwell Publishing, 2006.CrossRefGoogle Scholar
Cerasano, S. P.Edward Alleyn, the New Model Actor, and the Rise of the Celebrity in the 1590s.” Medieval & Renaissance Drama in England 18 (2005): 4758.Google Scholar
Chambers, E. K. The Elizabethan Stage. 4 vols. Oxford: Clarendon Press, 1923.Google Scholar
Cheney, Patrick Gerard. Shakespeare’s Literary Authorship. Cambridge: Cambridge University Press, 2008.Google Scholar
Childs, David. “Chap. 9: The Land Rats.” In Pirate Nation: Elizabeth I and Her Royal Sea Rovers. Annapolis, MD: Naval Institute Press, 2014.Google Scholar
Chua, Brandon. Ravishment of Reason: Governance and the Heroic Idioms of the Late Stuart Stage, 1660–1690. Lewisburg, PA: Bucknell University Press, 2014.Google Scholar
Clarke, Jan. “The Material Conditions of Molière’s Stage.” In The Cambridge Companion to Molière, edited by Bradby, David and Calder, Andrew, 1536. Cambridge: Cambridge University Press, 2007.Google Scholar
Clive, H. P.The Calvinist Attitude to Music, and Its Literary Aspects and Sources.” Bibliothèque d’Humanisme et Renaissance 19, no. 1 (1957): 80102.Google Scholar
Collins, Eleanor. “Richard Brome’s Contract and the Relationship of Dramatist to Company in the Early Modern Period.” Early Theatre 10, no. 2 (2007): 116–28.CrossRefGoogle Scholar
Colvin, H. M., Mordaunt Crook, J., Downes, Kerry, and Newman, John. The History of the King’s Works: Vol. 5, 1660–1782. London: Her Majesty’s Stationary Office, 1976.Google Scholar
Conway, Alison. The Protestant Whore: Courtesan Narrative and Religious Controversy in England, 1680–1750. Toronto: University of Toronto Press, 2010.CrossRefGoogle Scholar
Cook, Ann Jennalie. The Privileged Playgoers of Shakespeare’s London, 1576–1642. Princeton, NJ: Princeton University Press, 1981.Google Scholar
Cooper, Chas. W.The Triple-Portrait of John Lacy: A Restoration Theatrical Portrait: History and Dispute.” PMLA 47, no. 3 (1932): 759–65.Google Scholar
Cooper, Tarnya. Searching for Shakespeare. New Haven, CT: Yale University Press, 2006.Google Scholar
Cordner, Michael, and Holland, Peter, eds. Players, Playwrights, Playhouses: Investigating Performance, 1660–1800. Basingstoke, UK: Palgrave Macmillan, 2007.CrossRefGoogle Scholar
Cubitt, Geoffrey. History and Memory. Manchester, UK: Manchester University Press, 2007.Google Scholar
Danchin, Pierre, ed. The Prologues and Epilogues of the Restoration, 1660–1700: A Complete Edition. 4 parts. 7 vols. Nancy, France: Presses Universitaires de Nancy, 1981–88.Google Scholar
Deleuze, Gilles, and Guattari, Félix. Anti-Oedipus: Capitalism and Schizophrenia. Translated by Robert Hurley, Mark Seem, and Helen R. Lane. Minneapolis: University of Minnesota Press, 1983.Google Scholar
Dent, Chris. “‘Generally Inconvenient’: The 1624 Statute of Monopolies as Political Compromise.” Melbourne University Law Review 33 (2009): 415–53.Google Scholar
Dillon, Jeanette. Theatre, Court and City, 1595–1610: Drama and Social Space in London. Cambridge: Cambridge University Press, 2000.Google Scholar
Dobson, Michael. “Adaptations and Revivals.” In The Cambridge Companion to English Restoration Theatre, edited by Fisk, Deborah Payne, 4051. Cambridge: Cambridge University Press, 2000.CrossRefGoogle Scholar
Dromgoole, Nicholas. Performance Style and Gesture in Western Theatre. London: Oberon Books, 2007.Google Scholar
Dulwich College. “Timeline.” The 400 Archive. www.dulwich.org.uk.Google Scholar
Earle, Peter. The Making of the English Middle Class: Business, Society, and Family Life in London, 1660–1730. Berkeley: University of California Press, 1989.Google Scholar
Edmond, Mary. Rare Sir William Davenant: Poet Laureate, Playwright, Civil War General, Restoration Theatre Manager. Manchester, UK: Manchester University Press, 1987.Google Scholar
Eisenstadt, S. N., and Roniger, L.. Patrons, Clients and Friends: Interpersonal Relations and the Structure of Trust in Society. Cambridge: Cambridge University Press, 1984.CrossRefGoogle Scholar
Ellis, Markman, ed. Eighteenth-Century Coffee-House Culture. Vol. 3, Drama. London: Pickering & Chatto, 2006.Google Scholar
Ennis, Daniel James, and Bailey Slagle, Judith. “Introduction.” In Prologues, Epilogues, Curtain-Raisers, and Afterpieces: The Rest of the Eighteenth-Century London Stage, 1332. Edited by Ennis, Daniel James and Slagle, Judith Bailey. Newark: University of Delaware Press, 2007.Google Scholar
Erne, Lukas. Shakespeare as Literary Dramatist. 2nd ed. Cambridge: Cambridge University Press, 2013.CrossRefGoogle Scholar
Felski, Rita. The Limits of Critique. Chicago: University of Chicago Press, 2015.CrossRefGoogle Scholar
Ferdinand, C. Y. and McKenzie, D. F., “Congreve, William (1670–1729), Playwright and Poet.” In ODNB, Oxford University Press, 2004. www.Oxforddnb.com.Google Scholar
Finaldi, Gabriele, Weston-Lewis, Aidan, and de los Santos, Ana Sanchez-Lassa. Orazio Gentileschi at the Court of Charles I. New Haven, CT: Yale University Press, 2000.Google Scholar
Finkelpearl, Philip J.‘The Comedians’ Liberty’: Censorship of the Jacobean Stage Reconsidered.” ELR 16.1 (1986): 123–38.Google Scholar
Follows, Stephen. “How many films are released each year?” Stephen Follows: Film Data and Education, August 14, 2017. https://stephenfollows.com.Google Scholar
Forgeng, Jeffrey. Daily Life in Stuart England. Westport, CT: Greenwood Press, 2007.CrossRefGoogle Scholar
Foss, Michael. The Age of Patronage: The Arts in England, 1660–1750. Ithaca, NY: Cornell University Press, 1972.Google Scholar
Freehafer, John. “The Formation of the London Patent Companies in 1660.” Theatre Notebook 20 (1965): 630.Google Scholar
Freeman, Lisa A. Antitheatricality and the Body Public. Philadelphia: University of Pennsylvania Press, 2017.CrossRefGoogle Scholar
Gallon, Albert. “The West End Theatre Comes to Hampshire: Richard Norton (1667–1732) of Southwick Park, Landowner and Man of the Theatre.” Theatre Notebook 72, no. 2 (2018): 6677.Google Scholar
Gassner, John, and Allen, Ralph G., eds. Theatre and Drama in the Making: From Antiquity to the Renaissance. Rev. ed. New York: Applause Books, 1992.Google Scholar
Geertz, Clifford. “Deep Play: Notes on the Balinese Cockfight.” Daedalus 101, no. 1 (1972): 137.Google Scholar
Gilman, Todd S.London Theatre Music, 1660–1719.” In A Companion to Restoration Drama, edited by Owen, Susan J., 243–73. Oxford: Blackwell, 2001.Google Scholar
Glaisyer, Natasha. The Culture of Commerce in England, 1660–1720. Woodbridge, UK: Royal Historical Society and Boydell Press, 2006.Google Scholar
Gómez Lara, Manuel J.Trotting to the Waters: Seventeenth Century Spas as Cultural Landscapes.” SEDERI 11 (2002): 219–39.Google Scholar
Gouk, Penelope. Music, Science, and Natural Magic in Seventeenth-Century England. New Haven, CT: Yale University Press, 1999.Google Scholar
Grassby, Richard. The Business Community of Seventeenth-Century England. Cambridge: Cambridge University Press, 1995.CrossRefGoogle Scholar
Gregg, Pauline. King Charles I. Berkeley: University of California Press, 1981.Google Scholar
Griffith, Eva. A Jacobean Company and Its Playhouse: The Queen’s Servants at the Red Bull Theatre, c. 1605–1619. Cambridge: Cambridge University Press, 2013.CrossRefGoogle Scholar
Gritsai, Natalia. Van Dyck, 1599–1641. London: Parkstone International, 2013.Google Scholar
Gurr, Andrew. “Beeston [Hutchinson], William (1610/11? –1682).” In ODNB. Oxford University Press, 2004; online ed., 2004. www.Oxforddnb.com.Google Scholar
Gurr, Andrew. The Shakespeare Company, 1594–1642. Cambridge: Cambridge University Press, 2004.Google Scholar
Gurr, Andrew. The Shakespearean Playing Companies. Oxford: Clarendon Press, 1996.CrossRefGoogle Scholar
Gurr, Andrew. The Shakespearean Stage, 1574–1642. 4th ed. Cambridge: Cambridge University Press, 2009.CrossRefGoogle Scholar
Gurr, Andrew. Shakespeare’s Opposites: The Admiral’s Company, 1594–1625. Cambridge: Cambridge University Press, 2009.Google Scholar
Hackett, Helen. A Short History of English Renaissance Drama. London: I.B. Tauris, 2013.CrossRefGoogle Scholar
Ham, Roswell Gray. Otway and Lee: Biography from a Baroque Age. 1931. Reprint, New York: Greenwood Press, 1969. Page references are to the 1969 edition.Google Scholar
Hamilton, Kate C.The ‘Famous Mrs. Barry’: Elizabeth Barry and Restoration Celebrity.” Studies in Eighteenth-Century Culture 42, no. 1 (2013): 291320.CrossRefGoogle Scholar
Hammond, Paul. “The Robinson Manuscript Miscellany of Restoration Verse in the Brotherton Collection, Leeds.” Proceedings of the Leeds Philosophical and Literary Society 18 (1982): 275324.Google Scholar
Harbage, Alfred. Thomas Killigrew: Cavalier Dramatist, 1612–1683. Philadelphia: University of Pennsylvania Press, 1930.CrossRefGoogle Scholar
Harley, John. Music in Purcell’s London: The Social Background. London: Dobson, 1968.Google Scholar
Harris, Jonathan Gil. “Four Exoskeletons and No Funeral.” New Literary History 42, no. 4 (2011): 615–39.CrossRefGoogle Scholar
Harth, Phillip. Pen for a Party: Dryden’s Tory Propaganda in Its Contexts. Princeton, NJ: Princeton University Press, 1993.Google Scholar
Herissone, Rebecca. “Playford, Purcell, and the Functions of Music Publishing in Restoration England.” Journal of the American Musicological Society 63, no. 2 (2010): 243–90.CrossRefGoogle Scholar
Hermanson, Anne. The Horror Plays of the English Restoration. Farnham, UK: Ashgate, 2014.Google Scholar
Hibbard, Caroline. “‘By Our Direction and for Our Use’: The Queen’s Patronage of Artists and Artisans Seen through Her Household Accounts.” In Henrietta Maria: Piety, Politics and Patronage, edited by Griffey, Erin, 115–38. Aldershot, UK: Ashgate, 2008.Google Scholar
Highfill, Philip H., Jr., Burnim, Kalman A., and Langhans, Edward A.. “Betterton, Thomas.” In A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660–1800. Vol. 2, Belfort to Byzand, 7399. Carbondale: Southern Illinois University Press, 1973.Google Scholar
Highfill, Philip H., Jr., Burnim, Kalman A., and Langhans, Edward A.. A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & Other Stage Personnel in London, 1660–1800. 16 Volumes. Carbondale: Southern Illinois University Press, 1973.Google Scholar
Hill, Christopher. The Century of Revolution, 1603–1714. Edinburgh: Thomas Nelson & Sons, 1961.Google Scholar
Hirrel, Michael J.Duration of Performances and Lengths of Plays: How Shall We Beguile the Lazy Time?Shakespeare Quarterly 61, no. 2 (2010): 159–82.Google Scholar
Holland, Peter. The Ornament of Action: Text and Performance in Restoration Comedy. Cambridge: Cambridge University Press, 1979.Google Scholar
Holmes, Geoffrey. Politics, Religion and Society in England, 1679–1742. London: Hambledon Press, 1986.Google Scholar
Hook, Judith. The Baroque Age in England. London: Thames and Hudson, 1976.Google Scholar
Hook, Lucyle. “Portraits of Elizabeth Barry and Anne Bracegirdle.” Theatre Notebook 15 (1960): 129–37.Google Scholar
Hotson, Leslie. The Commonwealth and Restoration Stage. Cambridge, MA: Harvard University Press, 1928.CrossRefGoogle Scholar
Howe, Elizabeth. The First English Actresses: Women and Drama 1660–1700. Cambridge: Cambridge University Press, 1992.Google Scholar
Hughes, Derek. “Dryden’s ‘Don Sebastian’ and the Literature of Heroism.” Yearbook of English Studies 12 (1982): 7290.CrossRefGoogle Scholar
Hughes, Leo. The Drama’s Patrons. Austin: University of Texas Press, 1971.Google Scholar
Hume, Robert D.Before the Bard: ‘Shakespeare’ in Early Eighteenth-Century London.” ELH 64, no. 1 (1997): 4175.CrossRefGoogle Scholar
Hume, Robert D. The Development of English Drama in the Late Seventeenth Century. Oxford: Clarendon Press, 1976.Google Scholar
Hume, Robert D.The Dorset Garden Theatre: A Review of Facts and Problems.” Theatre Notebook 33, no. 1 (1979): 417.Google Scholar
Hume, Robert D.The Economics of Culture in London, 1660–1740.” Huntington Library Quarterly 69, no. 4 (2006): 487533.CrossRefGoogle Scholar
Hume, Robert D., ed. The London Theatre World, 1660–1800. Carbondale: Southern Illinois University Press, 1980.Google Scholar
Hume, Robert D.The Origins of the Actor Benefit in London.” Theatre Research International 9, no. 2 (1984): 99111.CrossRefGoogle Scholar
Hume, Robert D.Theatre History, 1660–1800: Aims, Materials, Methodology.” In Players, Playwrights, Playhouses: Investigating Performance, 1660–1800, edited by Cordner, Michael and Holland, Peter, 944. Basingstoke, UK: Palgrave Macmillan, 2007.CrossRefGoogle Scholar
Hume, Robert D.Theatre Performance Records in London, 1660–1705.” Review of English Studies 67, no. 280 (2016): 468–95.CrossRefGoogle Scholar
Hume, Robert D.Theatres and Repertory.” In The Cambridge History of British Theatre. Vol. 2, 1660–1895, edited by Donahue, Joseph, 5370. Cambridge: Cambridge University Press, 2004.CrossRefGoogle Scholar
Hume, Robert D.The Uses of Montague Summers: A Pioneer Reconsidered.” Restoration: Studies in English Culture, 1660–1700 3, no. 2 (1979): 5965.Google Scholar
Hume, Robert D.The Value of Money in Eighteenth-Century England: Incomes, Prices, Buying Power – and Some Problems in Cultural Economics.” Huntington Library Quarterly 77, no. 4 (2014): 373416.Google Scholar
Huseboe, Arthur R. Sir George Etherege. Boston: Twayne, 1987.Google Scholar
Hutton, Ronald. Charles the Second, King of England, Scotland, and Ireland. Oxford: Clarendon Press, 1989.CrossRefGoogle Scholar
Hutton, Ronald. Stations of the Sun: A History of the Ritual Year in Britain. Oxford: Oxford University Press, 1996.CrossRefGoogle Scholar
Jamieson, Ross W.The Essence of Commodification: Caffeine Dependencies in the Early Modern World.” Journal of Social History 35, no. 2 (2001): 269–94.CrossRefGoogle ScholarPubMed
Jenkinson, Matthew. Culture and Politics at the Court of Charles II, 1660–1685. Woodbridge, Suffolk, UK: Boydell Press, 2010.Google Scholar
Johnson, Odai. Rehearsing the Revolution: Radical Performance, Radical Politics in the English Restoration. Newark: University of Delaware Press, 2000.Google Scholar
Jordan, Don, and Walsh, Michael. The King’s Bed: Sex and Power and the Court of Charles II. New York: Pegasus Books, 2015.Google Scholar
Keenan, Tim. Restoration Staging, 1660–74. London: Routledge, 2017.Google Scholar
Keenan, Tim. “Shopping and Flirting: Staging the New Exchange in Seventeenth- and Eighteenth-Century Comedies.” Restoration & 18th Century Theatre Research 30, no. 1–2 (2015): 3153.Google Scholar
Keenan, Tim. “Trouble with pictures 1: Joe Haine’s Epilogue.” Restoration Theatre: Staging, Scenery, Dramaturgy. https://restorationstaging.com.Google Scholar
Kenny, Shirley Strum, ed. British Theatre and the Other Arts, 1660–1800. Washington, DC: Folger Books, 1984.Google Scholar
Kenny, Shirley Strum. “Theatre, Related Arts, and the Profit Motive: An Overview.” In British Theatre and the Other Arts, 1660–1800, edited by Kenny, Shirley Strum, 1538. Washington, DC: Folger Books, 1984.Google Scholar
Kewes, Paulina. Authorship and Appropriation: Writing for the Stage in England, 1660–1710. Oxford: Clarendon Press, 1998.CrossRefGoogle Scholar
Klein, Lawrence E.Coffeehouse Civility, 1660–1714: An Aspect of Post-Courtly Culture in England.” Huntington Library Quarterly 59, no. 1 (1996): 3051.CrossRefGoogle Scholar
Knafla, Louis A.Palmer, Sir Geoffrey, First Baronet (1598–1670).” In ODNB. Oxford University Press, 2004; online ed., 2004. www.Oxforddnb.com.Google Scholar
Knapp, Jeffrey. Shakespeare Only. Chicago: University of Chicago Press, 2009.CrossRefGoogle Scholar
Knutson, Roslyn L.The Repertory.” In A New History of Early English Drama, edited by Cox, John D. and Kastan, David Scott, 461–80. New York: Columbia University Press, 1997.Google Scholar
Knutson, Roslyn Lander. The Repertory of Shakespeare’s Company, 1594–1613. Fayetteville: University of Arkansas Press, 1991.Google Scholar
Langhans, Edward A. Restoration Promptbooks. Carbonale, IL: Southern Illinois University Press, 1981.Google Scholar
Langhans, Edward A. “Staging Practices in the Restoration Theatres 1660–1682.” PhD diss., Yale University, 1955.Google Scholar
Langhans, Edward A.The Theatre.” In The Cambridge Companion to English Restoration Theatre, edited by Fisk, Deborah Payne, 118. Cambridge: Cambridge University Press, 2000.Google Scholar
Langhans, Edward A.The Theatres.” In The London Theatre World, 1660–1800, edited by Hume, Robert D., 3565. Carbondale: Southern Illinois University Press, 1980.Google Scholar
Lasocki, David. “Amateur Recorder Players in Renaissance and Baroque England.” American Recorder 40 no. 1 (1999): 1519,Google Scholar
Latour, Bruno. “The Powers of Association.” Sociological Review 32 (1984): 264–80.CrossRefGoogle Scholar
Latour, Bruno. Reassembling the Social: An Introduction to Actor-Network-Theory. Oxford: Oxford University Press, 2005.CrossRefGoogle Scholar
Leacroft, Richard. The Development of the English Playhouses. London: Eyre Methuen, 1973.Google Scholar
Lemire, Beverly. Fashion’s Favourite: The Cotton Trade and the Consumer in Britain, 1660–1800. Oxford: Pasold Research Fund and Oxford University Press, 1991.Google Scholar
Lincoln, Margarette. London and the Seventeenth Century: The Making of the World’s Greatest City. New Haven, CT: Yale University Press, 2021.Google Scholar
Loewenstein, Joseph. Ben Jonson and Possessive Authorship. Cambridge: Cambridge University Press, 2002.Google Scholar
Loewenstein, Joseph. “The Script in the Marketplace.” Representations 12, no. 1 (1985): 101–14.CrossRefGoogle Scholar
Lough, John. Seventeenth-Century French Drama: The Background. Oxford: Clarendon Press, 1979.Google Scholar
Love, Harold. “Who Were the Restoration Audience?Yearbook of English Studies 10 (1980): 2144.CrossRefGoogle Scholar
Lowerre, Kathryn. Music and Musicians on the London Stage, 1695–1705. Farnham, UK: Ashgate, 2009.Google Scholar
MacIntyre, Jean, and Epp, Garret P. J.. “‘Cloathes Worth All the Rest’: Costumes and Properties.” In A New History of Early English Drama, edited by Cox, John D and Kastan, David Scott, 269–86. New York: Columbia University Press, 1997.Google Scholar
MacLeod, Christine. Inventing the Industrial Revolution: The English Patent System, 1660–1800. Cambridge: Cambridge University Press, 1988.CrossRefGoogle Scholar
Maguire, Nancy Klein. Regicide and Restoration: English Tragicomedy, 1660–1671. Cambridge: Cambridge University Press, 1992.Google Scholar
Major, Philip. “Introduction: ‘A Man of Much Plot’.” In Thomas Killigrew and the Seventeenth-Century English Stage: New Perspectives, edited by Major, Philip, 120. Farnham, UK: Ashgate, 2013.Google Scholar
Major, Philip, ed. Thomas Killigrew and the Seventeenth-Century English Stage: New Perspectives. Farnham, UK: Ashgate, 2013.Google Scholar
Marino, James J.Adult Playing Companies, 1613–1625.” In The Oxford Handbook of Early Modern Theatre, edited by Dutton, Richard, 88103. Oxford: Oxford University Press, 2009.Google Scholar
Marsh, Christopher. Music and Society in Early Modern England. Cambridge: Cambridge University Press, 2010.Google Scholar
Marshall, Alan. The Age of Faction: Court Politics, 1660–1702. Manchester, UK: Manchester University Press, 1999.Google Scholar
McCarthy, B. Eugene. William Wycherley: A Biography. Athens: Ohio University Press, 1979.Google Scholar
McKendrick, Neil. “Commercialization and the Economy.” In The Birth of a Consumer Society: The Commercialization of Eighteenth-Century England, edited by McKendrick, Neil, Brewer, John, and Plumb, J. H.. Bloomington: Indiana University Press, 1982.Google Scholar
Milevsky, Moshe Arye. The Day the King Defaulted: Financial Lessons from the Stop of the Exchequer in 1672. Cham, Switzerland: Palgrave Macmillan, 2017.CrossRefGoogle Scholar
Milhous, Judith. “Betterton, Thomas (bap. 1635, d. 1710).” In ODNB. Oxford University Press, 2004; online ed., 2004. www.Oxforddnb.com.Google Scholar
Milhous, Judith. “The Duke’s Company’s Profits, 1674–1677.” Theatre Notebook 32 (1978): 7688.Google Scholar
Milhous, Judith. “The Multimedia Spectacular on the Restoration Stage.” In British Theatre and the Other Arts, 1660–1800, edited by Kenny, Shirley Strum, 4162. Washington, DC: Folger Books, 1984.Google Scholar
Milhous, Judith. “Opera Finances in London, 1674–1738.” Journal of the American Musicological Society 37, no. 3 (1984): 567–92.CrossRefGoogle Scholar
Milhous, Judith. Thomas Betterton and the Management of Lincoln’s Inn Fields, 1695–1708. Carbondale: Southern Illinois University Press, 1979.Google Scholar
Milhous, Judith, and Hume, Robert D., comps. and eds. The London Stage, 1660–1800: A New Version of Part 2, 1700–1729. Fascicle 1: 1700–1707. Folger Shakespeare Library, 244–130f.Google Scholar
Milhous, Judith, and Hume, Robert D.. “New Documents about the London Theatre 1685–1711.” Harvard Library Bulletin 36, no. 3 (1988): 248–74.Google Scholar
Milhous, Judith, and Hume, Robert D.. Producible Interpretation: Eight English Plays, 1675–1707. Carbondale: Southern Illinois University Press, 1985.Google Scholar
Milhous, Judith, and Hume, Robert D.. The Publication of Plays in London, 1660–1800: Playwrights, Publishers and the Market. London: British Library, 2015.Google Scholar
Milhous, Judith, and Hume, Robert D., comps. and eds. A Register of English Theatrical Documents, 1660–1737. 2 vols. Carbondale: Southern Illinois University Press, 1991.Google Scholar
Miller, John. After the Civil Wars: English Politics and Government in the Reign of Charles II. Harlow, UK: Pearson Education, 2000.Google Scholar
Milling, J.Bracegirdle, Anne (bap. 1671, d. 1748).” In ODNB. Oxford University Press, 2004; online ed., 2004. www.Oxforddnb.com.Google Scholar
Mortimer, Ian. The Time Traveler’s Guide to Restoration Britain: A Handbook for Visitors to the Seventeenth Century: 1660–1700. New York: Pegasus Books, 2017.Google Scholar
Motten, J. P. Vander. “Howard, Sir Robert (1626–1698), playwright and politician.” In ODNB. Oxford University Press, 2004; online ed., 2004. www.Oxforddnb.com.Google Scholar
Muldrew, Craig. “Economic and Urban Development.” In A Companion to Stuart Britain, edited by Coward, Barry, 148–65. Oxford: Blackwell, 2003.Google Scholar
Mullaney, Steven. The Place of the Stage: License, Play, and Power in Renaissance England. Chicago: University of Chicago Press, 1988.Google Scholar
Murphy, Andrew. Shakespeare in Print: A History and Chronology of Shakespeare Publishing. Cambridge: Cambridge University Press, 2003.Google Scholar
Nicoll, Allardyce. A History of English Drama, 1660–1900. Vol. 1, Restoration Drama, 1660–1700, 4th ed. 1952. Reprint, Cambridge: Cambridge University Press, 1961. Page references are to the 1961 edition.Google Scholar
Oldrey, David, Cox, Timothy, and Nash, Richard. The Heath and the Horse: A History of Racing and Art on Newmarket Heath. London: Philip Wilson, 2016.Google Scholar
O’Malley, Thomas. “Religion and the Newspaper Press, 1660–1685: A Study of the London Gazette.” In The Press in English Society from the Seventeenth to Nineteenth Centuries, edited by Harris, Michael and Lee, Alan J., 2546. Madison, NJ: Fairleigh Dickinson University Press, 1986.Google Scholar
Orrell, John. The Theatres of Inigo Jones and John Webb. Cambridge: Cambridge University Press, 1985.Google Scholar
Osborn, James M. John Dryden: Some Biographical Facts and Problems. New York: Columbia University Press, 1940.Google Scholar
Owen, Susan J. A Companion to Restoration Drama. Oxford: Blackwell, 2001.CrossRefGoogle Scholar
Owen, Susan J. Restoration Theatre and Crisis. Oxford: Clarendon Press, 1996.CrossRefGoogle Scholar
The Oxford Classical Dictionary. 2nd ed., edited by Hammond, N. G. L. and Scullard, H. H.. Oxford: Clarendon Press, 1970.Google Scholar
Pall Mall, South Side, Past Buildings: No 79 Pall Mall, Nell Gwynne’s House.” In Survey of London: Volumes 29 and 30, St James Westminster, Part 1, edited by Sheppard, F. H. W., 377–78. London: London County Council, 1960. British History Online. www.british-history.ac.uk.Google Scholar
Parolin, Peter. “Access and Contestation: Women’s Performance in Early Modern England, Italy, France, and Spain.” Early Theatre 15, no. 1 (2012): 1525.CrossRefGoogle Scholar
Parry, Graham. The Golden Age Restor’d: The Culture of the Stuart Court, 1603–42. Manchester, UK: Manchester University Press, 1981.Google Scholar
Patterson, Annabel. “The Country Gentleman: Howard, Marvell, and Dryden in the Theatre of Politics.” SEL 25 (1985): 491509.Google Scholar
Payne, Deborah C.Reified Object or Emergent Professional? Retheorizing the Restoration Actress.” In Cultural Readings of Restoration and Eighteenth-Century English Theater, edited by Douglas Canfield, J. and Payne, Deborah C., 1338. Athens: University of Georgia Press, 1995.Google Scholar
Payne, Deborah C.Textual Skirmishes and Theatrical Frays: Double Falsehood versus the Scriblerians.” In Revisiting Shakespeare’s Lost Play: Cardenio/Double Falsehood in the Eighteenth Century, edited by Payne, Deborah C, 93124. Cham, Switzerland: Palgrave Macmillan, 2017.Google Scholar
Payne, Deborah C.Theatrical Spectatorship in Pepys’s Diary.” Review of English Studies, n.s., 66, no. 273 (2015): 87105.CrossRefGoogle Scholar
Payne Fisk, Deborah. “Bowtell [Boutel; née Davenport], Elizabeth (1648/9–1714/15).” In ODNB. Oxford University Press, 2004. www.Oxforddnb.com.Google Scholar
Payne Fisk, Deborah, ed. Four Restoration Libertine Plays. Oxford: Oxford University Press, 2005.Google Scholar
Payne Fisk, Deborah. Introduction to Four Restoration Libertine Plays, xi–xliv. Edited by Payne Fisk, Deborah. Oxford: Oxford University Press, 2005.Google Scholar
Payne Fisk, Deborah. “Mountfort, William (c. 1664–1692).” In ODNB. Oxford University Press University Press, 2004; online ed., 2004. www.Oxforddnb.com.Google Scholar
Payne Fisk, Deborah. “The Restoration Actress.” In A Companion to Restoration Drama, edited by Owen, Susan J., 6991. Oxford: Blackwell, 2001.CrossRefGoogle Scholar
Payne Fisk, Deborah. “Shakespearean Manuscripts, French Jansenists, and the Cultural Politics of Misprision.” Huntington Library Quarterly 62, no. 1–2 (1999): 2542.CrossRefGoogle Scholar
Peck, Linda Levy. Consuming Splendor: Society and Culture in Seventeenth-Century England. Cambridge: Cambridge University Press, 2005.Google Scholar
Peters, Julie Stone. Congreve, the Drama, and the Printed Word. Stanford: Stanford University Press, 1990.Google Scholar
Pincus, Steve. “‘Coffee Politicians Does Create’: Coffeehouses and Restoration Political Culture.” Journal of Modern History 67, no. 4 (1995): 807–34.CrossRefGoogle Scholar
Pogue, Kate Emery. Shakespeare’s Friends. Westport, CT: Praeger, 2006.CrossRefGoogle Scholar
Porter, Stephen. The Great Fire of London. Stroud, UK: Sutton, 1996.Google Scholar
Portillo, Rafael. “Staging Restoration Dramas: Practical Aspects of Their Performance.” SEDERI 15 (2005): 6380.Google Scholar
Powell, John S.Pierre Beauchamps and the Public Theater.” In Dance, Spectacle, and the Body Politick, 1250–1750, edited by Nevile, Jennifer, 117–35. Bloomington: Indiana University Press, 2008.Google Scholar
Price, Curtis. Music in the Restoration Theatre, with a Catalogue of Instrumental Music in the Plays, 1665–1713. Ann Arbor, MI: UMI Research Press, 1979.Google Scholar
Prieto-Pablos, Juan Antonio. “Antonio Brunati, King’s Company Scenekeeper (1664–65).” Theatre Notebook 71, no. 2 (2017): 94110.Google Scholar
Prieto-Pablos, Juan Antonio. “Coffee-Houses and Restoration Drama.” In Theatre and Culture in Early Modern England, 1650–1737: From Leviathan to the Licensing Act, edited by Gill, Catie, 5174. Farnham, UK: Ashgate, 2010.Google Scholar
Prieto-Pablos, Juan A.From the Parlour to the Dressing Chamber: The Shaping of Domestic Space in Restoration London.” In Thresholds and Ways Forward in English Studies, edited by Ropero, Lourdes López, García-Cañedo, Sara Prieto & Fajardo, José Antonio Sánchez, 2041. Alicante, Spain: Publicaciones de la Universidad de Alicante, 2020.Google Scholar
Pritchard, Jonathan. “D’Urfey, Thomas (1653?–1723).” In ODNB. Oxford: Oxford University Press, 2004; online ed., 2004. www.Oxforddnb.com.Google Scholar
Radice, Mark A.Theater Architecture at the Time of Purcell and Its Influence on His ‘Dramatic Operas.’Musical Quarterly 74, no. 1 (1990): 98130.CrossRefGoogle Scholar
Randall, Dale B. J. Winter Fruit: English Drama, 1642–1660. Lexington: University Press of Kentucky, 1995.Google Scholar
Ravelhofer, Barbara. The Early Stuart Masque: Dance, Costume, and Music. Oxford: Oxford University Press, 2006.CrossRefGoogle Scholar
Rehm, Rush. The Play of Space: Spatial Transformation in Greek Tragedy. Princeton, NJ: Princeton University Press, 2002.CrossRefGoogle Scholar
Rick, Scott, and Loewenstein, George. “The Role of Emotion in Economic Behavior.” In Handbook of Emotions. 3rd ed., edited by Lewis, Michael, , Jeannette M. Haviland-Jones, , and Barrett, Lisa Feldman, 138–58. New York: Guilford Press, 2010.Google Scholar
Roach, Joseph. It. Ann Arbor: University of Michigan Press, 2007.CrossRefGoogle Scholar
Roberts, David. “Caesar’s Gift: Playing the Park in the Late Seventeenth Century.” ELH 71, no. 1 (2004): 115–39.CrossRefGoogle Scholar
Roberts, David. The Ladies: Female Patronage of Restoration Drama, 1660–1700. Oxford: Clarendon Press, 1989.Google Scholar
Roberts, David, ed. Pinacotheca Bettertoneana: The Library of a Seventeenth-Century Actor. London: Society for Theatre Research, 2013.Google Scholar
Roberts, David. “‘Ranked Among the Best’: Translation and Cultural Agency in Restoration Translations of French Drama.” The Modern Language Review 108, no. 2 (2013): 396415.CrossRefGoogle Scholar
Roberts, David. Thomas Betterton: The Greatest Actor of the Restoration Stage. Cambridge: Cambridge University Press, 2010.CrossRefGoogle Scholar
Roberts, David. “Thomas Killigrew, Theatre Manager.” In Thomas Killigrew and the Seventeenth-Century English Stage: New Perspectives, edited by Major, Philip, 6389. Farnham, UK: Ashgate, 2013.Google Scholar
Rosenfeld, Sybil. Strolling Players & Drama in the Provinces, 1660–1765. 1939. Reprint, New York: Octagon Books, 1970. Page references are to the 1970 edition.Google Scholar
Rothstein, Eric, and Kavenik, Frances M.. The Designs of Carolean Comedy. Carbondale: Southern Illinois University Press, 1988.Google Scholar
Royal Collection Trust. “Charles II: Art & Power.” www.royalcollection.org.uk.Google Scholar
Sauter, Willmar, and Wiles, David. The Theatre of Drottningholm – Then and Now: Performance between the 18th and 21st Centuries. Stockholm: Stockholm University, 2014.Google Scholar
Scheil, Katherine West. The Taste of the Town: Shakespearean Comedy and the Early Eighteenth-Century Theatre. Lewisburg, PA: Bucknell University Press, 2003.Google Scholar
Schoch, Richard. Writing the History of the British Stage, 1660–1900. Cambridge: Cambridge University Press, 2016.CrossRefGoogle Scholar
Serres, Michel, and Latour, Bruno. Conversations on Science, Culture, and Time. Translated by Roxanne Lapidus. Ann Arbor: University of Michigan Press, 1995.CrossRefGoogle Scholar
Seward, Patricia M.An Additional Spanish Source for John Crowne’s ‘Sir Courtly Nice.’Modern Language Review 67, no. 3 (1972): 486–89.CrossRefGoogle Scholar
Sharpe, Leslie. “Goethe and the Weimar Theatre.” In The Cambridge Companion to Goethe, edited by Sharpe, Leslie, 116–28. Cambridge: Cambridge University Press, 2002.CrossRefGoogle Scholar
Slack, Paul. The Invention of Improvement: Information and Material Progress in Seventeenth-Century England. Oxford: Oxford University Press, 2015.Google Scholar
Slaughter, Thomas P., ed. Ideology and Politics on the Eve of Restoration: Newcastle’s Advice to Charles II. Philadelphia, PA: American Philosophical Society, 1984.Google Scholar
Smith, Geoffrey. “‘A Gentleman of Great Esteem with the King’: The Restoration Roles and Reputations of Thomas Killigrew.” In Thomas Killigrew and the Seventeenth-Century English Stage: New Perspectives, edited by Major, Philip, 151–74. Farnham, UK: Ashgate, 2013.Google Scholar
Smith, S. D.Accounting for Taste: British Coffee Consumption in Historical Perspective.” Journal of Interdisciplinary History 27, no. 2 (1996): 183214.CrossRefGoogle Scholar
Smuts, R. Malcolm. Court Culture and the Origins of a Royalist Tradition in Early Stuart England. Philadelphia: University of Pennsylvania Press, 1987.CrossRefGoogle Scholar
Sofer, Andrew. “Properties.” In The Oxford Handbook of Early Modern Theatre, edited by Dutton, Richard, 560–74. Oxford: Oxford University Press, 2009.Google Scholar
Sofer, Andrew. “Spectral Readings.” Theatre Journal 64, no. 3 (2012): 323–36.CrossRefGoogle Scholar
Solomon, Diana. “Anecdotes and Restoration Actresses: The Cases of Elizabeth Barry and Anne Bracegirdle.” Restoration and Eighteenth-Century Theatre Research 31, no. 2 (2016): 1936.CrossRefGoogle Scholar
Solomon, Diana. Prologues and Epilogues of Restoration Theater: Gender and Comedy, Performance and Print. Newark: University of Delaware Press, 2013.Google Scholar
Southern, Richard. The Seven Ages of the Theatre. New York: Hill and Wang, 1961.Google Scholar
Spink, Ian. “Music and Society.” In The Blackwell History of Music in Britain. Volume 3: The Seventeenth Century, edited by Spink, Ian, 165. Oxford: Blackwell, 1992.Google Scholar
Spurr, John. England in the 1670s: This Masquerading Age. Oxford: Blackwell, 2000.Google Scholar
Stedman, Gesa. Cultural Exchange in Seventeenth-Century France and England. 2013; Reprint, Abingdon, UK: Routledge, 2016. Page references are to the 2016 edition.Google Scholar
Stephen, James Fitzjames. A History of the Criminal Law of England. Vol. 3. 1883. Reprint, Cambridge: Cambridge University Press, 2014. Page references are to the 2014 edition.Google Scholar
Stern, Tiffany. Documents of Performance in Early Modern England. Cambridge: Cambridge University Press, 2009.CrossRefGoogle Scholar
Stern, Tiffany. Rehearsal from Shakespeare to Sheridan. Oxford: Clarendon Press, 2000.Google Scholar
Stirling, Simon Andrew. Shakespeare’s Bastard: The Life of Sir William Davenant. Stroud, UK: History Press, 2016.Google Scholar
Stone, Lawrence. “The Residential Development of the West End of London in the Seventeenth Century.” In After the Reformation: Essays in Honor of J.H. Hexter, edited by Malament, Barbara C., 167214. Philadelphia: University of Pennsylvania Press, 1980.CrossRefGoogle Scholar
Sturdy, David J. Richelieu and Mazarin: A Study in Statesmanship. Basingstoke, Hampshire, UK: Palgrave Macmillan, 2004.CrossRefGoogle Scholar
Sturgess, Keith. Jacobean Private Theatre. London: Routledge & Kegan Paul, 1987.Google Scholar
Styan, J. L. Restoration Comedy in Performance. Cambridge: Cambridge University Press, 1986.Google Scholar
Summers, Montague. The Restoration Theatre. 1934. Reprint, New York: Humanities Press, 1964.Google Scholar
Sutherland, James. “The Impact of Charles II on Restoration Literature.” In Restoration and Eighteenth-Century Literature: Essays in Honor of Alan Dugald McKillop, edited by Camden, Carroll, 251–63. Chicago: University of Chicago Press, 1963.Google Scholar
Teramura, Misha. “Richard Topcliffe’s Informant: New Light on The Isle of Dogs.” Review of English Studies, New Series, 68, no. 283 (2016): 4459.Google Scholar
The Theatre Royal: Site.” In Survey of London: Volume 35, The Theatre Royal, Drury Lane, and the Royal Opera House, Covent Garden, edited by Sheppard, F. H. W., 3039. London: London County Council, 1970. British History Online. www.british-history.ac.uk.Google Scholar
Thirsk, Joan. Economic Policy and Projects: The Development of a Consumer Society in Early Modern England. Oxford: Clarendon Press, 1978.Google Scholar
Thomas, David, ed. Restoration and Georgian England, 1660–1788. Compiled and introduced by David Thomas and Arnold Hare. Cambridge: Cambridge University Press, 1989.Google Scholar
Thompson, James. “Ideology and Dramatic Form: The Case of William Wycherley.” Studies in the Literary Imagination 17, no. 1 (1984): 4962.Google Scholar
Thompson, Peggy. Coyness and Crime in Restoration Comedy: Women’s Desire, Deception, and Agency. Lewisburg, PA: Bucknell University Press, 2012.Google Scholar
Thomson, Peter. Shakespeare’s Theatre, 2nd ed. 1983. Reprint, London: Routledge, 1992). Page references are to the 1992 edition.Google Scholar
Thornbury, Walter. “The Royal Exchange.” In Old and New London. Vol. 1. London: Cassell, Petter & Galpin, 1878. British History Online. www.british-history.ac.uk.Google Scholar
Tilmouth, Michael. “Calendar of References to Music in Newspapers Published in London and the Provinces (1660–1719).” R.M.A. Research Chronicle 1, no. 1 (1961): 1–107.CrossRefGoogle Scholar
Tilmouth, Michael. “Nicola Matteis.” The Musical Quarterly 46, no. 1 (1960): 2240.CrossRefGoogle Scholar
Todd, Janet. The Secret Life of Aphra Behn. New Brunswick, NJ: Rutgers University Press, 1996.Google Scholar
Trease, Geoffrey. Portrait of a Cavalier: William Cavendish, First Duke of Newcastle. New York: Taplinger, 1979.Google Scholar
Uglow, Jenny. A Gambling Man: Charles II’s Restoration Game. New York: Farrar, Straus and Giroux, 2009.Google Scholar
van Beneden, Ben. Introduction to Royalist Refugees: William and Margaret Cavendish in the Rubens House, 1648–1660, edited by van Beneden, Ben and de Poorter, Nora. Antwerp: Rubenshuis & Rubenianum, 2006.Google Scholar
Van Lennep, William, ed. The London Stage, 1660–1800. Part 1, 1660–1700. Carbondale: Southern Illinois University Press, 1965.Google Scholar
Van Lennep, William. “Nell Gwyn’s Playgoing at the King’s Expense.” Harvard Library Bulletin 4, no. 3 (1950): 405–8.Google Scholar
Van Lennep, William, Avery, Emmett L., Scouten, Arthur H., Winchester Stone, George, and Beecher Hogan, Charles. The London Stage, 1660–1800. 5 parts. 11 vols. Carbondale: Southern Illinois University Press, 1960–1968.Google Scholar
Vareschi, Mark, and Burkert, Mattie. “Archives, Numbers, Meaning: The Eighteenth-Century Playbill at Scale.” Theatre Journal 68, no. 4 (2016): 597613.CrossRefGoogle Scholar
Walkling, Andrew R. English Dramatick Opera, 1661–1706. London: Routledge, 2019.CrossRefGoogle Scholar
Walkling, Andrew R. Masque and Opera in England, 1656–1688. Abingdon, UK: Routledge, 2017.Google Scholar
Wall, Cynthia. The Literary and Cultural Spaces of Restoration London. Cambridge: Cambridge University Press, 1998.Google Scholar
Wallace, Jr., Dewey D. Shapers of English Calvinism, 1660–1714: Variety, Persistence, and Transformation. Oxford: Oxford University Press, 2011.CrossRefGoogle Scholar
Walls, Peter. “Banister, John (1634/5–1679).” In ODNB. Oxford University Press, 2004; online ed., 2004. www.Oxforddnb.com.Google Scholar
Wanko, Cheryl. “Marshall, Rebecca [Beck] (fl. 1660–1683), Actress.” In ODNB. Oxford University Press, 2004; online ed., 2004. www.Oxforddnb.com.Google Scholar
Warner, Kerstin P. Thomas Otway. Boston: Twayne, 1982.Google Scholar
Wason, P. C.On the Failure to Eliminate Hypotheses in a Conceptual Task.” Quarterly Journal of Experimental Psychology 12, no. 3 (1960): 129–40.CrossRefGoogle Scholar
Watt, Melinda. “‘Whims and Fancies’: Europeans Respond to Textiles from the East.” In Interwoven Globe: The Worldwide Textile Trade, 1500–1800, edited by Peck, Amelia, 82103. New York: Metropolitan Museum of Art, 2013.Google Scholar
Watt, Tessa. Cheap Print and Popular Piety, 1550–1640. Cambridge: Cambridge University Press, 1991.Google Scholar
Weatherill, Lorna. Consumer Behaviour and Material Culture in Britain, 1660–1760. London: Routledge, 1988.Google Scholar
Weinstein, Neil D.Unrealistic Optimism about Future Life Events.” Journal of Personality and Social Psychology 39, no. 5 (1980): 806–20.CrossRefGoogle Scholar
Weiser, Brian. Charles II and the Politics of Access. Woodbridge, Suffolk, UK: Boydell Press, 2003.Google Scholar
White, Bryan. “Music and Merchants in Restoration London.” In Beyond Boundaries: Rethinking Music Circulation in Early Modern England, edited by Austern, Linda Phyllis, Bailey, Candace, and Winkler, Amanda Eubanks, 150–64. Bloomington: Indiana University Press, 2017.Google Scholar
Whitten, Sarah. “Disney accounted for nearly 40% of the 2019 US box office.” CNBC, December 29, 2019. www.cnbc.com.Google Scholar
Wiley, W. L. The Early Public Theatre in France. Cambridge, MA: Harvard University Press, 1960.CrossRefGoogle Scholar
Wilkinson, Josephine. Louis XIV: The Power and the Glory. New York: Pegasus Books, 2019.Google Scholar
Williams, Laura. “‘To Recreate and Refresh Their Dulled Spirites in the Sweet and Wholesome Ayre’: Green Space and the Growth of the City.” In Imagining Early Modern London: Perceptions and Portrayals of the City from Stow to Strype, 1598–1720, edited by Merritt, J. F., 185216. Cambridge: Cambridge University Press, 2001.Google Scholar
Williams, Raymond. The Long Revolution. Rev. ed. New York: Columbia University Press, 1966.Google Scholar
Wilson, John Harold. “Theatre Notes from the Newdigate Newsletters.” Theatre Notebook, 15 (1961): 7984.Google Scholar
Winkler, Amanda Eubanks and Schoch, Richard. Shakespeare in the Theatre: Sir William Davenant and The Duke’s Company. London: The Arden Shakespeare, 2022.Google Scholar
Winn, James Anderson. John Dryden and His World. New Haven, CT: Yale University Press, 1987.CrossRefGoogle Scholar
Worsley, Lucy. Cavalier: A Tale of Chivalry, Passion and Great Houses. London: Faber and Faber, 2007.Google Scholar
Wright, Louis B. Animal Actors on the English Stage before 1642.” PMLA 42, no. 3 (1927): 656–69.Google Scholar
Wright, Louis B.The Reading of Plays during the Puritan Revolution.” Huntington Library Bulletin, no. 6 (1934): 73108.CrossRefGoogle Scholar
Wrightson, Keith. Earthly Necessities: Economic Lives in Early Modern Britain. New Haven, CT: Yale University Press, 2000.Google Scholar
Zarrilli, Phillip B., McConachie, Bruce, Jay Williams, Gary, and Fisher Sorgenfrei, Carol. Theatre Histories: An Introduction. New York: Routledge, 2006.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

  • Bibliography
  • Deborah C. Payne, American University, Washington DC
  • Book: The Business of English Restoration Theatre, 1660–1700
  • Online publication: 18 October 2024
  • Chapter DOI: https://doi.org/10.1017/9781009398244.008
Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

  • Bibliography
  • Deborah C. Payne, American University, Washington DC
  • Book: The Business of English Restoration Theatre, 1660–1700
  • Online publication: 18 October 2024
  • Chapter DOI: https://doi.org/10.1017/9781009398244.008
Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

  • Bibliography
  • Deborah C. Payne, American University, Washington DC
  • Book: The Business of English Restoration Theatre, 1660–1700
  • Online publication: 18 October 2024
  • Chapter DOI: https://doi.org/10.1017/9781009398244.008
Available formats
×