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By Susanna Centlivre

Notwithstanding critics and literary historians have continuously needed to admit that Susanna Centlivre's comedies have been very popular, they've got tended to dedicate themselves to a look for facts in them of intended deficiencies of 'the lady pen,' and to pay as a lot cognizance to the playwright's marriages and amorous liasons than to the performs themselves. in basic terms in recent times has Centlivre become famous particularly straightforwardly as on of the main tremendous playwrights of her time. A daring Stroke for a spouse is likely to be the best instance of Centlivre's masterful plotting of comedian intrigue. The soldier Fainwell and Anne stunning are in love, yet their route to the altar is blocked via her guardians, each one of whom has a unique view of what kind of husband could make the proper fit. Fainwell hotels to disguises of social varieties. The play therefore presents quite a lot of chance for Centlivre to satirize Tory respectability, spiritual propriety and capitalist speculative greed—and to provide voice to tolerance: 'tis liberty of selection that sweetens life.' but finally it's Centlivre's comedian muse that provides enduring existence to the play as the most unique of eighteenth-century comedies.

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The peace, in both cases, brought a surge in unemployment and a rise in prices. In the latter case the economic crisis was far worse. Major Sturgeon has served with the home guard marching his troops through the streets and across the fields: Sir Jollup: Well, major, our wars are done; the rattling drum and squeaking fife now wound our ears no more. Major Sturgeon: True, sir Jacob, our corps is disembodied; so the French may sleep in security. Sir Jollup proceeds to welcome his two daughters, Mrs Bruin and Mrs Sneak.

Huddersfield, at the time of the Luddite uprisings to be discussed in Chapter 6, was the site of considerable mayhem as mills and machinery were destroyed by desperate workers. One target in the attacks was a notoriously cruel Huddersfield mill owner named Cartwright; another target was William Horsfall, a mill-owner and a passionate prosecutor of Luddites, who was killed in 1812. Huddersfield, fourteen years later, was a much tamer place when the manager of the theatre booked Junius Brutus Booth for a one-night engagement.

If Moncrieff’s satire had been the only one to respond to the public agitation over Queen Caroline, it would have brought strong legal repercussion. But the satires were so numerous that the radicals could pen their scurrilous attacks with impunity. This temporary abatement of the restrictions on political satire, as E. P. Thompson observed, enabled Hone and Cruikshank ‘to produce some of their most glorious lampoons’ (1968, 778, 794, 810). The relative freedom was short-lived, but the resistance to censorship persisted.

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