448:"frugal and pushing; he was peculiarly fortunate in the sale of his plays; and his judicious flattery of the Duke of York considerably advanced his interests. During the Duke of Monmouth's rebellion Southern served in the army. He is described as having been in his latter days "a quiet and venerable old gentleman, who lived near Covent Garden, and frequented the evening prayers there, always neat and decently dressed, commonly in black, with his silver sword and silver locks." "He died (the oldest and richest of the dramatic brotherhood), 26th May 1746, aged 85. Two of his plays, all that are now known to the public, are thus commented on by Hallam: "Southern's Discovery, latterly represented under the name of Isabella, is almost as familiar to the lovers of our theater as Venice Preserved itself; and for the same reason, that whenever an actress of great tragic powers arises, the part of 'Isabella' is as fitted to exhibit them as that of 'Belvidera.' The choice and conduct of the story are, however, Southern's chief merits; for there is little vigour in the language, though it is natural and free from the usual faults of his age. A similar character may be given to his other tragedy, Oroonoko, in which Southern deserves the praise of having first of any English writer, denounced the traffic in slaves and the cruelties of their West Indian bondage. The moral feeling is high in this tragedy, and it has sometimes been acted with a certain success; but the execution is not that of a superior dramatist."
252:. Southerne's play was staged in 1695 and published in 1696, with a foreword in which Southerne expresses his gratitude to Behn and praises her work. One of the major changes that Southerne made to his play from Behn's version was that he turned Imoinda's skin color from black to white. "She becomes the invisible and reconstructed black female subject in the America's cultural discourse". Southerne plays with the idea of a double plot: one path that deals with the tragic fates of the newly interracial African lovers and the other on Charlotte's comical take on finding rich husbands for herself and her sister. Through his double plot, Southerne had hoped to illuminate a "twinned relationship between white women's social representation and black women's invisibility and lose of agency under colonialism's raced visual regimes" (MacDonald). At one point, he puts Imonida in a heroic situation where she drives the governor off with her sword when he tried to rape her. In Southerne's play, she fights beside her man during the rebellion with her bow and arrow. She also was the one who used her words to persuade Oroonoko to kill them both and vindicate the honor and the innocence of their love. She was the one who helped guide his knife into her body. Southerne does not speak of the advantages of a white womanhood like most novels during colonialism, but speaks of the unfairness and the treatment of the slaves no matter the color of their skin or gender.
327:. Isabella wishes to mourn her lost husband. Isabella finds herself feeling lonely and an outcast from the rest of society. Living in this relatively new world without her husband, Isabella finds herself raped and taken of her innocence by an admirable man in the play who goes by Villeroy. Southerne uses character techniques within Villeroy to display the once innocence of Isabella which enhanced the theme of the play. Southerne was admired for his character technique and was skilled at creating realistic characters and enhancing other characters with the use of newly created personalities. The play was considered to be a tragedy and a serious topic of that time period. Due to the intense tragedy in the play, it became a rather big hit on the stage in which many actresses fought to play the lead role of Isabella and was soon translated from a multitude of languages to be presented on many stages around the world.
361:(1669) was a play Southerne wrote in the late 1660s. a comedy that focused on the idea of a woman trapped in an unhealthy marriage. It was one of its kind in that time period and dramatized a serious, intelligent woman living in a corrupt and unethical society. During this time, divorce was a difficult issue to overcome and go through with. The woman, Mrs.Friendall was dismissed by her husband and later resulted in a liking for her suitor. Overall, the play touches up on the subject of inequality in terms of men in relation to women. At the end of the play, although Mrs. Friendall acted with great dignity after being brought down frequently, she remains stuck in her unwanted marriage while the men in the play seem unaffected by any of the circumstances. As so,
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death of
Oroonoko, but the play written by Southerne ends with the "love death" with Imoinda fulfilling his pact with her. Southerne also emphasizes Oroonoko's honor and writes about how Oroonoko gave a speech on justifying slavery in terms of private property and civil contract. Oroonoko speaks of how their owners have paid for them and now they are a part of their estate and they may not like it, but they are no longer individuals, but pieces of property. Southerne expands the idea that even though the harsh treatments, Oroonoko is willing to come to terms with his situation and make it work.
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this piece, a notable character Lady
Trickett is considered to be a dirty, sinful woman unworthy of marriage. The play focuses on women such as Lady Trickett being rejected by a seemingly male-dominated society. As so, the message is clear in the play as it is for that time period, women who were sinful and simply not pure were not worthy of marriage and a happy life.
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was yet another unliked piece by society as it was considered too harsh of a subject for the people living in the mid to late 1690s, although it was unliked, it was not necessarily a lack of success. Often in Thomas
Southerne's plays he depicted woman as greedy, selfish, and likely to commit sin. In
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The plays
Southerne had written before he withdrew from the army would see the light of day, for he returned to theater. On his return, he took on a new form of genre for his writing, "he turned from political allegory to comedy". In 1690 "Southerne made his first financial profit from his work". In
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According to T. J. Cribb, Behn mentions that
Oroonoko experiences some conflict between his devotion to Imoinda, and his need to rebel, which gives Southerne an opportunity to build Oroonoko's character on this conflict, making it a source of the play's actions. Behn ends the novel with the brutal
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was performed as a play and was a huge success". According to
Kaufman, "At the age of sixty-seven Southerne offers one last play, Money The Mistress in 1726, it is a weak conclusion to an honorable career." He was honored as a playwright. On 26 May 1746, at the age of eighty-seven Southerne died.
147:. Southerne bought his prologue and epilogue from Dryden, who made extra income from his ability to turn such pieces. Despite his friendship with the new playwright, Dryden raised his prices for Southerne". In 1684, Southerne produced his second play,
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Southerne's later pieces did not achieve any great successes, but he contrived to gain better returns from his plays than Dryden did, and he remained a favourite with his contemporaries and with the next literary generation. He died on 26 May 1746.
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616:; Cribb, T. J. "Oroonoko." Research in African Literatures, vol. 31, no. 1, 2000, p. 173. Academic OneFile, link.galegroup.com/apps/doc/A59410546/AONE?u=nysl_se_sojotru&sid=AONE&xid=f8393e79. Accessed 29 Nov. 2017.
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343:(1691) "every day a new mistress and a new quarrel." This comedy, in which the part of the heroine, disguised as Sir Anthony Love, was excellently played by Mrs Mountfort, was his best. He scored another conspicuous success in
238:. Today readers are interested in his psychological realism, his portraits of complex characters, often women in the throes of domestic distress, and his coldly realistic, often harsh, analysis of corrupt societal relations".
268:(1682), was based on a contemporary novel. The real interest of the play lay not in the plot, but in the political significance of the personages. Tachmas, the loyal brother, is obviously a flattering portrait of
153:(Kaufman). However, in 1685 Southerne enlisted as an ensign in Princess Anne's Regiment of the Duke of Berwick's Foot. He rapidly rose to the rank of captain, but his military career came to an end in 1688 at the
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Southerne experimented in a variety of dramatic forms. His contemporaries valued him for his ability to portray intensely emotional scenes and for his "pure" language. He worked in the tradition of
611:; Restoration and Eighteenth-Century Dramatists: First Series. Ed. Paula R. Backscheider. Dictionary of Literary Biography Vol. 80. Detroit: Gale, 1989. From Literature Resource Center.
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674:, vol. 40, no. 4, 1998, p. 555. Academic OneFile, link.galegroup.com/apps/doc/A53935167/AONE?u=nysl_se_sojotru&sid=AONE&xid=3a299e7e. Accessed 29 November 2017.
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did not get too many likings by the public as it seemed like the play may have been too foolish for such a serious topic and was dismissed as stupid and thoughtless.
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A Compendium of Irish
Biography: Comprising Sketches of Distinguished Irishmen, and of Eminent Persons Connected with Ireland by Office Or by Their Writings
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652:; Hume, Robert D. "The Works of Thomas Southerne." Modern Philology, vol. 87, no. 3, 1990, p. 276+. Academic OneFile, . Accessed 16 Nov. 2017.
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According to
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which was produced by Dury Lane. Thus failure would not stop
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is yet another play based on the story of a woman. Like many of his other plays, this too was considered a
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Plays written by Thomas
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This article incorporates text from a publication now in the
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After leaving his regiment in 1688 he gave himself up entirely to
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For the American actor sometimes credited as Thomas Southern, see
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Short View of the Immorality and Profaneness of the English Stage
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668:"Race, Women, and the Sentimental in Thomas Southerne's Oroonoko"
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94:(12 February 1660 – 26 May 1746) was an Irish
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385:(1684), founded in part on the Curioso Imperlinente in
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121:, in 1676 for two years. In 1680, he began attending
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170:The Maid's Last Prayer, or, Any Rather Than Fail
106:Thomas Southerne, born on 12 February 1660, in
402:The Maids Last Prayer; or Any rather than fail
177:. In February 1694 he created the tragicomedy
164:The Wives Excuse, or, Cuckolds Make Themselves
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383:The Disappointment, or the Mother in Fashion
293:The Fatal Marriage, or the Innocent Adultery
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661:Dictionary of Literary Biography
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442:A Compendium of Irish Biography
315:Isabella, or The Fatal Marriage
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295:(1694). The piece is based on
264:Thomas Southern's first play,
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133:and produced his first play,
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885:The Cutter of Coleman Street
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686:Thomas Southerne, Dramatist
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397:Cuckolds make themselves
313:. It was known later as
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643:Encyclopædia Britannica
333:Encyclopædia Britannica
119:Trinity College, Dublin
1498:Second Anglo-Dutch War
1317:The Recruiting Officer
917:She Would If She Could
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381:His other plays were:
370:The Maid's Last Prayer
302:The History of the Nun
1221:The Canterbury Guests
1141:The Squire of Alsatia
1029:Friendship in Fashion
684:Dodds, J. W. (1933),
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1483:Lincoln's Inn Fields
1325:The Beaux' Stratagem
1309:The Careless Husband
1285:The Way of the World
700:; libraryireland.com
348:, or The Royal Slave
1277:The Constant Couple
1157:The Fortune Hunters
1133:A Fool's Preferment
1069:The London Cuckolds
909:The Mulberry-Garden
901:The Comical Revenge
523:, pp. 510–511.
417:(1719), taken from
155:Glorious Revolution
965:Marriage Ă la mode
933:Sir Solomon Single
750:Restoration comedy
657:"Thomas Southerne"
655:Kaufman, Anthony.
428:Money the Mistress
321:The Fatal Marriage
205:The Fatal Marriage
180:The Fatal Marriage
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1432:Comedy of manners
1293:Sir Harry Wildair
1269:Love and a Bottle
1245:Love's Last Shift
1165:The English Friar
1077:Sir Barnaby Whigg
1061:The Woman Captain
925:An Evening's Love
856:William Wycherley
771:Susanna Centlivre
638:Southerne, Thomas
408:The Fate of Capua
363:The Wives' Excuse
359:The Wives' Excuse
330:According to the
136:The Loyal Brother
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1229:The Married Beau
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1173:Sir Anthony Love
1117:Sir Courtly Nice
997:The Plain-Dealer
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579:Webb, Alfred
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75:(1746-05-26)
24:
21:Tom Southern
1536:1746 deaths
1531:1660 births
1478:Libertinism
1401:Georg Monck
1253:The Relapse
1101:Dame Dobson
1013:Tom Essence
957:Epsom Wells
786:John Dryden
758:Playwrights
502:(MacDonald)
395:(1691), or
387:Don Quixote
354:Later works
289:John Dryden
274:Shaftesbury
260:Other plays
131:John Dryden
73:26 May 1746
1525:Categories
1447:Drury Lane
1371:Charles II
1337:Characters
766:Aphra Behn
591:24 January
453:References
311:Drury Lane
297:Aphra Behn
188:Aphra Behn
82:Occupation
52:1660-02-12
1149:Bury Fair
1125:Bellamira
672:Criticism
478:(Kaufman)
285:Cleomenes
175:Cleomenes
108:Oxmantown
102:Biography
96:dramatist
85:Dramatist
65:, Ireland
59:Oxmantown
1457:Hedonism
874:Notable
708:LibriVox
581:(1878).
438:(1774).
431:(1726).
419:Plutarch
411:(1700);
405:(1692);
399:(1692);
346:Oroonoko
270:James II
250:Oroonoko
243:Oroonoko
236:Farquhar
232:Congreve
224:Vanbrugh
209:Oroonoko
192:Oroonoko
1391:Molière
631::
604:Sources
537:Kaufman
143:by the
110:, near
61:, near
1473:(film)
1465:(1994)
1422:Bedlam
1328:(1707)
1320:(1706)
1312:(1704)
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904:(1664)
896:(1663)
888:(1661)
625:
425:; and
325:comedy
234:, and
228:Cibber
127:London
112:Dublin
63:Dublin
1437:Court
1350:Spark
876:plays
216:Otway
194:, or
1488:Mode
1355:Rake
593:2021
568:Hume
287:for
207:and
70:Died
46:Born
1510:Wit
1345:Fop
706:at
640:".
421:'s
299:'s
1527::
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561:^
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528:^
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54:)
50:(
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