- Paperback: 288 pages
- Publisher: Cambridge University Press; New edition edition (12 Dec 1996)
- Language English
- ISBN-10: 0521565812
- ISBN-13: 978-0521565813
- Product Dimensions: 19.6 x 13 x 1.3 cm
- Average Customer Review: 3.5 out of 5 stars See all reviews (6 customer reviews)
- Amazon Bestsellers Rank: 500,868 in Books (See Top 100 in Books)
- See Complete Table of Contents
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"The Country Wife is shown to surpass much Restoration comedy in structural and thematic unity by counterpointing the principals'' attitudes on sex and marriage. Although the plot is episodic and portrays multiple sets of lovers, Wycherley succeeds in evolving a ''clear dramatic line.''"-Seventeenth-Century News
--This text refers to an out of print or unavailable edition of this title.
Product Description
Cambridge Literature is a series of literary texts edited for study by students aged 14–18 in English-speaking classrooms. It will include novels, poetry, short stories, essays, travel-writing and other non-fiction. The series will be extensive and open-ended, and will provide school students with a range of edited texts taken from a wide geographical spread. It will include writing in English from various genres and differing times. The Country Wife by William Wycherley is edited by Ken Bush, Denefield School, Reading.
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The Country Wife is one of the most frequently read and performed examples of a type of drama known as Restoration comedy. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Back Cover
The Country Wife is one of the most frequently read and performed examples of a type of drama known as Restoration comedy. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Back Cover
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Most Helpful Customer Reviews
7 of 9 people found the following review helpful
Format:Paperback
Naive little Margery Pinchwife, the eponymous country wife, hotly pursues roue Horner in this Restoration comedy. Town breeding versus country bumpkinry, true love (of a fashion) versus immoderate lust, disguise and deception of the lewdest kind are the generic ingredients which Wycherley weaves into a plot considered masterly of its kind. The world of the Restoration is conveyed in language that shows the playwright's keen ear for wit and polish, and, to the 21st century reader seems depressingly familiar. Materialistic, socially exclusive and preoccupied with sex, Wycherley's heroes are far from admirable characters. They strut the stage, satirical about women who only value their public reputations and about men who believe in them. Foolishness in all its forms is their target. The women (bar one, Alithea) are mercenary, immoral and hypocritical. As satire, The Country Wife lacks the energy and fierce catharsis of Jonson's work; Wycherley's railers remain self-satisfied in their viciousness. Set for AQA Syllabus A AS level Ken Bush's edition has plentry of room for note making, and easily understandable notes opposite the text to clarify language usage and point dramatic significance. There are also very valuable Resource Notes at the back of the text for teachers and students. These fill in biographical and historical details, include a useful time line and contain a series of activities appropriate to students working at this level whether in groups or individually.
Format:Paperback
Wonderful book. Really helped me out on my latest essay. Easy to read and to understand. Very informative introduction and notes.
2 of 3 people found the following review helpful
Format:Paperback
"The Country Wife" - William Wycherley (1675)
I enjoy re-reading plays for the new ideas they give me about directing them. Sometimes, of course, I wonder what on earth I was thinking the last time I read them, or where other directors get their ideas.
I enjoy this play, but there's no denying it's long for contemporary consumption. Act Five will need a lot of livening up to make it fun for a modern audience. And that's what they're going to be demanding after over two hours of fun.
It's a very talk-y act and we don't really do that these days. Everyone is justifying their behaviour and what they will do in future, or talking about what the public in general think about morals. It's good stuff, but a director would be just too tempted to get out the blue pencil and cut for the sake of getting to the bows
The trouble is that after the "infamous" china scene in Act Four like a casual post-nightclub coupling, the audience will want to get home; they've had the sexual fun and can't usually be bothered with any long chats afterwards.
That's one thing that needs to be dealt with.
I was also thinking about sexism issues: women as chattels, men dominant and selfish, imbalance of power. Then I realised that the characters work against their contemporary mores. The play is a comment on the status quo. Bingo! The characters can stand as they are (we sometimes lose this point in a welter of post-university thought policing). The actors must be fully aware of the implications of seventeenth century law and moral codes in order to play this. This play needs a director and a dramaturg. It needs an equal balance of fun. Therefore, it's a real tightrope walk of a play to produce.
Too serious, and it is a tedious drag, too comic and it becomes trivial sexist nonsense, like a bad "Carry On" (yes, there were some good ones!) More than anything "The Country Wife" needs intelligent actors who are as expert at comic technique as they are at background research, and a director who knows how to mix it.
I enjoy re-reading plays for the new ideas they give me about directing them. Sometimes, of course, I wonder what on earth I was thinking the last time I read them, or where other directors get their ideas.
I enjoy this play, but there's no denying it's long for contemporary consumption. Act Five will need a lot of livening up to make it fun for a modern audience. And that's what they're going to be demanding after over two hours of fun.
It's a very talk-y act and we don't really do that these days. Everyone is justifying their behaviour and what they will do in future, or talking about what the public in general think about morals. It's good stuff, but a director would be just too tempted to get out the blue pencil and cut for the sake of getting to the bows
The trouble is that after the "infamous" china scene in Act Four like a casual post-nightclub coupling, the audience will want to get home; they've had the sexual fun and can't usually be bothered with any long chats afterwards.
That's one thing that needs to be dealt with.
I was also thinking about sexism issues: women as chattels, men dominant and selfish, imbalance of power. Then I realised that the characters work against their contemporary mores. The play is a comment on the status quo. Bingo! The characters can stand as they are (we sometimes lose this point in a welter of post-university thought policing). The actors must be fully aware of the implications of seventeenth century law and moral codes in order to play this. This play needs a director and a dramaturg. It needs an equal balance of fun. Therefore, it's a real tightrope walk of a play to produce.
Too serious, and it is a tedious drag, too comic and it becomes trivial sexist nonsense, like a bad "Carry On" (yes, there were some good ones!) More than anything "The Country Wife" needs intelligent actors who are as expert at comic technique as they are at background research, and a director who knows how to mix it.
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Most Recent Customer Reviews
Wait another 200 years...
The cover notes tells us that this BAWDY COMEDY was considered too obscene to be staged in its original form for nearly 200 years... well it is neither rude nor funny... Read more
Published 20 months ago by Malaga View
BBC radio drama at its best
Why has this glorious BBC radio 3 production languished in the BBC vaults for 25 years?
Shame on the BBC for not repeating it or releasing it earlier. Read more
Shame on the BBC for not repeating it or releasing it earlier. Read more
Published on 16 April 2010 by A Day
Bawdy Restoration comedy.
Wycherley's comedy is firmly of the restoration period, a bawdy and sometimes lewd play, one could quite easily imagine Sid James, Barbara Windsor et al in the leading roles! Read more
Published on 8 April 2001 by jaustin97@hotmail.com
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