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The Libertine (NHB Modern Plays) [Paperback]

Stephen Jeffreys
4.0 out of 5 stars  See all reviews (4 customer reviews)
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Book Description

15 Dec 1994
Stephen Jeffreys' The Libertine was first seen at the Royal Court in 1994 in a production by Max Stafford-Clark's Out of Joint. It was later filmed by John Malkovich, starring Johnny Depp as John Wilmot, Earl of Rochester, friend and confidant of Charles II and the most notorious and licentious rake of his age. Centering on the moment when Rochester falls in love with the actress Elizabeth Barry, The Libertine is thoroughly modern in its sensibility and in its attitude to Rochester's endless sexual indulgence. Gloriously irreverent, The Libertine is both a thrillingly convincing accurate portrait of the period and a very funny comedy of manners.

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Product details

  • Paperback: 96 pages
  • Publisher: Nick Hern Books; New edition edition (15 Dec 1994)
  • Language: English
  • ISBN-10: 1854592777
  • ISBN-13: 978-1854592774
  • Product Dimensions: 20.1 x 12.8 x 0.6 cm
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Bestsellers Rank: 179,914 in Books (See Top 100 in Books)

More About the Author

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Product Description


Bubbles and fizzes like champagne... and the dialogue drips with wonderful witticisms. --Financial Times

Bold, startling, fascinating, raunchy.

About the Author

Stephen Jeffreys' plays include Valued Friends about property values, for which he won the Evening Standard Most Promising Playwright Award, A Going Concern, The Clink and I Just Stopped by to See the Man. All are published by NHB.

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Customer Reviews

4.0 out of 5 stars
4.0 out of 5 stars
Most Helpful Customer Reviews
29 of 31 people found the following review helpful
4.0 out of 5 stars Pornographer or Philosopher? 25 April 2003
The Libertine is an extraordinarily rich and pungent play, you can almost smell the corruption and dissipation of Restoration London. Whilst at times somewhat raunchy in it's depiction of the London brothels, theatres and royal court, the core of the piece is the battle in the soul of John Wilmott, Earl of Rochester. He is a sensitive poet and at the same time an accomplished pornographer, he is a republican, yet supports the King, he truly loves his wife, and his mistress. His is truly a tortured soul, he suffers from the worst of maladies - an incisive intelligence which makes him unable to believe in anything that cannot be proven. Thus he is an atheist and a true product of his age, but ironically the new age of enlightenment, the advances in science, the arts, philosophy and politics only serve to compound his inner turmoil. His outward brilliance and rip roaring lifestyle conceals a deep melancholy and his irrational and reckless behaviour becomes increasingly dangerous, he seems to be drawn, against his will, yet driven by it, to inevitable self destruction.
The play is a wonderful depiction of the Restoration era, it has wit, vulgarity, romance and tragedy woven into an evocative and engaging tapestry full of colour, texture and contrast.
The characters are vivid, the language rich and pithy and the action gallops apace, drawing us inexorably into the vortex of Rochester's anarchic tilt at the windmills of life.
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1 of 1 people found the following review helpful
4.0 out of 5 stars Absorbing 27 Nov 2009
Format:Paperback|Verified Purchase
Stephen Jeffreys' play as most know was eventually used to make the film of the same name. However unlike the film this play doesn't run too long (thankfully) so even if you did not really like the movie you may still enjoy this. This is a good play about the Restoration period and the life of John Wilmot, 2nd Earl of Rochester.

Of course as this is a drama and not a documnary a lot of things have been left out, and some poetic licence has been added. Etheredge's play that is mentioned a few times in this, The "Man of Mode" (New Mermaids) although containing the rake Dorimant is not necessarily a portrayal of Rochester, although some people back then and still now believe that it possibly is - there is just no conclusive proof. Rochester and Etherdge were both acquaintances and they both had children with Elizabeth Barry, although there is no evidence that Rochester taught Barry any acting skills.

Not being too long means that you could even read this in one sitting, and it may get you interested in that period of time, or even to learn more about Rochester, especially his poetry.
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3.0 out of 5 stars Could have been better 28 Jun 2013
Format:Paperback|Verified Purchase
Item took a while to turn up and wasn't in a brilliant state considering the amount paid for it. Could have probably bought a new one for the same price if not cheaper :-/
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8 of 11 people found the following review helpful
5.0 out of 5 stars THE LIBERTINE 24 Jun 2005
By A Customer
I loved this book and could picture Johnny Depp playing John Wilmot the Earl of Rochester as i read it.The film will be out in august.When i picked the book up i could not put it down untill i got to the end.Very good book, thank you.
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Most Helpful Customer Reviews on (beta) 4.6 out of 5 stars  5 reviews
21 of 22 people found the following review helpful
5.0 out of 5 stars Excellent treatment of Rochester's paradoxes 3 Sep 2006
By Doug Anderson - Published on
Format:Paperback|Verified Purchase
Jeffreys' portrait of Rochester seems designed to titillate Rochester scholars for the play is packed full of references to Rochester's poetry (both the popular lampoons & satires and the more arcane meditations on "nothing" etc...). Though Jeffreys admits that he takes some liberties with the material he deals with the most infamous incidents in the life of Rochester (hatred of poet laureate Dryden, disgust at excesses of Charles II, breaking of the Kings sundial, abandoning his friend Downs to die at the hands of a night watchman during one of the merry gangs many riotous jests, the impersonation of Italian mountebank Dr. Alexander Bendo, the alleged training of and affair with the actress Elizabeth Barry, portrait with monkey). Any Restoration or Rochester scholar will be impressed and delighted with the amount of historical and literary research and detail Jeffreys packs in to this play. But the play is not just a reiteration of already known facts and incidents that are already part and parcel of Rochester scholarship/lore; this play also attempts to offer an original take on the world's most famous libertine.

Its interesting to note that Jeffreys' THE LIBERTINE was originally written to be performed as a companion piece with the most famous libertine play of the Restoration, Etherege's MAN OF MODE. Most scholars agree that the lead character of Etherege's play, Dorimant, was based on a kind of idealised version of his friend Rochester. Some critics would say that Etherege crafted a portrait of his notorious friend but a portrait that Restoration audiences could admire for Dorimant like Rochester is a cool patrician libertine but unlike Rochester Etherege's Dorimant never makes a move designed to upset or lampoon the social world that he inhabits but is always an affable charmer/companion with friends and ladies (his treatment of Mrs. Loveit excepted), and his winning ways make him the toast of the town and the most sought after lover and socialite in all of London. You could say that Jeffreys' portrait of Rochester in THE LIBERTINE is designed to counter Etherege's too flattering portrait with a more gritty and more realistic portrait of his own. This is especially interesting as Rochester himself was always interested in offering a more realistic or more natural version of life than any of his literary companions and competitors were offering. Etherege's portrait is complex though and it does show Dorimant/Rochester as a consummate social performer who is capable of always knowing just what to say to each social player (and this can be viewed as a criticism not a compliment). Jeffreys wants us to see the other side of Rochester, the side that is only implied in Etherege's portrait. Taking his cues from Rochester's own poetrry Jeffreys fashions a much more complex and paradoxical creature. Jeffreys' "Rochester" talks as if he did not really want to be liked or admired. He talks as if he preferred "reality" to "art" and yet his actions seem to contradict what he says as he always seems to want to escape "reality" and seek refuge in "art". For instance Jeffreys' "Rochester" is disgusted at the artificiality of Restoration social norms and forms and yet he seems only to be interested in life as it is enhanced by or refracted through the theatre and through poetry. Rochester, according to Jeffreys, is a self-professed cynic who claims that he has ceased to believe in life and who wants from the theatre a convincing illusion that can provide him with the emotions that life alone can no longer provide. And yet his Rochester also seems to genuinely fall in love with the actress that he is training to provide him with those artificially contrived emotions (arguably what he falls in love with is the genuine being who like himself feels the need to express herself through artificial forms). Jeffreys seems to be offering us a portrait of a man who either does not know himself as well as he thinks; or a man who knows himself very well and knows that he needs a very complex cocktail of life/art to satisfy his very sophisticated urges/desires/appetites for a very sophisticated kind of life/art.

The one theme that seems to be consistent throughout the plays about Rochester and the various versions of the life is that Rochester sought release through excess. (Jeffrey's at one point has Rochester say "I only know that I am alive when I have gone too far"). As Graham Greene noted in his famous biography of Rochester, LORD ROCHESTER'S MONKEY, "excess" for Rochester (whether excessive love or hate) was a way of escaping the forms and norms of society. And yet, paradoxically, in the London of the 1670's "excess" as well as "cynicism" was in fashion (and for that matter so too the lampoon and the satire were fashionable as was the "malice" required to practice such literary modes) . Thus Rochester even in despising the age in which he lived still seems to be its most representative member.

Many Rochester scholars like James William Johnson (whose A PROFANE WIT is perhaps the most comprehensive Rochester bio available) claim that what Rochester was trying to escape from was himself (many scholars offer some version of the claim that Rochester did not believe man had anything like a transcendent identity and that, like the monkey, he was really nothing but an actor capable only of offering a series of social performances to please one audience or another). Jeffreys, as many scholars before him have done, interprets Rochester's religious conversion as just one more social performance that is no more "real" than any of the ones that preceded it. This is what some of Rochester's own friends thought when they heard of the deathbed conversion. Some scholars claim that Rochester's poetry was always full of religious imagery and that the apparent unbelief of the satirist is just a negative route toward belief and affirmation. One of the most interesting scholars claims that Rochester's conversion was indeed an act but an act that quieted his will and allowed him to actually occupy the present moment or the "now" that he had previous to the conversion only theorized about. In any event the Rochester that continues to capture the public imagination is the iconoclastic doubter and the contrarian who seems to be both attracted to and repulsed by his own libertine ways and the world that he not only belongs to but exemplifies.

Rochester's paradoxes and dichotomies are fascinating and will, I think, be of interest not only to scholars but to amateur literary men and women as well. Jeffreys' play does an excellent job at sorting through and arranging some of the paradoxes that scholars have struggled with for centuries and making them accessible to a popular audience. I would not say Jeffreys' version of the life is the definitive one but only because with a life like Rochester's there is no defintive account. The paradoxes and unresolvedness are what make the life and the work so interesting.

Highly recommended.

By the way the film version of THE LIBERTINE is only a loose adaptation of Jeffreys' play. The play is a kind of scholarly entertainment geared toward audiences with an advanced interest in & knowledge of Rochester and Restoration literature (though the play can be enjoyed on some level by those who are not yet Rochester/Restoration experts I would not suggest starting here if you are new to Rochester; I would start with a biography and then come back to this play). The film, on the other hand, is designed for those who might not yet be acquainted with either Rochester or the Restoration and thus it drops far fewer insider references resulting in a far less intricately nuanced portrait. The film is nonetheless an excellent and entertaining introduction and will lead the literary minded toward the biographies and other Rochester literature.

I really recommend both play and film (and biographies). I also recommend a PBS miniseries called THE LAST KING which is an excellent way of learning about the Restoration. Rochester only makes a couple of brief appearances in the miniseries but THE LAST KING is an excellent way of familiarizing yourself with restoration era politics and society. One of Rochester's complaints in Jeffreys' LIBERTINE is that the aristocrats had no real function in Restoration England and that their lives were useless and that what they all suffered was the realization of their own irrelevance and absurdity. The miniseries offers another take on just how Charles II's politics (the crisis of authority) effected the social reality and artistic production of the time.
21 of 27 people found the following review helpful
4.0 out of 5 stars Inspiring a Movie 26 Aug 2005
By Evan - Published on
This is a pretty good book about John Wilmot (aka the Earl of Rochester), who is not well known, but surely will be soon - due to a movie starring Johnny Depp coming out. As a poet, Wilmot is entertaining and virile. He is obscene and satirical. "The Libertine" does a good job of expressing this, sharing his life, exploring his reasoning for his satire of King Charles, his heroism, the balance between reason and humor that seems to be the dichotomy of Wilmot. We'll see how well the movie does. But, it would be great if people starting actually reading his poetry.

Another book I recently enjoyed that is like a modern-equivalent of Wilmot is "The Loony," a story about a guy also sort of exiled, who is also a libertine, also afflicted with a penchant for perversity, and also destined for a bad end. It was interesting to read one after the other, as they shared so many interesting attributes. I look forward to the movie, and hope it bring Wilmot more readers.
1 of 1 people found the following review helpful
4.0 out of 5 stars Stephen Jeffreys The Libertine 28 Sep 2007
By Elizabeth Oleary - Published on
Fantastic read - this one reads really quick and is quite a page turner. Made me want to go and watch the recent film adaptation. I love each character for their wit and honesty; they are truly ones to remember. Well done, Mr. Jeffreys.
5.0 out of 5 stars Good value, fine service! 30 July 2013
By Joanne R. Medeiros - Published on
Format:Paperback|Verified Purchase
I received this book, the original of the play - it was in fine condition, gently used, as described! I have enjoyed reading this book with clean pages. Would highly recommend the seller!
0 of 1 people found the following review helpful
5.0 out of 5 stars The Libertine 25 Feb 2008
By cortezhill - Published on
Cast: 8m., 5w. (Doubling or extras possible.) "You will not like me. No, I say you will not," taunts the Earl of Rochester at the opening of this riotously funny and intriguing comedy of sexual manners...based on the life of John Wilmot, second Earl of Rochester (1647-80), poet and satirist. "The Libertine presents Rochester as the ultimate, sensation-seeking product of a decadent era. 'You see I must always exceed, or I don't feel I'm alive,' says the Earl. And when confronted with a comedy based on his life, George Etherege's Man of Mode, he heatedly remarks,'I am the age.'" (NY Times)
--- from book's back cover
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