The Original of The Non-Juror

PMLA ◽  
1915 ◽  
Vol 30 (2) ◽  
pp. 195-214
Author(s):  
Dudley H. Miles
Keyword(s):  
Catholic Priest ◽  
Colley Cibber ◽  
National Biography ◽  
English Politics

Colley Cibber declared that for The Non-juror, the most important of his dramas, he employed Molière's Tartuffe as the basis. His declaration has been accepted by later writers. Genest says, “it is taken from Moliere's Tartuffe.” Ward repeats, “Crowne may have helped to suggest to Cibber the composition of The Non-Juror (1717), which however more closely follows Tartuffe.” Van Laun declares: “Cibber has been accused of having stolen the plot, characters, incidents, and most part of the language from Medbourne; but this is untrue. What he has taken from him is the servant Charles (Laurence), who also betrays his master.” The ever-present German dissertation solemnly copies the statement: a certain Wilhelm Schneider concludes: “Medbournes ‘Tartuffe’ kann, zumal er zunächst Übersetzung ist, nach van Launs Artikel nur für wenige Anregungen herangezogen werden.” Joseph Knight in his article on Cibber in the Dictionary of National Biography remarks: “A strong Hanoverian, as was natural from his origin, Cibber saw bis way to adapting the ‘Tartuffe’ of Molière to English politics. ‘Tartuffe’ became accordingly in the ‘Non-juror’ an English catholic priest.” Americans have joined the chorus. A Western man asserts: “The Non-Juror is based directly on Molière's Tartuffe. … Cibber was no doubt familiar with Medbourne's play, but he used Molière as a basis, and owed practically nothing to any play other than the Tartuffe of Molière.” More recently Professor Nettleton speaks of “The Non-Juror (1717), an adaptation of Molière's Tartuffe to English setting,” and quotes with approval the words of Cibber.

scholarly journals “Ach for It”: Anthony Leigh, Autonomy, and Queer Pleasures in the Restoration Playhouse

Humanities ◽  
2021 ◽  
Vol 10 (3) ◽  
pp. 94
Author(s):  
Jarred Wiehe
Keyword(s):  
Structures Of Feeling ◽  
The Spectator ◽  
Colley Cibber

Anthony Leigh (d. 1692) built his career as a Restoration comedic actor by playing a combination of queer, lascivious, old, and/or disabled men to audiences’ great delight. In this essay, I key in on two plays that frame Leigh’s career: Thomas D’urfey’s The Fond Husband (1677) and Thomas Southerne’s Sir Anthony Love (1690). In The Fond Husband, a younger Leigh plays a “superannuated,” almost blind and almost deaf Old Fumble who, in the first act, kisses a man because he cannot navigate the heterosexual erotic economy of the play (as over-determined by able-bodiedness). Over a decade later, in Sir Anthony Love, Leigh plays an aging, queer Abbé who is so earnestly erotically invested in Love’s masculinity (unaware that Love is a woman in drag) that he attempts to seduce Love with dancing. I bring the beginning and end of Leigh’s stage life together to argue that Leigh’s body, performing queerly, asks audiences to confront the limits of pleasure in sustaining fantasies of the abled, autonomous heterosexual self. Using these two Restoration comedies that bookend Leigh’s career, I trace pleasures and queer structures of feeling experienced in the Restoration playhouse. While Durfey and Southerne’s plays-as-texts seek to discipline unruly, disabled queer bodies by making Fumble and the Abbé the punchline, Leigh’s performances open up alternative opportunities for queer pleasure. Pleasure becomes queer in its ability to undo orderings and fantasies based on autonomy (that nasty little myth). In his Apology, Colley Cibber reveals the ways that Leigh’s queerly performing body engages the bodies of audience members. In reflecting on the reading versus spectating experience, Cibber remarks, “The easy Reader might, perhaps, have been pleas’d with the Author without discomposing a Feature; but the Spectator must have heartily held his sides, or the Actor would have heartily made them ache for it” (89). Spectatorship is not a passive role, but rather a carnal interplay with the actor, and this interplay has immediate, bodily implications. Audiences laugh. They ache. They touch. Whereas the reader of a play in private can maintain composure, audiences in the theatre are contrarily discomposed, non-autonomous, and holding onto their sides. Leigh’s ability as a comedian energizes the text and produces pleasure on an immediate, corporeal level for audiences. And that pleasure is generated through stage business built on touching, feeling, and seducing male-presenting characters. Spectatorship may, in fact, be a queer experience as Leigh’s queerly performing body exposes the limits of autonomy.

Seizure of the English College, Douai, and Imprisonment at Doullens, 1793–4. A Contemporary Narrative

1965 ◽  
Vol 8 (3) ◽  
pp. 147-157
Author(s):  
H. Chadwick
Keyword(s):  
Literary Work ◽  
Twin Brother ◽  
School Year ◽  
National Biography ◽  
At Home

The original of this narrative, kindly lent me by Lord Clifford of Chudleigh, to whom I make full and grateful acknowledgement, is a manuscript booklet of 41 pages, about 9 in. by 5 ½ in. The author, it seems clear. was Lewis Clifford, who with his twin brother Arthur was in the school year 1792/3 in the class of Poetry. These two boys were grandsons of the 3rd Baron: their father. the Hon. Thomas Clifford, of Tixall, Staffordshire, the youngest son, was married to Barbara. a daughter and co-heiress of the 5th and last Lord Aston of Forfar. She it was who inherited Tixall and at her marriage brought that estate into the Clifford family. The twins, aged 17 “le cinq du mois ventose de l’an troisieme” (23 February, 1795), after their release from Doullens reached London on the following March 3rd. and after a month or so at home spent the summer term—April to August—at Stonyhurst. Arthur then rejoined some of his former fellow prisoners at St. Edmund’s, Old Hall. Of Lewis one knows only that he died unmarried in 1806. For Arthur’s subsequent literary work. see the Dictionary of National Biography.

Death and burial of Colley Cibber

1886 ◽  
Vol s7-II (31) ◽  
pp. 94-95
Author(s):  
J. W. M. Gibbs
Keyword(s):  
Colley Cibber

The Influence of Socialism on English Politics

1888 ◽  
Vol 3 (4) ◽  
pp. 549 ◽  
Author(s):  
William Clarke
Keyword(s):  
English Politics

The Confederacy and the Purge of the Unionist Free Traders, 1906–1910

1975 ◽  
Vol 18 (2) ◽  
pp. 349-366 ◽  
Author(s):  
Alan Sykes
Keyword(s):  
Conservative Party ◽  
Reform Movement ◽  
Secret Society ◽  
Boer War ◽  
Tariff Reform ◽  
Corn Laws ◽  
English Politics

Joseph Chamberlain's speech at Birmingham on 15 May 1903, which began the tariff reform campaign, produced divisions within the Unionist party on a scale unknown since the repeal of trie Corn Laws. Announced to a party tired and jaded after its difficulties in the conduct of the Boer War, imperial preference offered an outlet for frustrated imperialist idealism, a cause to which the enthusiasts of the party could devote themselves, ‘… in a few hours England, indeed the whole Empire, was in a ferment of indescribable excitement’ Enthusiasm for the new cause rapidly developed into intolerance towards any other opinion. In the summer of 1903 supporters and opponents of the new policy organized themselves into rival leagues: ‘For a decade the Unionist party, the great exemplar of political pragmatism, was consumed by ideological passion’. The epitome of this intolerance and ideological passion was the Confederacy, ‘this extraordinary phenomenon in English politics — a secret society with all the trappings of oaths, threats and codes’,s ‘a secret society of extremist wholehoggers … [which] … saw itself as the inquisitorial arm of the tariff reform movement…’ and whose avowed object was ‘to drive the enemies of tariff reform out of the Conservative party’.

Comparative MMPI-2 Norms between Free and United Methodist, Catholic Priest, Episcopal, and Presbyterian Ministry Candidates

2021 ◽  
pp. 009164712110494
Author(s):  
Amanda Edwards-Stewart ◽  
Tim Hoyt ◽  
Sam Rennebohm ◽  
Fiona B. Kurtz ◽  
John S. Charleson ◽  
...  
Keyword(s):  
United Methodist ◽  
Social Relationships ◽  
Minnesota Multiphasic Personality Inventory ◽  
Roman Catholic ◽  
Religious Groups ◽  
Catholic Priests ◽  
Catholic Priest ◽  
Free Methodist ◽  
Scale Scores ◽  
Roman Catholic Priest

The Minnesota Multiphasic Personality Inventory (MMPI-2) is often utilized to assess the suitability of ordination candidates by a religious organization. Published MMPI-2 scale scores for Roman Catholic priest, Episcopal, Presbyterians, and United Methodist ministry samples exist. However, previous research has not provided MMPI-2 scale scores for Free Methodist ordination candidates and has not provided a statistical comparison of scale scores between religious groups. The this study reports on MMPI-2 scale scores for Free Methodist ordination candidates and compares this group’s scores to Roman Catholic priests, Episcopal and Presbyterian ordination candidates, and a United Methodist sample. We found statistically significant differences between Free Methodist and Catholic Priests, Episcopal, Presbyterian ordination candidates on MMPI-2 Hs, Pd, Pt, and Sc scales and L, Pd, Mf, Pa, Pt, Sc, and Ma differences between Free and United Methodist groups. These results seem to indicate that Free Methodist candidates have fewer non-organic health concerns, less obsessive thoughts, positive social relationships, and more readily submit to authority when contracted with other comparative ordination candidates or ministry sample.

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