The following essay gives a short biography of eight of the most well known women playwrights of the eighteenth century. The essay runs in chronological order by each playwright’s birth date and describes the better known accomplishments of each playwright. The playwrights that I have included in this essay are: Mary Delariviere Manley, Mary Griffith Pix, Susanna Carroll Centlivre, Catherine Trotter Cockburn, Eliza Fowler Haywood, Elizabeth Griffith, Hannah Parkhouse Cowley, and Elizabeth Simpson Inchbald (Benedict 2003).
Mary Delariviere Manley has a strange early history. It is unknown whether or not her first name really was Mary. It is unknown exactly when and exactly where she was born. The name of her mother is unknown. The resting place of her father is unknown. Mary Manley was born either on April 6 or 7, 1663, or in any year between 1667 and 1672. Her father, Lieutenant-Governor of the English island of Jersey, abandoned her around 1688. She lived with her cousin, John Manley, who married her, although he was already married. Later, John Manley abandoned her and their son (Schlueter and Schlueter 1988).
Mary Manley’s first two plays, The Lost Lover and The Royal Mischief, were written in 1696 while she lived in Exeter. Both plays were performed in London: The Lost Lover at Drury Lane and The Royal Mischief at Lincoln’s Inn Fields. Although The Lost Lover was not successful, The Royal Mischief brought her wealth and recognition. Mary believed that the plays were not as successful as they could have been because they were written by a woman. From this time on Mary was what we today call a women’s rights activist (Rozny 2001).
Mary began to write political satires for wh...
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Nursing isn’t just about the feeling and affection shown towards a patient but understanding the patient as a whole. Caring is critical in a patient-centered caring environment. Caring for a patient can positively impact their care and help them improve overall. Caring consists of many components; however, an important element is being culturally competent. Cultural diversity with the advancements of technology and the improvement of travel creates an ocean of cultural diversity. Using Leininger’s transcultural caring theory helps nurses understand cultural competence; therefore, the theory gives nurses the tools they need to provide the best care. In the case of Mr. Sandoval, the nurse needs to understand and incorporate
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In comparing the three authors and the literary works of women authors Kate Chopin (1850 -1904), The Awakening, Charlotte Perkins Gilman's (1860-1935), The Yellow Wallpaper, and Edith Wharton's (1862-1937) Souls Belated, a good number common social issues related to women are brought to light and though subtly pointed out are an outcry against the conventions of the time. In these three stories, which were written between 1899 and 1913, the era was a time in which it seems, that women had finally awaken to realize their social oppression and were becoming rebellious in their pursuit of freedom from the male-dominated societal convention in which they existed. They commenced viewing their social stature as unjustly inferior and realized that these conventions placed deterrents on their intellectual and personal growth, and on their freedom to function as an independent person. All three of these women authors have by their literary works, have voiced their strong unfavorable feelings about the patriarchal society in which they lived.
Ms. Anna Cora Mowatt is an inspiring theatrical and historical figure. She fell in love with the theatre at a young age and exhibited a talent for acting. Moreover, Mowatt’s fame flourished due to her play and literature publications, not just from than from her acting abilities. Anna Cora Ogden was born on March 5, 1819 in Bordeaux, France to American parents. She and her family moved to New York City when she was seven years old. Anna married James Mowatt, a lawyer who was several years her senior, when she was 15 years old. Her poor health led her to move to and live in Europe during the years 1837-1840. Nonetheless, her feeble health did not put an end to her mental strength. Mowatt’s determination led her to pursue an acting career. She debuted in self-written plays such as The Lady of Lyons, Armand, the Child of the People as well as in a few Shakespearean productions. Mowatt published articles in magazines such Godey’s Lady’s Book, as well as wrote biographies, novels such as The Fortune Hunter (1844) and Evelyn (1845) and her most successful play Fashion. She prospered from the revenue her plays earned since they were well received in Europe and America.
Linda Bamber differentiates between Shakespeare’s treatment of women in comedy and tragedy. In tragedy his women are strong because they are coherent – ‘certainly none of the women in the tragedies worries or changes her mind about who she is’ – and the attacks which are made on them are the product of male resentment at this strength – ‘misogyny and sex nausea are born of failure and self doubt’ . The comic feminine on the other hand, is opposed not to men but to a reified ‘society’: ‘In comedy the feminine either rebels against the restraining social order or (more commonly) presides in alliance with the forces which challenge its hegemony: romantic love, physical nature, the love of pleasure in all its forms’ . Bamber also writes ‘ the comic heroines laugh to see themselves absorbed into the ordinary human comedy; the heroes rage and weep at the difficulty of actually being as extraordinary as the feel themselves to be’ . These moral characteristics ascribed to men and women take no account of their particular circumstances within the texts, nor indeed of their material circumstances and the differential power relations which they support.
Throughout literature’s history, female authors have been widely recognized for their groundbreaking and eye-opening accounts of what it means to be a woman in society. In most cases of early literature, women are portrayed as weak and unintelligent characters who rely solely on their male counterparts. Also during this time period, it would be shocking to have women characters in some stories, especially since their purpose is only secondary to that of the male protagonist. But, in the late 17th to early 18th century, a crop of courageous women began publishing their works, beginning the literary feminist movement. Together, Aphra Behn, Charlotte Smith, Fanny Burney, and Mary Wollstonecraft challenge the status quo of what it means to be a woman during the time of the Restoration Era and give authors and essayists of the modern day, such as Chimamanda Ngozi Adichie, a platform to become powerful, influential writers of the future.