What were the causes of Restoration drama's licentiousness? How did the elegantly-turned comedy of Congreve become the pointed satire of Fielding? And how did Sheridan and Goldsmith reshape the materials they inherited? In the first account of the entire period for more than a decade, Richard Bevis argues that none of these questions can be answered without an understanding of Augustan and Georgian history. The years between 1660 and 1789 saw considerable political and social upheaval, which is reflected in the eclectic array of dramatic forms that is Georgian theatre's essential characteristic.
“For we are God’s handiwork, created in Christ Jesus to do good works, which God prepared in advance for us to do” – Ephesians 2:10. This presupposes that we were not saved just because we did something good, special, or amazing; on the contrary, after we have been saved we are then called to do good works. Just as in every work we do in…
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