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Fletcherian
Fletcherian, a. (flɛˈtʃɪərɪən) [f. the name of John Fletcher (1579–1625), English dramatist + -ian.] Of, pertaining to, or characteristic of Fletcher or his works.1850 Gentl. Mag. Aug. 119/2 Many passages were strongly marked with the favourite Fletcherian cadence. 1907 Westm. Gaz. 3 Apr. 4/1 It is ...
Oxford English Dictionary
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John Fletcher (playwright)
The detection of this pattern, a Fletcherian textual profile, has persuaded some researchers that they have penetrated the Fletcher canon with what they
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The Doubtful Heir
The play's Fletcherian aspects have been noted, with special emphasis on A King and No King and Philaster.
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ramp
▪ I. † ramp, n.1 Obs. Also 5–6 rampe. [? f. ramp v.1 4.] A bold, vulgar, ill-behaved woman or girl.a 1450 Knt. de la Tour (1868) 25 A woman that dede ansuere her husbonde afore straungeres like a rampe, with gret uelonis wordes. a 1548 Hall Chron. (1809) 148 [She] was a rampe of suche boldnesse, tha...
Oxford English Dictionary
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The Arcadia (play)
The play has been characterized as "typical Fletcherian dramatic romance, slight of characterization, improbable of plot, but full of unexpected turns,
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Thomas Pollard
Pollard played the role of Pinac in The Wild Goose Chase in the 1632 revival, and was in a number of other Fletcherian plays, The Lovers' Progress, The
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The Lovesick Court
The three tragicomedies have been collectively referred to as "Fletcherian" tragicomedies, as they resembles the tragicomedies of John Fletcher.
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The Faithful Friends
In fact, Lelia is living in Rome, disguised as Philadelphia's boy page Janus (and, in an absurd convention of Fletcherian-style drama, nobody, not even the king's attempt to seduce Philadelphia, and sees her resistance; he confronts the king, who claims that he was merely testing her chastity (another Fletcherian
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The Knight of Malta
Miranda subjects her to the kind of "chastity tests" that are such a noteworthy feature of Fletcherian drama; she passes all of them, consistently resisting
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Women Pleased
Underwood, Richard Sharpe, Robert Benfield, and Thomas Holcombe – the same cast list as for The Little French Lawyer and The Custom of the Country, two other Fletcherian
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The Chances
Like many Fletcherian works, the play was adapted during the Restoration; one popular adaptation by George Villiers, 2nd Duke of Buckingham, was first
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The Maid of Honour
Other critics, though, have seen in the play the "un-Fletcherian moral earnestness" typical of Massinger.
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Cupid's Revenge
The play was revived in an adaptation during the Restoration era, as many other Fletcherian works were; Samuel Pepys saw it in a version called Love Despised
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The Novella
Other cast data from the Jacobean era (like the casts lists for early King's Men's productions of Fletcherian plays, found in the second Beaumont and Fletcher
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Love Tricks
The closing scenes are "Fletcherian pastoral," while the school of complement scenes are "Jonsonian humors."
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