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William Wycherley in After the year Puritan stage ban was lifted at the Restoration of the monarchy inthe theatrical life of London recreated itself quickly and abundantly. During the reign of Charles II —playwrights such as John DrydenGeorge EtheregeAphra Behnand William Wycherley wrote comedies that triumphantly reassert aristocratic dominance and prestige after the years of middle class power during Oliver Cromwell 's Commonwealth. Reflecting the atmosphere of the Courtthese plays celebrate a lifestyle of sensual intrigue and conquest, especially conquest that served to humiliate the husbands of the London middle classes and to avenge, in the sensual arena, the marginalisation and exile suffered by royalists under Cromwell. Charles' personal interest in the stage nourished Restoration drama, and his most favoured courtiers were poets, playwrights, and men of wit, such as John Wilmot, Earl of RochesterCharles Sackville, Earl of Dorsetand William Wycherley. However, in contrast to the French, English audiences of the s had no enthusiasm for structurally simple comedies or for the neoclassical unities of time, place, and actionbut demanded fast pace, many complications, and above all variety. To achieve the much denser texture and more complex plotting that pleased in London, Wycherley would combine several source plays to produce bustling action and clashing moods, ranging from farce through paradox to satire. A Restoration novelty of which Wycherley took advantage was the readiness of public opinion to accept women on stage, for the first time in British history. Audiences were fascinated to see real women reverse the cross-dressing of the Elizabethan boy actors and appear in tight-fitting male outfits in the popular breeches rolesand to hear them match or even outdo the rake heroes in repartee and double entendre.

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