John Crowne's contributions to Restoration drama reflect a distinctive style and thematic consistency, notable through his tragedies and comedies. By exploring three of his plays—The Destruction of Jerusalem by Titus Vespasian, Sir Courtly Nice, and City Politiques—one gains insights into the recurring motifs and character archetypes he employed. Crowne's ability to echo the political and societal nuances of his era through dramatic storytelling remains a hallmark of his work.

The Destruction of Jerusalem by Titus Vespasian

Restoration tragedy finds a quintessential expression in John Crowne’s The Destruction of Jerusalem by Titus Vespasian. This play, much like other works from the period, intertwines intricate love affairs with convoluted political scenarios. These themes were borrowed from both the French romances and the tumultuous political landscape of Crowne's England, where the struggle for power between monarchy and Parliament was ongoing.

Patterned after John Dryden’s successful The Conquest of Granada, Crowne’s tragedy employed rhyming couplets and was extended to an unusual ten acts. The narrative unfolds with a backdrop of monumental conflict and romance, akin to a cinematic epic. The story begins as the Roman army, under Titus Vespasian, begins its siege of Jerusalem, where political machinations and forbidden loves create an undercurrent of tension.

The city’s high priest, Matthias, prepares its defenses, hindered by suspicions and betrayals, primarily from John, leader of the Pharisees. Meanwhile, Berenice, torn between her love for Titus and her duty, adds to the play’s romantic entanglements. The inclusion of two exiled monarchs, Phraartes and Monobazus, further complicates matters as they pursue impossible loves with Jewish noblewomen, each facing their own tragic dilemmas.

The siege narrative escalates as food supplies dwindle and internal conflicts threaten the city’s survival. Titus, in a struggle between love and duty, ultimately chooses the latter, encapsulating the central theme of personal sacrifice for the greater good. The play culminates in a dramatic and symbolic series of deaths, leaving Titus alone to ponder his choices amidst the ruins of Jerusalem.

Politically, the play mirrors the Restoration audience’s own fears and struggles, drawing parallels between the Jewish plight and England's geopolitical anxieties, particularly regarding France. Central to the play is the idea of kingship, reflecting on the nature and obligations of rulers, a theme resonant with the life of Charles II. Crowne’s eloquent dialogue, interwoven with metaphor and poetic force, accentuates these themes, while striking stage effects amplify the drama’s emotional and thematic impact.

Sir Courtly Nice

Crowne’s most celebrated comedy, Sir Courtly Nice, epitomizes the Restoration comedy of wit, intermingling social critique with a lighthearted love story. The play addresses themes of love, marriage, and independence, focusing on the female protagonists’ quest to secure autonomy without compromising romantic ideals.

In the story, Violante is hesitant to marry Lord Bellguard due to his overprotective and mistrustful behavior towards his sister, Leonora. Leonora, in love with Farewel, must outwit her brother's meddlesome guardianship, aided by Violante and Farewel's cunning plan involving the clever scholar Crack. This setup allows for a humorous exploration of gender roles and societal expectations.

The character of Sir Courtly Nice himself becomes a focal point, as his affectations and vanity provide comic relief and a target for the other characters’ schemes. The narrative builds upon the interactions between these richly drawn characters, culminating in a series of misunderstandings and witty exchanges that drive the plot forward.

Crowne’s adaptation of a Spanish play on Charles II’s suggestion highlights his ability to modify existing stories to suit the English stage, enriching them with his own flair for character and dialogue. The enduring appeal of Sir Courtly Nice lies...