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She-tragedyThe term she-tragedy refers to a popular vogue in the late 17th and early 18th centuries for tragic plays focused on the sufferings of an innocent and virtuous woman. Prominent she-tragedies include Thomas Otway's The Orphan, (1680), John Banks's Virtue Betrayed, or, Anna Bullen (1682) (about the execution of Anne Boleyn), Thomas Southerne's The Fatal Marriage (1694), and Nicolas Rowe's The Fair Penitent (1703) and Lady Jane Grey, 1715. Nicholas Rowe was the first to use the word "she-tragedy" in 1714. When English drama was reborn in 1660 with the re-opening of the theatres, the leading tragic style was the male-dominated heroic tragedy, which celebrated powerful, aggressively masculine heroes and their pursuit of glory both as rulers and conquerors, and as lovers. In the 1670s and 1680s, a gradual shift occurred from heroic to pathetic tragedy, where the focus was on love and domestic concerns, even though the main characters might often be public figures. After the phenomenal success of Elizabeth Barry in moving the audience in the role of Monimia in Thomas Otway's The Orphan (1680), she-tragedy became the dominant form of pathetic tragedy, and she-tragedies remained highly popular for nearly half a century. The new focus on women in tragedy may be linked with a growing political disillusionment with the old aristocratic ideology and its traditional masculine ideals (see Staves). Other possible explanations for the great interest in she-tragedy are the popularity of Queen Mary, who often ruled alone in the 1690s while her husband William was on the continent, and the publication of The Spectator, the first periodical aimed at women. Elizabeth Howe has argued that the most important explanation for the shift in taste was the emergence of tragic actresses whose popularity made it unavoidable for dramatists to create major roles for them. With the conjunction of the playwright "master of pathos" Thomas Otway and the great tragedienne Elizabeth Barry in The Orphan, the focus shifted decisively from hero to heroine. References - Howe, Elizabeth (1992). The First English Actresses: Women and Drama 1660–1700. Cambridge: Cambridge University Press.
- Staves, Susan (1979). Player's Scepters: Fictions of Authority in the Restoration. Lincoln, Nebraska.
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