"Three Hours after Marriage" by John Gay is a comedic play that satirizes the institution of marriage and the conventions of 18th-century English society. Co-written with Alexander Pope and John Arbuthnot, this farcical work follows the chaotic events that unfold when a newlywed couple faces challenges in their marriage just three hours after tying the knot. At the center of the play is the relationship between Sir John Brute, a cantankerous and unfaithful husband, and his young bride, Lady Brute, who finds herself disillusioned with her marriage almost immediately. As the couple grapples with issues of fidelity, jealousy, and social propriety, their domestic discord sets the stage for a series of absurd and humorous encounters. "Three Hours after Marriage" is characterized by its witty dialogue, exaggerated characters, and farcical situations. Through its portrayal of marital strife and societal hypocrisy, the play offers a biting commentary on the challenges and absurdities of married life in Georgian England. Despite its initial lack of success upon its debut in 1717, "Three Hours after Marriage" has since been recognized as a noteworthy work of English comedy, showcasing Gay's talent for satire and humor. Today, the play is appreciated for its insights into the foibles of human nature and its enduring relevance as a comedic exploration of the complexities of marriage and relationships.

"[...]book. This quarrel, whether with both poets involved with Cibber or only one, doubtless cost the play a revival or two that it would otherwise have had; with such evidence of anger in the authors Cibber could well have wished to have done with them and their work. The use of the crocodile costume on April 2 in a dance at Drury Lane entitled The Shipwreck suggests that so far as the management was concerned the play for which it had been devised would not be acted again. Thereafter, Three Hours had only two revivals (Handlist of Plays in Nicoll, Early Eighteenth-Century Drama)-one in 1737 (two performances) the other in 1746 (three). A pity! But in any case the play could not have had much of a life on the[...]".

This is a forgotten gem of early 18th century theatre. Augustan wits John Gay, Alexander Pope and Doctor John Arbuthnot were at least as concerned with lampooning numerous figures in fashionable London society as with writing a well-crafted romp in their collaborative play, all but unseen since its original 1717 produc-tion. The plot is outrageous: several times Fossill discovers billets doux to his new bride Susannah, several times she executes last-minute stratagems to persuade him of her chastity, and several times her rival suitors Plotwell and Underplot arrive with the intention of cuckolding Fossill before he can consummate the marriage. Plotwell is also patron to Fossill's aspiring playwright niece Phoebe, whose latest work is exposed to general laughter as Gay, Pope and Arbuthnot indulge in the period's obligatory activity of sneering at poetasters. Check out our other books at www.dogstailbooks.co.uk

Eighteenth century Britain thought of itself as a polite, sentimental, enlightened place, but often its literature belied this self-image. This was an age of satire, and the century's novels, poems, plays, and prints resound with mockery and laughter, with cruelty and wit. The street-level invective of Grub Street pamphleteers is full of satire, and the same accents of raillery echo through the high scepticism of the period's philosophers and poets, many of whom were part-time pamphleteers themselves. The novel, a genre that emerged during the eighteenth century, was from the beginning shot through with satirical colours borrowed from popular romances and scandal sheets. This Handbook is a guide to the different kinds of satire written in English during the 'long' eighteenth century. It focuses on texts that appeared between the restoration of the Stuart monarchy in 1660 and the outbreak of the French Revolution in 1789. Outlier chapters extend the story back to first decade of the seventeenth century, and forward to the second decade of the nineteenth. The scope of the volume is not confined by genre, however. So prevalent was the satirical mode in writing of the age that this book serves as a broad and characteristic survey of its literature. The Oxford Handbook of Eighteenth-Century Satire reflects developments in historical criticism of eighteenth-century writing over the last two decades, and provides a forum in which the widening diversity of literary, intellectual, and socio-historical approaches to the period's texts can come together.