Literature

Modernist and postmodern literature offer different reactions to the uncertainty and complexity of their respective eras.

The late 19th and early 20th centuries gave rise to modernist literature, which is distinguished by a deliberate break from conventional forms of poetry and prose fiction writing. The deliberate aim to subvert conventional means of representation and convey the new sensibilities of the day propelled this literary movement. This movement makes extensive use of literary devices like fragmentation and stream of consciousness in addition to themes of disillusionment and alienation. Inspired by advancements in anthropology, psychology, philosophy, political theory, physics, and psychoanalysis, some modernists first promoted an idealistic mindset. But once World War I broke out, this idealism came to an end, and authors began producing more pessimistic works that captured a sense of disillusionment. Along with rejecting the idea of absolute truths, many modernist writers also shared a scepticism of institutions of power, including the government and the church.

Postmodern literature, which first appeared in the United States in the 1960s thanks to the works of writers like Kurt Vonnegut, Thomas Pynchon, Kathy Acker, and John Barth, is distinguished by the use of metafiction, erratic narration, self-reflection, intertextuality, and a tendency to thematise historical and political issues. Relativism is often embraced by postmodernism, which emphasises the subjective aspect of reality and meaning while casting doubt on absolute truths. Rather than attempting to discover universal truths, it emphasises the diversity of viewpoints.

While reflecting the intellectual and cultural anxieties of their respective times, the two movements differ greatly from one another.  In order to explore individual consciousness and meaning in a world that is seen as fragmented and unpredictable, modernist literature focuses on experimenting with form and content. Conversely, postmodern literature engages with the constructed nature of reality and storytelling, employing irony, intertextuality, and pastiche to question and play with the concept of truth and narrative.

One of the best examples of Restoration comedy, known alternatively as “comedy of manners”, is William Congreve’s “The Way of the World,” which was originally presented in 1700. The play, which was written during the Restoration era (1660–1710), captures the focus of the time on class relations, social mores, and the literary and dramatic effects of the restoration of the monarchy. The Puritanical constraints of the Interregnum gave rise to the Restoration comedy genre, which embraced themes of hedonism, wit, and subtle social satire.

Restoration comedies frequently parody the manners and morals of modern society, especially that of the upper classes. “The Way of the World” examines the social morals and actions of the era, focussing on the hypocrisy and conceit of the affluent. The drama highlights the ridiculousness of relationships and social norms with a keen sense of wit and comedy. Play’s stock characters include the clever and resourceful hero (Mirabell), the endearing and self-reliant heroine (Millamant), the silly and meddling elderly guardians (Fainall and Mrs. Fainall), and the humorous servants (like Waitwell) that are typical of Restoration comedy. For comedic effect, these characters frequently represent and exaggerate society stereotypes. 

Central to “The Way of the World” is the theme of courtship and marriage, which is a common focus in Restoration comedy. The courtship of the main characters, Mirabell and Millamant, is at the core of “The Way of the World”‘s intricate story, which is layered with misdirection, misunderstanding, and intrigue. The play explores the intricacies of romantic relationships, including the social and financial considerations that influence marriage. The resolution involves the successful courtship of Mirabell and Millamant, highlighting the comedic conventions surrounding marriage and matchmaking.

The Way of the World” is a prime example of Restoration comedy because of its witty dialogue, complex plot and subplots, satirical portrayal of modern society, use of stock characters, and examination of courtship and marriage against the backdrop of the social and cultural context of the Restoration era.