Transforming Attitudes Towards the Turk in Edward Ravenscroft’s Mamamouchi, or The citizen turn’d gentleman (1672) and Molière’s Le bourgeois Gentilhomme (1668)

Abstract

AbstractWhen Edward Ravenscroft approached the polarising figure of the Turk in The citizen turn’d gentleman (1672), an adaptation of Molière’s Le bourgeois gentilhomme (1668), he inherited certain structures and motivations that stem out of very specific attitudes towards the Ottomans that were not easily transposed onto the English context. This did not stop him from penning one of the most successful plays of his time, but it also did not stop the critics from deeming his adaptation a cheap knock-off that hardly altered the original and was closer to a translation than to any exercise of real talent. His adaptation, however, builds on the expectations of his London audiences and the trends on narrative-building regarding East–West relations to cleverly alter the reception of the play rather than the execution thereof, resulting in a minimal style of adaptation that produced a profound outcome. This study explores Ravenscroft’s way of dealing with the very central figure of the Turk in The citizen turn’d gentleman and the relation to the original source material in order to prove that his decision was a conscious act, part of a much more complex adaptative procedure than he is given credit for.