Epilogue

Abstract

This chapter turns to Joseph Addison's Spectator and finally to Adam Smith, who transformed the theatrical cosmopolitanism of the Restoration into a theory of emotions and cosmopolitics. Like many philosophers in the eighteenth century, Adam Smith aims to understand both emotions and political economy. The chapter explains that the book shows how these two points of interest were profoundly intertwined in the Restoration. In order to try to understand the significance of this intersection, the book turns, as does Smith, to the theater for insight. Restoration theater has been underestimated, partly because the two worlds of Amber and Bruce Carlton have been often read in different contexts and in different kinds of critical projects. While certainly theater audience members of the Restoration period would have had different expectations for comedy, tragedy, tragicomedy, and heroic drama, they nevertheless witnessed them in the same moment of imperial ambition, political turbulence, and cosmopolitan explorations. Restoration plays have sometimes been read as frivolous entertainment or nationalist propaganda, but the book characterizes them as more ambitious and more capacious, often too edgy or insufficiently nationalistic for subsequent contexts. It makes the case for key theater experiences that were produced with wit, daring, and insight as not expressing the last gasp of absolutist monarchy, but instead engaging some beginnings: of war capitalism, of the embrace of sophistication, of England's entrance into the slave trade in earnest, and of new possibilities for human passions redirected for this expanding world.