Аннотация:This essay argues that Philips' translation of Corneille's La Mort de Pompée emerged as part of a complex, cross‐cultural network of allegiance and competition that centered on the English court but stretched across the English Channel and Irish Sea. Harping in particular on the play's Dublin production and reception, Philips' Pompey and its commendatory matter present the Restoration Anglo‐Irish elite as displaced but renewed exemplars of continental culture and courtly Englishness. In doing so, they cast women as bearers of court values that bind together cross‐kingdom ruling blocs in the aftermath of violent civil war and in the context of a restored, multi‐kingdom monarchy. (C.G.)
