A Short History of the English DramaHarcourt, Brace, 1921 - 260 sider |
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Side viii
... Heroic Drama . 127 51. William D'Avenant 131 52. John Dryden . 132 53 , Etherege , Wycherley , and Others 138 54. Nathaniel Lee 141 55. Thomas Otway 142 VIII . LATE RESTORATION DRAMA AND THE RISE OF DEMOCRATIC TENDENCIES 56. Elements of ...
... Heroic Drama . 127 51. William D'Avenant 131 52. John Dryden . 132 53 , Etherege , Wycherley , and Others 138 54. Nathaniel Lee 141 55. Thomas Otway 142 VIII . LATE RESTORATION DRAMA AND THE RISE OF DEMOCRATIC TENDENCIES 56. Elements of ...
Side 127
... Heroic Drama.— 1460 When at the accession of Charles II the English theatre was formally opened again it witnessed a new age and experienced new impulses . Unfortunately , and in spite of much noble effort , its dominant tone and ...
... Heroic Drama.— 1460 When at the accession of Charles II the English theatre was formally opened again it witnessed a new age and experienced new impulses . Unfortunately , and in spite of much noble effort , its dominant tone and ...
Side 130
... heroic romance on the stage even before the Restoration , and the ultimate origins seem to be found in the sometimes exag- gerated romanticism of Fletcher . " Love is the main theme of all heroic plays , and the sole theme of many . All ...
... heroic romance on the stage even before the Restoration , and the ultimate origins seem to be found in the sometimes exag- gerated romanticism of Fletcher . " Love is the main theme of all heroic plays , and the sole theme of many . All ...
Side 131
... Heroic Play " ( Modern Lan- guage Notes , June , 1904 , 166-73 ) ; and J. W. Tupper : " The Relation of the Heroic Play to the Romances of Beaumont and Fletcher " ( Publications of Modern Language Association of America , 1905 , Vol ...
... Heroic Play " ( Modern Lan- guage Notes , June , 1904 , 166-73 ) ; and J. W. Tupper : " The Relation of the Heroic Play to the Romances of Beaumont and Fletcher " ( Publications of Modern Language Association of America , 1905 , Vol ...
Side 132
... heroic play , " and in 1656 was produced The Siege of Rhodes , usually regarded as the first English opera and some- times as the first heroic play . Its lines contained from two to five poetic feet , and with its varied rhyme it was ...
... heroic play , " and in 1656 was produced The Siege of Rhodes , usually regarded as the first English opera and some- times as the first heroic play . Its lines contained from two to five poetic feet , and with its varied rhyme it was ...
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Almindelige termer og sætninger
acter actors adapted appeared artist Beaumont and Fletcher became Ben Jonson blank verse Bussy D'Ambois century char characterization characters chronicle play Cibber classical collaboration comedy of manners comic Congreve contemporary court criticism death decade Dekker developed dialogue dramatist Dryden Duchess edited Elizabeth Elizabethan Elizabethan drama emphasis England English Drama especially famous French Garrick George Gorboduc Hamlet Henry hero heroic drama heroic play Heywood humor husband influence interest Introduction John Jonson killed King Lady later literary literature London Lord lover Maid's Tragedy main plot Marlowe Marlowe's masque master ment Molière moral Neilson noteworthy passion period playhouse playwright poet poetic poetry popular primarily production prose Puritan Queen representative Restoration Restoration comedy revenge Richard Richard III romantic satire scene seems sentimental Shakespeare Sheridan shows Spanish stage story success Tamburlaine theatre theatrical theme Thomas tion tragedy tragicomedy wife William woman writing wrote young
Populære passager
Side 181 - ... in which the virtues of private life are exhibited, rather than the vices exposed ; and the distresses rather than the faults of mankind make our interest in the piece.
Side 94 - But deeds and language such as men do use, And persons such as Comedy would choose, When she would show an image of the times. And sport with human follies, not with crimes; Except we make 'em such, by loving still Our popular errors, when we know they're ill.
Side 181 - But there is one argument in favour of sentimental comedy which will keep it on the stage, in spite of all that can be said against it. It is of all others the most easily written. Those abilities, that can hammer out a novel, are fully sufficient for the production of a sentimental comedy.
Side 68 - The best in this kind are but shadows ; and the worst are no worse, if imagination amend them.
Side 224 - Unpleasant. -The reason is pretty obvious ; their dramatic power is used to force the spectator to face unpleasant facts. No doubt all plays which deal sincerely with humanity must wound the monstrous conceit which it is the business of romance to flatter.
Side 181 - In these plays almost all the characters are good and exceedingly generous; they are lavish enough of their tin money on the stage; and though they want humor, have abundance of sentiment and feeling. If they happen to have faults or foibles, the spectator is taught not only to pardon but to applaud them, in consideration of the goodness of their hearts...
Side 106 - A tragi-comedy is not so called in respect of mirth and killing, but in respect it wants deaths, which is enough to make it no tragedy, yet brings some near it, which is enough to make it no comedy, which must be a representation of familiar people, with such kind of trouble as no life be questioned; so that a god is as lawful in this as in a tragedy, and mean people as in a comedy.
Side 30 - The people, moved with the cruelty of the fact, rose in rebellion, and slew both father and mother. The nobility assembled, and most terribly destroyed the rebels ; and afterwards, for want of issue of the prince, whereby the succession of the crown became uncertain, they fell to civil war...
Side 181 - ... consideration of the goodness of their hearts; so that folly, instead of being ridiculed, is commended, and the comedy aims at touching our passions without the power of being truly pathetic. In this manner we are likely to lose one great source of entertainment on the stage; for while the comic poet is invading the province of the tragic muse, he leaves her lovely sister quite neglected.
Side 84 - The cloud-capp'd towers, tlie gorgeous palaces, The solemn temples, the great globe itself, Yea, all which it inherit, shall dissolve, And, like this insubstantial pageant faded, Leave not a rack behind.