Download e-book for iPad: A Companion to Restoration Drama by Susan J. Owen

By Susan J. Owen

ISBN-10: 1405176105

ISBN-13: 9781405176101

This 'Companion' illustrates the energy and variety of dramatic paintings 1660 to 1710. Twenty-five essays through top students within the box collect the easiest contemporary insights into the total diversity of dramatic perform and innovation on the time.

• Introduces readers to the hot increase in scholarship that has revitalised recovery drama
• Explores historic and cultural contexts, genres of recovery drama, and key dramatists, between them Dryden and Behn

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Cannan Gildon. Dennis is the first writer in England who seems to have consciously pursued a career as a critic. Dryden was, first and foremost, a dramatist; Rymer was a historian. Though Dennis's first efforts - Poems and Letters upon Several Occasions (1692) and Poems in Burlesque (1692) - show a desire to establish himself as a wit and a poet, Dennis published two works in 1693 that helped him earn his reputation as a critic: Miscellanies in λ/erse and Prose and The Impartial Critick. The preface to Miscellanies, Dennis's first major critical essay, features a relatively lengthy defence of burlesque verse against its principal detractors, Boileau and Dryden.

They paid a shilling for an upper-gallery seat, a price needed by the managers to cover production costs (especially for scenery, stagehands and lighting) but too high for poor folk. And so it remains today; the groundlings watch movies and television, and live theatre is thought of as for the elite. The Restoration redistribution of the audience space was the birth of auditoria as we now know them. Shakespeare would not understand. Foreign visitors were both impressed and put off by London theatres.

Carman lacked it. In the preface to The Humorists (1671), Shadwell answered Dryden's preface by offering his most detailed account of his theory of humours. Responding to Dryden's claim that 'the chief end of [comedy] is divertisement and delight' {Works 10: 209), Shadwell expanded his argument to include the moral function of comedy. While Dryden asserted that comedy could not be as morally instructive as tragedy, Shadwell championed the more universal corrective powers of the comedy of humours, because the Vices and Follies in Courts, as they are two tender to be touch'd, so they concern but a few, whereas the Cheats, Villanies, and troublesome Follies in the common conversation of the World are of concernment to all the Body of Mankind.

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A Companion to Restoration Drama by Susan J. Owen


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