Download PDF by Edith Hall: Greek Tragedy and the British Theatre 1660-1914
By Edith Hall
This lavishly illustrated publication deals the 1st complete, interdisciplinary research of the historic facts for the presence of historic Greek tragedy within the post-Restoration British theatre, the place it reached a much broader audience--including women--than had entry to the unique texts. Archival study has excavated gigantic quantities of recent fabric, either visible and literary, that's provided in chronological order. however the primary objective is to provide an explanation for why Greek tragedy, which performed an elite position within the curricula of mostly conservative faculties and universities, used to be magnetically beautiful to political radicals, innovative theatre pros, and to the cultured avant-garde. All Greek has been translated, and the booklet can be crucial studying for someone attracted to Greek tragedy, the reception of historical Greece and Rome, theatre background, British social background, English reports, or comparative literature.
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Extra resources for Greek Tragedy and the British Theatre 1660-1914
1107. Cannan (1994), 250. and the ‘English’ Oedipus 15 the epigraph to Samson Agonistes. It was inevitable that the playwrights of the Restoration should turn to Aristotle for guidance in how to write their plays. Dryden himself had already given the most spirited account of the theoretical debate in England with his dramatic dialogue An Essay of Dramatic Poesie in 1668—reprinted in 1684 and 1693 at the height of the ‘Battle of the Books’41—in which the Aristotelian position advocated by Crites is hotly contested by the advocates of other (French and English) positions within the debate.
However, by the following year in the Preface to his 52 54 Bruce R. Smith (1988), 256–7. Milton (1997), 410, ll. 1643–45. 53 Dryden (1984), 213. and the ‘English’ Oedipus 21 re-working of Shakespeare’s Troilus and Cressida, Dryden is advocating the primacy of the ancient over the modern models; and it is clearly his engagement with the Sophoclean material that has led him to that conclusion. In the Preface to Troilus and Cressida (1679), Dryden includes a section entitled ‘The Grounds of Criticism in Tragedy’ in which he answers the question ‘how far we ought to imitate Shakespeare and Fletcher in their plots’ with the following recommendation: .
As a convert to Roman Catholicism and alluding through his defence of Valentius to Constantius Chlorus and Constantine I and the dynastic struggle that determined whether the future of the world should be Christian or pagan, Joyner is offering his own contribution to the hagiographical tradition in early Church history. But more importantly in 1670, Joyner would appear to be underlining the fact that the glowing mythology surrounding the Restoration was beginning to tarnish. When he writes in the Preface that ‘by advice of friends I have disguis’d the names’,30 we can only infer that overt references to early Church history are now deemed to signify Catholic allegiance; and that any public defence of Constantine’s lineage could be construed as explicit support for Charles II’s Catholic brother, James, Duke of York.
Greek Tragedy and the British Theatre 1660-1914 by Edith Hall