Elizabethan drama:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Undetermined |
| Veröffentlicht: |
New York
Russell & Russell
1970
|
| Ausgabe: | Reissued |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | IX, 148 S. |
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Datensatz im Suchindex
| _version_ | 1804121312741818368 |
|---|---|
| adam_text | Titel: Elizabethan drama
Autor: Spens, Janet
Jahr: 1970
CONTENTS
PAGE
I
Bibliography ........ 1
Shakespeare clue to History of Drama—Authorities to read
first—Where do they get their information ?—Stationers
Register—Extant copies—Henslowe s Diary—Henslowe s
importance—Collier s forging—Revels Accounts and Cun-
ningham, Mrs. Stopes, Mr. Law—Town Records—The
value of the Folio—Pagination—Punctuation—Sidney Lee
and the Preface—Pollard s answer—The importance of a
study of Elizabethan and of Shakespeare s individual
handwriting.
II
Characteristics of Elizabethan Drama . . 12
Unique character of Elizabethan drama—Basis of Greek
drama was the chorus—Its uses later : (1) chorus as hero, (2)
view of average person, (3) view of poet, (4) to give relief ;
for (1) and (2) inadequate substitutes in English drama—•
Poet s standpoint given by the Induction and the Fool—
The Induction—The improvising Fool—Shakespeare s Fool
-—(4) Relief, is it provided by comic scenes ?—Catastrophe
in Greek plays related by messenger, in Elizabethan acted—•
Minor catastrophes by messenger—Greek practice due to
origin, not for avoidance of horrible—Physical horror in
Lear —Curtainless theatre makes deaths on stage in
large numbers impossible except at end—Greek catastrophe
two-thirds through, English at end—Shakespeare s third
acts—Explanation of the blinding of Gloster—-Traditional
forms in English drama permit of greater subtlety of
characterization—Borrowing of stage situations—Tradi-
tional dresses—Doubling of parts in early plays—Additional
speeches—Dumb shows—Use of theory of drama—Three
characteristics of tragedy—Why should the tragic catas-
trophe produce aesthetic pleasure ?—Aristotle and the
purgation —Marlowe s tragic satisfaction—Greatness of
man—-Shakespeare not clear—Hints for reading—Histories
deal with the compromise of life—The undying hero of the
nation—Variety in Comedy—Character of Romances-—
Natural development— Comedy of Errors a farce—
Court Comedies—Shakespeare s conception of Comedy.
ELIZABETHAN DRAMA
PAGE
III
Origins.........33
History of early drama (Greg)—Liturgical plays pass into
hands of the Guilds—Representation—Texts in which
mysteries have come down— Morals — Interludes —
Chronicle History—King John Plays—Shakespeare natural
development, but element of romance not accounted for—
Munday s Robin Hood Plays.
Comedy—Origins not clear—Comic element in mysteries—
Gammer Gurton—Latin Comedy—Entertainment of royal
persons—Peele s Arraignment of Paris —Lyly develops
this line—Element of English country life in Greene,
but he apparently indebted to Munday.
Tragedy—Marlowe not chief begetter of Shakespearean
tragedy—Mysteries tragic in theme, but medieval use of
word obscured the connexion—Elizabethan tragedy really
linked with tragedies of Chaucer s Monk through
Lydgate s Falls of Prirces —Sackville s Mirror for
Magistrates —His Gorboduc —Unsuited for the stage
—Obscure dramatists combine classical stories with methods
of mysteries—Edwards s plays on theme of friendship—
Hughes s Misfortunes of Arthur predecessor of Spanish
Tragedy —Connexion of Hamlet and Macbeth with
this sort of drama— J. Oaasar related to Edwards s themes
—Love tragedy such as Romeo and Juliet something
of a sport —Possibly Shakespeare s most creative effort.
IV
The Predecessors ....... 48
Elizabethan comedy very specially centred in Shakespeare—
Jonson only exception—Lyly fixes type of Court Comedy
—Nature of Lyly s character-drawing—Humour probably
more amusing with child-actors—Shakespeare s debts to
Lyly—Stratification in his plays—Grouping in Mid-
summer Night s Dream —Lyly s disfavour at Court—
Greene s importance questioned—His women the first really
good women of rank—Mystery of Peele—His Arraign-
ment above—Early publication— David and Bethsabe
— Battle of Alcazar f— • Edward I Old Wives Tale
—Looks like conscious artistic theory—Marlowe—Relation
to Shakespeare—Theme, the infinite spirit of man—Marlowe s
Superman —Shakespeare s view of type in Richard
III —Classical form in Riehard III Richard II
and Edward II compared—Marlowe and Renaissance
spirit—Each day asserts value of some earthly good—
Problem of Faustus—Apparent orthodoxy—Conflict of
Conscience—Discussion of authorship of Edward III
—Summary—Countess scenes to Greene or Shakespeare—
In second part attitude is that of Peele—Passages reminis-
cent of Marlowe—And of Shakespeare—Shakespeare as
reviser on linos of David and Bethsabe —Plays compared
—Work of Marlowe embedded—Craftsman attitude.
CONTENTS
PAGE
V
The Revenge Play . . . . . .65
All tragedies before 1600 Revenge dramas and descended
from Greek—Story of Œdipus—Influence of Œdipus and
Orestes on Seneca—Senecan influence on Elizabethans in
episodes and form—On tragic hero and ethical thought—
Hercules and Atreus—Atreus s connexion with Hamlet s
idea that he lacks gall to make oppression bitter —Plot
of Spanish Tragedy —Hieronimo s delay due to his aged
fear of death—Early Hamlet also afraid— Antonio s
Revenge typical Revenge play—Sketch—Compared to
Macbeth —Marston s life— A Woman killed with
Kindness — Tragedy of Hoffmann —Tourneur—Evolu-
tion complete.
Shakespeare s Treatment— Hamlet —Three versions
—Source of the copy of three versions—Peculiarities of
First Quarto—Weakness of Hamlet plot—Laertes—
The current contemporary view of Hamlet.
VI
The Apocrypha and Monday .... 83
Munday and Apocrypha both treated in spirit of inquiry—
Reasons for cloud over Munday—His own reputation—
Collier the literary forger his first editor— The English
Romayne Life — Zelauto —Official spy and city poet—
Munday and the Rohin Hood legend— As Yon Like It
and Robin Hood nebula—Shakespeare s comedy a com-
bination of folk-play and a literary source— Twelfth
Night — Midsummer Night s Dream —Wilson s Pro-
logue about plays not to be acted—Early pla^s like mimetic
games ?—Paris Garden—Early drama a variety entertain-
ment—The bear in Mucedorus and Winter s Tale •—
Mucedorus s likeness to Shakespeare s romances points
to early date of latter—Other evidence—Romances belong
to 1584-93 (?)—The Apocryphal plays—Authority of
First Folio—Problem of Troilus and Cressida —The
contradictory statements In the Quartos—A lost tragic
Troilus play?—Short plays in series— The Plotte of
the Seven Deadly Sins — Pericles possibly part of
another sequence of the Deadly Sins—All the romances,
with Two Noble Kinsmen, Troilus and Yorkshire
Tragedy. originally part of such series plays—Links in
connexion with medieval triumvirate, Chaucer, Gower,
Lydgate—Subject of Kinsmen also points to early period
—Recapitulation.
VII
The Contemporaries:
I. Ben Jonson ....... 95
Difficulty of appreciating—His fame in his own day—Mix-
ture of prose and poetry— Every Man in his Humour —
ELIZABETHAN DRAMA
PAGE
View of comedy—Bergson s view of the ridiculous-
Example—Jonson s comedy fits this explanation—His
plotting consists in bringing his Humorous persons
together—Applied to Alchemist Volpone on same
lines—Meaning of Humours —Contemporary portraits
—The War of the Theatres —Why did feeling run so
high ?— The Poetaster —Jonson a translator —The
Roman plays— Bartholomew Fair and Dickens—
Jonson s grossness—The amazing contrast of his Masques—
The Masque of Queens — Of Blackness —Effect on
Comedy—Taste of the Stuarts.
II. Chapman ....... 104
Chapman s variety—Difficulty of his expression—Influence
of Donne— Bussy D Ambois and Byron plays—Bussy s
brother the Hamlet type—Bussy and Byron—Super-
men—Peculiar standards on the subject of love— M.
d Olive mediaeval in a way—Chapman s effort to portray
ideal gentlemen—Sidney and the secret love relation—
Spenser s third and fourth books of the Faerie Queene
deal with love and friendship—Chapman not much inter-
ested in women—Achilles of Iliad and Earl of Essex Chap-
man s models—Insight in delineation of Byron—Mysti-
cism in Gentleman Usher —Chapman points on to
Milton.
III. Dekker ....... 111
Dekker s hard life and optimistic views—Lack of unity in
his plays— Satiromastix —Looseness of other plays
due to unsuitability of form—His unity that of the novel
not of the drama— Old Fortunatas —Dekker s sympathy
with Fortunatus s choice—Men s business to live a full and
brave life— Shoemaker s Holiday —His vindication of
the tradesmen class— Witch of Edmonton —The Witch
a lonely old woman—The story of Frank-—Likeness to
Dickens s murderers.
VIII
The Successors:
Beaumont and Fletcher.....122
Important point is relation to Shakespeare—Use Shake-
speare s themes but change in accordance with conditions
of time— Philaster examined—Founded on Hamlet
—Hesitation due to love—Nature of his melancholy—
Insincerity of sentiment— Maid s Tragedy -—Amintor
another Hamlet copy—Attitude to King—Melantius com-
pared to Laertes—Evadne s motive—Amintor s treatment
of Aspatia due to Hamlet s of Ophelia—Beauty of single
scenes—Example in Thierry and Theodoret — Bon-
duca — Faithful Shepherdess — The Knight of the
CONTENTS
PAGE
Burning Pestle —Only possible in decadent drama—
Unwholesome morality of Beaumont and Fletcher s stage
—Romance ending of Shakespeare compared with Beau-
mont and Fletcher s.
IX
The Decadents :
Massinger, Middleton, Webster, and Ford 131
Post-Shakespearean drama and comedy point to rise of the
Puritan middle-class—Massinger s claim of the moral
value of the stage— The City Madam — New Way to
pay Old Debts same type—Massinger a Roman Catholic
—Massinger s view of Humour—In The Roman Actor —
Women the cause of all men s sins— Virgin Martyr —
Resemblance to Morals —Greater liberality of Middle-
ton, Ford, and Webster—Middleton s Fair Quarrel —
The Changeling —The great scene with De Flores—
Middleton s view of protected and selfish women of upper
classes—Independence of Middleton—Webster s democratic
tendency— The White Devil —Macabre quality—Unity
of Duchess of Malfi —Compared with story in Painter—
Use of madhouse scenes.
Ford a Jacobean Shelley—With Ford perfect sincerity is
test of virtue— The Broken Heart — Perkin Warbeck
a study of effect of continued deception.
Epilogue ........ 142
Index.........145
|
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| spelling | Spens, Janet Verfasser aut Elizabethan drama by Janet Spens Reissued New York Russell & Russell 1970 IX, 148 S. txt rdacontent n rdamedia nc rdacarrier Geschichte 1558-1603 gnd rswk-swf Englisch (DE-588)4014777-0 gnd rswk-swf Drama (DE-588)4012899-4 gnd rswk-swf Englisch (DE-588)4014777-0 s Drama (DE-588)4012899-4 s Geschichte 1558-1603 z DE-604 HBZ Datenaustausch application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=004538391&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title | Elizabethan drama |
| title_auth | Elizabethan drama |
| title_exact_search | Elizabethan drama |
| title_full | Elizabethan drama by Janet Spens |
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