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Excerpt from Elizabethan Drama, 1558-1642, Vol. 1 of 2: A History of the Drama in England From the Accession of Queen Elizabeth to the Closing of the Theaters, to Which Is Prefixed a Resume of the Earlier Drama From Its Beginnings Once more, this book is not concerned with ab stract aesthetic considerations of the nature of drama, its kinds, its relations to other forms of art, its strue ture and technique, except in so far as these topics may be involved in the general theme itself. Nor will an attempt be made to trace to their sources those interesting points of foreign contact which are so alluring and so misleading when unsubmitted to the larger historical tests which trace the fuller tides and greater sweeps of literature and disregard the accidental eddies in its currents. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Elizabethan Drama, 1558-1642: A History Of The Drama In England From The Accession Of Queen Elizabeth To The Closing Of The Theaters, To Which Is Prefixed A REsumE Of The Earlier Drama From Its Beginnings; Elizabethan Drama, 1558-1642: A History Of The Drama In England From The Accession Of Queen Elizabeth To The Closing Of The Theaters, To Which Is Prefixed A REsumE Of The Earlier Drama From Its Beginnings; Felix Emmanuel Schelling; Volume 1 Of Elizabethan Drama 1558-1642: A History Of The Drama In England From The Accession Of Queen Elizabeth To The Closing Of The Theaters; Felix Emmanuel Schelling 2, reprint Felix Emmanuel Schelling Houghton Mifflin & Company, 1910 Drama; English, Irish, Scottish, Welsh; Drama / English, Irish, Scottish, Welsh; English drama; Literary Criticism / Drama
Douglas Bruster's provocative study of English Renaissance drama explores its links with Elizabethan and Jacobean economy and society, looking at the status of playwrights such as Shakespeare and the establishment of commercial theatres. He identifies in the drama a materialist vision which has its origins in the climate of uncertainty engendered by the rapidly expanding economy of London. His examples range from the economic importance of cuckoldry to the role of stage props as commodities, and the commercial significance of the Troy story in Shakespeare's Troilus and Cressida, and he offers new ways of reading English Renaissance drama, by returning the theatre and the plays performed there, to its basis in the material world.
A time of great changes after nearly a century of foreign wars and civil strife, the Tudor era witnessed a significant transformation of dramatic art. Medieval traditions were modified by the forces of humanism and the Reformation, and a renewed interest in classical models inspired experimentation. Howard B. Norland examines Tudor plays performed between 1485 and 1558, a time when drama reached beyond local, popular, and religious contexts to treat more varied and more secular concerns, culminating in the emergence of comedy and tragedy as major genres. The theater also imported dramas from the Continent, adapting them to English tastes. After establishing the popular dramatic traditions of fifteenth-century Britain, Norland discusses the critical interpretation of the Latin plays of Terence studied in the schools and the views of influential authors such as Erasmus, Vives, and More about what drama should be and do. The heart of the book is its in-depth analyses of individual plays. Norland examines the secularization of the morality play in Skelton's Magnificence, Bale's King John, Respublica, and Redford's Wit and Science and he traces the changes in comic form from Medwall's Fulgens and Lucres through Calisto and Melebea and Johan Johan to Udall's Roister Doister and Gammer Gurton's Needle. The final section examines the first tragedies written in England: Watson's Absolom, Christopherson's Jephthah, and Grimald's Archipropheta. Howard B. Norland is a professor of English at the University of Nebraska-Lincoln. His articles have appeared in Genre, Sixteenth Century Journal, Fifteenth Century Studies, Comparative Drama, and Journal of Medieval and Renaissance Studies.