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How does one dominant literary genre fall into decline, to be superseded by another? The classic instance is the rise of the novel in the nineteenth century, and how it came to embody the tragic vision of life which had previously been the domain of drama. Dr King focuses on three novelists, George Eliot. Thomas Hardy and Henry James. All three, while trying to offer a realistic picture of life in prose narrative, wrote with the concept of tragedy clearly in mind. The concern was widespread, and Victorian literary critics found themselves discussing the problem of how one might reconcile concepts as dissimilar as tragedy and realism. Their criticism provides Dr King with her starting point. Dr King examines the work of her three authors in relation to the large concepts of traditional tragic thought, and also examines how the form of specific novels was affected by their differing ideas of tragedy.
Superstition and Magic in Early Modern Europe brings together a rich selection of essays which represent the most important historical research on religion, magic and superstition in early modern Europe. Each essay makes a significant contribution to the history of magic and religion in its own right, while together they demonstrate how debates over the topic have evolved over time, providing invaluable intellectual, historical, and socio-political context for readers approaching the subject for the first time. The essays are organised around five key themes and areas of controversy. Part One tackles superstition; Part Two, the tension between miracles and magic; Part Three, ghosts and apparitions; Part Four, witchcraft and witch trials; and Part Five, the gradual disintegration of the 'magical universe' in the face of scientific, religious and practical opposition. Each part is prefaced by an introduction that provides an outline of the historiography and engages with recent scholarship and debate, setting the context for the essays that follow and providing a foundation for further study. This collection is an invaluable toolkit for students of early modern Europe, providing both a focused overview and a springboard for broader thinking about the underlying continuities and discontinuities that make the study of magic and superstition a perennially fascinating topic.
Excerpt from The Tragedy of Superstition A fiumber will be. Printed every two weeks, embel ed with a' Portrbit, in every way'eqiial to the at Thirty-seven and a half cents. 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.
Why did Greek tragedy and "the tragic" come to be seen as essential to conceptions of modernity? And how has this belief affected modern understandings of Greek drama? In Genealogy of the Tragic, Joshua Billings answers these and related questions by tracing the emergence of the modern theory of the tragic, which was first developed around 1800 by thinkers associated with German Idealism. The book argues that the idea of the tragic arose in response to a new consciousness of history in the late eighteenth century, which spurred theorists to see Greek tragedy as both a unique, historically remote form and a timeless literary genre full of meaning for the present. The book offers a new interpretation of the theories of Schiller, Schelling, Hegel, Hölderlin, and others, as mediations between these historicizing and universalizing impulses, and shows the roots of their approaches in earlier discussions of Greek tragedy in Germany, France, and England. By examining eighteenth-century readings of tragedy and the interactions between idealist thinkers in detail, Genealogy of the Tragic offers the most comprehensive historical account of the tragic to date, as well as the fullest explanation of why and how the idea was used to make sense of modernity. The book argues that idealist theories remain fundamental to contemporary interpretations of Greek tragedy, and calls for a renewed engagement with philosophical questions in criticism of tragedy.
Excerpt from Was It Fate? A Tragedy A Revision of this Tragedy, which had been played, with brilliant success, at Columbus, in 1855, appeared at Cincinnati, in 1856. In this Revision, there is no alteration in the persons of the Drama. They remain as follows: Scott put forward in the Introduction furnished in 1830 to his Legend of Montrose, the following account: The Drummond-Ernoch of James the Sixth's time was a King's Forester in the forest of Glenartney, and chanced to be employed there in search of venison about the year 1588, or early in 1589. This forest was adjacent to the chief haunts of the MacGregors, or a particular race of them known by the title of MacEagh, or Children of the Mist... They surprised and slew Drummond-Ernoch, cut off his head, and carried it with them, wrapt in the corner of one of their plaids. "In the full exultation of vengeance, they stopped at the house of Ardvoirlich, and demanded refreshment, which the lady, a sister of the murdered Drummond-Ernoch, (her husband being absent,) was afraid or unwilling to refuse. She caused bread and cheese to be placed before them, and gave directions for more substantial refreshments to be prepared. While she was absent with this hospitable intention, the barbarians placed the head of the brother on the table, filling the mouth with bread and cheese, and bidding him eat, for many a merry meal he had eaten in that house. The poor woman returning, and beholding this dreadful sight, shrieked aloud, and fled into the woods, where, as described in the romance, she roamed a raving maniac, and for some time secreted herself from all living society. Some remaining instinctive feeling brought her at length to steal a glance from a distance at the maidens while they milked the cows, which being observed, her husband, Ardvoirlich, had her conveyed back to her home, and detained her till she gave birth to a child, of whom she had been pregnant; after which she was observed gradually to recover her mental faculties." The hero of this Tragedy is James Stuart of Ardvoirlich, the child so born. The story of the Play, however, varies largely from the history he actually lived. The Tragedy does not at all follow the plot of the Legend of Montrose. The Preface to the Revision of the Play that was printed in 1856, includes these words: "The property in the piece belongs to Mr. Hanchett, now of the Wheeling Theater, a) It was a gift to that gentleman - and the law, at that time, threw around such property no such protection as to make the gift available to its donee as it may now become. It may not be improper to add, that this Tragedy was written as a tribute to the original Ardvoirlich. The Author is not ignorant that in recognizing in Mr. Hanchett claims to such a distinction as is involved in such a tribute, something like high treason to the reigning dynasty of Stars may be imputed to him. 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.