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Spain alone produced a Renaissance drama comparable to that of England, yet the two nations were enemies, separated by the worldwide conflict of Catholics and Protestants. Major dramatists on both sides addressed the divisive issues: Lope de Vega, Tirso de Molina, and Calderon de la Barca in Spain; Shakespeare, Marlowe, Chapman, Massinger, and Middleton in England. In this comprehensive work, a distinguished authority on drama examines history plays, masques, and spectacles, with close attention to the changing development of the two national dramas, he directs us to the study of their suprrising similarities. The author's lucid exposition makes possible an assessment of the commentary on historical events provided by the dramatists. In the early years of the Thirty Years' War, he points out, dramtaists unknowingly carried on a dialogue now audible to us: Massinger and Middleton warn of Spain's intentions; Lope, Tirso, and Calderon provide assurance that their English coutnerparts were not alarmists. Goruping works chronologically by subject or thematic relevance to phases of Anglo-Spanish relations in broad European context, Professor Loftis examines Lope's plays about the campaigns fought by the Spanish Army of Flanders and Marlowe's and Chapman's plays about French history from 1572 to 1602. John Loftis is Margery Bailey Professor of English Emeritus at Stanford University. He is author of numerous works, including The Spanish Plays of Neoclassical England (Yale) and Sheridan and the Drama of Georgian England (Blackwell/Harvard). Originally published in 1987. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
LOPE DE VEGA (1562-1635), poet/playwright of unrivaled popularity during Spains Golden Age of literature (including Miguel de Cervantes and Caldern de la Barca), rescued theater from ineffective conventions and claimed authorship of some 1800 titles. Many of the almost 500 existing plays are stagings of pivotal events and protagonists from national history. Lope entertains his eager public with colorful stories of the passions, heroism and villainy of the high and mighty blending these with the virtues and vices of ordinary folk and stock characters. In the twilight of the once great empire, now powerless and bankrupt, Lope draws his audience into a reimagined past that is confirmed and redeemed by a prophecy of future greatness. With the history play Lope gives new meaning to the moniker often ascribed to him, Phoenix of Spain. In Audiences of Empire, author Elaine Bunn proposes a new subgenre, the populist national history play that is communal and deliberately expansive. She shows Lope, the frustrated historian, connecting king to commoner and putting myths, legends and miracles to fresh use. Finally, Audiences of Empire includes a personal reminiscence by the author about the challenges of the writing process and her experience as a feminist academic in a slowly transforming patriarchal university system. Her protracted research on Lopes early theater makes her aware finally of the significance of her own historical moment with surprising insights.
Historical and literary works from the Spanish Golden Age offer a wealth of information about the Spanish view of the conflict in the Netherlands during the Dutch Revolt and the ensuing Eighty Years' War (1568-1648). The war in the cold north was to become a fixed component in the lives of the Spaniards of the Golden Age for many years. This book reconstructs the images that the Spanish had of the Netherlands and its inhabitants. These images are inextricably intertwined with the picture that the Spanish constructed of themselves as participants in the conflict. This book follows the developments of these images from the construction of an image of the enemy that reached a climax between 1621 and 1648 and then gradually faded away. Which images and representations circulated the most, and where did they come from? Which rhetoric was used to present them to the public, and in which genres and contexts were they disseminated and preserved? On the basis of a varied collection of sources, war chronicles and plays, as well as pamphlets, poems, historical works and prose writings, the author illustrates the appearance of the Netherlands through Spanish eyes during the course of the Eighty Years' War.
Includes entries for maps and atlases.