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Representing the largest expansion between editions, this updated volume of Ottemiller's Index to Plays in Collections is the standard location tool for full-length plays published in collections and anthologies in England and the United States throughout the 20th century and beyond. This new volume lists more than 3,500 new plays and 2,000 new authors, as well as birth and/or death information for hundreds of authors.
Although John Dryden the poet is best known for his alexandrine epics, John Dryden the playwright is most honored for this blank verse tragedy. The summit of Dryden's dramatic art, All for Love (1677) is a spectacle of passion as felt, feared, and disputed in the suspicious years following the English Civil War. Due to its dramatic compression and elegance, All for Love is one of the most enduring plays of the Restoration repertory. It was so successful that in the eighteenth century Dryden's tragedy drove Shakespeare's Antony and Cleopatra from the stage. The play depicts the catastrophic passion of Cleopatra and Marc Antony, who could not be conquered but by love. Fidelity to family and friends, adherence to codes of honor, national loyalties, and the rule of law compete with each other, tearing the world with violence.
Contains over 250 monologues that cover over two thousand years of theatrical history.
Contains Hamlet, Othello, King Lear and Macbeth.
To understand the cultural history of England during the Restoration, one need look no further than the theater, which was attended by the gentry as well as by members of the middle and lower classes. The theater of this period embodied the values, meanings, and power relations of Restoration England. In Heroes and States, Douglas Canfield argues that drama not only represents but actually helps constitute the value and belief systems of an entire culture. Heroes and States completes Canfield's two-volume cultural history of Restoration drama, begun in Tricksters and Estates: On the Ideology of Restoration Comedy. In this second volume Canfield shows how Restoration playwrights attempted to rein scribe late-feudal aristocratic ideology after the English Civil War. In the serious drama of the period, conflict is between noble heroes, upon whom states are built, and transgressors of the established order—tyrants, traitors, usurpers, rapists, and atheists. Canfield considers several sub genres of tragedy. He argues that most of these sub genres reaffirm the older ideology after testing it in the fires of conflict. Tragical satire, on the other hand, the most subversive of these sub genres, exposes the failure of the ruling class to live up to its own codes and, in some cases, the absurdity of the codes themselves. Canfield also finds playwrights struggling with issues of race and colonialism. He uses the work of modern theorists such as Bakhtin, Girard, Kristeva, Derrida, Althusser, Williams, and Eagleton to illuminate aspects of his inquiries. Restoration tragedy stands on the cusp of a cultural transition from a late feudal to an early bourgeois ideology, and the issues and themes addressed in the theater validate the culture and politics of seventeenth-century England.