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This collection of prose writing from the pen of Dryden dates from 1668 to 1691, and contains work that the editors describe as "a sampler of Dryden as biographer-historian, political commentator, religious controversialist, literary polemicist, literary theorist, and practical critic. Among the works contained here is his "Essay of Dramatick Poesie."
For the first time since 1695, a complete text of De Arte Graphica as Dryden himself wrote it is available to readers. In all, Volume XX presents six pieces written during Dryden's final decade, each of them either requested by a friend or commissioned by a publisher. Two are translations, three introduce translations made by others, and the sixth introduces an original work by one of Dryden's friends. The most recent version of De Arte Graphica, Saintsbury's late nineteenth-century reissue of Scott's edition, based the text of the translated matter on an edition that was heavily revised by someone other than Dryden. In fact, only one of the pieces offered here, the brief Character of Saint-Evremond, has appeared complete in a twentieth-century edition. The commentary in this volume supplies biographical and bibliographical contexts for these pieces and draws attention to the views on history and historians, poetry and painting, Virgil and translation, which Dryden expresses in them. Many other volumes of prose, poetry, and plays are available in the California Edition of The Works of John Dryden.
The Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling students and researchers to read for themselves, for example, comments on early performances of Shakespeare's plays, or reactions to the first publication of Jane Austen's novels. The carefully selected sources range from landmark essays in the history of criticism to journalism and contemporary opinion, and little published documentary material such as letters and diaries. Significant pieces of criticism from later periods are also included, in order to demonstrate the fluctuations in an author's reputation. Each volume contains an introduction to the writer's published works, a selected bibliography, and an index of works, authors and subjects. The Collected Critical Heritage set will be available as a set of 68 volumes and the series will also be available in mini sets selected by period (in slipcase boxes) and as individual volumes.
Republic to restoration cuts across artificial divides between periods and disciplines,often imposed for reasons of convenience rather than reality. Challenging the traditional period divide of 1660, essays in this volume explore continuities with the decades of civil war and the Republic, shedding new light on religious, political and cultural conditions before and after the restoration of church and king. Transdisciplinary in conception, it includes essays on political theory, poetry, pamphlets, drama, opera, art, scientific experiment and the Book of Common Prayer. Essays in the volume variously show how unresolved issues at national and local level, including residual republicanism and religious dissent, were evident in many areas of Restoration life, and were recorded in memoirs, diaries, plays, historical writing, pamphlets and poems. An active promotion of forgetting, and the erasing of memories of the Republic and the reconstruction of the old order did not mend the political, religious and cultural divisions that had opened up during the Civil War. In examining such diverse genres as women’s religious and prophetic writings, the publications of the Royal Society, the poetry and prose of Marvell and Milton, plays and opera, court portraiture, contemporary histories of the civil wars, and political cartoons, the volume substantiates its central claim that the Restoration was conditioned by continuity and adaptation of linguistic and artistic discourses. Republic to restoration will be of significant interest to academic researchers in a wide range of related fields, and especially students and scholars of seventeenth-century literature and history.
This book analyses representations of death and dying in modern Western theatre from the late nineteenth century onward, examining how and why historically informed conceptions of mortality are dramatized and staged.
Inventing the Gothic Corpse shows how a series of bold experiments in eighteenth-century British realist and Gothic fiction transform the dead body from an instructive icon into a thrill device. For centuries, vivid images of the corpse were used to deliver a spiritual or political message; today they appear regularly in Gothic and horror stories as a source of macabre pleasure. Yael Shapira’s book tracks this change at it unfolds in eighteenth-century fiction, from the early novels of Aphra Behn and Daniel Defoe, through the groundbreaking mid-century works of Samuel Richardson, Henry Fielding and Horace Walpole, to the Gothic fictions of Ann Radcliffe, Matthew Lewis, Charlotte Dacre and Minerva Press authors Isabella Kelly and Mrs. Carver. In tracing this long historical arc, Shapira illuminates a hidden side of the history of the novel: the dead body, she shows, helps the fledgling literary form confront its own controversial ability to entertain. Her close scrutiny of fictional corpses across the long eighteenth century reveals how the dead body functions as a test of the novel’s intentions, a chance for novelists to declare their allegiances in the battle between the didactic and the “merely” pleasurable.