DOCSLIB.ORG

Xerox University Microfilms

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Xerox University Microfilms I INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. Silver prints of "photographs" may be ordered at additional charge by writing the Order Department, giving the catalog number, title, author and specific pages you wish reproduced. 5. PLEASE NOTE: Some pages may have indistinct print. Filmed as received. Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48108 76-3518 OVER, William Earl, 1948- THE REHEARSAL fit >ITS PLACE IN THE DEVELOPMENT OF ENGLISH BURLESQUE DRAMA IN THE SEVENTEENTH CENTURY. The Ohio State University, Ph.D., 1975 Theater Xerox University Microfilms,Ann Arbor, Michigan 46106 © Copyright by William Earl Over 1975 THE REHEARSAL AND ITS PLACE IN THE DEVELOPMENT OP ENGLISH BURLESQUE DRAMA IN THE SEVENTEENTH CENTURY DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By William Earl Over, B.A., M.A. The Ohio State University 1975> Reading Committee: Approved By Prof. Donald R. Glancy Prof. John Walker Prof. Roy Bowen Adviser Department of Theatre4 This Dissertation is dedicated to my wife, Yvonne, who has been helpful and understanding throughout the period of ray research at Ohio State ii ACKNOWLEDGMENTS I would like to thank Professors Alfred Golding, Director of the Ohio State University Theatre Research Institute, and Albert Johnson of Memphis State University for the opportunity to read a paper on this dissertation at the American Theatre Association Convention in Washington, D.C. I would especially like to thank Professor Donald R. Glancy for his kind and generous assistance during the writing and research of this dissertation. His thoughtful advice and sincere involvement in every aspect of my research work at Ohio State has been truly exceptional* iii VITA August ll|., 1914.8........... Born - Hagerstown, Maryland 1966 .................... Andover H. S., Andover, Mass­ achusetts 1970 ...................... B.A., The University of Massachusetts, Amherst 1972 M.A., The University of Connecticut, Storrs 1972-1975 ................ Teaching Associate, Research Associate, Theatre Research Institute, The Ohio State University, Columbus FIELDS OF STUDY Major Field: Theatre and Drama. Studies in Dramatic Literature, Dramatic Theory and Criticism, Theatre History, Acting/Directing. Dramatic Literature: Professors Cecil Hinkel, John Morrow, Donald R. Glancy. Dramatic Theory and Criticism: Professors Donald R. Glancy, Cecil Hinkel, M. Drvota, John Morrow. Theatre History: Professors Walter Volbach, Arthur Saxon, M. Drvota. iv "I wish the stage were as narrow as the wire of a tightrope dancer, so that no incompetent would dare step upon it.” Goethe "Poetry is the Parent of Superstition.11 Thomas Sprat "In those gay days of wickedness and wit, When Villiers Criticized what Dryden writ, The tragic queen, to please a tasteless crowd, Had learn'd to bellow, rant, and roar so loud, That frighten*d Nature, her best friend before, The blustering beldam's company fore­ swore ." Sheridan, Prologue, The Critic v TABLE OP CONTENTS Page DEDICATION .................................. ii ACKNOWLEDGMENTS ............................ iii VITA ........................................ lv QUOTATIONS .................................. v INTRODUCTION ............................... 1 Chapter I. THE PRE-RESTORATION PRECEDENT .... 12 II. THE EMERGENCE OP BURLESQUE DRAMA: 161*2-1671 £2 III. THE REHEARSAL AS BURLESQUE ART . Ill IV. IN THE WAKE OP THE REHEARSAL: 1672-1680 172 V. C O N C L U S I O N ......................... 226 GLOSSARY .................................. 21*1 SELECTED BIBLIOGRAPHY ....................... 21*1* vi INTRODUCTION The Rehearsal, a play attributed to the Duke of Buckingham, sometime favorite of Charles II, and a group of his literary associates, has been recognized from its first performance as a controversial work and a major achievement in the art of dramatic burlesque. The play was certainly popular with the King and the public theatre audience when it was first performed in 1671. Modern critics, however, have seen fit only to include The Rehearsal in important anthologies and to praise its powers of satirical penetra­ tion in their prefaces while, at the same time, avoiding a critical examination of the play. Scanty attention has been given the work in recent years, critics and scholars alike being content with an a priori acceptance of the play's worth without recognizing the need for its further evaluation. Though the foremost scholars of Restoration drama have drawn attention to the play's fully realized burlesque plot and have claimed it to be the epitome of Restoration dramatic burlesque,* yet The Rehearsal still remains, except for a *See Allardyce Nicoll, The History of English Drama (Cambridge: University Press, 19^2), vol. 1: Restoration Drama, 1660-1700. pp. 248-21*9; and Montague Summers, ed. Tlie Rehearsal, Vlfith an Introduction and Notes (London: Shakespeare Head Press, 1914)* PP* xci-xcii, xxiv. 2 few noteworthy articles, virtually ignored in modern journals. Such a condition is inexplicable in the face both of the consistent popularity of the play until the first quarter of the Nineteenth Century and of its influence upon such notable followers of the dramatic burlesque tradition as Fielding, Gay, Henry Carey, Sheridan, and numerous minor playwrights. In spite of The Rehearsalfs significance, a basic reconsideration of its position in the development of English burlesque drama of the Seventeenth Century has not been forthcoming. The following chapters identify those unique qualities of Buckingham’s burlesque that have contri­ buted to the advancement of burlesque drama in England. Through an examination of previous attempts at stage burlesque in England and a consideration of possible foreign and non- dramatic influences upon the authors of The Rehearsal, it is possible to place the play in historical perspective. The following study has, in that respect, a twofold purpose: first, to draw attention to the importance of the play as a significant advancement in the form of burlesque drama; and, second, to reveal the steady but constant development of that form from its early Elizabethan beginnings until the closing years of the Restoration era. Careful consideration of the development of the burlesque tradition in drama during that period has heretofore been avoided by Twentieth Century scholars. The attention of students of satire and burlesque has focused mainly upon the non-dramatic works of burlesque and satire, allowing for only a cursory appraisal of the 3 dramatic contribution to that form of literature.2 The following chapters employ various definitions and distinguish between "high burlesque” and ”low burlesque" as they apply to the various dramas studied.^ The distinc­ tions between such terms as "satire," "travesty," and "par­ ody" become increasingly significant in the following compara­ tive study of burlesque method in the drama. Traditionally, scholars have approached The Rehearsal from three perspectives. The most common approach has been to treat the play as a collection of specific literary and theatrical allusions to the various dramatic sources of its ridicule. Such scholarship is by nature quantitative and thus is of little value for the formal study of the play: to deter­ mine who or what is ridiculed in a piece without considering the form of that ridicule or its dramatic effectiveness is an endeavor that remains incomplete. Such attention to content as opposed to form was the critical viewpoint of the author of "the original Key" to The Rehearsal, which appeared as a Preface to the Briscoe edition of that play in 1701*. (seventeen years after the death of Buckingham). Following in that tradition, Edward Arber ^Howard D. Weinbrot's The Formal Strain: Studies in Augustan Imitation and Satire (Chicago: University of Chicago Press, 1969)* and Leonard Weinberg’s Introduction
Load more

Recommended publications
  • THE ALCHEMIST THROUGH the AGES an Investigation of the Stage
    f [ THE ALCHEMIST THROUGH THE AGES An investigation of the stage history of Ben Jonson's play by JAMES CUNNINGHAM CARTER B.Sc., University of British Columbia, 196 8 A THESIS SUBMITTED IN PARTIAL FULFILMENT. OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 1972 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada Date 27 QclAtt ii ABSTRACT THE ALCHEMIST THROUGH THE AGES An Investigation of the Stage History of Ben Jonson's Play This study was made to trace the stage history of The Alchemist and to see what effect theatrical productions can have in developing critical awareness of Jonson's dramatic skill in this popular play. Therefore an attempt has been made to record all performances by major companies between 1610 and 197 0 with cast lists and other pertinent information about scenery/ stage action and properties. The second part of the thesis provides a detailed analysis of four specific productions considered in light of their prompt books, details of acting and production, and overall critical reception.
    [Show full text]
  • Restoration Verse Satires on Nell Gwyn As Life-Writing
    This is a postprint! The Version of Record of this manuscript has been published and is available in Life Writing 13.4 (Taylor & Francis, 2016): 449-64. http://www.tandfonline.com/DOI: 10.1080/14484528.2015.1073715. ‘Rais’d from a Dunghill, to a King’s Embrace’: Restoration Verse Satires on Nell Gwyn as Life-Writing Dr. Julia Novak University of Salzburg Hertha Firnberg Research Fellow (FWF) Department of English and American Studies University of Salzburg Erzabt-Klotzstraße 1 5020 Salzburg AUSTRIA Tel. +43(0)699 81761689 Email: [email protected] This work was supported by the Austrian Science Fund (FWF) under Grant T 589-G23. Abstract Nell Gwyn (1650-1687), one of the very early theatre actresses on the Restoration stage and long-term mistress to King Charles II, has today become a popular cultural icon, revered for her wit and good-naturedness. The image of Gwyn that emerges from Restoration satires, by contrast, is considerably more critical of the king’s actress-mistress. It is this image, arising from satiric references to and verse lives of Nell Gwyn, which forms the focus of this paper. Creating an image – a ‘likeness’ – of the subject is often cited as one of the chief purposes of biography. From the perspective of biography studies, this paper will probe to what extent Restoration verse satire can be read as life-writing and where it can be situated in the context of other 17th-century life-writing forms. It will examine which aspects of Gwyn’s life and character the satires address and what these choices reveal about the purposes of satire as a form of biographical storytelling.
    [Show full text]
  • Dryden on Shadwell's Theatre of Violence
    James Blac k DRYDEN ON SHADWELL'S THEATRE OF VIOLENCE All admirers of J ohn Dryden can sympathise w ith H.T . Swedenberg's dream of o ne day "finding bundle after bundle of Dryden's manuscripts and a journal kept thro ugho ut his career. .. .! turn in the journal to the 1670's and eagerly scan the leaves to find out precisely when MacFlecknoe was written and what the ultimate occasion for it was. " 1 For the truth is that although MacFlecknoe can be provisionally dated 1678 the " ultimate occasion" of Dryden's satire on Thomas Shadwell has never been satisfactorily explained. We know that for abo ut nine years Dryden and Shadwell had been arguing in prologues and prefaces with reasonably good manners , chiefly over the principles of comedy. R.J. Smith makes a case for Shadwell's being considered the foremost among Dryden's many adversaries in literary argumentatio n, and points out that their discourse had reached the stage where Dryden, in A n Apology for Heroic Poetry ( 16 77), made "an appeal for a live-and-let-live agree­ ment." 2 T he generally serious and calm nature of their debate makes MacFlecknoe seem almost a shocking intrusion- a personally-or politically-inspired attack which shattered the calm of discourse. Surely-so the reasoning of commentators goes- there must have been a casus belli. It used to be thought that Dryden was reacting to an attack by Shadwell in The Medal of j ohn Bayes, but this theory has been discounted.3 A.S. Borgman, a Shadwell biographer, would like to be able to account for Dryden's "turning against" Shadwell and making him the butt of MacFlecknoe: Had he wearied of [Sh adwell's) rep eated boasts o f friendship w ith the wits? Had he become disgusted with (h is) arrogant treatment of those who did not applaud th e humours in The Virtuoso and A True Widow? Had he tired of DRYDEN ON SHADWELL'S THEATRE OF VIOLENCE 299 seeing Shadwell "wallow in the pit" and condemn plays? Or did some word or act bring to his mind the former controversy and the threat then made of condemning dulness?4 D.M.
    [Show full text]
  • Restoration Comedy.Pdf
    RESTORATION COMEDY (1660- 1700) For B.A. Honours Part- 1 Paper – 1 (Content compiled for Academic Purpose only from http://www.theatrehistory.com/ and other websites duly credited) Content compiled by- Dr. Amritendu Ghosal Assistant Professor Department of English Anugrah Memorial College Gaya. Email- [email protected] Topics Covered- 1. INTRODUCTION TO THE RESTORATION AGE 2. NATURE OF RESTORATION COMEDY 3. WOMEN PLAYWRIGHTS 4. APPEARANCE OF WOMEN ON THE ENGLISH STAGE 5. PERSISTENCE OF ELIZABETHAN PLAYS 6. PARODY OF HEROIC DRAMA 7. COLLIER'S ATTACK ON THE STAGE (Image from haikudeck.com) "THEN came the gallant protest of the Restoration, when Wycherley and his successors in drama commenced to write of contemporary life in much the spirit of modern musical comedy. A new style of comedy was improvised, which, for lack of a better term, we may agree to call the comedy of Gallantry, and which Etherege, Shadwell, and Davenant, and Crowne, and Wycherley, and divers others, laboured painstakingly to perfect. They probably exercised to the full reach of their powers when they hammered into grossness their too fine witticisms just smuggled out of France, mixed them with additional breaches of decorum, and divided the results into five acts. For Gallantry, it must be repeated, was yet in its crude youth. For Wycherley and his confreres were the first Englishmen to depict mankind as leading an existence with no moral outcome. It was their sorry distinction to be the first of English authors to present a world of unscrupulous persons who entertained no special prejudices, one way or the other, as touched ethical matters." -- JAMES BRANCH CABELL, Beyond Life.
    [Show full text]
  • Lucan, Poet of Freedom O. A. W. Dilke
    LUCAN, POET OF FREEDOM BY O. A. W. DILKE GRAHAMSTOWN RHODES UNIVERSITY 1961 LUCAN, POET OF FREEDOM INAUGURAL LECTURE DELIVERED AT RHODES UNIVERSITY BY O. A. W. DILKE PROFESSOR OF CLASSICS M .A. (Cantab.) GRAHAMSTOWN RHODES UNIVERSITY 1961 LUCAN, POET OF FREEDOM The Greek and Latin classics have been defended so often and so ably against the boisterous waves that have encroached upon them that to add one more apologia to the long list might result only in hackneyed platitudes. Within the last few years even the vestiges of compulsory Greek and Latin have dis­ appeared from the older seats of learning. However rigid a classical syllabus the Eton entrance scholarships may still demand, it can no longer be argued that an Arts Degree focused on non- classical subjects, let alone a degree in other Faculties, neces­ sitates a knowledge of prose composition in these languages. What our courses have lost in relative numbers since a genera­ tion ago we hope they have gained in interest, since they are no longer troubled with the student who is dragooned into Latin. And I do not consider it dragooning to insist that those who are study­ ing Roman-Dutch law shall be able to read a little Cicero in the original. But to exclude the classics except in Penguin translations from the University of York, for example, is an affront to Eboracum and to the shades of Alcuin, who in the eighth century was one of the greatest Latinists in the world. In the mid-twentieth century, the classicist can try to help the scientist to form his new compound words correctly, but let us hope he will not be relegated to this position.
    [Show full text]
  • Jane Milling
    ORE Open Research Exeter TITLE ‘“For Without Vanity I’m Better Known”: Restoration Actors and Metatheatre on the London Stage.’ AUTHORS Milling, Jane JOURNAL Theatre Survey DEPOSITED IN ORE 18 March 2013 This version available at http://hdl.handle.net/10036/4491 COPYRIGHT AND REUSE Open Research Exeter makes this work available in accordance with publisher policies. A NOTE ON VERSIONS The version presented here may differ from the published version. If citing, you are advised to consult the published version for pagination, volume/issue and date of publication Theatre Survey 52:1 (May 2011) # American Society for Theatre Research 2011 doi:10.1017/S0040557411000068 Jane Milling “FOR WITHOUT VANITY,I’M BETTER KNOWN”: RESTORATION ACTORS AND METATHEATRE ON THE LONDON STAGE Prologue, To the Duke of Lerma, Spoken by Mrs. Ellen[Nell], and Mrs. Nepp. NEPP: How, Mrs. Ellen, not dress’d yet, and all the Play ready to begin? EL[LEN]: Not so near ready to begin as you think for. NEPP: Why, what’s the matter? ELLEN: The Poet, and the Company are wrangling within. NEPP: About what? ELLEN: A prologue. NEPP: Why, Is’t an ill one? NELL[ELLEN]: Two to one, but it had been so if he had writ any; but the Conscious Poet with much modesty, and very Civilly and Sillily—has writ none.... NEPP: What shall we do then? ’Slife let’s be bold, And speak a Prologue— NELL[ELLEN]: —No, no let us Scold.1 When Samuel Pepys heard Nell Gwyn2 and Elizabeth Knipp3 deliver the prologue to Robert Howard’s The Duke of Lerma, he recorded the experience in his diary: “Knepp and Nell spoke the prologue most excellently, especially Knepp, who spoke beyond any creature I ever heard.”4 By 20 February 1668, when Pepys noted his thoughts, he had known Knipp personally for two years, much to the chagrin of his wife.
    [Show full text]
  • Science and Criticism in Coleridge and Peirce
    ABDUCTING THE IMAGINATION: THE METHODOLOGICAL FOUNDATION OF SCIENCE AND CRITICISM IN COLERIDGE AND PEIRCE by Thomas Dechand A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland October, 2014 © 2014 Thomas Dechand All Rights Reserved Abstract The core the dissertation examines S. T. Coleridge’s writings on method and imagination from the 1815 composition of Biographia Literaria through the publication of the “Essays on the Principles of Method” in the 1818 Friend. I demonstrate how these writings clarify, develop, and indeed repair Coleridge’s earlier theory of imagination by articulating its role within a general theory of inquiry meant to comprehend the works of science and literature as methodical investigations. Whereas the Biographia fails in its attempt to ground the imagination within a conception of the self as intellectually intuited in a manner conceived by German Idealists such as Schelling, Coleridge’s “Essays on Method” explore the imagination through a theory of inquiry predicated on the discovery, analysis, and contemplation of relations. I argue that Coleridge aligns the operation of the secondary imagination to a logical function: the eduction of an “idea,” according to Coleridge’s precise sense of that term as a necessarily tautegorical relation – one that expresses the same subject, but with a difference. It is ideas, so conceived, that serve to guide inquiry. Coleridge’s refinement of the theory of imagination is done in serve of his argument that ideas are “constitutive” -- that is, they play a fundamental role in what it is, internal to our constitution and that of the world, that enables inquiry in the first place -- and should be seen as part of Coleridge’s answer to what he identifies as the highest problem of philosophy in the 1816 Statesman’s Manual.
    [Show full text]
  • WRAP Theses Crowther 2017.Pdf
    A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/ 97559 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications James Shirley and the Restoration Stage By Stefania Crowther A thesis submitted in partial fulfilment of the degree of Doctor of Philosophy in Renaissance Studies University of Warwick, Centre for Renaissance Studies June 2017 2 3 Acknowledgements This thesis was supported by the James Shirley Complete Works Project, and funded by the AHRC, and Centre for Renaissance Studies, University of Warwick. I would like to thank these organisations, and in particular Jayne Browne, Ingrid de Smett, David Lines, Jayne Brown, Heather Pilbin, Paul Botley, and especially Elizabeth Clarke and Paul Prescott for their very helpful guidance during the upgrade process. Special thanks are due to Hannah Davis, whose URSS project on Restoration Shirley, supervised by Teresa Grant, provided the starting point for this thesis. I am also enormously grateful to the colleagues, friends and tutors who have inspired and supported my work: Daniel Ashman, Thomasin Bailey, Stephen Clucas, Michael Dobson, Peter Foreshaw, Douglas Hawes, Simon Jackson, Victoria Jones, Griff Jameson, Peter Kirwan, Chris Main, Gerry McAlpine, Zois Pigadas, Catherine Smith, Lee White, Susan Wiseman.
    [Show full text]
  • John Milton's Blank Verse and the Republican Spirit in Poetry
    Click here for Full Issue of Fidelio Volume 9, Number 1, Spring 2000 John Milton’s Blank Verse The Granger Collection and the Republican Spirit in Poetry John Milton, with title pages of his epic by Paul B. Gallagher “Paradise Lost,” and tragedy “Samson Agonistes.” ercy Bysshe Shelley wrote that poets are the unacknowledged legislators of the world; Pwhen revolutionary movements shake peo- ple from their commonplace opinions, prejudices, and self-love, then the “legislation” of great poetry ton’s death (1674) until the American Revolution. It summons them toward truth and justice. In the was read in the American colonies from the pulpit period of the American Revolution and its after- like Scripture, used in the schoolroom like a math, the influence of “poet-legislator” John Milton primer, cited by political leaders, and read aloud was felt throughout the English-speaking world. and recited in homes. President John Adams wrote His poetry was most widely beloved among Ameri- of “the divine, immortal Milton,” that “[he] will cans, and a towering influence upon England’s convince any candid mind, that there is no good great “American” poets, Shelley and John Keats. government but what is republican.”1 John Quincy Milton died in poverty, blindness, and virtual Adams quoted in his speeches the man he called exile in 1674, after the failure of the English Com- simply, “the poet,” and whose poetry he had taught monwealth which he had served, and the British in his Harvard College lectures. oligarchy’s restoration of those degenerate “merry Milton’s “conclave in Pandemonium” in Paradise monarchs,” the Stuart kings.
    [Show full text]
  • 6 X 10.Long New.P65
    Cambridge University Press 978-0-521-18865-4 - Gender, Theatre, and the Origins of Criticism: From Dryden to Manley Marcie Frank Index More information Index A Comparison Between the Two Stages, 91–93 criticism, 3, 4, 7, 134–135 A Lady’s New-Years Gift, 112 female genealogy of, 10, 93 Addison, Joseph, 1, 6, 10–12, 18, 60, 89, 96, genealogy of, 11, 137–138 102, 113, 137 historical orientation of, 1, 3, 4, 8, 21–22 and Trotter, 114 impartiality of, 12–13, 14, 16, 64, 81–83, 95, Agnew, Jean-Christophe, 5, 14, 95, 140 111, 113, 131, 134 Anderson, Benedict, 17 self-consciousness of, 112–114 Ariadne theatrical orientation of, 1, 2, 3, 4, 5, 11, She Ventures, and He Wins, 91 27–32, 43, 102, 125–127 Astell, Mary, 108 Crowne, John, 94–96, 157 Auerbach, Erich, 23, 97 Calisto, 94–96 authorship, female, 3, 10, 91–92, 100, 134–135, 136 Davenant, Sir William, 4, 68 Dennis, John, 58 Backscheider, Paula, 91, 100–101 drama, 1, 3, 91 Baldick, Chris, 137–138 affective tragedy, 73–74 Ballaster, Ros, 12, 113, 117, 129–131 comedies of manners, 55, 61 Barry, Elizabeth, 121, 124–125 French vs. English, 19, 28–30, 38–39 Behn, Aphra, 1–2, 4, 11, 12, 18, 105 heroic play, 4, 73, 121–123 and Dryden, 92, 96–98 masque, 95 See also Crowne, John Calisto criticism by, 93, 96–100 modern vs. ancient, 19, 30–31 Agnes de Castro, 104 rehearsal play, 2–3 Oroonoko, 91 The Critic, or A Tragedy Rehearsed, 3 preface to The Dutch Lover, 96–98 The Rehearsal, 2–3, 121 preface to The Lucky Chance, 96–100 The Rehearsal, or Bayes in Petticoats, 3 The Younger Brother, 91 The Two Queens
    [Show full text]
  • Glossary of Poetic Terms
    Glossary of Poetic Terms poetryfoundation.org/learn/glossary-terms Showing 1 to 20 of 227 Terms Browse all terms Abecedarian Related to acrostic, a poem in which the first letter of each line or stanza follows sequentially through the alphabet. See Jessica Greenbaum, “A Poem for S.” Tom Disch’s “Abecedary” adapts the principles of an abecedarian poem, while Matthea Harvey’s “The Future of Terror/The Terror of Future” sequence also uses the alphabet as an organizing principle. Poets who have used the abecedarian across whole collections include Mary Jo Bang, in The Bride of E, and Harryette Mullen, in Sleeping with the Dictionary. Accentual verse Verse whose meter is determined by the number of stressed (accented) syllables—regardless of the total number of syllables—in each line. Many Old English poems, including Beowulf, are accentual; see Ezra Pound’s modern translation of “The Seafarer.” More recently, Richard Wilbur employed this same Anglo-Saxon meter in his poem “Junk.” Traditional nursery rhymes, such as “Pat-a-cake, pat-a-cake,” are often accentual. Accentual-syllabic verse Verse whose meter is determined by the number and alternation of its stressed and unstressed syllables, organized into feet. From line to line, the number of stresses (accents) may vary, but the total number of syllables within each line is fixed. The majority of English poems from the Renaissance to the 19th century are written according to this metrical system. Acmeism An early 20th-century Russian school of poetry that rejected the vagueness and emotionality of Symbolism in favor of Imagist clarity and texture.
    [Show full text]
  • |||GET||| Ben Jonson 1St Edition
    BEN JONSON 1ST EDITION DOWNLOAD FREE John Palmer | 9781315302188 | | | | | Ben Jonson folios The playbook itself is a mixture of halfsheets folded and gathered into quarto format, supplemented by a handful of full sheets also gathered in quarto and used for the final quires. Robert Allott contracted John Benson to print the first three plays of an intended second Ben Jonson 1st edition volume of Jonson's collected works, including Bartholomew Fair never registered ; The Staple of News entered to John Waterson 14 AprilArber 4. Views Read Edit View history. He reinstated the coda in F1. Occasional mispagination, as issued, text complete. See Lockwood, Shipping and insurance charges are additional. Gants and Tom Lockwood When Ben Jonson first emerged as a playwright at the end of Elizabeth's reign, the English printing and bookselling trade that would preserve his texts for posterity was still a relatively small industry. Markings on first page and title page. Each volume in the series, initially under the direction of Willy Bang and later Henry De Vocht, sought to explore how compositors and correctors shaped the work, and included extensive analyses of the press variants between individual copies of a playbook as well as Ben Jonson 1st edition variants between editions. More information about this seller Contact this seller 1. Seemingly unhindered by concerns over time or space or materials, the Oxford editors included along with the texts a Jonson biography summing up all that was known of the poet and playwright at the time, a first-rate set of literary annotations and glosses, invaluable commentary on all the plays, and other essential secondary resources such as a stage history of the plays, Jonsonian allusions, and a reconstruction of Jonson's personal library.
    [Show full text]