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A collection of fifty parodies of well-known plays in the Western Civilization tradition, all of which are summarized, reduced, condensed, and abridged into less than or equal to five lines each (plus stage directions). ... Read more

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The aim of this book is to make a close and objective study of Jonson's dramatic theory and practice related to his comedies with a view to showing that Jonson is essentially a dramatic artist. ... Read more

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This collection recovers the continuities between three forms of romance that have often been separated from one another in critical discourse: early modern prose fiction, the dramatic romances staged in England during the 1570s and 1580s, and Shakespeare’s late plays. Although Pericles, Cymbeline, Winter’s Tale, and The Tempest have long been characterized as romances, their connections with the popular prose romances of their day and the dramatic romances that preceded them have frequently been overlooked. Constructed to explore those connections, this volume includes original essays that relate at least one prose or dramatic romance to an English play written from 1570 to 1630. The introduction explores the use of the term dramatic romance over several centuries and the commercial association between print culture, gender, and drama. Eight essays discuss Shakespeare’s plays; three more examine plays by Beaumont, Fletcher, and Massinger. Other authors treated at some length include Boccaccio, Christine de Pizan, Chaucer, Sidney, Greene, Lodge, and Wroth. Barbara Mowat’s afterword considers Shakespeare’s use of Greek romance. Written by foremost scholars of Shakespeare and early modern prose fiction, this book explores the vital cross-currents that occurred between narrative and dramatic forms of Greek, medieval, and early modern romance.

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This is an EXACT reproduction of a book published before 1923. This IS NOT an OCR'd book with strange characters, introduced typographical errors, and jumbled words.This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ... Read more

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This study shows that the aesthetic of the dramatic monologue and the experience for the reader is neither empirical nor relativistic, but an exercise in faith that follows romanticism in creating a poetry which attempts to reaffirm a moral through an artistic product in which poet and reader jointly come to a common judgement. ... Read more

Customer Reviews (1)

An excellent source especially for secondary teachers of
This is the best source I have found for suggestions on staging and adapting scripts for the older reader's theater members.Most texts I have found have concentrated on primary and middle school adaptations.It's ashame this text is out of print.There are excellent sample scripts,illustrative pictures,and a wealth of examples for broad interpretationof choral reading selections. ... Read more

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This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone! ... Read more

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Of the Old Comedy but one writer has come down to us, and we cannot, therefore, in forming an estimate of his merits, enforce it by a comparison with other masters. Aristophanes had many predecessors, Magnes, Cratinus, Crates, and others; he was indeed one of the latest of this school, for he outlived the Old Comedy. We have no reason, however, to believe that we witness in him its decline, as we do that of Tragedy in the case of the last tragedian; in all probability the Old Comedy was still rising in perfection, and he himself one of its most finished authors. It was very different with the Old Comedy and with Tragedy; the latter died a natural, and the former a violent death. ... Read more