By Susan J. Owen
This 'Companion' illustrates the power and variety of dramatic paintings 1660 to 1710. Twenty-five essays by means of top students within the box compile the easiest fresh insights into the whole variety of dramatic perform and innovation on the time.
• Introduces readers to the hot growth in scholarship that has revitalised recovery drama
• Explores old and cultural contexts, genres of recovery drama, and key dramatists, between them Dryden and Behn
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Extra resources for A Companion to Restoration Drama
To do the first requires but common Sence, but to do the last a Man must have Genius' (1: 13). The idea that a critic - like a poet - should have 'genius' was later picked up by Pope in An Essay on Criticism. And Dennis rejects Rymer's burlesque style of criticism, preferring instead 'the Didactick Stile' because it is a Stile that is fit for Instruction, and must be necessarily upon that account, pure, perspicuous, succinct, unaffected and grave.... It requires Succinctness, that its Precepts may be more readily comprehended, and more easily retain'd; and it requires Gravity to give it an Air of Authority, and cause it to make the deeper impression.
Hume, Robert D. ). (1980). The London Theatre World, 1660-1800. Carbondale: Southern Illinois University Press. ). (1984). British Theatre and the Other Arts, 1660-1800. Washington: Folger Books. Langhans, Edward A. (1981). Restoration Promptbooks. Carbondale: Southern Illinois University Press. Langhans, Edward A. (1982). 'Conjectural Reconstructions of the Vere Street and Lincoln's Inn Fields Theatres', Essays in Theatre 1, 14—28. Leacroft, Richard (1973). The Development of the English Pyy^use.
For the student of late seventeenth-century criticism, this is an entertaining introduction to the literary debates of the period. Unfortunately, the modern reader will also be frustrated with the pedantry of the debates and the simplicity of the criticism. One modern scholar has even likened Dryden's detailed 'examen' - or critical analysis - of Jonson's The Silent Woman to a passable undergraduate essay. But the different critical issues that Dryden addresses do add up to more sophisticated arguments about the elevated mimesis required of dramatic representations (what Dryden calls 'Nature wrought up to an higher pitch' [Works 17: 74]) and literary history (particularly the relevance of Shakespeare, Jonson and Fletcher to contemporary dramatists).
A Companion to Restoration Drama by Susan J. Owen