Gender, Theatre, and the Origins of Criticism: From Dryden to Manley

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Cambridge University Press, 2002. nov. 28. - 175 oldal
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In Gender, Theatre and the Origins of Criticism, Marcie Frank explores the theoretical and literary legacy of John Dryden to a number of prominent women writers of the time. Frank examines the pre-eminence of gender, sexuality and the theatre in Dryden's critical texts that are predominantly rewritings of the work of his own literary precursors - Ben Jonson, Shakespeare and Milton. She proposes that Dryden develops a native literary tradition that is passed on as an inheritance to his heirs - Aphra Behn, Catharine Trotter, and Delarivier Manley - as well as their male contemporaries. Frank describes the development of criticism in the transition from a court-sponsored theatrical culture to one oriented toward a consuming public, with very different attitudes to gender and sexuality. This study also sets out to trace the historical origins of certain aspects of current criticism - the practices of paraphrase, critical self-consciousness and performativity.

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Acknowledgments page viii
1
John Drydens national
15
John Drydens
42
gender and criticism
64
The female playwright and the city lady
91
Scandals of a female nature
116
Notes
140
Bibliography
163
Index
173
Copyright

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53. oldal - THE measure is English heroic verse without rime, as that of Homer in Greek, and of Virgil in Latin — rime being no necessary adjunct or true ornament of poem or good verse, in longer works especially, but the invention of a barbarous age, to set off wretched matter and lame metre...
47. oldal - Glistering with dew ; nor fragrance after showers; Nor grateful evening mild; nor silent night. With this her solemn bird, nor walk by moon, Or glittering starlight, without thee is sweet. But wherefore all night long shine these ? for whom This glorious sight, when sleep hath shut all eyes?
44. oldal - THREE Poets, in three distant ages born, Greece, Italy, and England did adorn. The first in loftiness of thought surpassed; The next in majesty •, In both the last. The force of Nature could no further go ; To make a third, she joined the former two.
69. oldal - Magick could not copy'd be, Within that Circle none durst walk but he. I must confess 'twas bold, nor would you now, That liberty to vulgar Wits allow, Which works by Magick supernatural things: But Shakespear's pow'r is sacred as a King's.
26. oldal - But he has done his robberies so openly, that one may see he fears not to be taxed by any law. He invades authors like a monarch ; and what would be theft in other poets, is only victory in him.
53. oldal - This neglect then of Rime, so little is to be taken for a defect, though it may seem so perhaps to vulgar readers, that it rather is to be esteem'd an example set, the first in English, of ancient liberty recover'd to Heroic Poem from the troublesom and modern bondage of Rimeing.
50. oldal - Town-Bayes writes all the while and spells, And, like a pack-horse, tires without his bells. Their fancies like our bushy points appear ; The poets tag them, we for fashion wear. I too, transported by the mode, offend, And, while I meant to praise thee, must commend.
24. oldal - And this leads me to the last and greatest advantage of our writing, which proceeds from conversation. In the age wherein those poets lived, there was less of gallantry than in ours ; neither did they keep the best company of theirs.

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