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Dramatic character in the English Romantic age
This was the age of the star. For the first time in the history of the theater, the playwright took second place to the actor; the interpretation of the role assumed primary importance in a assessing a performance. It was Mr. Kean's Hamlet first, and Mr. Shakespeare's second.What effects did this highly subjective, interpretive emphasis have on the drama? Where did it originate and how did it evolve? These questions are considered at length in the author's analysis of the nature of Romanticism itself as revealed in essays, novels, criticism, and by the actors themselves. The Jacobean origins of this revolutionary period are reviewed, followed by a close scrutiny of the critical writing of such contemporary thinkers as Hazlitt, Coleridge, Shelley, and Keats. This entirely new concept provides an important link between the practical theater and the contemporary philosophical thought of the time.Originally published in 1970.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Frontmatter -- Acknowledgments -- Contents -- Illustrations -- Abbreviations and Citations -- Introduction -- Part I. Dramatic Character and Romantic Drama -- Chapter I. The Affective Drama of Situation -- Chapter II. The Persistence of the Fletcherian Mode -- Chapter III. Affective Drama and the Moment of Response -- Chapter IV. Romantic Heroism and Its Milieu -- Part II. Tradition and Innovation in Characters and Plays -- Chapter V. The West Indian: Cumberland, Goldsmith, and the Uses of Comedy -- Chapter VI. Sheridan's Pizarro: Natural Religion and the Artificial Hero -- Chapter VII. The Cenci: The Drama of Radical Innocence -- Part III. Shakespearean Character in the Romantic Age -- Chpter VIII. Macbeth and Richard III: Dramatic Character and the Shakespearean Critical Tradition -- Chapter IX. Garrick's Shakespeare and Subjective Dramatic Character -- Chapter X. Shakespearean Character on the Early Romantic Stage -- Chpter XI. Coleridge, Lamb, and the Theater of the Mind -- Chapter XII. Hazlitt, Kean, and the Lofty Platform of Imagination.
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