Character Treatment in the Mediaeval Drama PDF ePub eBook

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Character Treatment in the Mediaeval Drama free pdf Excerpt from Character Treatment in the Mediaeval Drama A word on the nomenclature to be used in this Essay. It will be understood from the purpose in view that we are engaged with the beginning of an art - form, and consequently are long antecedent to the date of precise terminology and defined technique. The drama with which we have to do is in its formative period, in process of growth. It is obvious, then, that terms, which have a very definite meaning when speaking of the classical drama, must be employed loosely, and in some instances, merely analogically, when reference is to early and imperfect forms. The classical terms "tragoedia" and "comoedia" are not normally applicable to the religious play until the Renaissance influences come in toward the end of the fifteenth century. In fact their Mediaeval sense, as Mr. Chambers notes (The Mediaeval Stage, Vol. II, p. 103, ) implies nothing distinctly dramatic. Cloetta, in the first volume of his work on the history of Mediaeval and Renaissance literature (Komodie und Tragodie im Mittelalter) has collected and analyzed in historical order, descriptions of comedy and tragedy which have little in common with Aristotle's definitions. Few if any of the Mediaeval authors that the historian cites can be said to have in mind the purely professional or academic connotation of the words in the sense that Aristotle had- rather it was with the popular or analogical import of the terms that they were concerned. Chaucer's familiar reference in the Miller's Tale, for instance, makes no pretention either to technical accuracy or completeness. Nobody would impute to Dante ignorance of the classical definition of tragedy and comedy, his analogical use of the words, however, may be taken as illustrative of Mediaeval usage generally. "Est comedia genus quoddam poeticae narrationis ab omnibus aliis differens. Differt ergo a tragoedia per hoc, quod tragoedia in principio est admirabilis et quieta, in fine sine exitu, foetida et horribilis... Comoedia vero inchoat asperitatcra alicujus rei, sed ejus materia prospere terminatur, etc." Conformably with this distinction he called his own poem a comedy and the Aeneid a tragedy, (Cf. Inferno XX, 113- DuMeril, Les Origines Latines du Theatre Moderne, pp. 32-33.) It will be well to bear in mind this breadth of meaning given the specific terms "tragoedia" and "comoedia," if one would understand in what sense such words as drama, dramatist, poet, play, scene, act, climax, etc., are applicable to the Mediaeval playwright and his work. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully- any imperfections that remain are intentionally left to preserve the state of such historical works.

About Timothy J Crowley

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Author : Timothy J Crowley
Publisher : Forgotten Books
Data Published : 27 September 2015
ISBN : 1330854454
EAN : 9781330854457
Format Book : PDF, Epub, DOCx, TXT
Number of Pages : 194 pages
Age + : 15 years
Language : English
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  • Character Treatment in the Mediaeval Drama free pdfCharacter Treatment in the Mediaeval Drama

    Real Book Download. Excerpt from Character Treatment in the Mediaeval Drama A word on the nomenclature to be used in this Essay. It will be understood from the purpose in view that we are engaged with