I need your help, pleaseeeeeeeeeeee

 

I have to find a web page about the development of "The English tragedy" to make sure my seminar notes are correct. *got an exam soon*

 

I've been looking on google, but all I get is university pages with seminars of that name or sites about authors where those words are mentioned once. :s I need one with detailed information of different kinds of tragedies though.

 

Ahhhhh, help! :stunned:

:rolleyes:

i'll see what i can do...

but what were you doing in the class that u don't have confidence in your own notes? :wink3: :lol:

I was taking notes. But I'm not sure I understood everything he said, and I heard that his exams deal with every single thing he mentions in class. All the names and datas. *panics* :stunned:

"The summary of a lifetime's thinking about Shakespeare by Sir Frank Kermode. The great English tragedies were written in the first decade of the 17th century and the language is often difficult. Kermode argues that the resources of English underwent major change around 1600."

"Charismatic groups form around a leader who displays extraordinary abilities in times of social distress and who is often thought to have supernatural or magical powers. Raphael Falco demonstrates that English tragedies are full of such figures, including Marlowe's Tamburlaine; Shakespeare's Richard II, Hamlet, and Othello; Milton's Samson; and the various dramatic representations of Cleopatra.

http://web.uvic.ca/shakespeare/Library/SLTnoframes/drama/earlytragediessubj.html

That link might not be too bad, ty. :stunned:

I read one of Marlowe's. :D

:blank:

I better go back to revise for the other exam now. :confused: Thanks. :D

:/

this may not be relevant but...

 

 

 

Criticism of Kyd’s work and comparison with Marlowe; Kyd’s place in English Drama.

The interest of Kyd’s work is almost exclusively historical. Like Marlowe’s, it takes its place in the development of English tragedy by revealing new possibilities and offering a model in technique; unlike Marlowe’s, it does not make a second claim upon us as great literature. The historical interest lies in the advance which Kyd’s plays show in construction, in the manipulation of plot, and in effective situation. Kyd is the first to discover the bearing of episode and of the “movement” of the story on characterisation, and the first to give the audience and reader the hint of the development of character which follows from this interaction. In other words, he is the first English dramatist who writes dramatically. In this respect he was well served by his instinct for realism. The dialogue of his “stately written tragedy” is more human and probable than anything which had gone before, or was being done by Marlowe. In the working out of his plot, he escapes from the dangers of rhetoric by ingenious turns in the situation. In such a scene as that where Pedringano bandies words with the hangman when the boy brings in the empty box, or in Bellimperia’s dropping of her glove, we are parting company with the older tragedy, with the English Senecans, with Tamburlaine and Faustus and even Edward II, and we are nearer Shakespeare. When we add to this talent for dramatic surprise the talent for displaying character, as it were, rooted in the plot, and growing in it—not strewn on the path of a hero who is little more than the embodiment of a simple idea—we describe Kyd’s gift to English tragedy, and, more particularly, to Shakespeare himself. Direct references in Shakespeare and his contemporaries, though they be many, count for little beyond proving the popularity of The Spanish Tragedie. The indebtedness must be sought in the persistent reminiscence of Kyd’s stagecraft throughout the Shakespearean plays, of devices which could not come from any earlier source, and, because of their frequency, could not come by chance. We reflect on the fact that he, who may have been the young author making trial of Kyd’s manner in Titus Andronicus, found more than a theatre hack’s task in working and re-working upon the early Hamlet. From the straggling data, we surmise, not only that Shakespeare knew and was associated with Kyd’s work, but that the association was more to him than a chance meeting in the day’s round. Jonson with his “additions”—even with the Painter’s Part placed to his credit—supplies an instructive contrast; he intrudes as a censor, and will not be on terms. Yet the fact is worth record in the story of Kyd’s influence, that his work is found in direct touch with that of Shakespeare and Jonson. We want to know more of this association, above all of the early Hamlet which Shakespeare used; and, wishing thus, we are driven to vain speculation, till the Jonsonian Hieronimo stays us (as he may well do elsewhere in the “quest of enquirie” into Elizabethan authorship): ’T is neither as you think, nor as you thinke,

Nor as you thinke; you’r wide all;

These slippers are not mine; they were my sonne Horatio’s.

http://stjohns-chs.org/english/Medieval/thyestes.html

http://stjohns-chs.org/english/Medieval/history-tragedy.html

this may be helpful study guide...

http://www.pinkmonkey.com/booknotes/notes1.asp

 

okay, i'm done for now. i have too much to do at work it's not even funny anymore. :confused:

 

good luck to you in your exams.

this looks the most promising thus far:

"Contemporary English Renaissance scholarship has devised a number of models to classify and interpret the tragic drama of the period. While research in the field of English Renaissance tragedy is extensive, it is also in many respects exclusive. Elizabethan tragedy is commonly distinguished from Jacobean tragedy; Shakespeare's work from that of his contemporaries; domestic tragedy from its classically influenced counterparts. To a large extent these are necessary distinctions, as they represent a means of organizing a large and manifold corpus. If classifications are necessarily exclusive, however, definitions should be inclusive. What we lack is an inclusive, unified generic definition of English Renaissance tragedy that will link together these diversely classified texts."

http://www.humanities.ualberta.ca/emls/si-01/si-01hagen.html

:cool: