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Parker, Reeve
Romantic tragedies : the dark employments of Wordsworth, Coleridge, and Shelley / Reeve Parker
Cambridge ; New York : Cambridge University Press, c2011
book jacket
Location Call Number Status
 4th Floor  PR719.V4 P37 2011    AVAILABLE
Subject(s) Verse drama, English -- History and criticism
English drama (Tragedy) -- History and criticism
English drama -- 18th century -- History and criticism
English drama -- 19th century -- History and criticism
Romanticism -- Great Britain
Subject Wordsworth, William, 1770-1850 -- Dramatic works
Coleridge, Samuel Taylor, 1772-1834 -- Dramatic works
Shelley, Percy Bysshe, 1792-1822 -- Dramatic works
Physical Description x, 300 p. : ill. ; 24 cm
Note Includes bibliographical references (p. 286-295) and index
Contents Introduction: "Prowling out for dark employments" -- Part I. Wordsworth: 1. Reading Wordsworth's power: narrative and usurpation in The Borderers; 2. Cradling French Macbeth: managing the art of second-hand Shakespeare; 3. 'In some sort seeing with my proper eyes': Wordsworth and the spectacles of Paris; 4. Drinking up whole rivers: facing Wordsworth's watery discourse -- Part II. Coleridge and Shelley: 5. Osorio's dark employments: tricking out Coleridgean tragedy; 6. Listening to remorse: assuming man's infirmities; 7. Reading Shelley's delicacy
Summary "Troubled politically and personally, Wordsworth and Coleridge turned in 1797 to the London stage. Their tragedies, The Borderers and Osorio, were set in medieval Britain and early modern Spain to avoid the Lord Chamberlain's censorship. Drury Lane rejected both, but fifteen years later, Coleridge's revision, Remorse, had spectacular success there, inspiring Shelley's 1819 Roman tragedy, The Cenci, aimed for Covent Garden. Reeve Parker makes a striking case for the power of these intertwined works, written against British hostility to French republican liberties and Regency repression of home-grown agitation. Covertly, Remorse and The Cenci also turn against Wordsworth. Stressing the significance of subtly repeated imagery and resonances with Virgil, Shakespeare, Racine, Jean-Fran├žois Ducis and Schiller, Parker's close readings, which are boldly imaginative and decidedly untoward, argue that at the heart of these tragedies lie powerful dramatic uncertainties driven by unstable passions - what he calls, adapting Coleridge's phrase for sorcery, 'dark employments'"-- Provided by publisher
Series Cambridge studies in Romanticism ; 87

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