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Augustan literature - Wikipedia, the free encyclopedia Augustan literature is a style of English literature whose origins correspond roughly with the reigns of Queen Anne, King George I, and George II. This new Augustan period exhibited exceptionally bold political writings in all genres, with the satires of the age marked by an arch, ironic pose, full of nuance, and a superficial air of dignified calm that hid sharp criticisms beneath. They emphasized drama on a household scale, rather than a national scale, and the hamartia and agon in his tragedies are the common flaws of yielding to temptation and the commission of Christian sin. en.wikipedia.org /wiki/Augustan_literature   (8594 words)

Augustan drama - Wikipedia, the free encyclopedia Augustan drama can refer to the dramas of Ancient Rome during the reign of Caesar Augustus, but it most commonly refers to the plays of Great Britain in the early 18th century, a subset of 18th-century Augustan literature. In drama, by contrast, it was an age in transition between the highly witty and sexually playful Restoration comedy, the pathetic she-tragedy of the turn of the century, and any later plots of middle-class anxiety. Instead, Augustan drama reflected questions the mercantile class had about itself and what it meant to be gentry: what it meant to be a good merchant, how to achieve wealth with morality, and the proper role of those who serve. en.wikipedia.org /wiki/Augustan_drama   (5000 words)

DRAMA - LoveToKnow Article on DRAMA   (Site not responding. Last check: 2007-11-01) In dramas where the effects are mixed the nature of the main action and of the main characters (as determined by their distinctive features) alone enables us to classify such plays as serious or humorous dramasor as tragic or comic, if we choose to preserve the terms. The Indian drama cannot be described as national in the broadest and highest sense of the word; it is, in short, the drama of a literary class, though as such it exhibits many of the noblest and most refined, as well as of the most characteristic, features of Hindu religion and civilization. The Japanese, however, ascribe the origin of their drama to the introduction of the dance called Sambso as a charm against a volcanic depression of, the earth which occurred in 805; and this dance appears still to be used as a prelude to theatrical exhibitions. 99.1911encyclopedia.org /D/DR/DRAMA.htm   (18765 words)

Augustan poetry - Wikipedia, the free encyclopedia Augustan poetry is the poetry that flourished during the reign of Caesar Augustus as Emperor of Rome, most notably including the works of Virgil, Horace, and Ovid. In English literature, Augustan poetry is a branch of Augustan literature, and refers to the poetry of the eighteenth-century, specifically the first half of the century. In satire, Pope achieved two of the greatest poetic satires of all time in the Augustan period, and both arose from the imitative and adaptive demands of parody. en.wikipedia.org /wiki/Augustan_poetry   (3026 words)

§26. Nicholas Rowe as a Link between the Later Restoration Drama and that of the Augustan Age. VII. The ... Nicholas Rowe as a Link between the Later Restoration Drama and that of the Augustan Age. For, though all his plays were produced in the early years of the eighteenth century, his work is thoroughly typical of the drama at the close of the restoration period, and he is more at home with Banks and Southerne than with the writers of the age of Pope. Born in 1674, in comfortable circumstances, Rowe, in due course, was called to the bar, but soon abandoned law in order to devote himself wholly to literature. www.bartleby.com /218/0726.html   (298 words)

Augustan Age - Hutchinson encyclopedia article about Augustan Age In 18th-century literature, major Augustan writers include the English poet Alexander Pope, Irish satirist Jonathan Swift, English poet, essayist, and dramatist Joseph Addison, and Irish essayist and playwright Richard Steele, as well as French writers under Louis XIV. The Augustan period in English literature involved the development of both the themes and the structure of the classics. A FARMER of the Augustan age Perused in Virgil's golden page, The story of the secret won From Proteus by Cyrene's son How the dank sea-god sowed the swain Means to restore his hives again More briefly, how a slaughtered bull Breeds honey by the bellyful. encyclopedia.farlex.com /Augustan+Age   (656 words)

[No title] A common characterization of its culture is "classicism." As defined by scholars of Augustan art and architecture in particular, Augustan classicism in essence is the emulation of the Greek classical period and the rejection of Hellenismus with its supposed baroque excrescences. Augustan architectural classicism, even more obviously than its counterpart in the arts, was not simply a return to the classical architecture of fifth-century Athens but a deliberate and variable mixtum compositum of different styles and traditions. Augustan classicism is "classical" in the sense that it follows not only one model, but chooses the best and most suitable characteristics from a variety of traditions, styles, and genres. www.utexas.edu /depts/classics/faculty/Galinsky/green.html   (4774 words)

§3. French Classical and Native influences upon English Eighteenth Century Drama. IV. The Drama and the Stage. ... Though the influence of French classical drama and dramatic standards upon eighteenth century English drama demands ample recognition, it should not be overestimated. In reality, English drama, even during the Augustan period, was often an unconscious compromise between the restraint of French theory and the inherited freedom of English dramatic practice. Furthermore, the English element in queen Anne drama is not confined to the survival of Elizabethan influences. www.bartleby.com /220/0403.html   (450 words)

The Augustan Age The term 'the Augustan Age' comes from the self-conscious imitation of the original Augustan writers, Virgil and Horace, by many of the writers of the period. Dryden forms the link between Restoration and Augustan literature; although he wrote ribald comedies in the Restoration vein, his verse satires were highly admired by the generation of poets who followed him, and his writings on literature were very much in a neoclassical spirit. This 'nature' of the Augustans, however, was not the wild, spiritual nature the romantic poets would later idealize, but nature as derived from classical theory: a rational and comprehensible moral order in the universe, demonstrating God's providential design. www.ruthnestvold.com /Augustan.htm   (2266 words)

Ancient Roman Literature, Poetry, Drama - Crystalinks The origin of drama is mired in legend, but to the best of our information, drama seems to have arisen as part of religious worship and the word tragedy appears to come from the word goat song. The Augustan peace and the prosperity that accompanied it brought about the revival of patriotic literature that hailed the triumphs of Rome, its people, and its new leader. In ancient Greece and ancient Rome, a mime is a farcical drama characterized by mimicry and ludicrous representations of characters, or the script for such a performance. www.crystalinks.com /romeliterature.html   (3757 words)

Undergraduate Courses - Drama   (Site not responding. Last check: 2007-11-01) Drama at the Faculty of Education combines the study of dramatic literature with the opportunity to develop practical skills in performance. Both Drama in Production and The Arts in Performance papers include the examination of practical work; students are able to offer acting, directing, or dramatic writing in the Drama in Production paper, and group devised work as part of the Arts and Performance paper. These may be chosen, in consultation with the Drama Staff, from a wide range of papers offered in the English Faculty of the University or from any one of the second year courses from Drama and English not already taken. www.educ.cam.ac.uk /ugrad/ugdrama.html   (733 words)

Classical Drama: Roman Classicism   (Site not responding. Last check: 2007-11-01) This era is the inheritor and the counterpart of the Periclean Age of Athens, both named for their rulers and devoted to defining a vision of national purpose. This same indirection surfaces in the richly ambiguous poems of the other Augustan writers, especially those of Horace (65-8 B.C.) and Ovid (43 B.C.-A.D. Horace wrote a series of satires about contemporary Roman society, extolling the achievements of Maecenas, Augustus, and their friends, while subtly criticizing their excesses. Horace is the archetypal Latin classicist, a master of witty and balanced verses, and his name has become a descriptive term for a general, smooth, and humorous mode of satire that avoids direct personal attack while allowing a well-informed reader to understand that an attack is indeed underway. newman.baruch.cuny.edu /digital/2000/c_n_c_old/c_03_classic/augustan_peace.htm   (1232 words)

Roman Tragedy This document was originally published in The Drama: Its History, Literature and Influence on Civilization, vol. At the opening of the Augustan age the condition and prospects of dramatic literature were simply lamentable. Only a spurious drama, not intended for the stage, was introduced into Rome from the eastern capital, and this had so many readers and imitators that the writing of tragedy was regarded as one of the diseases of youth. www.theatrehistory.com /ancient/bates033.html   (434 words)

Lynch, Augustan Satire Bibliography Though not a study of Augustan satire in particular, Elliott's influence over subsequent theorists of satire is tremendous, and he devotes a large part of one chapter to a reading of Gulliver's Travels. This decline in the Horatian and Augustan ideal, he suggests in closing, may account for the rise of Juvenalian satire in the later eighteenth century. Pollack's account of the two most important satirists of the early eighteenth century is both sophisticated and challenging: that "Swift was committed in his poems to exploding certain bourgeois sexual myths" -- she elsewhere refers to "the myth of passive womanhood" -- "that Pope's verse insistently worked to justify" (p. andromeda.rutgers.edu /~jlynch/Biblio/satirebib.html   (4637 words)

Classics   (Site not responding. Last check: 2007-11-01) The focus of the course will be on the Augustan poets and prose writers in their literary, social, and political contexts. A variety of issues will be explored: the nature and effect of literary patronage, the creative adaptation of Greek literary models to Roman literary culture, the Augustans' response to the trauma of civil war, social instability, the transformation of political institutions under the principate of Augustus, and the evolution of an imperial ethos and culture. The primary topics to be discussed include the end of the Roman Republic and the transition to the Principate, the political and administrative history of Augustus's reign, achievement in the arts and architecture during the Augustan Peace, the imperial family and the struggle for succession, and social and religious reforms. www.reed.edu /academic/catalog/117.html   (1050 words)

Bryn Mawr Classical Review 1998.12.14 Only three of the twelve chapters are new, but since many of these pieces have appeared in a wide variety of publications, their collection into a single volume performs the useful service of presenting them all together in one place where they can be more conveniently scrutinized and evaluated by other scholars. Whereas the first seven chapters pertain to W.'s drama hypothesis and concern the theme of how popular drama shaped Roman historical traditions, these three chapters deal with the subject of how Roman aristocratic families shaped and promoted their family's history and its role in Roman public affairs. Yet, the drama hypothesis offers modern scholars of ancient Rome a new paradigm with which old and familiar issues can be reexamined from a fresh perspective. ccat.sas.upenn.edu /bmcr/1998/1998-12-14.html   (3013 words)

History of LITERATURE   (Site not responding. Last check: 2007-11-01) Literary life in England flourishes so impressively in the early years of the 18th century that contemporaries draw parallels with the heyday of Virgil, Horace and Ovid at the time of the emperor Augustus. The new Augustan Age becomes identified with the reign of Queen Anne (1702-14), though the spirit of the age extends well beyond her death. Pope is so much in tune with the spirit of his age that he is able, in his mid-twenties, to persuade the British aristocracy to subscribe in large numbers to his proposed translation of Homer's Iliad into heroic couplets. www.historyworld.net /wrldhis/PlainTextHistories.asp?groupid=2206&HistoryID=ac01   (2848 words)

Italian Dramatic Criticism of the Renaissance After the discovery of the ancient texts, commentators, translators, editors were not wanting, and it was not long before they began to expound theories of their own. The Ars Poetica of Horace had been the basis of what was written on the subject of the drama between the Augustan period and the early Renaissance. Dolce's translation of Horace in 1535 was followed the next year by the vernacular Poetica of Daniello, whose few references to tragedy and comedy, based upon Horace and Aristotle, are the first of their kind to appear in the Italian language. www.theatredatabase.com /16th_century/italian_dramatic_criticism_of_the_renaissance.html   (971 words)

[No title] It is rather in its application that the fault lies; it dominates and crushes the drama instead of suffusing it and lending it wings; it insists on preaching instead of suggesting. Tragic drama was dead in Greece by the time Greek influence made itself felt, while the New Comedy which then held the stage was of too quietly realistic a type and of too refined a wit and humour to be attractive to the coarser and less intelligent audiences of Rome. There is room for all these ingredients in drama as in human life, but in Seneca there is little else: these three elements conspire together to swamp the drama, and they do this the more effectively because, for all their cleverness, Seneca's description and declamation are radically bad. www.gutenberg.org /dirs/etext05/7pagp10.txt   (17839 words)

History of LITERATURE   (Site not responding. Last check: 2007-11-01) In the intimate circle of the emperor Augustus is the immensely rich Maecenas, whose name has become synonymous with patronage of the arts; and the writers encouraged by Maecenas share the widespread enthusiasm for the peace brought to Rome by Augustus. So the Augustan Age, in literary terms, is a circle of mutual benefit and esteem. The fourth great author writing in Latin during the Augustan Age is not so much a celebrant of the emperor's achievements as a victim of his autocracy. www.historyworld.net /wrldhis/PlainTextHistories.asp?groupid=2237&HistoryID=ac01   (1274 words)

Classics at Swarthmore - Seminars   (Site not responding. Last check: 2007-11-01) An effort is made to grasp the totality of Horace's achievement in the context of the Augustan Age. This seminar is devoted to a study of Herodotus and Thucydides, both as examples of Greek histioriography and as sources for Greek history. The works are placed in their cultural setting and are discussed as both drama and poetry. www.swarthmore.edu /Humanities/classics/Pages/seminars.html   (186 words)

simplicated1   (Site not responding. Last check: 2007-11-01) Colley Cibber and his colleagues competed with Rich and produced their own pantomimes, and pantomime was a substantial (if decried) subgenre in Augustan drama. The principal characters, presented in a wide variety of manner and style, are a Hero, his chief opponent and a quack Doctor; the defining feature of mumming plays is the Doctor, and the main purpose of the fight is to provide him with a patient to cure. During the Cultural Revolution, most opera troupes were disbanded, performers and scriptwriters were persecuted, and all operas except the eight "model operas" approved by Jiang Qing and her associates were banned. simplicated1.blogdrive.com   (2433 words)

§27. "The Fair Penitent". VII. The Restoration Drama. Vol. 8. The Age of Dryden. The Cambridge History of English ... This simple domestic drama, written, like Rowe’s other tragedies, in rather fluent blank-verse, met with extraordinary success and was constantly before the public till 1825, or thereabouts. It was succeeded by the tragedy Ulysses (1706), a tedious and ineffective drama which lacks Rowe’s usual strong appeal to the pity of his audience. He contrives situations with considerable skill, but he generally fails to make his characters rise to them; nor do they give vent to their feelings in language which is always either touching in itself, or suitable to the surrounding circumstances. www.bartelby.com /218/0727.html   (818 words)

Heather James. Shakespeare’s Troy: Drama, Politics, and the Translation of Empire. This play is indeed an odd project, but it is also the drama concerned most directly with the translation of empire, and James demonstrates the ways in which it “threatens to dissolve rather than ratify the emergent British nation along with its Jacobean political iconography” (152). However, “[a]t the crisis of the play Posthumus and Cloten become ethically indistinguishable” (160) because the political identification of each is fragmented by Britain’s initial loss in battle, by Posthumus’ problematic origins, and by Imogen’s lamenting association of the dead Cloten with the future of England. In this final chapter, she recognizes that the island on which the action of the play takes place “invites specific comparison with England, the New World, and the Old World and simultaneously resists reduction to any one of them” (192). www.womenwriters.net /bookreviews/shakespearestroy.html   (2054 words)

GHR Classics Faculty He is currently working on a revision of his dissertation for publication, and on articles exploring the intersection of Augustan coinage as commemorative art and as evidence for other commemorative art. His book, Approaches to Teaching the Dramas of Euripides was published by the MLA in 2002, and Focus issued his translation and commentary on Euripides' Hecuba in 2006. His monograph Plague and the Athenian Imagination: Drama, History, Religion, will be published by Cambridge University Press, and his study of the Eumenides of Aeschylus by Duckworth. www.temple.edu /classics/faculty.html   (1470 words)

BSC Faculty- John David Tatter His specialty is Restoration Drama, and he has a keen interest in gender studies in the literature of the Restoration and Eighteenth Century. He regularly offers courses in satire, gender issues in the drama, and literature and the visual arts. The focus of the course may change each time it is offered: for example, gender and the drama, dramatic form and theory, the theatre of the absurd. www.bsc.edu /academics/faculty/tatter-john.htm   (304 words)

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