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Topic: Dramatic unities

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	The Unities
		The only Unity that has any reason in it, and that really is observed at all in all dramatic works, is the "Unity of Action." [1] This means, of course, that the interest of the play shall be one throughout.
		In the Elizabethan Drama, especially in Shakespeare, you have a strong unity in many parts, many tides seeking one strait, making the tragic wave which finds resolution at last upon one shore.
		1 Lessing says--"The unity of action was the chief dramatic law of the ancients; the unity of time and place were, so to speak, the natural consequences of it, which perhaps they would not have observed more than was required, had it not been for the introduction of the Chorus.
	www.theatrehistory.com /misc/watt001.html (723 words)

	Introduction: A-Z of Opera
		This, in turn, was associated with a much more dramatic style of music, drawing on the classical art of rhetoric, the art of public speaking, which, nominally at least, formed part of the new education.
		These more dramatically credible plots found a place in Italian operas such as those written in Vienna by Mozart and his librettist Lorenzo da Ponte and their contemporaries.
		His sense of comedy is evident in L'elisir d'amore (The Elixir of Love), with its quack doctor and forlorn lover, and in Don Pasquale, the fooling of the elderly bachelor of the title by a pair of young lovers, anxious to be united.
	www.naxos.com /education/opera_intro.asp (7262 words)

	George Farquhar - LoveToKnow 1911
		The code of morals followed by these characters is open to criticism, but they are human and genial in their roguery, and compare far from unfavourably with the cynical creations of contemporary drama.
		The advance which he made on his immediate predecessors in dramatic construction and in general moral tone is more striking when it is remembered that he died before he was thirty.
		Farquhar's dramatic works were published in 1728, 1742 and 1772, and by Thomas Wilkes with a biography in 1775.
	www.1911encyclopedia.org /George_Farquhar (932 words)

	Jean Chapelain - LoveToKnow 1911
		The credit of introducing the law of the dramatic unities into French literature has been claimed for many writers, and especially for the Abbe d'Aubignac, whose Pratique du theatre appeared in 16J7.
		The theory had of course been enunciated in the Art poetique of J. Scaliger in 1561, and subsequently by other writers, but there is no doubt that it was the action of Chapelain that transferred it from the region of theory to that of actual practice.
		In a conversation with Richelieu in about 1632, reported by the abbe d'Olivet, Chapelain maintained that it was indispensable to maintain the unities of time, place and action, and it is explicitly stated that the doctrine was new to the cardinal and to the poets who were in his pay.
	www.1911encyclopedia.org /Jean_Chapelain (604 words)

	The Dawn of the English Drama
		These rules of the ancient drama are known as "the dramatic unities." The early play-writers of other European countries were limited by these rules; but to Spain and England belongs the distinction of creating new types of dramatic literature.
		The dawning of the English dramatic literature can be traced to a period soon after the Norman Conquest, when the Church began to popularize in England the mysteries with which she supplanted the Roman mimes.
		It is notable in keeping both the reverence and the dramatic skill of the devoutest age of such representations.
	www.theatredatabase.com /medieval/dawn_of_the_english_drama.html (1427 words)

	Notebook
		But in the case of Aristotle's unity of action we have to do with a formal concept designed for dramatic poetry, which the critics of painting sometimes attempted to apply to an art for which, as we shall see, the unity of action was indeed a legitimate concept, but not in the Aristotelian sense.
		For the unity of action so understood is based squarely [granted that one has the necessary minimum of biblical knowledge] on what the picture itself reveals, not on the temporal concept of the unity of action as Aristotle applied it to the drama.
		To the dramatist the unity of act ion is invaluable as a principle of criticism, for it points to a standard of abstemious concentration, and warns against the inclusion of the casual and unrelated in an art in which the succession of events in time must move consistently to an inevitable end.
	www.noteaccess.com /Texts/Lee/9.htm (1242 words)

	History Channel Search Results
		Their influence and his own attachment to the daughter of a wine merchant at whose tavern he dined are reflected in his earliest poetry and in his first dramatic works.
		Through Herder, a literary critic with an exciting mind, Goethe became skeptical of the influence of the principles of French classicism that largely prevailed in Germany at the time, including those of the three dramatic unities which the French classical school had adopted from ancient Greek drama.
		Herder also taught Goethe to appreciate the plays of Shakespeare, in which the classic unities are largely discarded for the sake of direct emotional expression; and to realize the value of German folk poetry and German Gothic architecture as sources of inspiration for German literature.
	www.historychannel.com /encyclopedia/article.jsp?link=FWNE.fw..go058500.a (1798 words)

	Brewer, E. Cobham. Dictionary of Phrase & Fable. Aristote’lian Unities.
		Aristotle, the Greek philosopher, laid it down as a rule that every tragedy, properly constructed, should contain but one catastrophe; should be limited to one denoument; and be circumscribed to the action of one single day.
		These are called the Aristotel’ic or Dramatic unities.
		To these the French have added a fourth, the unity of uniformity, i.e.
	www.bartleby.com /81/911.html (116 words)

	Aristotle_Tragedy
		The word tragedy literally means "goat song," probably referring to the practice of giving a goat as a sacrifice or a prize at the religious festivals in honor of the god Dionysos.
		The first dramatic contests occurred in 534 BC, but the majority of evidence about Greek theater comes from the literature and performance records of the fifth century.
		Dramatic action naturally is limited to what can be presented within two or three hours.
	larryavisbrown.homestead.com /Aristotle_Tragedy.html (2961 words)

	A Defence Of Dramatic Unities
		The unities of time and place, that is the idea of keeping figures and events within the frame of a few hours or a few yards, is naturally decided as a specially artificial affront to the intellect.
		These cosmopolitan complications are the dull and not the dramatic element in the ingenious tales of Mr.
		For a more subtle study of the unities of time and place, for example, as outlined for the Greek drama, might have led us towards what is perhaps the last secret of all legend and literature.
	www.oldandsold.com /articles11/fancies-11.shtml (1595 words)

	Jean Chapelain
		This was followed by an excellent translation of Mateo Aleman's novel, Guzman de Alfarache, and by four extremely indifferent odes, one of them addressed to Richelieu.
		The credit of introducing the law of the dramatic unities into French literature has been claimed for many writers, and especially for the Abbé d’Aubignac, whose Pratique du théàtre appeared in 1657.
		The theory had of course been enunciated in the Art poetique of JC Scaliger in 1561, and subsequently by other writers, but there is no doubt that it was the action of Chapelain that transferred it from the region of theory to that of actual practice.
	www.ebroadcast.com.au /lookup/encyclopedia/ch/Chapelain.html (608 words)

	unitiesessay
		Unity of Place is straightforward enough: there was only a single permanent set, and obviously it could not be subjected to the quick scene changes that are familiar to us in modern theatre.
		The illusion was perhaps also fostered by a dramatic structure in which five acts were punctuated by choral odes that implied the passage of time.
		Aristotle, it seems, further believed that observance by the playwright of the Dramatic Unities contributed to the intensity of the audience's experience and particularly to the strength of their cathartic response to the play.
	www.chdramaworkshop.homestead.com /unitiesessay.html (2200 words)

	Neoclassical literary theory
		The requirement for a unity of place, Corneille notes, is not found in Aristotle or in Horace, only it seems a logical consequence of the unity of time.
		The closer we keep to a unity of place, the better, but there is a danger of its leading to absurdities, and so Corneille allows: "I should be willing to concede that a whole city has unity of place" (225).
		As in the unity of time, Corneille believes that the best is to leave the place of the action undetermined: it must be an ideal "theatrical place," fictional, at once private and public, according to the needs of the action.
	www.unizar.es /departamentos/filologia_inglesa/garciala/hypercritica/04.Neoclassical/Neoclassical.04.html (2106 words)

	dramatic - Definitions from Dictionary.com
		characteristic of or appropriate to the drama, esp. in involving conflict or contrast; vivid; moving: dramatic colors; a dramatic speech.
		Characterized by or expressive of the action or emotion associated with drama or the theatre: a dramatic rescue at sea.
		suitable to or characteristic of drama; "a dramatic entrance in a swirling cape"; "a dramatic rescue at sea" [ant: undramatic]
	dictionary.reference.com /browse/dramatic (266 words)

	Literary Terms and Definitions U (Site not responding. Last check: 2007-10-30)
		UNITIES, THREE (also known as the "three dramatic unities"): In the 1500s and 1600s, critics of drama expanded Aristotle's ideas in the Poetics to create the rule of the "three unities." A good play, according to this doctrine, must have three traits.
		The first is unity of action (realistic events following a single plotline and a limited number of characters encompassed by a sense of verisimilitude).
		The second is unity of time, meaning that the events should be limited to the two or three hours it takes to view the play, or at most to a single day of twelve or twenty-four hours compressed into those two or three hours.
	web.cn.edu /kwheeler/lit_terms_U.html (2269 words)

	Writing for Vaudeville - Chapter XIV - The Structural Elements of Plot (by Brett Page)
		Call them dramatic scenes, essential scenes, what you will, if they are not shown actually happening, but are described by dialogue–the interest of the audience will lag and each person from the first seat in the orchestra to the last bench in the gallery will be disappointed and dissatisfied.
		The second of the classical unities, unity of time, is peculiarly perplexing, if you study to “understand” and not merely to write.
		While those who contend that a play may disregard the classical unity of time, if only it preserves the unity of action, base their contention upon the fact that an audience is interested not in time at all–but in story.
	www.authorama.com /writing-for-vaudeville-16.html (5607 words)

	Goethe, Johann Wolfgang von - MSN Encarta
		The other friendship, which proved to be the most intellectually stimulating experience of his youth, was with the philosopher and literary critic Johann Gottfried von Herder.
		Through Herder's influence Goethe became sceptical of the influence of the principles of French Classicism that largely prevailed in Germany at the time, including those of the three dramatic unities which the French Classical school had adopted from ancient Greek drama.
		Herder also taught Goethe to appreciate the plays of Shakespeare, in which the Classical unities are largely discarded for the sake of direct emotional expression; and to realize the value of German folk poetry and German Gothic architecture as sources of inspiration for German literature.
	uk.encarta.msn.com /encyclopedia_761555180/Goethe_Johann_Wolfgang_von.html (1276 words)

	DIDASKALIA: Ancient Theater Today
		In terms of the issues raised by staging Greek tragedy, there were a number of impressive performance features such as the relationship between different types of movement (and stillness), the range of speech types, and the significance of exit and entrance.
		Enough has been written on the notion of the dramatic unities for one to treat that concept with caution; the structure of The Phoenician Women, however, is rambling to the point of being picaresque.
		On the spectrum of dramatic priorities running from characterisation to narrative, it is well towards the latter end; and if we map this against a parallel spectrum of theatre architectures from The Pit to the Theatre of Dionysus at Athens, this may be a case of the wrong play in the wrong place.
	www.didaskalia.net /issues/vol3no2/underwood.html (1346 words)

	Brewer, E. Cobham. Dictionary of Phrase & Fable. Dramatic Unities (The thrée). (Site not responding. Last check: 2007-10-30)
		These are Aristotle’s rules for tragedy, and the French plays strictly follow them.
		Hence comedy must not be mixed with tragedy.
		Unity of style is called the Unity of Uniformity.
	www.bonus.com /contour/bartlettqu/http@@/www.bartleby.com/81/5333.html (81 words)

	Princeton University Senior Theses brief display
		Beaty, Jr., Julian Bonar (1938): The Evolution of Blank Verse as a Dramatic Medium: Marlowe, Shakespeare and Webster.
		Sobel, Marc Ira (1974): The Dramatic Expression of Honor in Lope and Calderon.
		Walters, Frederick James (1927): A Critical Survey of the Dramatic Unities from Aristotle to Racine.
	libweb5.princeton.edu /theses/thesesvw.asp?Lname=&Fname=&Submit=Search&Title1=drama&department=&Class=&Adviser= (5511 words)

	Untitled Document
		Dryden introduces in English criticism the criterion of unity used by Corneille, the contrast between the suspense of the partial actions and the final repose of the mind of the audience when the whole of the action is completed.
		Although Neander is generally recognised as Dryden's spokesman and as the more cogent speaker of all, all are allowed to have their say, and the dialogue is not brought to a conclusion through the victory of Neander's argument: we leave the four friends still debating the issues.
		The unities aim at verisimilitude; the space and time of representation must be as close as possible to those of the feigned action.
	www.unizar.es /departamentos/filologia_inglesa/garciala/hypercritica/04.Neoclassical/Neoclassical.4.2.html (5783 words)

	[No title]
		The following areas and questions are tackled in lectures and seminars: Aristotelian and post-Aristotelian concepts of theatre: (dramatic unities; definitions of tragedy and comedy; applications, adaptations and subversions of these norms throughout the history of drama; constructing the (screen-)play: structure of the dramatic/cinematic text, and the reader's interaction with it).
		Verbal and non-verbal forms of expression: (monologue; dialogue; intonation; delivery; natural and stylised forms of dramatic discourse; literal and symbolic levels of meaning; gesture; mime; physical action; lighting; decor; costume; mise en scène).
		Dramatic language and metalanguage: (authorial intervention; voiceover; complicity of character(s) with audience/viewer; prologue; epilogue; interlude).
	www.rhul.ac.uk /French/Studying/FR2105B04.doc (199 words)

	[No title]
		Dramatic irony occurs when the audience understands something that the characters do not, especially when information we have received from another part of the text gives us a perspective that the characters cannot have.
		In the first table unity of time was said to be preserved because all the events occur in one day, but in the second table it is said to be violated because the play clearly displays non-linear time.
		Having accepted as a dramatic convention the obvious fact that a young man is playing the part of Epicoene, the audience is suddenly forced to re-adjust its perception and accept a young man playing a young man playing the part of a woman.
	www.gabrielegan.com /publications/Egan1995.htm (17326 words)

	RhetoricalTheoryOfFolklore (Site not responding. Last check: 2007-10-30)
		By comparing the conventions of dramatic or linguistic movement by genre or within a specific group, they drive toward recognition of patterns of expectation inherent in the aesthetic style of the genre or the group, and thus provide both an analytic and predictive tool for handling traditional materials.
		Aggression is permitted only under restricted circumstances, and the formal unity provided by wit in riddles serves as one of the restricting elements; under the guise of wit, all sorts of subjects and motives can be exercised which are otherwise forbidden.
		Such observations are important in relation to other traditional expressions, for the West Indian commonly finds it important to become dramatically involved in all events in their lives (that is, break down the distinction between life and art).
	ccat.sas.upenn.edu /storytelling/RhetoricalTheoryOfFolklore.html (8014 words)

	tragedy and philosophy
		The notion that dialogue may be not only a dramatic form, but a general method of argument, dialectic, was developed as a system of logic by Aristotle, and as a historical principle by Hegel.
		The unity of ancient tragedy consists not in a single action, but a single idea, the heroism of the impossible struggle of man against fate.
		In A Course of Lectures on Dramatic Art and Literature, volume 1, 1809, Schlegel stated 'the spirit of ancient art and poetry is plastic, and that of the moderns is picturesque', a contrast also adopted by Coleridge (Lectures on Shakespeare 1849).
	www.cus.cam.ac.uk /~blf10/trag-theory.html (4104 words)

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