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| | COLT 350 |
 | | Beginning with a review of the canonical, officially-sanctioned views of theater that were propounded and disseminated by the powerful elites of the French and Spanish Academies, we will consider how writers such as Spanish Lope de Vega and the French comedic genius Molière redefined the genre, changing its rules, and broadening its claims to legitimacy. |
 | | Generally, before Lope and Molière, comedy was understood as a poor relation, a dramatic form based on the classical plays of Terence and Plautus, and dictated by the rules set out in Aristotle’s Poetics, but always subordinate to tragedy in a strictly-conceived hierarchy of genres (the seventeenth-century was all about hierarchies, after all). |
 | | Driven partly by pragmatism–the public pays, Lope observed, so you give them what they want–and partly by their understanding of the tremendous literary potential of the comedic, and the tragic-comedic, plot, each of these writers struck powerful chords in the viewing public, thus widening the literary and cultural space for the appreciation of comedy. |
| darkwing.uoregon.edu /~agiard/complit/COLT350b.htm (337 words) |
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