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008			100628t20191981mdu o 00 0 eng d
020			_a9781421434315
020			_z9781421434308
020			_z9781421436104
035			_a(OCoLC)1131890795
040			_aMdBmJHUP _cMdBmJHUP
043			_ae-uk---
050		4	_aPR658.V4 _bF7 2019
082	0		_a822/.4/09 _219
082	0		_a822/.3/09 _219
100	1		_aFreer, Coburn.
245	1	4	_aThe Poetics of Jacobean Drama _cCoburn Freer.
300			_a1 online resource (1 online resource xxi, 256 pages)
500			_aOpen access edition supported by the National Endowment for the Humanities / Andrew W. Mellon Foundation Humanities Open Book Program.
500			_aThe text of this book is licensed under a Creative Commons Attribution-NonCommercial-No derivatives 4.0 International License
500			_aOriginally published as Johns Hopkins Press in 1981.
504			_aIncludes bibliographical references and index.
505	0		_ach. 1. Poetry in the mode of action -- ch. 2. Context of blank verse drama -- ch. 3. The revenger's tragedy -- ch. 4. Cymbeline -- ch. 5. The white devil and The Duchess of Malfi -- ch. 6. The broken heart -- Epilogue: The metamorphosis transformed.
506	0		_aOpen Access _fUnrestricted online access _2star
520			_aThe Poetics of Jacobean Drama argues for a rediscovered approach to the study of Renaissance drama. Coburn Freer observes that most modern criticism of this drama treats the plays as if they were written in prose, thus overlooking whole areas of dramatic meaning that were understood in the past. Such an understanding, he asserts, was common among writers, actors, audiences, and readers of the Elizabethan and Jacobean eras, and a knowledge of it is essential to a full appreciation of the characterization and dramatic structures in these plays. Freer explores the evolution of the modern reluctance to approach Renaissance drama as one would dramatic poetry - from the standpoint of a listener. Blank verse, the author shows, provided Jacobean dramatists with a poetic form against which they could work the pressures of experience within their characters. The writers' ability to work with and against this form provided infinite resources for delineating character and creating significant coherences in the structure of a play. The book also offers insights into what the Renaissance writer, actor, and playgoer would have regarded as the domain of poetry in drama. Topics discussed include the conditions of stage performance and the style of acting, Elizabethan education, the rise of printed texts and collected editions, and the comments of Elizabethan audiences and readers. Freer's commentary and theoretical explanations suggest both why and how we should pay closer attention to the poetry of Renaissance drama.
588	0		_aDescription based on print version record.
650		0	_aPoetics _xHistory _y17th century.
650		0	_aVerse drama, English _xHistory and criticism.
650		0	_aEnglish drama _y17th century _xHistory and criticism.
648		7	_a1600-1699 _2fast
655		0	_aElectronic books. _2lcgft
655		0	_aHistory. _2fast _0(OCoLC)fst01411628
655		0	_aCriticism, interpretation, etc. _2fast _0(OCoLC)fst01411635
655		7	_aElectronic books. _2local
710	2		_aProject Muse.
740	0		_aJacobean drama.
776	1	8	_iPrint version: _dBaltimore : Johns Hopkins University Press, ©1981 _w(DLC) 81047599 _w(OCoLC)7923167
710	2		_aProject Muse. _edistributor
830		0	_aBook collections on Project MUSE.
856	4	0	_zFull text available: _uhttps://muse.jhu.edu/book/72159/
999			_c25871 _d25871