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Thus it was that the type of drama which he impressed upon French literature was not the romantic type of the English Elizabethans, but the classical type of Senecan tragedy which Jodelle had imitated, and which was alone tolerable to the French critics of the seventeenth century. Instead of making the vital drama of Hardy artistic, he made the literary drama of Jodelle alive.

In some measure, indeed, it may be truly said that, like the history of the Senecan drama or of classical versification, the history of the dramatic pastoral in England is that of a long series of incoherent and more or less fruitless experiments.

Tragedies early began to be written on the strictly Senecan model, and generally, like Seneca's, with some ulterior intention. Sackville's Gorboduc, the first tragedy in English, produced at a great festival at the Inner Temple, aimed at inducing Elizabeth to marry and save the miseries of a disputed succession.

He showed it by beginning to talk as he loped by my side in our forest wanderings. The man was like no Indian I have ever seen. He was a Senecan, and so should have been on the side of the Long House; but it was plain that he was an outcast from his tribe, and, indeed, from the whole Indian brotherhood.

To be put to such a use argues the importance and dignity of this classical tragedy of the learned societies and the court. None of the pieces composed in this style were written for the popular theatre, and indeed they could not have been a success on it. The Elizabethan audience, as we have seen, loved action, and in these Senecan tragedies the action took place "off."