Modernist Martyrdoms: Spender's Trial of a Judge and Anglo-German Verse Drama between the Wars

2021 ◽  
Vol 28 (3) ◽  
pp. 535-558
Author(s):  
Alex Feldman
Keyword(s):  
Verse Drama

The curious phenomenon of Spanish verse drama

1948 ◽  
Vol 50 (3) ◽  
pp. 445-462
Author(s):  
S. Griswold Morley
Keyword(s):  
Verse Drama

Notes on English Verse Drama: Christopher Fry

1950 ◽  
Vol 3 (2) ◽  
pp. 203
Author(s):  
William Arrowsmith
Keyword(s):  
English Verse ◽  
Verse Drama

Embodied Antiquity

2020 ◽  
pp. 191-226
Author(s):  
James Uden
Keyword(s):  
Short Story ◽  
Mary Shelley ◽  
Ancient World ◽  
Classical Antiquity ◽  
Emotional Connection ◽  
Modern Times ◽  
The Past ◽  
Verse Drama ◽  
The Last Man

The final chapter of the book turns to the nexus between classical antiquity, Romanticism, and the Gothic, as it is reflected in the writings of Mary Shelley. “Reanimation” has been frequently identified as a consistent trope in Shelley’s work. This chapter argues, by contrast, that Shelley repeatedly creates fantastic scenarios in which ancient and modern times meet, and modernity is revealed to be weak or insufficient when faced with the strength and vitality of the ancient world. The chapter turns first to Frankenstein; or, The Modern Prometheus (1818), in which Victor Frankenstein’s efforts at creation are implicitly compared to the ancient model announced in the subtitle, and judged a grotesque failure. Then, the chapter turns to a series of texts written while Shelley was living in Italy—the short story “Valerius, the Reanimated Roman,” her novella Mathilda, and her verse drama Proserpine—each of which dramatizes the unsatisfying and disappointed search for emotional connection with characters from antiquity. Finally, the chapter turns to Shelley’s end-of-days novel The Last Man (1826). This novel’s many allusions to Rome and antiquity reinforce the gulf that separates an idealized antiquity from a doomed, weakening present. Shelley’s writings vividly demonstrate the seductive pleasures of engaging with ideas from antiquity, but ultimately she expresses little hope that we can truly connect with the frightening giants of the past.

Antiphonal Arts

2019 ◽  
pp. 233-266
Author(s):  
Paul Giles
Keyword(s):  
World War Ii ◽  
Visual Arts ◽  
World War ◽  
Robert Lowell ◽  
Literary Representation ◽  
The Sublime ◽  
Verse Drama ◽  
Similar Kind ◽  
Representation Of Time

This chapter considers how the literary representation of time after World War II was shaped by intersections with music and the visual arts. Taking its title from Djuna Barnes’s verse drama The Antiphon (1958), it argues that an antiphonal quality was implicit within works of canonical modernism, which similarly involve interplays between proposition and response, high and low. It suggests how a similar kind of recursive pattern informs Samuel Beckett’s narratives, organized as they are around a dialectic between nostalgia for the sublime and a cathexis of bathos. In relation to Patrick White’s burlesque styles, it argues that this can be seen not as marginal to constructions of modernism, but as endemic to modernism’s antiphonal arts. It also considers the mutual influences of White and Australian painter Sidney Nolan, while discussing the significance of the latter’s collaboration with Boston poet Robert Lowell.

Tennyson and “The Lover's Tale”

PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 78-84
Author(s):  
Clarice Short
Keyword(s):  
Verse Drama ◽  
Walter Scott ◽  
Long Poems ◽  
Relationship Of ◽  
The Relationship ◽  
The Devil

Tennyson's “hundreds and hundreds of lines in the regular Popeian metre,” written when he was ten or eleven, and “the six thousand lines à la Walter Scott,” written “at about twelve,” have passed into oblivion. “The Devil and the Lady,” an unfinished blank verse drama written when Tennyson was fourteen, was not published until 1931. “The Lover's Tale” is the first of his early long poems to be published in his lifetime. That this product of Tennyson's youth was so long cherished in obscurity and ultimately published with affectionate apology affords grounds for speculation regarding the relationship of the writer and the written.

Crooked Europe: The Verse Drama of W.H. Auden (and Company)

Modern Drama ◽  
2008 ◽  
Vol 51 (4) ◽  
pp. 579-604 ◽  
Author(s):  
Patrick Query
Keyword(s):  
Verse Drama

scholarly journals Contemporary Verse Drama

2018 ◽  
Vol 2 (2) ◽  
pp. 117-132
Author(s):  
Haybat Abdul Samad
Keyword(s):  
Verse Drama

Masculine Plural

2018 ◽  
Author(s):  
Jennifer Ingleheart
Keyword(s):  
Public Schools ◽  
Sexual Content ◽  
Same Sex ◽  
Classical Education ◽  
Scholarly Article ◽  
Educational Establishment ◽  
Verse Drama ◽  
History Of ◽  
Cross Dressing ◽  
The Relationship

The Classics were core to the curriculum and ethos of the intensely homosocial Victorian and Edwardian public schools. Yet ancient homosexuality and erotic pedagogy were problematic to the educational establishment, which expurgated classical texts with sexual content. This volume analyses the intimate nexus between the Classics, sex, and education primarily through the figure of the schoolmaster Philip Gillespie Bainbrigge (1890–1918), whose clandestine writings explore homoerotic desires and comment on classical education. It reprints Bainbrigge’s surviving works: Achilles in Scyros (a verse drama featuring a cross-dressing Achilles and a Chorus of lesbian schoolgirls) and a Latin dialogue between schoolboys (with a translation by Jennifer Ingleheart). Like other similarly educated men of his era, Bainbrigge used Latin as an intimate homoerotic language; after reading Bainbrigge’s dialogue, A. E. Housman went on to write a scholarly article in Latin about ancient sexuality, Praefanda. This volume, therefore, also examines the parallel of Housman’s Praefanda, its knowing Latin, and bold challenge to mainstream morality. Bainbrigge’s works show the queer potential of Classics. His underground writings owe more to a sexualized Rome than an idealized Greece, offering a provocation to the study of Classical Reception and the history of sexuality. Bainbrigge refuses to apologize for homoerotic desire, celebrates the pleasures of sex, and disrupts mainstream ideas about the Classics and the relationship between ancient and modern. As this volume demonstrates, Rome is central to Queer Classics: it provided a male elite with a liberating erotic language, and offers a variety of models for same-sex desire.

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