Theatre and Humanism: English Drama in the Sixteenth Century

By Kent Cartwright | Go to book overview

Notes

INTRODUCTION
1
In The Defence of Poetry, Sidney argues that poets “move” their readers to goodness through delight; related phrases such as “heart-ravishing knowledge” show Sidney's sense of poetry's active power (Sir Philip Sidney, A Defence of Poetry, ed. Jan Van Dorsten [Oxford: Oxford University Press, 1966], pp. 27, 21). Elyot likewise conceives of literature as “inflam[ing]” its readers to emulate models of virtue (Sir Thomas Elyot, The Boke named The Gouernour, ed. Henry Herbert Stephen Croft [London: Kegan Paul, Trench, and Co., 1883], vol. 1, p. 59).
2
William Gager, “To the Critic, ” Ulysses Returned in William Gager: The

Complete Works, ed. and trans. Dana F. Sutton, vol. 2: The Shrovetide Plays (New York: Garland Press, 1994), p. 23.

3
Gager, Ulysses Returned, t.p.
4
See, for example, C. F. Tucker Brooke, The Tudor Drama: A History of

English National Drama to the Retirement of Shakespeare (Boston: Houghton Mifflin, 1911); T. W. Baldwin, William Shakspere's Small Latin & Lesse Greeke, 2 vols. (Urbana: University of Illinois Press, 1944); T. W. Baldwin, Shakspere's Five-Act Structure: Shakspere's Early Plays on the Background of Renaissance Theories of Five-Act Structure from 1470 (Urbana: University of Illinois Press, 1947); and Madeleine Doran, Endeavors of Art: A Study of Form in Elizabethan Drama (Madison: University of Wisconsin Press, 1954).

5
David M. Bevington, From Mankind to Marlowe: Growth of Structure in the Popular Drama of Tudor England (Cambridge, Mass.: Harvard University Press, 1962), p. 1.
6
Bevington, From Mankind to Marlowe, p. 3.
7
The small number of actors combines with the moralities' panoramic scale to produce characteristic features: scenes of godly forces alternating with scenes of the Vices; acting that emphasizes energy and adaptability; multiple features compressed into single characters; “progressive suppression” of certain characters and themes so as to make room for others; and repetition of details in a loosely knit,

-249-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Theatre and Humanism: English Drama in the Sixteenth Century
Table of contents

Table of contents

Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 321

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.