MAE603-eL5

IDOL Institute of Distance and Online Learning ENHANCE YOUR QUALIFICATION, ADVANCE YOUR CAREER.

IDOL Institute of Distance and Online Learning M.A 2 All right are reserved with CU-IDOL English Course Code: MAE 603 Semester: First Book ID: ………… Unit: 5 www.cuidol.in Unit-5 MAE 603

IDOL ENGLISH Institute of Distance and Online Learning 33 OBJECTIVES INTRODUCTION Student will be able to understand the In this unit we are going to learn about of the development stages of British Drama forms of British Drama Student will be introduced to the some Literary In this unit we shall learn learn about some terms literary terms in Drama Student will be able to understand Literary Terms in Drama Significance of literary terms in Drama www.cuidol.in Unit-5 MAEQ610031) INASlTl ITriUgThEt OarFeDrIeSsTeArNvCeEd AwNitDh OCNUL-IIDNOE LLEARNING

IDOL TOPICS TO BE COVERED Institute of Distance and Online Learning 4 > Development stages of British Drama > Some Literary terms > Significance of Literary Terms www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL HISTORY OF DRAMA Institute of Distance and Online Learning 5 ➢It is a form of composition designed for performance in the theatre ➢ In this form the actors take the role of characters, perform the indicated action and speak the written dialogue ➢ Play is another name of Drama ➢ In Poetic Drama the dialogue is written in verse, which in English usually is Blank Verse www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL VARIOUS FORMS OF BRITISH DRAMAInstitute ofDistance andOnlineLearning 6 Closet Drama It is with dialogue, stage setting and direction but intended to be read than to br performed in the theatre Example:- Milton’s Samson Agonistes (1671) Byron’s Manfred (1871) Shelly’s Prometheus Unbound (1820) Thomas Hardy’s The Dynasts (1904-5) www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL 7 VARIOUS FORMS OF BRITISH DRAMAInstitute of Distance and Online Learning The Miracle Play:- It deals with the subject of a story taken from the Bible or from the life and martyrdom of a saint. • Sometimes it is said that Mystery Play is a drama based on saints' lives • Medieval Guilds sponsored these plays • These plays represented crucial events in the biblical history of mankind from the creation and fall of man through crucifixion and resurrection of Christ to the Last Judgement www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL VARIOUS FORMS OF BRITISH DRAMA Institute of Distance and Online Learning 8 Street Play:- It was performed basically for entertainment with characters like juggler, tumbler and quips of jester Pageants and May Games:- Pageants anticipated the historical drama while in May Games could enjoy a foretaste of Masques and Pastoral plays www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL VARIOUS FORMS OF BRITISH DRAMAInstitute ofDistance andOnlineLearning 9 Masque:- It was originated in Italy during Renaissance period and flourished in England during the reign of Elizabethan I, James I and Charles I • It was an elaborate form of court entertainment that combined poetic drama, music song, dance, and spectacle • Its plot was mainly mythological and allegorical • The speaking characters were amateurs who used to wear masks and belonged to court society • This kind of play was concluded with a dance •Example:- There is a Masque in Shakespeare’s play, Tempest (Fourth Act) www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL VARIOUS FORMS OF BRITISH DRAMAInstitute ofDistance andOnlineLearning 10 Pastoral Play:- It was originated by the Greek poet Theocritus in the third century • Later another Greek poet Virgil used the same form in his Latin work Eclogues • In the beginning it was basically a poem expressing an urban poet’s nostalgia of the peace and simplicity of the life of shepherds and other rural folk in an idealised natural setting • It also includes a love affair or lamentation over the death of a fellow shepherd. This eventually developed pastoral elegy • Pastoral Comedy is another form of pastoral play which includes pastoral romance •Example:- Renaissance writers used in their literary works-Sir Philip Sydney Arcadia (1581-84) Christopher Marlowe’s Pastoral Lyric-The Passionate Shepherd to His Love William Shakespeare’s As You Like It www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL 11 VARIOUS FORMS OF BRITISH DRAMAInstitute of Distance and Online Learning Morality Play:- These were dramatised allegories of the representative Christian life in the plot form of a quest for salvation • Temptation, singing and Climatic confrontation with death were the crucial events • The characters were personification of virtues, vices and death •Example:- There is a 15th century play, Everyman Christopher Marlowe’s play, Dr. Faustus www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL 12 VARIOUS FORMS OF BRITISH DRAMAInstitute of Distance and Online Learning Interlude Play:- It is a Latin word which means a dramatic performance between the play • It is basically to a variety of short stage entertainments such as secular farces and witty dialogues with a religious or political point •Example:- Heywood’s Farces of the first half of the 16 century These farces include the four Ps as major characters:- Palmer, The pardoner, The pothecarry and peddler www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL VARIOUS FORMS OF BRITISH DRAMAInstitute ofDistance andOnlineLearning 13 Melodrama:- In Greek language ‘Melos’ means a song • Therefore, it includes all musical plays including opera • Sometimes it is applied to some of the typical plays that were written to be produced to musical accompaniment. •Example:- !9th Century play, Under the Gaslight www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL 14 VARIOUS FORMS OF BRITISH DRAMAInstitute of Distance and Online Learning Poetic Drama:- The Dialogues arev written in verse • Generally Bank verse is used in its dialogues A Closet Drama:- It is meant to be read rather than to be performed in the theatre •Example:- Milton’s Samson Agonistes (1671) Byron’s Manfred (1817) www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL VARIOUS FORMS OF BRITISH DRAMAInstitute ofDistance andOnlineLearning 15 Dramatic Monologue:- It is characterised by a lenghy speech of a single character • This single character expresses his or her personal thoughts, it is called Soliloquy • It is basically a lyric poem that was perfected by Robert Browning •Example:- Robert Browning’s My Last Ride Together www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL VARIOUS FORMS OF BRITISH DRAMAInstitute ofDistance andOnlineLearning 16 Comedy:- It is a work in which the content is selceted and managed in order to interest, involve and amuse us • The characters and their discomfigures engage our pleasurable attention rather than our profound concern • We are made to feel confident that no great disaster will occur • Usually the actions turn out happily for the chief characters • sometimes it also occurs in prose fiction and narrative poetry •Example:- Ben Jonson’s The Alchemist www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL VARIOUS FORMS OF BRITISH DRAMAInstitute ofDistance andOnlineLearning 17 Romantic Comedy:- This comedy was developed by William Shakespeare on the model of contemporary prose romances such as Thomas Lodge’s Rosalynde (1590). Which is known as the source of Shakespeare’s As You Like It • This kind of comedy presents a love affair that involves a beautiful heroine • The love affair in this comedy does not run smooth • In the end all odd situations turn out in a happy situation • William Shakespeare’s romantic comedies shows a movement from the natural world of conflict ad trouble into the green world Example:- The forest of Arden in As You Like It The fairy haunted wood of A Midsummer Night’s Dream www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL VARIOUS FORMS OF BRITISH DRAMA 18 Institute of Distance and Online Learning Satiric Comedy:- It ridicules political policies or philosophical doctrines or else that attacks deviations from social order by making the violators of its standards of morals or manners • The early master of satiric comedy was the Greek Aristophanes (450-385 B.C.) • Aristophanes’ plays mocked philosophical and literary matters • Shakespeare’s contemporary Ben Jonson wrote satiric comedy which is often called as “corrective comedy” For Example:- Ben Jonson’s Volpone and The Alchemist www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL VARIOUS FORMS OF BRITISH DRAMA 19 Institute of Distance and Online Learning The Comedy of Manners:-It was originated in Greek by Menander (c342-292 B.C) • It was developed by the Roman dramatists Plautus and Terence in the 3rd and 2nd century B.C. •Their plays dealt with vicissitudes of young lovers and included what became the stock characters of later comedy, such as clever servant, old and stodgy parents and the wealthy rival • The English Comedy of Manners was exemplified by Shakespeare’s Love’ Labour’sLost and Much Ado About Nothing It was chiefly used by the dramatists of the Restoration period (1660-1700). They owe much to the brilliant dramas of the French writer Moliere (1622-73). It deals with intrigues of men and women living in a sophisticated upper class society www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL VARIOUS FORMS OF BRITISH DRAMAInstitute ofDistance andOnlineLearning 20 The Comedy of Manners:-The comic effect chiefly comes from a few things: (a) In large part on the wit and sparkle of the dialogue (b) repartee and witty conversation (c) verbal fencing match (d) violation of social conventions and dialogue by wits, jealous husband, convincing rivals and foppish dandies For Example: William Congreve’s The Way of the World William Wycherly’s The Country Wife • These comedies were very popular in the 18th century. However, in the later part of the 18th century Oliver Goldsmith’s She Stoops to Conquer and his contemporary R.B. Sheridan’s The Rivals and The School for Scandal revived the wit and gaiety, but deleted the indecency of Restoration and Comedy www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL VARIOUS FORMS OF BRITISH DRAMA 21 Institute of Distance and Online Learning Farce:- It also one of the forms of comedy designed to provide the audience a simple and hearty laughter-belly laughs. •It commonly employs highly exaggerated types of characters and puts them into improbable and ludicrous situations • Verbal humour, physical bustle and horseplay • Farce was a component in the comic episode in the Medieval miracle plays such as the wakefield plays, “Noah” • In the English drama, Farce is usually an epidsode in a more complex form of comedy— examples are the knockout scenes in Shakespeare’s The Taming of the Shrew,s and The Merry Wives of Winsor • Many of the movies by such comedians such as Charlie Chaplin, W.C. Fields and Woody Allen are excellent farce www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL 22 VARIOUS FORMS OF BRITISH DRAMAInstitute of Distance and Online Learning Comedy of Humour: This type of Comedy is developed by Ben Jonson based on the ancient physiological theory of the four humours The humours were held to be the four primary fluids—blood, phlegm, choler and melancholy An imbalance of one or another humour in na temperament was said to produce four kinds of disposition In Jonson Comedy of humours each of the major characters has a responderant humour that gives him a characteristic distortion. Examples: Everyman in His Humour (1598) www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL 23 VARIOUS FORMS OF BRITISH DRAMAInstitute of Distance and Online Learning Tragic Comedy: It is a type of Elizabethan or Jacobean drama which intermingles both the standard characters and subject matter and the standard plot-forms of tragedy and comedy. It represents a serious action which threatens a tragic disaster to the protagonist, but by an abrupt reversal of circumstance, turns out happily www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL VARIOUS FORMS OF BRITISH DRAMAInstitute of Distance and Online Learning 24 Tragedy: It is applied to dramatic representation of serious and important actions which eventuate in a disastrous conclusion for the protagonist It dates from 4th century B.C. with great dramatists such as Aeschylus, Sophocles and Euripides Catharsis is an important factor in a tragedy which means purgation or purification The tragic hero evokes both our pity and terror He is neither thoroughly good nor thoroughly evil but a mixture of both The tragic hero suffers a change in fortune from happiness to misery of a mistaken act, to which he is led by his Hamartia www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL VARIOUS FORMS OF BRITISH DRAMA Institute of Distance and Online Learning 25 Senecan tragedy: It was written to be recited than acted but later changed Example: Gorboduce (1562) by T. Sackville and T.Norton Revenge Tragedy: This tragedy was based on Senecan concept of tragedy with scenes like murder, revenge, ghost, mutilation and carnage. Example: Thomas Kyd’s The Spanish Tragedy (1562) Bourgeois or Domestic Tragedy: It was written in prose and presented a protagonist from middle or lower social ranks who suffers a commonplace or domestic disaster Example: The History of Gorge Barnwell (1731) www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL TRAGIC HERO Institute of Distance and Online Learning 26 Meaning of a Tragic Hero:- The term hero is derived from a Greek word that means a person who faces adversity, or demonstrates courage, in the face of danger. However, sometimes he faces downfall as well. When a hero confronts downfall, he is recognized as a tragic hero or protagonist. Aristotle, the Greek philosopher, characterizes these plays or stories, in which the main character is a tragic hero, as tragedies. Here, the hero confronts his downfall whether due to fate, or by his own mistake, or any other social reason. www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL A TRAGIC HERO Institute of Distance and Online Learning 27 Characteristics of A Tragic Hero:- Hamartia – a tragic flaw that causes the downfall of a hero. Hubris – excessive pride and disrespect for the natural order of things. Peripeteia – The reversal of fate that the hero experiences. Anagnorisis – a moment in time when hero makes an important discovery in the story. Nemesis – a punishment that the protagonist cannot avoid, usually occurring as a result of his hubris. Catharsis – feelings of pity and fear felt by the audience, for the inevitable downfall of the protagonist. www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL A TRAGIC HERO Institute of Distance and Online Learning 28 The Function of Tragic Hero:- The purpose of a tragic hero is to evoke sad emotions, such as pity and fear, which makes the audience experience catharsis, relieving them of their pent up emotions. The tragic flaw of the hero leads to his demise or downfall that in turn brings tragic end. This gives wisdom to the audience to avoid such things in their everyday lives. The sufferings and fall of a hero, arousing feelings of pity and fear through catharsis, purges the audiences of those emotions, to transform them into good human beings and good citizens. www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL ABSURD DRAMA Institute of Distance and Online Learning 29 Theater of the Absurd:- It refers to a literary movement in drama popular throughout European countries from the 1940s to approximately 1989. Absurdist playwrights adhered to the theories of French-Algerian philosopher Albert Camus, in particular his essay The Myth of Sisyphus, published in 1942. In this essay, Camus introduced his Philosophy of the Absurd, in which he argues that man's quest for meaning and truth is a futile endeavor; he compares man's struggle to understand the world and the meaning of life to Sisyphus, a famous figure in Greek Mythology condemned to an existence of rolling a heavy stone up a mountain only to watch it roll to the bottom. www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL ABSURD DRAMA Institute of Distance and Online Learning 30 Critics believe that Theater of the Absurd arose as a movement from the doubts and fears surrounding World War II and what many people saw as the degeneration of traditional moral and political values. The movement flourished in France, Germany, and England, as well as in Scandinavian countries. Several of the founding works of the movement include Jean Genet's The Maids (1947), Eugene Ionesco's The Bald Soprano (1950), Arthur Adamov's Ping- Pong (1955), and Samuel Beckett's Waiting for Godot (1953). Beckett's death in 1989 is said to mark the close of the movement's popularity. www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL ABSURD DRAMA Institute of Distance and Online Learning 31 Characteristics of the Theater of the Absurd:- Plays categorized in this movement typically represent human existence as nonsensical and often chaotic. Absurdist works rarely follow a clear plot, and what action occurs serves only to heighten the sense that characters (and human beings in general) are mere victims of unknown, arbitrary forces beyond their control. Dialogue is often redundant, setting and passage of time within the play unclear, and characters express frustration with deep, philosophical questions such as the meaning of life and death and the existence of God. www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL PROBLEM DRAMA Institute of Distance and Online Learning 32 Towards the end of the Victorian age the drama of social problems came into prominence in England. The problem play was the presentation of a contemporary question through realistic technique. The dramatists writing plays of social criticism made a conscious effort to deal with problems of contemporary society and morality. The drama which was directly inspired by the social ferment of the time could be effective only if it adopted a realistic form or medium, because problem drama required a high level of craftsmanship and dramaturgic skill. www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL PROBLEM DRAMA Institute of Distance and Online Learning 33 The problem play:- It was a new experiment in form and technique, and dispensed with the conventional devices and expedients of the Victorian era, was closely related to the growth of the realistic movement in the field of English drama. Realism in English drama is as old as the ‘mysteries’ and ‘moralities’ which sometimes introduced realistic situations and characters from humble rustic life. Dekker’s The Honest whore and The shoemakers Holiday are realistic drama. The Elizabethan tradition of realistic drama was revived in the sentimental drama in the 18th century. Racism once again became a revitalizing current in English drama in the second half of Victorian era. It was largely felt that the essence of drama was the faithful presentation of life. www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL PROBLEM DRAMA Institute of Distance and Online Learning 34 The term “problem play” was coined by Sydney Grundy who used it in a disparaging sense for the intellectual drama of the nineties. Shaw defined it as “The presentation parable of the conflict between man’s will and his movement”. The problem play deals with problems. Eric Bentley finds the justification of the world’ problem’ on the ground that the play ends with a question mark. He says that the dramatist’s business is to state his problem clearly and effectively, and not to present a readymade solution or to suggest a specific remedy. The problem play is supposed to have arisen out of the sentimental drama of the 18th century and often been identified with” serious drama”. The problem drama essentially differs from tragedy, even though it deals with serious issues it normally exhibits ideas, situations and feeling that lack tragic dimensious. www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL PROBLEM DRAMA Institute of Distance and Online Learning 35 Henry Arthur Jones believed that the drama should parade social criticism. He began a light probing at Victorian convention as early as the eighties with Breaking a Butterfly (1885) based on Ibsen’s A Doll’s House (1879). He further produced Saints and sinners (1894), The crusaders (1893) and The case of Rebellious Susan (1894) George Bernard Shaw had the longest career in the history of English dramaticks. He was a moralist and a propagandist. His first play windower’s Houses (1892) was “an economic tract in dramatic form”, but it failed on the stage. His collection of seven plays – plays pleasant and unpleasant – appeared in 1898 in which he voiced his idea on a many social problem. Arms and the Man (1894) is a satire on the military. It professes to be “an anti – romantic play”. The exposition scene with its surprise, its suspense, its touches of fancy is enough to show the skill of Shaw. Texts admired and also hated it. It seemed to me, he said, “inorganic, logical straightness, and not the crooked path of life”. www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL PROBLEM DRAMA Institute of Distance and Online Learning 36 George Bernard Shaw had the longest career in the history of English dramaticks. He was a moralist and a propagandist. His first play windower’s Houses (1892) was “an economic tract in dramatic form”, but it failed on the stage. His collection of seven plays – plays pleasant and unpleasant – appeared in 1898 in which he voiced his idea on a many social problem. Arms and the Man (1894) is a satire on the military. It professes to be “an anti – romantic play”. The exposition scene with its surprise, its suspense, its touches of fancy is enough to show the skill of Shaw. Texts admired and also hated it. It seemed to me, he said, “inorganic, logical straightness, and not the crooked path of life” www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL PROBLEM DRAMA Institute of Distance and Online Learning 37 Galsworthy occupies a distinctive place in modern English drama. His naturalism reminds us of Ibsen. He is a critic and interpreter of contemporary English life in his dramas. Like shaw, he handles definite problems – these of marriage, of sex relationship, of labour disputes, of the law, of solitary confinement, of caste feeling or class prejudice. His The silver Box (1906) deals with the inequality of justice. We see how the majesty of the law may end in a horrible human mistake. Justice (1910) is a sterm condemnation of the contemporary legal system. It attacks the evil of prison system especially the solitary confinement. It is a powerful plea for sympathetic treatment of law – breakers. www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL KITCHEN SINK DRAMA Institute of Distance and Online Learning 38 In the later 1950 a term applied (often disparagingly) to the new wave of plays that dealt realistically with the domestic lives of working or lower middle class characters. The use of humdrum or seedy settings in such plays as Osborne’s Look Back in Anger (1956), Shelagh Delaney’s A Taste of Honey (1958), and Wesker’s Roots (1959), represented a decisive break with the elegant drawing- room comedies of (for instance) Noël Coward or Terence Rattigan. Roots actually begins with a character standing at a kitchen sink. The term had previously been applied to the kitchen-sink school, a group of British artists, who held several joint exhibitions in the 1950s. They were known for painting scenes of working-class domesticity in a drably realistic style (e.g. John Bratby’s Still Life with a Chip Frier). www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL RESTORATION DRAMA Institute of Distance and Online Learning 39 When the theatres were closed in 1642, the succession of great Jacobean dramatists had nearly come to an end, Shirley alone being alive. However, the drama retained its hold on the masses; even under Cromwell, the playwright Davenant obtained permission to give a play with a musical accompaniment, The Siege of Rhodes (1656). To this opera Dryden attributed the beginning of the dominant fashion of the time in tragedy, the heroic play, to which type many of Dryden's own dramas belong. To the most famous of them, The Conquest of Granada, he prefixed the essay, \"Of Heroic Plays,\" in which he cites also the example of Ariosto, with his stories of love and valor, as contributing to his conception. The heroic play, though by no means an imitation of French tragedy, owed something to the example of Corneille, especially its heightening of characters to heroic proportions, and probably also its use of rhyme. www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL RESTORATION DRAMA Institute of Distance and Online Learning 40 The Dryden defended the use of rhyme, in the dedication to one of his early plays, on the ground that \"it bounds and circumscribes the fancy. For imagination in a poet is a faculty so wild and lawless, that like an high ranging spaniel it must have clogs tiet to it lest it outrun the judgment.\" This philosophy, so typical of the time, did not prevent Dryden from pushing his characters into unnatural extravagance of passion; a fault which, as it appears in The Indian Queen (1664), The Indian Emperor (1665), and The Conquest of Granada (1670), was caricatured in The Rehearsal (1671), a famous mock heroic drama by the Duke of Buckingham and others. www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL RESTORATION DRAMA Institute of Distance and Online Learning 41 the tragedy of the Restoration has, in the main, only a literary interest, as a survival of the great dramatic period, and as an illustration of foreign influences. The Restoration comedy, however, is a genuine reflection of the temper, if not of the actual life, of the upper classes of the nation; and as such it has a sociological as well as a literary interest. As practised by Shakespeare, English comedy had been romantic in spirit. However seriously it had been concerned with the essentials of human nature, it had had comparatively little to do with the circumstances of actual human life. In Ben Jonson and Middleton, and especially in the latest of the Jacobeans, Shirley, we find more realistic treatment of the setting, the social surroundings, of the play. Following their lead, and stimulated by the example of Molière, the comedians of the Restoration devoted themselves specifically to picturing the external details of life, the fashions of the time, its manners, its speech, its interestes. For scene they turned to the most interesting places they knew, the drawing-rooms, the coffee-houses, the streets and gardens of London. www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL RESTORATION DRAMA Institute of Distance and Online Learning 42 Their characters were chiefly people of fashion, and their plots, for the most part, were love intrigues, often borrowed from the French, both developed with clever dialogue. In tendency these plays are, almost without exception, immoral. They represent the reaction of the playgoing public against Puritanism. They are antisocial, in that they represent social institutions, particularly marriage, in an obnoxious or ridiculous light; but they are not romantic or revolutionary. There is in them never an honest protest against institutions, never a genuine note of revolt. Conventions are accepted to be played with and attacked, merely by way of giving opportunity for clever, corrupt talk, or point to an intrigue. www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL RESTORATION DRAMA Institute of Distance and Online Learning 43 It has been pointed out that one effect of the age that succeeded the Restoration was to organize society, to restrain the license of the individual. The antisocial influence of the plays of the time was clearly perceived, and protest was not lacking. It took time for the protest to gather force, in face of the spirit of wild reaction against all that savored of Puritanism; but in 1698 a clergyman, Jeremy Collier, published his Short View of the Profaneness and Immorality of the English Stage, and Dryden, who was one of the dramatists particularly attacked, admitted the justice of the rebuke. Its immediate effect was not sufficient to do away with the coarseness of Restoration comedy, which appears to the full in Sir John Vanbrugh (1666-1726); but an improvement is noticeable in the works of George Farquhar (1678-1707), the last of the school; and in Steele's plays the drama is in full alliance with the forces which were making for morality and decent living. www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL MULTIPLE CHOICE QUESTIONS Institute of Distance and Online Learning Q—What is a Morality play? 44 A— It deals with the subject of a story taken from the Bible or from the life and martyrdom of a saint B—A form of composition meant for performance C—A form of art meant for morals D—A form of art meant for players 2. Q—What is a tragedy? A—It is a form of drama that deals with blood and death B—A form of composition meant for purgation C—A form of art meant for entertainment D—A form of art meant for actions 3. Q—For which form of drama the Restoration age is known for? A—Comedy B—Tragic Comedy C—Tragedy D—Comedy of Manners www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL SUMMARY Institute of Distance and Online Learning 45 History of Drama :- ➢It is a form of composition designed for performance in the theatre ➢ In this form the actors take the role of characters, perform the indicated action and speak the written dialogue ➢ Play is another name of Drama In Poetic Drama the dialogue is written in verse, which in English usually is Blank Verse The Miracle Play:- It deals with the subject of a story taken from the Bible or from the life and martyrdom of a saint. • Sometimes it is said that Mystery Play is a drama based on saints' lives • Medieval Guilds sponsored these plays • These plays represented crucial events in the biblical history of mankind from the creation and fall of man through crucifixion and resurrection of Christ to the Last Judgment www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL FREQUENTLY ASKED QUESTIONSInstitute ofDistance andOnlineLearning 46 1. Q What is a drama? Ans—It is a form of composition designed for performance in the theatre ➢ In this form the actors take the role of characters, perform the indicated action and speak the written dialogue ➢ Play is another name of Drama In Poetic Drama the dialogue is written in verse, which in English usually is Blank Verse 2. Q What is a Miracle play? Ans— It deals with the subject of a story taken from the Bible or from the life and martyrdom of a saint. ➢ Sometimes it is said that Mystery Play is a drama based on saints' lives ➢ Medieval Guilds sponsored these plays ➢ These plays represented crucial events in the biblical history of mankind from the creation and fall of man through crucifixion and resurrection of Christ to the Last Judgment 3. Q What is the function of a tragic hero in a tragedy? Ans—The purpose of a tragic hero is to evoke sad emotions, such as pity and fear, which makes the audience experience catharsis, relieving them of their pent up emotions. The tragic flaw of the hero leads to his demise or downfall that in turn brings tragic end. This gives wisdom to the audience to avoid such things in their everyday lives. The sufferings and fall of a hero, arousing feelings of pity and fear through catharsis, purges the audiences of those emotions, to transform them into good human beings and good citizens. www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL References Institute of Distance and Online Learning 1. Leech, C. (1978). Marlowe: A Collection of Critical Essays (Twentieth Century Views Series). New Delhi: 47 Prentice Hall India 2. O’Neill, J. (1969). Critics on Marlowe. London: Allen & Unwin 3. Sharma, G. ed. (1984). Reinterpretations of Marlowe’s Faustus: A Collection of Critical Essays. New Delhi: Doaba House 4. Bradley, A.C. (2009). Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth. New Delhi: Dodo Press 5. Kaufmann, R.J. (1970). Elizabethan Drama: Modern Essays in Criticism. Oxford: Oxford University Press 6. Harbage, A. (2005). Shakespeare: The Tragedies: A Collection of Critical Essays. New Delhi: Pearson 7. Adelman, .t ed. (1980). Twentieth Century Interpretations of King Lear. New Delhi: Prentice-Hall India 8. Morwood, J. & Crane, D. , Ed. (1996). Sheridan Studies. Cambridge: Cambridge University Press 9. Chaudhary, A.D. (2010). Contemporary British Drama. India : Penguin Books. 10. en.wikipedia.org › wiki › Drama 11. study.com › academy › lesson › history-of-drama-dramatic-movements 12. en.wikipedia.org › wiki › History_of_theatre 13. englishhistory.net › shakespeare › elizabethan-theatre www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL

IDOL Institute of Distance and Online Learning 48 THANK YOU For queries Email: [email protected] www.cuidol.in Unit-5 MAE 603 All right are reserved with CU-IDOL