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  • Open Daily: 10am - 10pm
    Alley-side Pickup: 10am - 7pm

    3038 Hennepin Ave Minneapolis, MN
    612-822-4611

Open Daily: 10am - 10pm | Alley-side Pickup: 10am - 7pm
3038 Hennepin Ave Minneapolis, MN
612-822-4611
A Study of Shelley's Drama the Cenci

A Study of Shelley's Drama the Cenci

Bates, Ernest Sutherland

Paperback

General World History

Currently unavailable to order

ISBN10: 1154861570
ISBN13: 9781154861570
Publisher: General Books
Pages: 68
Weight: 0.25
Height: 0.16 Width: 9.01 Depth: 5.98
Language: English
This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1908 Excerpt: ...the capture of Giacomo and escape of Orsino sometime on Friday (V. i. 72). There is a brief indefinite intermission after this before the trial, which with the ensuing torture of Beatrice occupies one day (V. ii. 192). The next day (V. iii. 4) brings the torture of Lucretia and Giacomo and their confession. After another short indefinite intermission the final sentence is given. The inconsistencies that appear in regard to the details of time, while characteristic of Shelley, do not really obscure the course of the drama, and it should be remembered that even Shakespere sometimes nods in like manner.1 The more important fact to be noted is that Shelley, although he did not observe unity of time in the strict sense, or with any such fidelity as Byron chose to exercise in his classical plays, nevertheless did compress the events of his plot into about as brief a compass as could be done with plausibility. In regard to the placing of his scenes, it is quite otherwise. Here the influence of Shakespere was perilously paramount with Shelley as with the other romanticists, all of whom tended to pile up scene upon scene without sufficiently realizing that the introduction of the front curtain and set pieces of scenery had interfered with the uninterrupted shifting of scenes possible on the open Shakesperian stage. To be sure Coleridge in his Zapolya restricted himself to six scenes (excluding the Prologue), and Byron in Sardanapalus and The Two Foscari limited himself to six and five, but in Remorse Coleridge employed ten, and in Marino Faliero and in Werner Byron used twelve and nine respectively. Maturin's Bertram and Manuel have fourteen and fifteen scenes, and Words...

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