What Was Tragedy Theory and the Early Modern Canon 1st Edition by Blair Hoxby 0198810598 9780198810599

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ISBN 10: 0198810598

ISBN 13: 9780198810599 

Author: Blair Hoxby

Twentieth century critics have definite ideas about tragedy. They maintain that in a true tragedy, fate must feel the resistance of the tragic hero’s moral freedom before finally crushing him, thus generating our ambivalent sense of terrible waste coupled with spiritual consolation. Yet far from being a timeless truth, this account of tragedy only emerged in the wake of the French Revolution. What Was Tragedy? demonstrates that this account of the tragic, which has been hegemonic from the early nineteenth century to the present despite all the twists and turns of critical fashion in the twentieth century, obscured an earlier poetics of tragedy that evolved from 1515 to 1795. By reconstructing that poetics, Blair Hoxby makes sense of plays that are “merely pathetic, not truly tragic,” of operas with happy endings, of Christian tragedies, and of other plays that advertised themselves as tragedies to early modern audiences and yet have subsequently been denied the palm of tragedy by critics. In doing so, Hoxby not only illuminates masterpieces by Shakespeare, Calderón, Corneille, Racine, Milton, and Mozart, he also revivifies a vast repertoire of tragic drama and opera that has been relegated to obscurity by critical developments since 1800. He suggests how many of these plays might be reclaimed as living works of theater. And by reconstructing a lost conception of tragedy both ancient and modern, he illuminates the hidden assumptions and peculiar blind-spots of the idealist critical tradition that runs from Schelling, Schlegel, and Hegel, through Wagner, Nietzsche, and Freud, up to modern post-structuralism.

What Was Tragedy Theory and the Early Modern Canon 1st Table of contents:

PART I: THE PHILOSOPHY OF THE TRAGIC AND THE POETICS OF TRAGEDY

1: Our Tragic Culture

THE EARLY MODERN CONCEPTION OF TRAGEDY

THE PHILOSOPHY OF THE TRAGIC

LITERARY FORM, THE PHILOSOPHY OF HISTORY, AND THE CANON

TRAGEDY BORN ANEW FROM THE SPIRIT OF MUSIC?

DECADENCE AND PRIMITIVISM

THE POST-STRUCTURAL ASSAULT ON TRAGIC FREEDOM

REASSESSING THE LEGACY OF IDEALISM

APPROACHING THE WORLD WE HAVE LOST

2: An Early Modern Poetics of Tragedy

DEFINITIONS

THE OBJECTS OF TRAGIC IMITATION

FABLES

MANNERS

SENTIMENTS

DICTION

THE PLAYER’S PASSIONS

SPECTACLE

THE CHORUS

TRAGIC PLEASURE

PART II: THE WORLD WE HAVE LOST

3: Simple Pathetic Tragedy

CLASSICAL EXEMPLARS

Ajax

Philoctetes

Alcestis

RECOVERY AND INVENTION: TRISSINO’S SOFONISBA (1515)

A THEORETICAL INTERLUDE

RACINE’S BÉRÉNICE (1670)

MILTON’S SAMSON AGONISTES (1671)

SIMPLICITY AND REFORMATION

GLUCK’S ALCESTE (1779)

LA HARPE’S PHILOCTÈTE (1781)

FROM PATHOS TO MORAL FREEDOM

4: Operatic Discoveries: The Complex Tragedy with a Happy Ending

DID TRAGIC HEROES SING?

EURIPIDES AND THE OPERATIC REPERTOIRE

THE EURIPIDEAN TRAGEDY OF ANTICIPATED WOE

IDOMENEO AND THE TRAGEDY OF AVERTED SACRIFICE

5: Counter-Reformation Tragedy: The Laurel and the Cypress

TRAGEDY AS SPIRITUAL EXERCISE

Crispus; or the Unfortunate Innocent

The Constant Prince

Polyeucte

JESUIT DEFENSES OF COUNTER-REFORMATION TRAGEDY

ENLIGHTENED CRITIQUES AND IDEALIST DEFENSES

FINAL RECKONINGS

APPENDIX TO CHAPTER 5

Excerpts from Stefonio’s Crispus

6: History as Tragedy, Tragedy as Design: Where Shakespeare and Dryden Part Company

ANTONY AND CLEOPATRA AS A GREAT OCCURRENCE

THE ART OF PORTRAITURE

SUBLIMITY RAISED FROM THE VERY ELEMENTS OF LITTLENESS

DRYDEN’S ARTIFICIAL ORDER

PORTRAITURE AND HISTORY PAINTING

TIDES THAT SWELL AND RETIRE TO SEAS

LANGUAGE

THE WORLD WELL LOST

TRAGEDY AND HISTORY

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