Nicholas Rowe and the Beginnings of Feminism on the London StageNicholas Rowe flourished during the first quarter of the 18thc: he was poet laureate to George I, the author of eight plays(three of which were great successes) and he was the esteemed translator of Lucan's PHARSALIA as well as the first modern editor of Shakespeare's plays. But most of all he was known as a playwright. Rowe's 'She-tragedies" gave great prominence to women characters and further developed the Whig virtues of the ruling political elite: individual freedom and a belief in a strong parliament which would bring the cause of the people before a constitutionally limited, reasonable monarchy. Professor Sennett's new monograph discusses Rowe's vision of women caught up by tragic, unreasonable threat or menace. He also explores the literary and the political stakes in late Stuart and early Hanoverian theatre.. New material on Rowe's life and his attempt to include ideas that can be described as incipient feminism are brought forward. While not a general biography, Sennett's new work is a contribution to the scholarship that has called for a new examination of Rowe and the Whig London of the early 18th century. |
From inside the book
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Page 9
... tragedy as a separate dramatic genre . Even the dissertations on Rowe's plays do not argue that the she - tragedy was ever intended to be a separate genre . A preliminary look at some documents written by Rowe's friends and associates ...
... tragedy as a separate dramatic genre . Even the dissertations on Rowe's plays do not argue that the she - tragedy was ever intended to be a separate genre . A preliminary look at some documents written by Rowe's friends and associates ...
Page 16
... tragedy . Dobrée believed that Rowe was not capable of writing true tragedy with the breadth and depth it needed to succeed . He writes , " Rowe was not built to see things on the tragic scale : even in his plays of larger scope , it is ...
... tragedy . Dobrée believed that Rowe was not capable of writing true tragedy with the breadth and depth it needed to succeed . He writes , " Rowe was not built to see things on the tragic scale : even in his plays of larger scope , it is ...
Page 102
... tragedy in the end of Rowe's play . Instead , the couple is reunited happily in a daring rescue scene , and they live happily ever after . This is not the stuff from which tragedy is cut . Also , the story could not be classified as a ...
... tragedy in the end of Rowe's play . Instead , the couple is reunited happily in a daring rescue scene , and they live happily ever after . This is not the stuff from which tragedy is cut . Also , the story could not be classified as a ...
Contents
CHAPTER ONE BACKGROUND ON THE STUDY OF NICHOLAS | 11 |
CHAPTER TWO THE BEGINNINGS OF ROWES CAREER | 25 |
CHAPTER THREE CHALLENGES FOR ACTRESSES | 47 |
Copyright | |
13 other sections not shown
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