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Renascence English Drama 1895
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The Renascence Of The English Essays, Lects., And Fragments
Henry Arthur Jones
such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact,
or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections,
have elected to bring it back into print as part of our continuing commitment to the preservation of printed works
worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.
++++
The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition
++++
The Renascence Of The English Essays, Lects., And Fragments
Henry Arthur Jones
343 pages, Hardcover
First published January 1, 1995
About the author
Henry Arthur Jones
106 books2 followersHenry Arthur Jones was an English dramatist.
Jones was born at Granborough, Buckinghamshire to Silvanus Jones, a farmer. He began to earn his living early, his spare time being given to literary pursuits. He was twenty-seven before his first piece, Only Round the Corner, was produced at the Exeter Theatre, but within four years of his debut as a dramatist he scored a great success with The Silver King (November 1882), written with Henry Herman, a melodrama produced by Wilson Barrett at the Princess's Theatre, London. Its financial success enabled the author to write a play "to please himself."
Saints and Sinners (1884), which ran for two hundred nights, placed on the stage a picture of middle-class life and religion in a country town, and the introduction of the religious element raised considerable outcry. The author defended himself in an article published in the Nineteenth century (January 1885), taking for his starting-point a quotation from the preface to Molière's Tartuffe.
His next serious piece was The Middleman (1889), followed by Judah (1890), both powerful plays, which established his reputation.
Jones was born at Granborough, Buckinghamshire to Silvanus Jones, a farmer. He began to earn his living early, his spare time being given to literary pursuits. He was twenty-seven before his first piece, Only Round the Corner, was produced at the Exeter Theatre, but within four years of his debut as a dramatist he scored a great success with The Silver King (November 1882), written with Henry Herman, a melodrama produced by Wilson Barrett at the Princess's Theatre, London. Its financial success enabled the author to write a play "to please himself."
Saints and Sinners (1884), which ran for two hundred nights, placed on the stage a picture of middle-class life and religion in a country town, and the introduction of the religious element raised considerable outcry. The author defended himself in an article published in the Nineteenth century (January 1885), taking for his starting-point a quotation from the preface to Molière's Tartuffe.
His next serious piece was The Middleman (1889), followed by Judah (1890), both powerful plays, which established his reputation.
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Displaying 1 of 1 review
May 24, 2021
The book was a real pleasure to read, it was fresh, erudite, and surprisingly modern in outlook. Few key takeaways:
1. There is an institutional impact on the type of drama being produced. First night audience plays a disproportionately important role in the final judgment of the play. This skews the author towards becoming more conservative and less willing to take risk. The author compares it to the situation: if art galleries allowed viewers to put down their umbrella on painting they did not like. All artists would have started drawing paintings which made sure they would survive the exhibition.
2. Bad play succeeding is much worse than good play not succeeding. As sooner or later good play will rise up but the other sends all the wrong signal
3. At the end of the day , mass audience are the key and true judge. This is a key message of the book. Its not like people have become dumb but rather people are not getting good quality play. The author argues , more people are watching Shakespeare than before. Artsy is not equivalent to good play
4. Acts that focus on our emotion have greater impact than scenic effect. (Similar to story versus special effects)
5. Two pleasures : Art Pleasure versus Amusement Pleasure (baser). Drama may not be amusing because it was boring or because it elevated our mind/intellect/feeling, we shouldn't confuse the two. Nobody says Art Galleries are amusing but that does not imply they are not pleasurable. All entertainment have a place and dramatic Art need to focus on elevating our senses.
6. Drama focuses on Essential and not reality. Nature has years to convey reality , the inner working of person. A drama has mere 3 hours to showcase this and so must compress select. Hamlet soliloquy is unreal but is capturing the inner working of the mind. Just like status don't look like human but capture their essential feature, drama does the same with our life.
I loved this book and it was a gem. Thank countryhouselibrary Uk for sending me this 👏
1. There is an institutional impact on the type of drama being produced. First night audience plays a disproportionately important role in the final judgment of the play. This skews the author towards becoming more conservative and less willing to take risk. The author compares it to the situation: if art galleries allowed viewers to put down their umbrella on painting they did not like. All artists would have started drawing paintings which made sure they would survive the exhibition.
2. Bad play succeeding is much worse than good play not succeeding. As sooner or later good play will rise up but the other sends all the wrong signal
3. At the end of the day , mass audience are the key and true judge. This is a key message of the book. Its not like people have become dumb but rather people are not getting good quality play. The author argues , more people are watching Shakespeare than before. Artsy is not equivalent to good play
4. Acts that focus on our emotion have greater impact than scenic effect. (Similar to story versus special effects)
5. Two pleasures : Art Pleasure versus Amusement Pleasure (baser). Drama may not be amusing because it was boring or because it elevated our mind/intellect/feeling, we shouldn't confuse the two. Nobody says Art Galleries are amusing but that does not imply they are not pleasurable. All entertainment have a place and dramatic Art need to focus on elevating our senses.
6. Drama focuses on Essential and not reality. Nature has years to convey reality , the inner working of person. A drama has mere 3 hours to showcase this and so must compress select. Hamlet soliloquy is unreal but is capturing the inner working of the mind. Just like status don't look like human but capture their essential feature, drama does the same with our life.
I loved this book and it was a gem. Thank countryhouselibrary Uk for sending me this 👏
Displaying 1 of 1 review