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. 1907 edition. Excerpt: ... a very important position, and will long claim attention. The whole period from 1600 to 1630 is, as we have seen, above everything else, a period of varied styles. There are classical writers so correct that they are to serve as models for the school of 1660, such as Malherbe and Colomby; semi-classical ...
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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. 1907 edition. Excerpt: ... a very important position, and will long claim attention. The whole period from 1600 to 1630 is, as we have seen, above everything else, a period of varied styles. There are classical writers so correct that they are to serve as models for the school of 1660, such as Malherbe and Colomby; semi-classical writers such as Racan, " romantics" who are sometimes "classics," like Theophile--" romantics " imperceptibly shading off into burlesques like Saint-Amant; " fantastics " like Cyrano de Bergerac, foreshadowing Diderot. Everywhere anarchy, but in literature there is nothing to repel one in anarchy; indeed, it renders literary history all the more interesting. CHAPTER II THE DRAMA FROM HARDY TO CORNEILLE On the stage also irregularity reigned. Hardy and the "fantastics" had already shattered the classical mould which Jodelle, Gamier, and Montchretien had constructed and insisted upon. From 1610 to 1630 every kind of dramatic work was seen on the stage--pastorals which were really novels in dialogue form, tragi-comedies which were historical comedies, comedies which were farces, and even tragedies which, by chance, intention, or imitation, were tragedies proper. Something has already been said of Racan's drama entitled " Les Bergeries"; it is the very type of the pastoral adored on the stage until 1635: perpetual anachronism--Diana, Druids, soothsayers, the whole machinery on the banks of the Seine and in the most modern language. The play is simply a pretext for gallant speeches which are often very pleasingj for descriptions often very beautiful, and reveries which are frequently highly poetical. " Sylvanire, ou la Morte Vive," belonging to the same class--"a rustic poem in irregular verse"--must not be forgotten, because it is the work of the...
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