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Renaissance Drama in England and Spain

Topical Allusion and History Plays

John Clyde Loftis

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Geisteswissenschaften, Kunst, Musik / Englische Sprachwissenschaft / Literaturwissenschaft


Spain alone produced a Renaissance drama comparable to that of England, yet the two nations were enemies, separated by the worldwide conflict of Catholics and Protestants. Major dramatists on both sides addressed the divisive issues: Lope de Vega, Tirso de Molina, and Calderon de la Barca in Spain; Shakespeare, Marlowe, Chapman, Massinger, and Middleton in England. In this comprehensive work, a distinguished authority on drama examines history plays, masques, and spectacles, with close attention to the changing development of the two national dramas, he directs us to the study of their suprrising similarities.
The author's lucid exposition makes possible an assessment of the commentary on historical events provided by the dramatists. In the early years of the Thirty Years' War, he points out, dramtaists unknowingly carried on a dialogue now audible to us: Massinger and Middleton warn of Spain's intentions; Lope, Tirso, and Calderon provide assurance that their English coutnerparts were not alarmists. Goruping works chronologically by subject or thematic relevance to phases of Anglo-Spanish relations in broad European context, Professor Loftis examines Lope's plays about the campaigns fought by the Spanish Army of Flanders and Marlowe's and Chapman's plays about French history from 1572 to 1602.
John Loftis is Margery Bailey Professor of English Emeritus at Stanford University. He is author of numerous works, including The Spanish Plays of Neoclassical England (Yale) and Sheridan and the Drama of Georgian England (Blackwell/Harvard).

Originally published in 1987.

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Richard II of England, Beaumont and Fletcher, English drama, Spanish Match, Love's Cure, Spaniards, William III of England, Bartolomé de las Casas, Battle of Fleurus (1690), Siege of Breda (1624), Capture of Maastricht, Charles V, Holy Roman Emperor, War of the Mantuan Succession, Holy Roman Empire, Lope de Vega, Poetry, Spanish Empire, Siege of Mons (1572), Fair Maid, Pacification of Ghent, French Wars of Religion, Leonard Digges (writer), Gorboduc (play), The Tudors, Moors, Neoclassicism, Habsburg Spain, Literary theory, Maastricht, Petrarch, Herbert family, Perkin Warbeck, Catholic Monarchs, Ibid (short story), England, Allusion, Dutch Revolt, Spanish Road, A Game at Chess, Thirty Years' War, Spanish Golden Age, Council of Castile, Philip IV of Spain, Writing, Sophocles, Norman conquest of England, Louis of Nassau, Army of Flanders, Siege of Breda (1637), Spanish Netherlands, English Renaissance theatre, William Shakespeare, Pedro Calderón de la Barca, Fadrique, Master of the Revels, Shakespeare's reputation, Alfonso VIII of Castile, Mirrors for princes, Cardinal Richelieu, Prince of Orange, Henry II of England, Thomas Wolsey, Cambridge University Press, Spanish Armada, Tirso de Molina, Earl of Bristol, The Renegado, House of Habsburg, Imperialism, Protestantism, La Conquista (opera), Anne Boleyn, Neptune's Triumph for the Return of Albion, Huguenot, English Renaissance, Henry VIII of England, Geoffrey (archbishop of York), Gerard Langbaine, Morality play, Censorship, Sack of Antwerp, Franco-Spanish War (1635–59), Dutch Republic, Puritans, Shakespeare's plays, Fernando de Rojas, Literature, English Reformation, Capture of Breda (1590), Antonio de Mendoza, Catholic Church in England and Wales, The Truce, Classicism, Protestant Union, Tragicomedy, Invasion of England (1326), Duke of Alba, Spanish Army, Playwright, Trojan War