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Reader in Tragedy


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Table of Contents

Acknowledgements Notes on the Texts General Introduction Chapter One: Antiquity and the Middle Ages Introduction 1.1. Plato, The Republic 1.2. Aristotle, On The Art Of Poetry 1.3. Horace, The Art of Poetry 1.4. Longinus, On the Sublime 1.5. Evanthius, "On Drama" 1.6. Augustine, "On Stage-plays" Chapter Two: The Early Modern Period Introduction 2.1. Giovan Battista Giraldi Cinthio, Discourse or Letter on the Composition of Comedies and Tragedies 2.2. Lodovico Castelvetro, The Poetics of Aristotle 2.3. Stephen Gosson, Plays Confuted in Five Actions 2.4. Philip Sidney, Defense of Poetry 2.5. Thomas Heywood, The Apology for Actors 2.6. Pierre Corneille, from Three Discourses on Dramatic Poetry 2.7. John Milton, "Of That Sort of Dramatic Poem Which is Called Tragedy" 2.8. Rene Rapin, Reflections on Aristotle's Treatise of Poesie 2.9. John Dryden, "The Grounds of Criticism in Tragedy" Chapter Three: The Eighteenth Century Introduction 3.1. Joseph Addison and Richard Steele, The Spectator 3.2. George Lillo, "The Dedication" and "Prologue" to The London Merchant 3.3. David Hume, "Of Tragedy" 3.4. Edmund Burke, "Sympathy," "Of the Effects of Tragedy" and "The Sublime" 3.5. Jean-Jacques Rousseau, Letter to M. D'Alembert On the Theatre 3.6. Samuel Johnson, "Preface to Shakespeare" 3.7. Voltaire, "Letter XVIII. On Tragedy" 3.8. Elizabeth Montagu, An Essay on the Writings and Genius of Shakespear 3.9 Joanna Baillie, "Introductory Discourse" Chapter Four: The Nineteenth Century Introduction 4.1. August Wilhelm Schlegel, A Course of Lectures on Dramatic Art and Literature 4.2. Charles Lamb, "On the Tragedies of Shakespeare Considered with Reference for Their Fitness for Stage Representation" 4.3. William Hazlitt, Characters of Shakespeare's Plays 4.4. Percy Bysshe Shelley, A Defence of Poetry 4.5. Arthur Schopenhauer, The World as Will and Representation 4.6. G.W.F. Hegel, Aesthetics: Lectures on Fine Art 4.7. George Eliot, "The Antigone and its Moral" 4.8. Friedrich Nietzsche, The Birth of Tragedy Chapter Five: 1900 to 1968 Introduction 5.1. Sigmund Freud, from The Interpretation of Dreams 5.2. A.C. Bradley, Shakespearean Tragedy 5.3. William Butler Yeats, "The Tragic Theatre" 5.4. Virginia Woolf, "On Not Knowing Greek" 5.5. Bertolt Brecht, "A Short Organum for the Theatre" 5.6. Robert Warshow, "The Gangster as Tragic Hero" 5.7. George Steiner, Death of Tragedy 5.8. Raymond Williams, "Tragedy and Revolution" 5.9. Athol Fugard, "On A View from the Bridge" Chapter Six: Post-1968 Introduction 6.1 Augusto Boal, from The Theatre of the Oppressed 6.2. Rene Girard, "The Sacrificial Crisis" 6.3. Joseph Meeker, "Literary Tragedy and Ecological Catastrophe" 6.4. Catherine Belsey, The Subject of Tragedy 6.5. Biodun Jeyifo, "Tragedy, History and Ideology" 6.6. Nicole Loraux, The Rope and the Sword 6.7. Helene Cixous, "Enter the Theatre (in between)" 6.8. Judith Butler, "Promiscuous Obedience" 6.9. Martha Nussbaum, "The 'Morality of Pity'" 6.10. David Scott, Conscripts of Modernity Permissions Acknowledgements Supplementary Reading Index

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Reader in Tragedy is a unique, valuable collection of the major theories and philosophies of tragedy from antiquity to the 21st century, divided into historical periods and arranged chronologically.

About the Author

Marcus Nevitt is Senior Lecturer in English Literature at the University of Sheffield, UK. He is the author of Women and the Pamphlet Culture of Revolutionary England, 1640-1660 (2006) and is a contributing editor to the Cambridge Edition of the Works of Aphra Behn (2019). Tanya Pollard is Professor of English at Brooklyn College and the Graduate Center, City University of New York, USA. Her books include Greek Tragic Women on Shakespearean Stages (2017), Drugs and Theater in Early Modern England (2005), and Shakespeare's Theater: A Sourcebook (2003).

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