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Bertram, or, The castle of St. Aldobrand

作者: Charles Robert Maturin
出版商: Oxford [England] ; New York : Woodstock Books ; Rutherford, N.J. : Distributed in USA by Publishers Distribution Center, 1992.
叢書: Revolution and romanticism, 1789-1834.
版本/格式:   Print book : 英語所有版本和格式的總覽
資料庫:WorldCat
提要:
"The author of Melmoth the wanderer (1820) was an Anglican curate in Dublin struggling to maintain his family when Bertram, with the support of Scott and Byron, was produced at Drury Lane. It is a play of violent and excessive emotions. Kean played the title role, one of those villain-heroes descended from Schiller's Moor, and made the part his own. There were opportunities for elaborate stage effects, notably the  再讀一些...
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其他的實體格式: Online version:
Maturin, Charles Robert, 1780-1824.
Bertram, or, The castle of St. Aldobrand.
Oxford [England] ; New York : Woodstock Books ; Rutherford, N.J. : Distributed in USA by Publishers Distribution Center, 1992
(OCoLC)645853770
文件類型: 圖書
所有的作者/貢獻者: Charles Robert Maturin
ISBN: 1854771205 9781854771209
OCLC系統控制編碼: 26855232
注意: Originally published 1816.
描述: 94 pages ; 21 cm.
叢書名: Revolution and romanticism, 1789-1834.
其他題名: Bertram
Castle of St. Aldobrand
責任: Charles Maturin.

摘要:

"The author of Melmoth the wanderer (1820) was an Anglican curate in Dublin struggling to maintain his family when Bertram, with the support of Scott and Byron, was produced at Drury Lane. It is a play of violent and excessive emotions. Kean played the title role, one of those villain-heroes descended from Schiller's Moor, and made the part his own. There were opportunities for elaborate stage effects, notably the storm in the first act. The audience was in the mood for Gothic melodrama, and the production was a resounding success, making for its author about 1,000. Coleridge (whose Remorse three years earlier earned 400) wrote a destructive critique of the play: though audiences of today's Theatre of Cruelty, used to drama dealing in emotional states rather than character and narrative, are unlikely to find his criticisms as devastating as Maturin did at the time. And the language, mocked by Coleridge, in its quieter passages has a steady power."--Jacket.

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