Hermann Fischer's lively and original study of Romantic verse narrative traces the origins and development of this poetic form in the late eighteenth and early nineteenth centuries. It brings together the longer epic verse tales of Scott, Byron and Southey and the more lyrical forms of Romantic narrative poetry in the revealing but neglected context of the genre and its history. Professor Fischer addresses the question of genre from both theoretical and historical viewpoints. His study illuminates many areas of Romantic literature, including the role of the medieval revival and the decline of neoclassicism, the relative importance of popular and more literary sources, and questions of changing taste and the reading public. This translation, extensively revised and updated, makes Hermann Fischer's acclaimed study available for the first time in English.
Études Européennes en Littérature AnglaiseSéries
Cette série explore le paysage riche et diversifié de l'histoire littéraire anglaise. Elle examine les œuvres clés, les auteurs et les mouvements qui ont façonné le genre au fil des siècles. Chaque volume offre des aperçus profonds sur l'évolution et l'impact de la littérature anglaise, de ses origines à nos jours. C'est une lecture essentielle pour quiconque apprécie la tradition littéraire britannique et son héritage durable.



Ordre de lecture recommandé
Hermann Fischer's acclaimed study delves into the intricacies of Romantic verse narrative, exploring its themes, styles, and cultural significance. This English translation provides readers with insights into the evolution of poetic storytelling during the Romantic era, highlighting key works and their impact on literature. Fischer's analysis offers a fresh perspective on the narrative techniques and emotional depth characteristic of this influential period in literary history.
The mystery plays of medieval England have traditionally been analysed in ways which centre on the texts and their religious significance. Hans-Jurgen Diller's major study, first published in German, seeks to recover their dramatic potential by focusing on the function of language in conventional modes of speech, prayer, address and dialogue. He looks at speech and dramatic form in the plays to reveal new insights concerning spatial and temporal orientation, the expression of emotions, and the relationships between characters on stage, between actor and audience, and between the dramatic world and the ordinary world outside it. His analysis offers new ways of understanding the relationship of vernacular drama to its liturgical antecedents, and new means of distinguishing stylistically between the cycles and between the groups of plays they comprise.