Description
Book SynopsisDisplaced to Italy by their politics and morals, Byron and Shelley wrote, between 1816 and 1823, a series of closet dramas that the author reveals as being deeply embedded in contemporary radical culture. Why did they write dramas in Italy that were to be published in England but not to be produced theatrically? Why do these dramas invoke and apparently oppose textual and theatrical versions of themselves? In answering these questions, this book addresses other questions about the historical invention of English literature, the relation between literature and drama, and the relation between literature and political culture.
The plays are shown to acquiesce in, and yet also resist, subvert, and ironize by means of a parodic self-censorship, the political, theatrical, and ecclesiastical censorship of the post-Waterloo period. The author argues that they not only explore questions of political action in their plots but also reconstruct, by reconvening, a radical audience that had
Trade Review
"Its impressively learned contentions from topics of historical fact are framed in a thoughtful context of literary-theoretical debate. . . . The scholarship and the critical perspicuity of Closet Performances make this book one of the best on its topic and one that is likely to be valuable as a resource and as a locus for contention for a long time to come."—Studies in Romanticism
Table of Contents
Acknowledgments; Introduction; Part I: 1. The theoretical management of theatrical spectacle; 2. The politics of language and the language of politics; Part II. 3. The matter of political drama; 4. The economic comedy of (self)censorship; Part III: 5. Secrets of the closet: the private mind and public body; Envoi: across the stage of Europe; Notes; Selected bibliography; Index.
