The wide range of Joanna Baillie’s output within the mainstream of Romantic drama displays a consistent creative itinerary which, starting from the series experiments in her _Plays on the Passions_ (1798-1812), culminates in her conscious choice of a hybrid form in her last published – and never performed – play _Witchcraft_ (1836). The aim of this essay is to highlight how certain aspects of Baillie’s historical and cultural identity – while re-moulding eighteenth-century philosophical and moral traditions – take on a recognisably Romantic configuration, and at the same time are of primary importance in determining the changing forms of her dramatic discourse.
“Dramatic Discourse and the Romantic Stance in Joanna Baillie’s Theatre"
DELLAROSA, Franca
2014-01-01
Abstract
The wide range of Joanna Baillie’s output within the mainstream of Romantic drama displays a consistent creative itinerary which, starting from the series experiments in her _Plays on the Passions_ (1798-1812), culminates in her conscious choice of a hybrid form in her last published – and never performed – play _Witchcraft_ (1836). The aim of this essay is to highlight how certain aspects of Baillie’s historical and cultural identity – while re-moulding eighteenth-century philosophical and moral traditions – take on a recognisably Romantic configuration, and at the same time are of primary importance in determining the changing forms of her dramatic discourse.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
