![]() ![]() Ideally, it is a language such as all men do use. The language that is spoken by this generic hero is, at least by design, an uninflected language, purged of obscurity or provinciality. It rises unswervingly from a common nature, which is analyzable and responsive to law. His behavior is predictable and therefore determined. The truth it is after transcends the particular exemplification. (The comment is not tenable of Shakespeare but it holds, I think, for most of his fellows.) T o the degree that this new drama prefers the general formulation, it tends to depreciate particulars as necessarily parochial. ![]() For that reason, it is suspicious of analogy and exemplification. It desires to come to the heart of the matter. Like the Morality, it is zealous for truth but not for the in digenous or phenomenal truth. Its governing dictate is expressed in the proposition, Universalia ante rem. In lieu of an abstract, here is a brief excerpt of the content:Įlizabethan Drama and The Art of Abstraction Russell Fraser The new drama of the Renaissance, as its roots are in the medieval Morality play, is notably partial to abstraction and to generalization. ![]()
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