The Liturgical Element In The Earliest Forms Of The Medieval Drama: With Special Reference To The English And German Plays (1916) - Softcover

Kretzmann, Paul Edward

9781165087716: The Liturgical Element In The Earliest Forms Of The Medieval Drama: With Special Reference To The English And German Plays (1916)

Softcover

ISBN 10: 1165087715 ISBN 13: 9781165087716

Verlag: Kessinger Publishing, 2010

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The Liturgical Element in the Earliest Forms of the Medieval Drama: With Special Reference to the English and German Plays is a scholarly work written by Paul Edward Kretzmann and first published in 1916. The book explores the role of liturgy in the development of early medieval drama in Europe, with a particular focus on the English and German plays.Kretzmann argues that the liturgical practices of the medieval church played a significant role in shaping the earliest forms of drama in Europe. He examines the ways in which religious rituals and ceremonies were adapted and transformed into dramatic performances, and how these performances evolved over time to become more elaborate and complex.The book provides a detailed analysis of a number of early medieval plays, including the Anglo-Saxon religious drama Beowulf and the Germanic mystery play The Play of Antichrist. Kretzmann explores the themes and motifs that are common to these plays, and shows how they reflect the liturgical practices and beliefs of the medieval church.Overall, The Liturgical Element in the Earliest Forms of the Medieval Drama is an important work of scholarship that sheds light on the origins and development of medieval drama in Europe. It will be of interest to scholars of medieval literature, drama, and religious studies, as well as anyone interested in the history of the medieval church and its influence on European culture.This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

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Rese�a del editor

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

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As indicated in the introduction below, the present author is by no means the first to point out liturgical formulae in the religious drama. He has merely gone somewhat farther in the application of the idea than has hitherto been attempted. It is also proper to acknowledge that liturgical tags may in many instances have found place in the religious drama by irtue of their having been transferred thither as part of epical or homiletic source material at a later stage than that of the dramatic office in the church ser4ce. There can be no question but that the liturgy also underlies a great portion of medieval religious literatiire and may therefore read Uyhave been a part of secondarysources. During the preparation of this monograph, it was necessary to consult also epical and lyrical poetry of the Middle A ges to some extent, and it became eident --ith increasing clearness that these branches of literature were influenced largely by the liturgy of the church. In the German field the poem Biblische geschichte von der Beschaffunge diser Welt bisz aufs jungst gericht gereymt, and in the English field The Northern Passion, are cases in point. There is also, no doubt, a certain reactive influence of secular upon religious literature. The English Harrosnng of Hell is possibly an instance of this kind. If it were possible to discover more manuscripts of this particular vork, the difficulty might be solved. Whether the contention advanced a few years ago that this play may have originated with the vork of Cynewulf can ever be sustained by the discovery of sufficient evidence, is more than doubtful. In the case of the great body of plays, except those on apochryphal subjects and from apochryphal sources, the contention of the thesis seems to be borne out by thee idence presented even when due allowance is made for the post-liturgical introduction of liturgical materi
(Typographical errors above are due to OCR software and don't occur in the book.)

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