Closet Drama
An important trend from around 1800 was the closet drama: a verse drama intended to be read from the page, rather than performed. Lord Byron and Shelley, as well as a host of lesser figures, devoted much time to the closet drama, in a signal that the verse tragedy was already in a state of obsolescence. That is, while poets of the eighteenth century could write so-so poetic dramas, the public taste for new examples was already moving away by the start of the nineteenth century, and there was little commercial appeal in staging them.
Instead, opera would take up verse drama, as something to be sung: it is still the case that a verse libretto can be successful. Verse drama as such, however, in becoming closet drama, became simply a longer poetic form, without the connection to practical theatre and performance.
According to Robertson Davies in A Voice From the Attic, closet drama is "Dreariest of literature, most second hand and fusty of experience!". But indeed a great deal of it was written in Victorian times, and afterwards, to the extent that it became a more popular long form at least than the faded epic. Prolific in the form were, for example, Michael Field and Gordon Bottomley.
Read more about this topic: Verse Drama And Dramatic Verse
Famous quotes containing the words closet and/or drama:
“I am not of the opinion generally entertained in this country [England], that man lives by Greek and Latin alone; that is, by knowing a great many words of two dead languages, which nobody living knows perfectly, and which are of no use in the common intercourse of life. Useful knowledge, in my opinion, consists of modern languages, history, and geography; some Latin may be thrown into the bargain, in compliance with custom, and for closet amusement.”
—Philip Dormer Stanhope, 4th Earl Chesterfield (1694–1773)
“The drama is complete poetry. The ode and the epic contain it only in germ; it contains both of them in a state of high development, and epitomizes both.”
—Victor Hugo (1802–1885)