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Dramatic Traditions 



the Darii Ages 



By JOSEPH S. TUN ISO N 



HIS book will be of deep interest 

 to the following classes of lettered 

 persons: actors, because it deals 

 with something of stage technique; 

 dramatists, because it raises the question 

 of the definition of the drama; literary 

 historians, because the author has 

 strayed beyond conventional limits; gen- 

 eral historians, because he has tried 

 openly to subvert received opinions as 

 to the first half of the mediaeval period; 

 the regular critics of the stage, because 

 he has sought dramatic traditions out of 

 the theater as well as within; Greek and 

 Latin classicists, because their attention 

 is called to very good reading in a period 

 of decadence; Rpmanticists, because the 

 author is skeptical of all pretenses to 

 originality; ecclesiastics, because the 

 chapter of the theater in the history of 

 the church is one they have neglected; 

 general readers and amateur students of 

 the drama, because they will find novel- 

 ties, and novelties are always of interest. 

 The book is written with the candid in- 

 scattered facts 



tent 



concentrating 



upon lines leading to a rational hypothe- 



sis respectmg an 

 history. 



important period 

 It gleans, if it does not reap, a 

 neglected field. It can hardly fail 

 stimulate investigation in the mediaeval 

 drama, and it opens up the rich, almost 

 forgotten realm of Byzantine literature. 

 Its most vital purpose will be served, if 

 it wakes men of letters of all ranks to 

 the fact that they have missed something, 



CONDENSED TABLE OF CONTENTS 



Chapter I. Traditions Due to the War Between 



Church and Theater 

 Chapter IT, Traditions of Dramatic Impulses in 



Religion 

 «-HAPTER III. Eastern Traditions and Western Devel- 



opment 

 Chapter IV. Traditions by Way of Ancient and 



Mediaeval Italy, 



3SO pages. i2mo, cloth. Net $/.2S 



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