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authors drew inspiration from earlier writers. More significantly, the spread of printing, slow increase in literacy, and the development of capitalism conspired to shape a modern concept of text and authorship. In this context, one sees "continuators" in the modern sense: authors either inspired or
166:, although they were not strictly continuators as, for the most part, they did not invent or even extrapolate much from the received stories, choosing to alter the tone and treatment rather than the stories.
196:, but in that it continues a historical ethos. This move, by connecting the Roman empire both culturally and pseudo-historically to the Homeric myth, is commonly viewed as a move by
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expresses this common analysis of Virgil when he writes, "There is more than one reminder in the poem that its hero Aeneas is ancestor of
Octavian through the supposed descent of
138:). This phenomenon differs from those authors who, because they share a common culture, use characters or themes from a common cultural stock.
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hired to complete or continue a predecessor's concept. This habit was most noticeable in the most commercialized spheres of literature.
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to legitimize the Roman empire. For instance, the epic opens with a summary of the progress of Aeneas and his progeny (in
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classical literature out of the common stock of oral tradition proved conducive to reworkings, revisions, and
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423:. *Patrick Cullen Colborn, ed. Women Writers in English, 1350–1850. Oxford: Oxford University Press.
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297:. Controversial literature was amenable to such continuations, as evidenced most especially by the
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or novel fragment. The new work may complete the older work (as with the numerous continuations of
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172:, on the other hand, may be regarded as systematic continuators of Greek models. The pinnacle of
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This article is about literary continuators. For a 'continuator state' in geopolitics, see
374:. A.R. Braunmuller and Daniel Hattaway, eds. Cambridge: Cambridge University Press. 53–92.
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The
Imperial Muse: Ramus Essays on Roman literature of the Empire to Juvenal through Ovid
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96:, is a writer who creates a new work based on someone else's prior text, such as a
402:. Materialien zur Kunde des älteren englischen dramasche. Louvain: A. Uystpruyst.
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430:
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The Plays of
Beaumont and Fletcher: Sexual Themes and Dramatic Representation
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188:: not only in that it follows a minor character from his imagined origins in
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Ben Jonson's The Sad
Shepherd, with Francis Waldron's Continuation
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Writer who creates a new work based on someone else's prior text
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Braunmuller, A. R. (1990) "The Arts of the
Dramatist."
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Poetic
Allusion and Poetic Embrace in Ovid and Vergil
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Playing
Companies and Commerce in Shakespeare's Time
158:'s golden age revived and reworked stories of the
416:. Ann Arbor, Mich.: University of Michigan Press.
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229:The Latian realm, and built the destin'd town;
209:Arms, and the man I sing, who, forc'd by fate,
421:A Continuation of Sir Philip Sidney's Arcadia
346:, Oxford: Oxford University Press, 1969, 1–2.
241:From whence the race of Alban fathers come,
233:His banish'd gods restor'd to rites divine,
221:Long labors, both by sea and land, he bore,
367:. Berwick, Australia: Aureal Publications.
217:Expel'd and exil'd, left the Trojan shore.
76:Learn how and when to remove this message
409:. Cambridge: Cambridge University Press.
381:. Cambridge: Cambridge University Press.
372:Cambridge Companion to Renaissance Drama
237:And settled sure succession in his line,
39:This article includes a list of general
182:, is essentially a continuation of the
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245:And the long glories of majestic Rome.
225:And in the doubtful war, before he won
291:continues and lampoons Shakespeare's
283:. As an instance of sequel-writing,
213:And haughty Juno's unrelenting hate,
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344:An Introduction to Virgil's Aeneid
260:Like their medieval predecessors,
45:it lacks sufficient corresponding
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395:. New York: Harvester Wheatsheaf.
388:. 4 vol. Oxford: Clarendon Press.
128:, an authorized continuation of
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358:The European Tragedy of Troilus
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257:through Aeneas' son Julius."
279:, a late unfinished play by
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118:to the older work (such as
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360:. Oxford: Clarendon Press.
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363:Boyle, A. J., ed (1988).
271:Francis Godolphin Waldron
405:Knutson, Roslyn (2001).
384:Chambers, E. K. (1923).
377:Cairns, Francis (1989).
332:
356:Boitani, Piero (1989).
294:The Taming of the Shrew
60:more precise citations.
391:Clark, Sandra (1994).
379:Virgil's Augustan Epic
154:. Numerous writers of
419:Weamys, Anna (1994).
412:Smith, Alden (1997).
386:The Elizabethan Stage
398:Greg, W. W. (1905).
104:'s unfinished novel
21:succession of states
326:Tintin and Alph-Art
192:to his founding of
174:Augustan literature
146:The development of
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267:Elizabethan drama
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262:Renaissance
251:W. A. Camps
202:John Dryden
102:Jane Austen
90:continuator
58:introducing
431:Categories
281:Ben Jonson
273:completed
160:Trojan War
94:literature
41:references
255:the Julii
66:June 2022
319:See also
301:affair;
148:European
125:Scarlett
107:Sanditon
351:Sources
308:Arcadia
152:satires
142:History
116:prequel
54:improve
198:Virgil
179:Aeneid
176:, the
156:Greece
112:sequel
43:, but
333:Notes
185:Iliad
98:novel
92:, in
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190:Troy
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