Engelska influenser i tre frihetstida tragedier
Joiner, Jorunn LU
(2025)
In Sjuttonhundratal: Nordic Journal for Eighteenth-Century Studies
22.
p.65-85
- Abstract
- Swedish tragedies from the first half of the eighteenth century often looked at French drama, but there are notable instances where inspiration seems to have come from elsewhere: Erik Wrangel’s Torilla (1738), for example, breaks conventions expected of French theatre by letting princes battle supernatural forces on stage; the story presented in Eric Brander’s Cleopatra (1749) seems familiar from Shakespeare’s famous tragedy on the fatal love between Mark Antony and Cleopatra; and there are strong similarities between Lady Macbeth and the tyrannical queen in Johan Göstaf Hallman’s Erik och Waldemar (c. 1750). Reading these tragedies, this article looks at how Swedish theatre from the first half of the eighteenth century might engage with... (More)
- Swedish tragedies from the first half of the eighteenth century often looked at French drama, but there are notable instances where inspiration seems to have come from elsewhere: Erik Wrangel’s Torilla (1738), for example, breaks conventions expected of French theatre by letting princes battle supernatural forces on stage; the story presented in Eric Brander’s Cleopatra (1749) seems familiar from Shakespeare’s famous tragedy on the fatal love between Mark Antony and Cleopatra; and there are strong similarities between Lady Macbeth and the tyrannical queen in Johan Göstaf Hallman’s Erik och Waldemar (c. 1750). Reading these tragedies, this article looks at how Swedish theatre from the first half of the eighteenth century might engage with English drama. I argue that while it is difficult to definitively prove intertextual connections to English plays, conventions around English drama in the eighteenth century – particularly concerning treatments of Shakespeare’s plays – can provide a fruitful context through which to read some seemingly unusual qualities in these tragedies. In this reading, the article participates in a discussion about Swedish exchanges with England in the first half of the eighteenth century, touching upon questions about translation, appropriation, and adaptation. (Less)
Please use this url to cite or link to this publication:
https://lup.lub.lu.se/record/11aff0f7-5c8a-4fdf-af63-2da14833153a
- author
- Joiner, Jorunn
LU
- organization
- publishing date
- 2025
- type
- Contribution to journal
- publication status
- published
- subject
- keywords
- Frihetstiden, Eighteenth Century studies, Tragedy, Drama, Erik Wrangel, Eric Skjöldebrand, Johan Göstaf Hallman, Shakespeare, English drama, cultural exchange, adaptation, dramatic conventions
- in
- Sjuttonhundratal: Nordic Journal for Eighteenth-Century Studies
- volume
- 22
- pages
- 21 pages
- publisher
- Swedish Society for Eighteenth-Century Studies
- ISSN
- 1652-4772
- DOI
- 10.7557/4.8406
- language
- Swedish
- LU publication?
- yes
- id
- 11aff0f7-5c8a-4fdf-af63-2da14833153a
- date added to LUP
- 2026-03-21 14:35:39
- date last changed
- 2026-03-26 13:33:06
@article{11aff0f7-5c8a-4fdf-af63-2da14833153a,
abstract = {{Swedish tragedies from the first half of the eighteenth century often looked at French drama, but there are notable instances where inspiration seems to have come from elsewhere: Erik Wrangel’s Torilla (1738), for example, breaks conventions expected of French theatre by letting princes battle supernatural forces on stage; the story presented in Eric Brander’s Cleopatra (1749) seems familiar from Shakespeare’s famous tragedy on the fatal love between Mark Antony and Cleopatra; and there are strong similarities between Lady Macbeth and the tyrannical queen in Johan Göstaf Hallman’s Erik och Waldemar (c. 1750). Reading these tragedies, this article looks at how Swedish theatre from the first half of the eighteenth century might engage with English drama. I argue that while it is difficult to definitively prove intertextual connections to English plays, conventions around English drama in the eighteenth century – particularly concerning treatments of Shakespeare’s plays – can provide a fruitful context through which to read some seemingly unusual qualities in these tragedies. In this reading, the article participates in a discussion about Swedish exchanges with England in the first half of the eighteenth century, touching upon questions about translation, appropriation, and adaptation.}},
author = {{Joiner, Jorunn}},
issn = {{1652-4772}},
keywords = {{Frihetstiden; Eighteenth Century studies; Tragedy; Drama; Erik Wrangel; Eric Skjöldebrand; Johan Göstaf Hallman; Shakespeare; English drama; cultural exchange; adaptation; dramatic conventions}},
language = {{swe}},
pages = {{65--85}},
publisher = {{Swedish Society for Eighteenth-Century Studies}},
series = {{Sjuttonhundratal: Nordic Journal for Eighteenth-Century Studies}},
title = {{Engelska influenser i tre frihetstida tragedier}},
url = {{http://dx.doi.org/10.7557/4.8406}},
doi = {{10.7557/4.8406}},
volume = {{22}},
year = {{2025}},
}