Shakespearean CriticismMichelle Lee This detailed series provides comprehensive coverage of critical interpretations of the plays of Shakespeare. Volumes one through ten present critical overviews of each play and feature criticism from the 17th century to the present. Volumes 11-26 focus on the history of Shakespeare's plays on the stage and in important film adaptations. Volumes 27-56 focus on criticism published after 1960 and provide readers with thematic approaches to Shakespeare's works. Starting with Vol. 57 the series provides general criticism published since 1990 and historical criticism not featured in previous volumes on four to five plays or works per volume. Beginning with Vol. 60, the series replaced its annual compilation of essays representing the year's most noteworthy Shakespearean scholarship with topic entries, comprised of essays that analyze various topics or themes found Shakespeare's works. Approximately 90-95% of critical essays are full text. Each volume includes a cumulative character index, a topic index and a topic index arranged by play title. |
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Page 25
... play's preposterous extremes . " ] Shakespeare's densely plotted late romance Cymbeline is an unruly animal . Let the ornery thing run wild and it will bowl you over . Try to tame it and you're in trouble , too . Smooth out its ...
... play's preposterous extremes . " ] Shakespeare's densely plotted late romance Cymbeline is an unruly animal . Let the ornery thing run wild and it will bowl you over . Try to tame it and you're in trouble , too . Smooth out its ...
Page 192
... play's theatrical pace at a time when audiences ' energies might fairly be thought to be at risk of flagging . It is not that such cuts would substantially reduce the playing - time of Richard III ( its First Quarto was still the longest ...
... play's theatrical pace at a time when audiences ' energies might fairly be thought to be at risk of flagging . It is not that such cuts would substantially reduce the playing - time of Richard III ( its First Quarto was still the longest ...
Page 280
... play's central character ; he has far more lines than anyone else ' and manipulates the other characters throughout . One's reaction to Prospero almost inevitably determines one's response to the entire play . In the eighteenth century ...
... play's central character ; he has far more lines than anyone else ' and manipulates the other characters throughout . One's reaction to Prospero almost inevitably determines one's response to the entire play . In the eighteenth century ...
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Common terms and phrases
Antonio Ariel associated audience become Belarius body politic Britain Caesar Caliban Cambridge characters Christ Christian Cloten conscience Coriolanus court critics Cymbeline Cymbeline's daughter death divine dramatic early modern edition Elizabeth Elizabethan emblem emblem books emblematic ence England English Erwin Panofsky essay father Ferdinand figure Guiderius Hamlet Henry Henry VI heroic human Iachimo icon iconography imagery Imogen Innogen island Jacobean James John King Lear language London Lord Lucrece Macbeth magic manacle marriage Mars masque means melancholy Miranda moral murder nature Ophelia Othello performance Pericles play play's Posthumus Posthumus's Prince Prospero Queen rape reference Renaissance rhetorical Richard Richard III Roman Rome royal Saturn scene sense sexual Shake Shakespeare soul speare speare's speech spirit stage Stephano suggests Sycorax symbolic Tempest theater thee thou throne tion Titus Andronicus tradition tragedy Univ University Press visual Wild Winter's Tale words wounds York