Shakespearean Criticism: Excerpts from the Criticism of William Shakespeare's Plays and Poetry, from the First Published Appraisals to Current Evaluations, Volumes 1-25; Volume 154Laurie Lanzen Harris, Mark Scott "Volumes 1 through 10 of the series present a unique historical overview of the critical response to each Shakespearean work, representing a broad range of interpretations. Volumes 11 through 26 recount the performance history of Shakespeare's plays on th stage and screen through eyewitness reviews and retrospective evaluations of individual productions, comparisons of major interpretations, and discussions of staging issues. Beginning with Volume 27 in the series, SC focuses on criticism published after 1960, with a view to providing the reader with the most significant modern critical approaches. Each of these volumes is organized around a theme that is central to the study of Shakespeare, such as politics, religion, or sexuality." [Scope of the Series note, vol. 37.] |
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Page 53
... Richard II . ( p . 215 ) The most constant running metaphor and picture in Shake- speare's mind in the early ... III , and making it finally the central theme of Richard II . Thus , in a scene undoubtedly written by him [ 2 Henry VI ...
... Richard II . ( p . 215 ) The most constant running metaphor and picture in Shake- speare's mind in the early ... III , and making it finally the central theme of Richard II . Thus , in a scene undoubtedly written by him [ 2 Henry VI ...
Page 68
... [ Richard III , III . vii ] , and the merchant class is little represented . Of course , in Shakespeare , criticism goes hand in hand with sympathetic understanding of the common people . Of this type of comedy we have the clashes between ...
... [ Richard III , III . vii ] , and the merchant class is little represented . Of course , in Shakespeare , criticism goes hand in hand with sympathetic understanding of the common people . Of this type of comedy we have the clashes between ...
Page 151
... [ III . i . 37-8 ] . Henry appreciates the likelihood of dra- matic conflict between these antagonists . And in his ... Richard and Clarence play audience and comic interlocutors to Edward's wooing of Elizabeth . " The episode in III . ii ...
... [ III . i . 37-8 ] . Henry appreciates the likelihood of dra- matic conflict between these antagonists . And in his ... Richard and Clarence play audience and comic interlocutors to Edward's wooing of Elizabeth . " The episode in III . ii ...
Contents
Preface | 7 |
Henry VI Parts 1 2 and 3 11 | 163 |
A Midsummer Nights Dream | 356 |
Copyright | |
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A. C. Bradley action ambition appears argues audience Banquo becomes beth blood Cade character chronicle contrast crime critics crown darkness death deed dramatic dramatist Duke E. M. W. Tillyard Edward England English essay date evil excerpt fairies father fear feel forces French Gervinus Gloucester Hamlet hand Henry VI plays Henry VI trilogy Henry's Hermann Ulrici hero horror house of York human imagery images imagination innocent Jack Cade Joan killed King Henry Lady Macbeth Lear Macduff Malcolm Margaret Midsummer Night's Dream mind moral murder of Duncan nature night noble passage pity play's plot poet poetic poetry political present Queen Richard Richard III scene sense Shake Shakespeare Shakspere sleep soliloquy soul speare speare's speech spirit Suffolk suggested supernatural symbol Talbot theme Theseus thou thought throne tragedy tragic Warwick Weird Sisters whole wife William Shakespeare Wilson Knight witches words York York's