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A midsummer night's dream /
This study traces the response to ""A Midsummer Night''s Dream"" from Shakespeare''s day to the present, including critics from Britain, Europe and America.
| Clasificación: | Libro Electrónico |
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| Otros Autores: | , |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
London :
Athlone,
1999.
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| Colección: | Shakespeare, the critical tradition.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- GENERAL EDITOR''S PREFACE; PREFACE; INTRODUCTION; 1 Moral conventions and human sympathy, 1775; 2 Artists' interpretations of dramatic effects, 1787; 3 Commentary on A Midsummer Night's Dream, 1790; 4 Bottom as coxcomb, 1792; 5 Response to Malone, 1793; 6 Illustrations of some passages, 1794; 7 His fertile and creative fancy, 1800; 8 On metre, invention, and a unified whole, 1815; 9 Unity of feeling and of imagery, and the fairies, 1817; 10 Bottom, Puck, and the incompatibility of poetry and the stage, 1817; 11 Malone's last words, 1821; 12 Mainly on the fairies, 1824.
- 13 The fairy world, the clowns, the poetry, 182814 New actors on the mimic scene-the fairies, 1828; 15 Marginalia and other notes, 1836; 16 Bottom the lucky man, 1837; 17 Critics refuted, 1838; 18 Originality in structure, machinery, and language, 1839; 19 The Pictorial Edition of A Midsummer Night's Dream, 1839; 20 The poet's dream, 1840; 21 Anachronisms, Nick Bottom as Midas, and stage representation, 1841; 22 Oberon's Vision allegorized, 1843; 23 Fairy drama and human nature, 1843; 24 Poet of the Fairies, 1844; 25 A comment, with some explanatory notes, 1845.
- 26 The theme of self-parody, 184627 Introductory remarks, 1847; 28 The sister arts, and the play's structural balance, 1848; 29 A festival of dainties, 1851; 30 The Dream and Art, 1851, 1872, 1883, 1884; 31 A most charming entertainment of the stage, 1853; 32 Samuel Phelps''s Bottom, 1853; 33 Dramatic and poetic art, 1854; 34 Dialogue with a sceptic, 1854; 35 Critical remarks on the play, 1856; 36 Celtic elements, 1859; 37 Genre and inner purpose, 1863; 38 Intuitive power of characterization, 1863; 39 The play's limitations, 1864; 40 The sacred mysteries in the play, 1865.
- 41 The secret meaning of the Interlude, 186542 The perfection of imbecilic clowns, 1866; 43 Not critics, but lowly worshippers of the Beautiful, 1869; 44 The theme is love, 1871; 45 Bottom
- an ass, but no fool, 1873; 46 A Midsummer Night's Dream as masque, 1874; 47 Self-reflexive structure: the Real, the Ideal, and the Representation, 1874; 48 Shakespeare differentiated from Bacon, 1875; 49 Theseus as the central figure, 1875; 50 A comedy of incident, 1875; 51 Consummation of Shakespeare's lyrical genius, 1876; 52 Bottom, a self-made man, 1876; 53 The full glow of fancy and fun, 1877.
- 54 The wood is the world, 187955 Titania and Ovid, 1880; 56 A Platonic reading, 1884; 57 Interpreting the spoken verse, 1885; 58 Observations on the lovers and the mechanicals, 1886; 59 Poet rather than dramatist, 1888; 60 Source of the play's popularity, 1888; 61 Classical and modern, 1890; 62 Reason and desire in Oberon and Titania, 1890; 63 The development of morality and art, 1891; 64 A true work of art, 1894; 65 The duration of the action, 1895; 66 Life and art, 1895; 67 Daly and the idea of titivation, 1895; 68 Remarks on the play and modern education, 1895.