William Shakespeare: The Critical Heritage Volume 6 1774-1801Brian Vickers Routledge, 2003 M09 1 - 664 páginas The Critical Heritage gathers together a large body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling students and researchers to read for themselves, for example, comments on early performances of Shakespeare's plays, or reactions to the first publication of Jane Austen's novels. The carefully selected sources range from landmark essays in the history of criticism to journalism and contemporary opinion, and little published documentary material such as letters and diaries. Significant pieces of criticism from later periods are also included, in order to demonstrate the fluctuations in an author's reputation. Each volume contains an introduction to the writer's published works, a selected bibliography, and an index of works, authors and subjects. The Collected Critical Heritage set will be available as a set of 68 volumes and the series will also be available in mini sets selected by period (in slipcase boxes) and as individual volumes. |
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Página 8
... plays were more violent (No. 257, note 16), and he also added notes to this 1778 edition to rebut the charge made by Dr ... play, and finds the scene between Peter and his master 'a burlesque combat, a most farcical intrusion upon tragic ...
... plays were more violent (No. 257, note 16), and he also added notes to this 1778 edition to rebut the charge made by Dr ... play, and finds the scene between Peter and his master 'a burlesque combat, a most farcical intrusion upon tragic ...
Página 11
... play's subject correctly. So the anonymous author of one of the best essays on Othello in this period (No. 300), described the play as having for its subject 'the destruction of Desdemona', which Shakespeare never loses sight of; and a ...
... play's subject correctly. So the anonymous author of one of the best essays on Othello in this period (No. 300), described the play as having for its subject 'the destruction of Desdemona', which Shakespeare never loses sight of; and a ...
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... play in this period (No. 277, notes 21–3). For Davies, Cordelia is 'an example of filial piety', and in the work of ... plays as dramatic experiences, with Richardson both plays and characters are reduced to moral demonstrations, at ...
... play in this period (No. 277, notes 21–3). For Davies, Cordelia is 'an example of filial piety', and in the work of ... plays as dramatic experiences, with Richardson both plays and characters are reduced to moral demonstrations, at ...
Página 20
... play as a whole. More intelligent are Stack's answer to Morgann (No. 292), and Kemble's to Whately (No. 285), both of which show the damaging effect that a misconception of character can have on our total experience of the play. I have ...
... play as a whole. More intelligent are Stack's answer to Morgann (No. 292), and Kemble's to Whately (No. 285), both of which show the damaging effect that a misconception of character can have on our total experience of the play. I have ...
Página 28
... play and the dramatist's purpose), but is none the less full of penetrating criticism. The contrast between ... play: as a writer in the English Review put it, Kemble proves that 'the intrepidity of Macbeth cannot be called in question ...
... play and the dramatist's purpose), but is none the less full of penetrating criticism. The contrast between ... play: as a writer in the English Review put it, Kemble proves that 'the intrepidity of Macbeth cannot be called in question ...
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William Shakespeare: The Critical Heritage Volume 6 1774-1801 Brian Vickers Vista previa limitada - 2003 |
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admiration Antony appears audience Banquo beauty Capell character circumstances Cleopatra comedy composition conduct copies Coriolanus cowardice criticism Cymbeline death drama edition editors effect English essay exhibited expression Falstaff fancy feelings Folio Garrick genius George Steevens Hamlet head-note Henry Henry VI honour human humour Iago Ibid idea II.ii imagination Johnson Juliet Julius Caesar King Lear king’s labour Lady Laertes language Love’s Labour’s Lost Macbeth madness Malone Malone’s manner merit Midsummer Night’s Dream mind moral Morgann murder nature never object observed occasion Ophelia Othello passages passion perhaps person piece play poet poet’s poetical poetry praise Prince Quartos Quotes reader remarkable Review Richard Richard III ridicule Ritson Romeo says scene seems sense sentiments Shakespeare shew Sonnet speech stage Steevens Steevens’s suppose syllables taste theatre thou thought Timon Timon of Athens Titus Andronicus tragedy Trochee verse Winter’s Tale words writer