A midsummer's night dream / edited by Judith M. Kennedy and Richard F. Kennedy.

Format:

Book

Contributor:

Kennedy, Judith M.

Kennedy, Richard F., 1933-

Series:

Shakespeare, the critical tradition.

Shakespeare, the critical tradition

Language:

English

Subjects (All):

Comedy.

Shakespeare, William, 1564-1616. Midsummer night's dream.

Shakespeare, William.

Physical Description:

1 online resource (484 p.)

Edition:

1st ed.

Place of Publication:

London ; New Brunswick, N.J. : Athlone Press, 1999.

Language Note:

English

Summary:

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.

Contents:

CONTENTS; 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

69 Theseus, Bottom, and the Interlude, 1896

Notes:

Description based upon print version of record.

Includes bibliographical references (p. 419-435) and index.

ISBN:

9786611291822

9781281291820

128129182X

9781847141750

1847141757

OCLC:

347406550