A Midsummer Night's Dream: Critical EssaysDorothea Kehler This volume traces the modern critical and performance history of this play, one of Shakespeare's most-loved and most-performed comedies. The essay focus on such modern concerns as feminism, deconstruction, textual theory, and queer theory. |
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Page 8
... Oberon for humiliating Titania; accidents happen: “Oberon himself, angry as he is with the caprices of his queen, does not anticipate any such object for her charmed affections [as the weaver/ass]” (99). Hermann Ulrici (1839), like his ...
... Oberon for humiliating Titania; accidents happen: “Oberon himself, angry as he is with the caprices of his queen, does not anticipate any such object for her charmed affections [as the weaver/ass]” (99). Hermann Ulrici (1839), like his ...
Page 11
... Oberon's magic is simply a great symbol, typifying the sorcery of the erotic imagination” (67), that Shakespeare “early felt and divined how much wider is the domain of the unconscious than of the conscious life, and saw that our moods ...
... Oberon's magic is simply a great symbol, typifying the sorcery of the erotic imagination” (67), that Shakespeare “early felt and divined how much wider is the domain of the unconscious than of the conscious life, and saw that our moods ...
Page 16
... Oberon's and Titania's quarrel over possession of the changeling boy, Freake concludes that the Theseus myth resurfaces in Dream because the question of patriarchal power was as vital in Elizabethan England as it had been in classical ...
... Oberon's and Titania's quarrel over possession of the changeling boy, Freake concludes that the Theseus myth resurfaces in Dream because the question of patriarchal power was as vital in Elizabethan England as it had been in classical ...
Page 19
... Oberon's call for music and a dance mark the harmonious reconciliation of king and queen, while hunting horns intimate harmony among the newly awakened lovers; the play ends with the fairies' song and dance in blessing. Shakespeare used ...
... Oberon's call for music and a dance mark the harmonious reconciliation of king and queen, while hunting horns intimate harmony among the newly awakened lovers; the play ends with the fairies' song and dance in blessing. Shakespeare used ...
Page 22
... Oberon and Titania's blank verse all contribute to the audience's sense of the play as “lyric romantic comedy” devoid of the “shadow of death or danger” (133). The variety of styles in Dream, which the eighteenth-century commentator ...
... Oberon and Titania's blank verse all contribute to the audience's sense of the play as “lyric romantic comedy” devoid of the “shadow of death or danger” (133). The variety of styles in Dream, which the eighteenth-century commentator ...
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actors allusion artisans Athenian Athens audience Bottom Brook changeling changeling boy characters chronotope Ciulei comic conflict court critics cultural define Demetrius desire director discourse disfigure distortion dramatic Duke Egeus Elizabethan English erotic essay fairies feminine festive figure final find first flower Freud gender hath Helena Hermia Hippolyta hypallage ideology imagination influence interpretation Kott literary London lovers Lysander Lysander’s male marriage McClinton mechanicals metaphor Midsummer Night Midsummer Night's Dream mislined Montrose moon myth Night s Dream Oberon patriarchal performance perspective Peter Peter Brook play’s plot poet poetic political production Puck Puck’s Pyramus and Thisbe queen Quince reading reflects relationship Renaissance representation represented rhetoric role romantic scene sense sexual Shakespeare Shakespeare’s plays Shakespearean comedy significant social specific speech stage story structure suggests textual theatre theatrical theory Theseus Theseus and Hippolyta Theseus’s Titania traditional translation University Press vision wedding woman women York