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 4
... fairies, the music, the comical mistakings of the lovers, and the incomparable farce of Pyramus and Thisbe, Dream had often been considered especially suitable for introducing children to Shakespeare. For those unpersuaded by Jan Kott's ...
... fairies, the music, the comical mistakings of the lovers, and the incomparable farce of Pyramus and Thisbe, Dream had often been considered especially suitable for introducing children to Shakespeare. For those unpersuaded by Jan Kott's ...
Page 6
... fairies. Should they be depicted? Some should, said Dryden in 1677, by then a major writer and arbiter of taste. He contended against excessive restraints on writers' subject matter as he justified Shakespeare's use of supernatural ...
... fairies. Should they be depicted? Some should, said Dryden in 1677, by then a major writer and arbiter of taste. He contended against excessive restraints on writers' subject matter as he justified Shakespeare's use of supernatural ...
Page 9
... fairies are no better; “personified dream gods,” they represent “the caprices of superficial love” (194) and lack ... fairy land “in the aromatic flower-scented Indies, in the land where mortals live in a half-dreamy state.” Then he ...
... fairies are no better; “personified dream gods,” they represent “the caprices of superficial love” (194) and lack ... fairy land “in the aromatic flower-scented Indies, in the land where mortals live in a half-dreamy state.” Then he ...
Page 10
... Fairy World” of imagination and the supernatural; and, finally, their “representation in Art,” in which “the first two parts mirror themselves—the action reflects itself, the play plays itself playing; it is its own spectator, including ...
... Fairy World” of imagination and the supernatural; and, finally, their “representation in Art,” in which “the first two parts mirror themselves—the action reflects itself, the play plays itself playing; it is its own spectator, including ...
Page 14
... 1996). Harold F. Brooks (1979), in his introduction to the Arden edition, rehearses some of the most important sources located through the late 1970s, including Spenser's Shepheardes Calender and the tiny fairies of 14 Dorothea Kehler.
... 1996). Harold F. Brooks (1979), in his introduction to the Arden edition, rehearses some of the most important sources located through the late 1970s, including Spenser's Shepheardes Calender and the tiny fairies of 14 Dorothea Kehler.
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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