Read e-book online Measure for Measure (Shakespeare, the Critical Tradition) PDF

By George L. Geckle

During this serious assessment of the vintage, the dialogue specializes in the character of the most important characters, the morality in their habit, the belief of the play, and the style of a play that was once indexed within the First Folio as a comedy. The contents of this quantity disguise texts by means of English, American and eu students and critics together with Malone, Stevens, Schlegel, Hazlitt, Coleridge, Hallam, Gervinus, Bagehot, Pater, Dowden, Furnivall, Swinburne, Symons, Boas, Shaw, Bradley, Chambers, Bridges, Masefield and Croce.

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See G. Bradshaw, Shakespeare's Scepticism (Ithaca, NY, 1987), ch. 5: 'Tempering Mercy with Justice: Measure for Measure' (pp. 164—218). xxxiv Preface This volume expands upon the historical scholarship begun by Brian Vickers in his six-volume Shakespeare: The Critical Heritage, 1623—1801 (London and Boston, 1974— 81) by selecting critical responses to Measure for Measure from 1783 to 1920. Because the Critical Tradition series emphasizes criticism in English, continental criticism is represented only when it was deemed important enough to be translated into English.

Like White, Lloyd let his judgment of Isabella direct his appraisal of the whole play. Angelo is characterized as a precisian of 'not only weakness, but meanness', the Duke 'is in his element of dark management and behind scene intermeddling'. Lloyd argued, against the scholarly consensus, that Measure for Measure is an early play, a detail that excused its problematic ending, in which Mariana is united with 'one so stained with falsehood and baseness as Angelo'. In sharp contrast with Lloyd and White, Charles Cowden Clarke (No.

E. Stoll (No. 62), W. W. Lawrence, R. W. Chambers, and E. M. Pope. An ignorance or rejection of the historical background and conventions of Elizabethan and Jacobean drama led many nineteenth-century and early twentieth-century critics to treat Shakespeare as a contemporary: historical criticism transcends this subjective approach. Another reaction against the nineteenth-century subjective and biographical readings can be seen in the work of G. Wilson Knight, F. R. Leavis, L. C. Knights, and D.

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