A midsummer's night dream
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.
xxi, 461 pages : illustrations ; 24 cm.
9780485810035, 0485810034
40907683
1. Moral conventions and human sympathy, 1775 / Elizabeth Griffith
2. Artists' interpretations of dramatic effects, 1787 / Samuel Felton
3. Commentary on A Midsummer Night's Dream, 1790 / Edmond Malone
4. Bottom as coxcomb, 1792 / Charles Taylor
5. Response to Malone, 1793 / George Steevens
6. Illustrations of some passages, 1794 / Walter Whiter
7. His fertile and creative fancy, 1800 / Charles Dibdin
8. On metre, invention, and a unified whole, 1815 / August Wilhelm Von Schlegel
9. Unity of feeling and of imagery, and the fairies, 1817 / Nathan Drake
10. Bottom, Puck, and the incompatibility of poetry and the stage, 1817 / William Hazlitt
11. Malone's last words, 1821 / James Boswell and Edmond Malone
12. Mainly on the fairies, 1824 / Augustine Skottowe
13. The fairy world, the clowns, the poetry, 1828 / George Daniel
14. New actors on the mimic scene-the fairies, 1828 / Thomas Keightley
15. Marginalia and other notes, 1836 / Samuel Taylor Coleridge
16. Bottom the lucky man, 1837 / William Maginn
17. Critics refuted, 1838 / Thomas Campbell
18. Originality in structure, machinery, and language, 1839 / Henry Hallam
19. The Pictorial Edition of A Midsummer Night's Dream, 1839 / Charles Knight
20. The poet's dream, 1840 / William Spalding
21. Anachronisms, Nick Bottom as Midas, and stage representation, 1841 / James Orchard Halliwell
22. Oberon's Vision allegorized, 1843 / Nicholas John Halpin
23. Fairy drama and human nature, 1843 / Bryan Waller Procter
24. Poet of the Fairies, 1844 / Leigh Hunt
25. A comment, with some explanatory notes, 1845 / Joseph Hunter
26. The theme of self-parody, 1846 / Hermann Ulrici
27. Introductory remarks, 1847 / Gulian Crommelin Verplanck
28. The sister arts, and the play's structural balance, 1848 / Henry James Sumner Maine
29. A festival of dainties, 1851 / Henry Norman Hudson
30. The Dream and Art, 1851, 1872, 1883, 1884 / John Ruskin
31. A most charming entertainment of the stage, 1853 / Henry Morley
32. Samuel Phelps's Bottom, 1853 / Douglas William Jerrold
33. Dramatic and poetic art, 1854 / Richard Grant White
34. Dialogue with a sceptic, 1854 / Edward Strachey
35. Critical remarks on the play, 1856 / William Watkiss Lloyd
36. Celtic elements, 1859 / Anonymous
37. Genre and inner purpose, 1863 / Georg Gottfried Gervinus
38. Intuitive power of characterization, 1863 / Charles Cowden Clarke
39. The play's limitations, 1864 / Thomas Kenny
40. The sacred mysteries in the play, 1865 / John Abraham Heraud
41. The secret meaning of the Interlude, 1865 / Ethan Allen Hitchcock
42. The perfection of imbecilic clowns, 1866 / Abner Otis Kellogg
43. Not critics, but lowly worshippers of the Beautiful, 1869 / Mary Preston
44. The theme is love, 1871 / Hippolyte Adolphe Taine
45. Bottom
an ass, but no fool, 1873 / Daniel Wilson
46. A Midsummer Night's Dream as masque, 1874 / Karl Elze
47. Self-reflexive structure: the Real, the Ideal, and the Representation, 1874 / Denton Jacques Snider
48. Shakespeare differentiated from Bacon, 1875 / George Wilkes
49. Theseus as the central figure, 1875 / Edward Dowden
50. A comedy of incident, 1875 / Adolphus William Ward
51. Consummation of Shakespeare's lyrical genius, 1876 / Algernon Charles Swinburne
52. Bottom, a self-made man, 1876 / John Weiss
53. The full glow of fancy and fun, 1877 / Frederick James Furnivall
54. The wood is the world, 1879 / Charles Ebenezer Moyse
55. Titania and Ovid, 1880 / Thomas Spencer Baynes
56. A Platonic reading, 1884 / William Francis C. Wigston
57. Interpreting the spoken verse, 1885 / Grace Latham
58. Observations on the lovers and the mechanicals, 1886 / Elizabeth Wormeley Latimer
59. Poet rather than dramatist, 1888 / Francis Albert Marshall
60. Source of the play's popularity, 1888 / George Edgar Montgomery
61. Classical and modern, 1890 / Julia Wedgwood
62. Reason and desire in Oberon and Titania, 1890 / Charles Downing
63. The development of morality and art, 1891 / Sidney Clopton Lanier
64. A true work of art, 1894 / Barrett Wendell
65. The duration of the action, 1895 / Horace Howard Furness
66. Life and art, 1895 / Katharine Lee Bates
67. Mr. Daly and the idea of titivation, 1895 / George Bernard Shaw
68. Remarks on the play and modern education, 1895 / Andrew Lang
69. Theseus, Bottom, and the Interlude, 1896 / Frederick Samuel Boas
70. The central idea, 1897 / Edmund Kerchever Chambers
71. The airy dream, 1898 / Georg Morris Cohen Brandes
72. Illusion, realism, and imagination, 1900 / Max Beerbohm
73. Dream visions, 1903 / Charlotte Endymion Porter and Helen Archibald Clarke
74. A comedy of situation and enchantment, 1903 / Richard Green Moulton
75. Shakespeare's working classes, 1903 / Ernest Howard Crosby
76. The atmosphere of the play, 1904 / Gilbert Keith Chesterton
77. Love, dreamland, and Helena, 1905 / Stopford Augustus Brooke
78. The theme of illusion, 1907 / George Edward Woodberry
79. The nature and sources of the play, 1908 / Frank Sidgwick
80. The most beautiful work of man, 1909 / Algernon Charles Swinburne
81. Shakespeare's conception of his art, 1911 / Ernest De Selincourt
82. Screeds of word-music, 1914 / Harley Granville Barker
83. Three types of fairies: Puck, Oberon and Titania, 1916 / Charlotte Carmichael Stopes
84. The dream's validity, 1917 / Bjornstjerne Bjornson
85. Comedy of love, 1920 / Benedetto Croce