By Brian Vickers
ISBN-10: 0415134072
ISBN-13: 9780415134071
The severe Heritage gathers jointly a wide physique of severe resources on significant figures in literature. every one quantity provides modern responses to a writer's paintings, permitting scholar and researcher to learn the cloth.
Read Online or Download William Shakespeare: The Critical Heritage Volume 4 1753-1765 (The Collected Critical Heritage : William Shakespeare) PDF
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Additional resources for William Shakespeare: The Critical Heritage Volume 4 1753-1765 (The Collected Critical Heritage : William Shakespeare)
Sample text
28 songs (b) 1763, Garrick and Colman: A Midsummer Night’s Dream. 33 songs (c) 1763, Colman: A Fairy Tale. 13 songs Version (a) included the lovers and the fairies from Shakespeare’s plot, but not the clowns; (b) included lovers, fairies, and clowns; (c) included fairies and clowns, but no lovers. All three versions are so silly that it would have been pointless to include them here. Equally disposable, were it not for the great vogue they enjoyed as after-pieces in the eighteenth century, were the Garrick Winter’s Tale (Florizel and Perdita, No.
145). This interesting essay in the periodisation of literary taste results in a judgment of Shakespeare which, unlike the other apologias for the ‘taste of the age’, refusesto grant him total amnesty. ) Finally, Bishop Percy translated the general point into a specific plea for a genre which appeared long after the tenets of Aristotle and Horace, the English History play (No. 38 The concept of historical scholarship was widely accepted, then. Yet it was accepted in theory only: the corollary, that one ought systematically to reconstruct the taste of the previous age, was a project which had been vigorously pursued by Theobald in his edition (No.
I have selected one example from each category of Garrick’s 22 INTRODUCTION adaptations in this period (spectacle, music, and after-piece) to show the direction taken by the theatre-manager who professed to revere Shakespeare. To the modern student, horrified at such mangling, it is rather heartening to discover that many of Garrick’s contemporaries felt the same about them. Writing in the Critical Review Samuel Derrick (who took a much sharper attitude towards Garrick than did his collaborator Smollett) could not ‘remember to have seen a more flagrant imposition of the kind’ than Catharine and Petruchio, and recorded sarcastically that ‘he must have a great taste and infinite veneration for Shakespeare, who thus fritters his plays into farces’ (No.