Coleridge, Lamb, Hazlitt, and the reader of drama
Many nineteenth-century writers believed that the best tragedy should be read rather than performed, and they have often been attacked for their views by later critics. Through detailed analysis of Coleridge's Shakespearean Criticism, Lamb's On the Tragedies of Shakespeare, and Hazlitt's Characters of Shakespeare's Plays, Heller shows that in their concern with educating the reader these Romantics anticipate twentieth-century reader response criticism, educational theory, and film criticism.
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The Romantics Critique of Appeals
Hazlitts Appeal to Readers
Lamb and ReaderResponse Criticism
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abstraction action active actors aesthetic Allardyce Nicoll appeals Aristotle audience's beauty Beerbohm Biographia Literaria British Cenci century characters Charles Lamb cited Coleridge argues Coleridge views Coleridge's comedy contemporary contends contrast costumes dialogue drama criticism dramatic illusion effect emotions emphasizes English example feel Friend Garrick Hamlet ideas images insists intellectual James John Lamb's Lear learning lecture Letters Lewes Literary Criticism literature London Macbeth Mallarme mind moral nineteenth-century objects Oscar Wilde Othello painting pantomime passage passion performance Pestalozzi pictorial playwright poem poet poetic poetry praises Preface principles Prometheus Unbound Prose reader Rene Wellek Review Richard romantics Ruskin Samuel Taylor Coleridge scene scenery Scenic Art Schlegel senses Shakespeare Shakespeare's plays Shakespearean Criticism Shaw Shelley Shelley's Similarly speare's spectators stage spectacle stresses sympathetic imagination sympathy taste thought tion Tragedies of Shakspeare twentieth-century Victorian W. B. Yeats Walter Jackson Bate Wilde William Hazlitt Wolfgang Iser writers Yeats
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No preview available - 2005