Coleridge, Lamb, Hazlitt, and the Reader of DramaUniversity of Missouri Press, 1990 - 224 pages 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. |
Contents
The Romantics Critique of Appeals | 33 |
Hazlitts Appeal to Readers | 95 |
Lamb and ReaderResponse Criticism | 115 |
Copyright | |
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abstraction action active actors aesthetic appeals Aristotle audience's beauty Beerbohm Biographia Literaria British Cenci century characters Charles Lamb cited Coleridge views Coleridge's comedy contemporary contends contrast costumes dialogue drama criticism dramatic illusion Edited effect emphasizes English example Friend Hamlet Henry ideas insists intellectual James John John Dryden Johnson Lamb's Lear learning lecture Letters Lewes Literary Criticism literature London Macbeth Mallarmé mind moral nineteenth-century objects Oscar Wilde Othello Oxford painting pantomime passage passion performance Pestalozzi pictorial playwright poem poet poetic poetry praises Preface principles Prometheus Unbound Prose reader René Wellek Review Richard Richard III 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 University Press Victorian vols W. B. Yeats Walter Jackson Bate Wilde William Hazlitt writers Yeats York