Coleridge, Lamb, Hazlitt, and the Reader of DramaMany 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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Contents
The Romantics Critique of Appeals | 33 |
Hazlitts Appeal to Readers | 95 |
Lamb and ReaderResponse Criticism | 115 |
The Metamorphoses of NineteenthCentury | 128 |
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abstraction According action active actors appeals argues audience authors beauty become believes British century characters Charles cited Coleridge Coleridge's comedy Complete concern considers contemporary contends contrast Criticism designed develop discussion drama effect emphasizes English especially Essays example experience eyes fact feel finds Friend give Hamlet Hazlitt History human ideas illusion images imagination important influenced insists intellectual interest James John Lamb Lamb's language later learning lecture Letters Lewes literary literature London Macbeth means mind moral nature nineteenth-century Note objects painting passage performance person plays playwright poet poetic poetry points praises Preface present Press principles productions Prose published reader reading refers Review Richard romantics Ruskin scene scenery senses Shakespeare Shakespeare's plays Shaw Shelley Similarly spectacle spectators stage stresses Study sympathy taste theater things thought tion tragedy true understand University Wilde writers Yeats