Romantic criticism, of which Shakespeare is the central figure,
invented many of the modes of modern criticism. It is also distinct
from many contemporary academic norms. Engaged with the social and
intellectual currents of an age of revolutionary change, it is
experimental, writerly, and individually expressive. Above all it
is creative in response to the difficulties of understanding
aesthetic experience in new ways, and in setting those experiences
in new cultural and political contexts that Shakespeare's work
helped to shape. This book presents the main currents of these
exciting but relatively little known engagements with Shakespeare,
and through Shakespeare with the theory and practice of criticism,
in England, Germany, and France, from the 1760s in Germany to the
aftermath of the Romanticism in France. It also discusses
Shakespeare in the theatre of the period-realist stagings which
prefigure Shakespeare films; adaptations which fitted Shakespeare
to contemporary tastes; and bare-stage experiments which foreshadow
modes of contemporary theatre. A chapter on scholarship in the
period shows Shakespeare as central to modern editing and
historical criticism. Much of the writing discussed is by men and
women whose focus is not primarily critical but creative-poetry
(Coleridge, Keats, Heine), fiction (Stendhal), drama (Lessing), or
all three (Goethe, Hugo), cultural critique (Jameson, de Stael),
philosophy (Hamann, Herder), politics (Hazlitt, Guizot), aesthetics
(the Schlegel circle), or new original work in other media
(Berlioz, Delacroix, Chasseriau). It is writing directed to new
modes of creating as well as new modes of understanding.
General
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