Criticism based on literary or formalist conceptions of structure
or on the history of ideas, Robert Weimann contends, has removed
Shakespeare from the theater, and the theater from society at
large. 'It is only when Elizabethan society, theater, and language
are seen as interrelated that the structure of Shakespeare's
dramatic art emerges as fully functional, that is, as part of a
larger, and not only literary, whole.'
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