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This edition first published in 1979. Discussing Shakespeare's
sonnets in relation to sonnets by Italian, French and English
poets, Kenneth Muir shows how they were influenced by Shakespeare's
reading of Sidney, Erasmus and Ovid and discusses their art in
terms of construction, sound patterns and imagery. He considers the
relationship of the sonnets to Shakespeare's dramatic writing,
while stressing the dramatic element in the sonnets themselves.
Finally he surveys the changing attitudes to the sonnets during the
last three centuries.
First published in 1977. This book ascertains what sources
Shakespeare used for the plots of his plays and discusses the use
he made of them; and secondly illustrates how his general reading
is woven into the texture of his work. Few Elizabethan dramatists
took such pains as Shakespeare in the collection of
source-material. Frequently the sources were apparently
incompatible, but Shakespeare's ability to combine a chronicle
play, one or two prose chronicles, two poems and a pastoral romance
without any sense of incongruity, was masterly. The plays are
examined in approximately chronological order and Shakespeare's
developing skill becomes evident.
First published in 1957. This book finds discovers what the sources
to Shakespeare's Comedies and Tragedies really were, considers the
dramatic reasons for Shakespeare's departure from them and provides
many examples of the way in which he made use of his general
reading for particular scenes and speeches. Kenneth Muir shows that
Shakespeare frequently uses more than one source and sometimes as
many as eight.
This edition first published in 1960. This book discusses the
extent of Shakespeare's collaboration in the plays of Edward III,
The Two Noble Kinsmen, Pericles and the lost Cardenio. It includes
chapters on the dramatic value of the plays irrespective of
authorship.
First published in 1937. This study argues that the plays of
Shakespeare must be studied by comparison with each other and not
as separate entities; that they must be related to one another, to
the poems and to the Sonnets; that each individual play acquires a
deeper significance from its setting in the corpus. Muir and
O'Loughlin's critical analysis takes place against the personality
of Shakespeare, asserting that that despite all their diversities a
single mind and a single hand dominate them and that they are the
outcome of one man's critical and emotional reactions to life.
First published in 1972. The emphasis of this book is that each of
Shakespeare's tragedies demanded its own individual form and that
although certain themes run through most of the tragedies, nearly
all critics refrain from the attempt to apply external rules to
them. The plays are almost always concerned with one person; they
end with the death of the hero; the suffering and calamity that
befall him are exceptional; and the tragedies include the medieval
idea of the reversal of fortune.
First published in 1980. This collection of essays by the first
General Editor of the New Arden Shakespeare brings together the
best of Ellis-Fermor's Shespearean criticism, in addition to
outstanding essays on Coriolanus and Troilus and Cressida.
Collected and edited by Kenneth Muir, the book is prefaced by an
appreciation of Ellis-Fermor's work.
First published in 1961. On her death, Professor Ellis-Fermor left
behind some uncollected essays and part of a book on Shakespeare
the Dramatist. This volume includes the chapters of the unfinished
work and three further articles on Shakespeare. It discusses
Shakespeare's methods with regard to plot, character, diction, and
imagery and it contains comparative analysis of Shakespeare with
other dramatists, including Ibsen and Corneille.
Originally published in 1970, this title starts with an
introduction, in which Professor Muir distinguishes between the
Comedy of Manners and other types of comedy and traces its origins
in English and French literature, there are then chapters on the
major writers - Etherege, Dryden, Wycherly, Congreve, Vanbrugh,
Farquhar - and on Jeremy Collier's attack on the immorality and
profaneness of the plays. This is followed by a discussion of the
reasons for the decline of comedy in the eighteenth century and an
account of its revival by Sheridan and, belatedly, by Wilde.
Professor Muir takes issue with a number of recent critics on the
dramatic value of the plays.
Originally published in 1984. With selections organised
chronologically, this collection presents the best writing on one
of Shakespeare's most studied plays. The structure displays the
changing responses to the play and includes a wide range of
criticism from the likes of Coleridge, Hazlitt, Moulton,
Granville-Barker, Orwell, Levin, Stampfer, Gardner and Speaight
interspersed with short entries from Keats, Raleigh, Freud and
others. The final chapter by the editor elucidates his own thoughts
on Lear, building on his commentary in the Introduction which puts
the collection in context.
First published in 1937.
This study argues that the plays of Shakespeare must be studied by
comparison with each other and not as separate entities; that they
must be related to one another, to the poems and to the Sonnets;
that each individual play acquires a deeper significance from its
setting in the corpus. Muir and O'Loughlin's critical analysis
takes place against the personality of Shakespeare, asserting that
that despite all their diversities a single mind and a single hand
dominate them and that they are the outcome of one man's critical
and emotional reactions to life.
First published in 1961. On her death, Professor Ellis-Fermor left
behind some uncollected essays and part of a book on Shakespeare
the Dramatist. This volume includes the chapters of the unfinished
work and three further articles on Shakespeare. It discusses
Shakespeare's methods with regard to plot, character, diction, and
imagery and it contains comparative analysis of Shakespeare with
other dramatists, including Ibsen and Corneille.
This edition first published in 1960. This book discusses the
extent of Shakespeare's collaboration in the plays of Edward III,
The Two Noble Kinsmen, Pericles and the lost Cardenio. It includes
chapters on the dramatic value of the plays irrespective of
authorship.
First published in 1957. This book finds discovers what the sources
to Shakespeare's Comedies and Tragedies really were, considers the
dramatic reasons for Shakespeare's departure from them and provides
many examples of the way in which he made use of his general
reading for particular scenes and speeches. Kenneth Muir shows that
Shakespeare frequently uses more than one source and sometimes as
many as eight.
First published in 1977.
This book ascertains what sources Shakespeare used for the plots of
his plays and discusses the use he made of them; and secondly
illustrates how his general reading is woven into the texture of
his work. Few Elizabethan dramatists took such pains as Shakespeare
in the collection of source-material. Frequently the sources were
apparently incompatible, but Shakespeare's ability to combine a
chronicle play, one or two prose chronicles, two poems and a
pastoral romance without any sense of incongruity, was masterly.
The plays are examined in approximately chronological order and
Shakespeare's developing skill becomes evident.
Originally published in 1984. With selections organised
chronologically, this collection presents the best writing on one
of Shakespeare's most studied plays. The structure displays the
changing responses to the play and includes a wide range of
criticism from the likes of Coleridge, Hazlitt, Moulton,
Granville-Barker, Orwell, Levin, Stampfer, Gardner and Speaight
interspersed with short entries from Keats, Raleigh, Freud and
others. The final chapter by the editor elucidates his own thoughts
on Lear, building on his commentary in the Introduction which puts
the collection in context.
First published in 1972. The emphasis of this book is that each of
Shakespeare's tragedies demanded its own individual form and that
although certain themes run through most of the tragedies, nearly
all critics refrain from the attempt to apply external rules to
them. The plays are almost always concerned with one person; they
end with the death of the hero; the suffering and calamity that
befall him are exceptional; and the tragedies include the medieval
idea of the reversal of fortune.
This edition first published in 1979. Discussing Shakespeare's
sonnets in relation to sonnets by Italian, French and English
poets, Kenneth Muir shows how they were influenced by Shakespeare's
reading of Sidney, Erasmus and Ovid and discusses their art in
terms of construction, sound patterns and imagery. He considers the
relationship of the sonnets to Shakespeare's dramatic writing,
while stressing the dramatic element in the sonnets themselves.
Finally he surveys the changing attitudes to the sonnets during the
last three centuries.
First published in 1980. This collection of essays by the first
General Editor of the New Arden Shakespeare brings together the
best of Ellis-Fermor's Shespearean criticism, in addition to
outstanding essays on Coriolanus and Troilus and Cressida.
Collected and edited by Kenneth Muir, the book is prefaced by an
appreciation of Ellis-Fermor's work.
Horror films have always reflected their audiences' fears and
anxieties. In the United States, the 2000s were a decade full of
change in response to the 9/11 terrorist attacks, the contested
presidential election of 2000, and the wars in Iraq and
Afghanistan. These social and political changes, as well as the
influences of Japanese horror and New French extremism, had a
profound effect on American horror filmmaking during the 2000s.
This filmography covers more than 300 horror films released in
America from 2000 through 2009, including such popular forms as
found footage, torture porn, and remakes. Each entry covers a
single film and includes credits, a synopsis, and a lengthy
critical commentary. The appendices include common horror
conventions, a performer hall of fame, and memorable ad lines.
Admired by Shelley for 'its satisfying completeness', this
thought-provoking and skilfully constructed play, which dramatizes
the same subject as Shakespeare's Henry VIII , is one of its
creator's most outstanding achievements. Understandably, Calderon
offers an interpretation of King Henry's divorce from Catherine of
Aragon and break with the Church of Rome which is markedly
different from that given in Shakespeare's work. Yet, despite his
Counter-Reformation allegiances, Calderon brings Henry VIII
sympathetically to dramatic life. The schismatic English monarch is
portrayed by the Roman Catholic Spanish playwright as a man endowed
with moral awareness and with exceptional talent for spiritual
leadership, who is, nevertheless, morally and spiritually destroyed
by his extraordinary surrender to the forces of physical passion.
In this first published translation of the play into English
Kenneth Muir and Ann MacKenzie have adhered to methods effectively
adopted in their previous books ( Four Comedies by Calderon, and
Three Comedies by Calderon). They have composed, almost entirely in
blank verse, an accurate yet elegantly poetic version, after the
manner of the Elizabethans, but avoiding vocabulary which might
seem affected to a modern audience, in order to produce a 'script'
that could be performed with success on the stage. The critical
edition, prepared by Ann Mackenzie to accompany the translation, is
based on the editio princeps (published by Vera Tassis in
Calderon's Octava parte de comedias [Madrid, 1684]). Her
substantial Introduction and comprehensive Commentary together
constitute the most detailed critical evaluation accomplished to
date of this key-drama from the Golden Age in Spain. The
Introduction, in particular, supplies new evidence as to the date
of the play (1627) and the circumstances of its composition, and
provides an analysis of Calderon's creative treatment of his
historical source-work: Ribadeneyra's Historia eclesiastica del
cisma del reino de Inglaterra (1588). Spanish text with facing-page
translation, introduction and commentary .
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