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Extra info for William Shakespeare: The Critical Heritage Volume 6 1774-1801 (The Collected Critical Heritage : William Shakespeare)
Example text
In the English Review the same sentiments were to be heard: The intuitive mind of Shakespeare penetrated into the inmost recesses of the human breast. His mimic world contains such a variety of characters, so correctly and accurately delineated…that, reasoning on the character and conduct of his ideal beings, we shall find our conclusions will apply, in every respect, to the realities which pass continually before us. 55 The characters who most attracted this psychological approach in this period were Hamlet and Falstaff, with subsidiary attention being given to Macbeth and Richard III.
483). Great displeasure was aroused by Shakespeare’s frequent use of one of the most common figures of rhetoric, ploche, the repetition of a word. 303). 79 Steevens shared the dislike, while admitting the authenticity of the style: ‘the repetition of the word trash is much in Shakespeare’s manner, though in his worst’. 80 Steevens restored the original in 1785, but without acknowledgment. The rhetorical figure which attracted most displeasure was, as ever, the pun. Some writers merely note, or gloss, Shakespeare’s wordplay, or describe it as the taste of the age in which he wrote,81 but most attack it mercilessly.
Morgann, like other critics of this school, did not consider dramatic structure, nor dramatic function. For him Falstaff was simply a character to be rehabilitated. 57 Morgann is an important critic, but rather on account of the observations which he makes in passing: the acute description of the ‘latent’ element in dramatic character, for instance, or his designation of ‘choric’ characters, or his defence of Shakespeare’s puns. For too much of the time he indulges himself in re-creating an imaginary past for Falstaff, and granting him birth, fashion, learning, courage, and the tone, ‘deportment and…manners of a gentleman’.