Literary Classics

William Shakespeare: A Critical Study

Unveiling the Genius of Shakespeare: A Scholarly CritiqueBy Georg Brandes

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Length31h 5m

About this audiobook

Georg Brandes' "William Shakespeare: A Critical Study" is a profound exploration of the Bard's unparalleled contribution to literature, scrutinizing his plays and sonnets through a contemporary lens. Brandes employs a critical style that is both analytical and accessible, carefully dissecting themes of love, power, and human nature that resonate within Shakespeare's oeuvre. Set against the backdrop of late 19th-century literary criticism, this work reflects the emerging psychological and philosophical movements of the time, positioning Shakespeare not merely as a playwright but as a timeless observer of the human condition. Georg Brandes was a pioneering Danish literary critic whose advocacy for naturalism and modernity in literature profoundly influenced European thought. His upbringing in Copenhagen and exposure to the cultural shifts of his time led him to appreciate the complexities of Shakespeare'Äôs works, giving him a unique perspective that strives to bridge the gap between past and present. Brandes'Äô fearless critiques and innovative ideas made him a leading figure in the revival of Shakespeare's relevance in the modern literary canon. This critical study is highly recommended for readers seeking a deeper understanding of Shakespeare, as it offers fresh insights into his enduring themes and characters. Brandes'Äô scholarship not only entertains but enriches the reader'Äôs appreciation of one of the greatest playwrights in history, making it an essential read for both students and enthusiasts of literature.

Political Intrigue Family Mystery Exploration Poetic Romantic Comedy

Audiobook details

GenreLiterary Classics

Length31 hrs 5 mins

Narrated byListen with 1,000+ voices

FormateBook with Audio

Publish dateMay 19, 2021

LanguageEnglish

1Introduction

2III

3MARRIAGE—SIR THOMAS LUCY—DEPARTURE FROM STRATFORD

4IV

5LONDON—BUILDINGS, COSTUMES, MANNERS

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7POLITICAL AND RELIGIOUS CONDITIONS—ENGLAND&#x27;S GROWING GREATNESS

8VI

9SHAKESPEARE AS ACTOR AND RETOUCHER OF OLD PLAYS—GREENE&#x27;S ATTACK

10VII

11THE &quot;HENRY VI.&quot; TRILOGY

12VIII

13CHRISTOPHER MARLOWE AND HIS LIFE-WORK—TITUS ANDRONICUS

14IX

15SHAKESPEARE&#x27;S CONCEPTION OF THE RELATIONS OF THE SEXES—HIS MARRIAGE VIEWED IN THIS LIGHT—LOVES LABOUR&#x27;S LOST—ITS MATTER AND STYLE—JOHN LYLY AND EUPHUISM—THE PERSONAL ELEMENT

16X

17LOVE&#x27;S LABOUR&#x27;S WON: THE FIRST SKETCH OF ALL&#x27;S WELL THAT ENDS WELL—THE COMEDY OF ERRORS—THE TWO GENTLEMEN OF VERONA

18XI

19VENUS AND ADONIS: DESCRIPTIONS OF NATURE—THE RAPE OF LUCRECE: RELATION TO PAINTING

20XII

21A MIDSUMMER NIGHTS DREAM—ITS HISTORICAL CIRCUMSTANCES—ITS ARISTOCRATIC, POPULAR, COMIC, AND SUPERNATURAL ELEMENTS

22XIII

23ROMEO AND JULIET—THE TWO QUARTOS—ITS ROMANESQUE STRUCTURE—THE USE OF OLD MOTIVES—THE CONCEPTION OF LOVE

24XIV

25LATTER-DAY ATTACKS UPON SHAKESPEARE—THE BACONIAN THEORY—SHAKESPEARE&#x27;S KNOWLEDGE, PHYSICAL AND PHILOSOPHICAL

26XV

27THE THEATRES—THEIR SITUATION AND ARRANGEMENTS—THE PLAYERS—THE POETS—POPULAR AUDIENCES—THE ARISTOCRATIC PUBLIC—SHAKESPEARE&#x27;S ARISTOCRATIC PRINCIPLES

28XVI

29THE THEATRES CLOSED ON ACCOUNT OF THE PLAGUE—DID SHAKESPEARE VISIT ITALY?—PASSAGES WHICH FAVOUR THIS CONJECTURE

30XVII

31SHAKESPEARE TURNS TO HISTORIC DRAMA—HIS RICHARD II. AND MARLOWE&#x27;S EDWARD II.—LACK OF HUMOUR AND OF CONSISTENCY OF STYLE—ENGLISH NATIONAL PRIDE

32XVIII

33RICHARD III. PSYCHOLOGY AND MONOLOGUES—SHAKESPEARE&#x27;S POWER OF SELF-TRANSFORMATION—CONTEMPT FOR WOMEN—THE PRINCIPAL SCENES—THE CLASSIC TENDENCY OF THE TRAGEDY

34XIX

35SHAKESPEARE LOSES HIS SON—TRACES OF HIS GRIEF IN KING JOHN—THE OLD PLAY OF THE SAME NAME—DISPLACEMENT OF ITS CENTRE OF GRAVITY—ELIMINATION OF RELIGIOUS POLEMICS—RETENTION OF THE NATIONAL BASIS—PATRIOTIC SPIRIT—SHAKESPEARE KNOWS NOTHING OF THE DISTINCTION BETWEEN NORMANS AND ANGLO-SAXONS, AND IGNORES THE MAGNA CHARTA

36XX

37&quot;THE TAMING OF THE SHREW&quot; AND &quot;THE MERCHANT OF VENICE&quot;—SHAKESPEARE&#x27;S PREOCCUPATION WITH THOUGHTS OF PROPERTY AND GAIN—HIS GROWING PROSPERITY—HIS ADMISSION TO THE RANKS OF THE &quot;GENTRY&quot;—HIS PURCHASE OF HOUSES AND LAND—MONEY TRANSACTIONS AND LAWSUITS

38XXI

39THE MERCHANT OF VENICE—ITS SOURCES—ITS CHARACTERS, ANTONIO, PORTIA, SHYLOCK—MOONLIGHT AND MUSIC—SHAKESPEARE&#x27;S RELATION TO MUSIC

40XXII

41&quot;EDWARD III.&quot; AND &quot;ARDEN OF FEVERSHAM&quot;—SHAKESPEARE&#x27;S DICTION—THE FIRST PART OF &quot;HENRY IV.&quot;—FIRST INTRODUCTION OF HIS OWN EXPERIENCES OF LIFE IN THE HISTORIC DRAMA—WHY THE SUBJECT APPEALED TO HIM—TAVERN LIFE—SHAKESPEARE&#x27;S CIRCLE—SIR JOHN FALSTAFF—FALSTAFF AND THE GRACIOSO OF THE SPANISH DRAMA—RABELAIS AND SHAKESPEARE—PANURGE AND FALSTAFF

42XXIII

43HENRY PERCY—THE MASTERY OF THE CHARACTER-DRAWING—HOTSPUR AND ACHILLES

44XXIV

45PRINCE HENRY—THE POINT OF DEPARTURE FOR SHAKESPEARE&#x27;S IMAGINATION—A TYPICAL ENGLISH NATIONAL HERO—THE FRESHNESS AND PERFECTION OF THE PLAY

46XXV

47&quot;KING HENRY IV.,&quot; SECOND PART—OLD AND NEW CHARACTERS IN IT—DETAILS—&quot;HENRY V.,&quot; A NATIONAL DRAMA—PATRIOTISM AND CHAUVINISM—THE VISION OF A GREATER ENGLAND

48XXVI

49ELIZABETH AND FALSTAFF—THE MERRY WIVES OF WINDSOR—THE PROSAIC AND BOURGEOIS TONE OF THE PIECE—THE FAIRY SCENES

50XXVII