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Theatrical science --- Shakespeare, William --- Theater --- History

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"Hugh Richmond uses his previous published essays to illustrate the development of modern attitudes to religion, politics and sexuality. He traces the complex evolution from classical and medieval sources to Reformation and Renaissance ones by reviewing literary themes, style, and attitudes. He stresses Shakespeare's unique place in this evolution in Historical Psychology as an author profoundly affected by the Reformation. This study of developing sensibility employs a method of critical analysis bridging the apparent gap between scholarly research and practical criticism, and transcending the discontinuities and tensions in modern literary theory. He seeks to harmonize the critical alertness of the New Critics with the traditional scholarship of their opponents, while avoiding the narrowness of many fashionable modern methodologies such as the New Historicism, Neo-Freudianism, Radical Feminism, etc. This historical perspective involves a comparative critical procedure defined as "Syncretic Criticism." It combines close reading and comprehensive perspective over previous literary analogues, in order to identify distinctive progressions towards many modern attitudes about politics, morality, sexuality, and fashion" --

Criticism --- Literature and society --- Shakespeare, William, - 1564-1616

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English poetry --- Landscapes in literature. --- Nature in literature. --- Renaissance --- History and criticism. --- European influences.

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Poésie d'amour --- Poésie anglaise --- Histoire et critique --- 1500-1700 (moderne)

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Shakespeare’s Tragedies Reviewed explores how the recognition of spectator interests by the playwright has determined the detailed character of Shakespeare tragedies. Utilizing Shakespeare’s European models and contemporaries, including Cinthio and Lope de Vega, and following forms such as Aristotle’s second, more popular style of tragedy (a double ending of punishment for the evil and honor for the good), Hugh Macrae Richmond elicits radical revision of traditional interpretations of the scripts. The analysis includes a major shift in emphasis from conventionally tragic concerns to a more varied blend of tones, characterizations, and situations, designed to hold spectator interest rather than to meet neoclassical standards of coherence, focus, and progression. This reinterpretation also bears on modern staging and directorial emphasis, challenging the relevance of traditional norms of tragedy to production of Renaissance drama. The stress shifts to plays’ counter-movements to tragic tones, and to scripts’ contrasting positive factors to common downbeat interpretations – such as the role of humor in King Lear and the significance of residual leadership in the tragedies as seen in the roles of Malcolm, Edgar, Cassio, and Octavius, as well as the broader progressions in such continuities as those within Shakespeare’s Roman world from Julius Caesar and Antony and Cleopatra to Cymbeline. It becomes apparent that the authority of the spectator in such Shakespearean titles as What You Will and As You Like It may bear meaningfully on interpretation of more plays than just the comedies.