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- W2543716105 abstract "Though Samuel Pepys unequivocally condemned the play as ‘the worst that ever I heard in my life’, the critical and theatrical reception of Romeo and Juliet in the period after the Restoration was more generally ambivalent: at once highly praised and pointedly censured (even ‘corrected’).1 Responses to the play (and to Shakespeare more generally) take quite different forms: the theatre staged freely adapted versions of Romeo and Juliet, while in the study new scholarly editions appeared that reflected on the particulars of the ‘original’. Neoclassical tastes dominated literary appreciation, insisting on adherence to prescriptions about generic form. Against this background the editors Nicholas Rowe and Samuel Johnson explained and defended Shakespeare’s lack of concern for such technicalities as the unities of time and place. Johnson celebrated instead what he understood as Shakespeare’s instructive natural humanity, but criticized him for moments when ‘conceit’ damaged this vision. David Garrick’s theatrical ‘alteration’ of Romeo and Juliet removed much of such wordplay from the Elizabethan text. But the period begins with a more thoroughly adapted staging of the play." @default.
- W2543716105 created "2016-11-04" @default.
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- W2543716105 date "2013-01-01" @default.
- W2543716105 modified "2023-09-27" @default.
- W2543716105 title "Well-Seeming Forms: Seventeenth and Eighteenth Centuries" @default.
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- W2543716105 doi "https://doi.org/10.1007/978-1-137-29275-9_3" @default.
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