A midsummer's night dream / edited by Judith M. Kennedy and Richard F. Kennedy.

Includes bibliographical references (pages 419-435) and index.

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GENERAL EDITOR'S PREFACE; PREFACE; INTRODUCTION; 1 Moral conventions and human sympathy, 1775; 2 Artists' interpretations of dramatic effects, 1787; 3 Commentary on A Midsummer Night's Dream, 1790; 4 Bottom as coxcomb, 1792; 5 Response to Malone, 1793; 6 Illustrations of some passages, 1794; 7 His fertile and creative fancy, 1800; 8 On metre, invention, and a unified whole, 1815; 9 Unity of feeling and of imagery, and the fairies, 1817; 10 Bottom, Puck, and the incompatibility of poetry and the stage, 1817; 11 Malone's last words, 1821; 12 Mainly on the fairies, 1824

13 The fairy world, the clowns, the poetry, 182814 New actors on the mimic scene-the fairies, 1828; 15 Marginalia and other notes, 1836; 16 Bottom the lucky man, 1837; 17 Critics refuted, 1838; 18 Originality in structure, machinery, and language, 1839; 19 The Pictorial Edition of A Midsummer Night's Dream, 1839; 20 The poet's dream, 1840; 21 Anachronisms, Nick Bottom as Midas, and stage representation, 1841; 22 Oberon's Vision allegorized, 1843; 23 Fairy drama and human nature, 1843; 24 Poet of the Fairies, 1844; 25 A comment, with some explanatory notes, 1845

26 The theme of self-parody, 184627 Introductory remarks, 1847; 28 The sister arts, and the play's structural balance, 1848; 29 A festival of dainties, 1851; 30 The Dream and Art, 1851, 1872, 1883, 1884; 31 A most charming entertainment of the stage, 1853; 32 Samuel Phelps's Bottom, 1853; 33 Dramatic and poetic art, 1854; 34 Dialogue with a sceptic, 1854; 35 Critical remarks on the play, 1856; 36 Celtic elements, 1859; 37 Genre and inner purpose, 1863; 38 Intuitive power of characterization, 1863; 39 The play's limitations, 1864; 40 The sacred mysteries in the play, 1865

41 The secret meaning of the Interlude, 186542 The perfection of imbecilic clowns, 1866; 43 Not critics, but lowly worshippers of the Beautiful, 1869; 44 The theme is love, 1871; 45 Bottom -- an ass, but no fool, 1873; 46 A Midsummer Night's Dream as masque, 1874; 47 Self-reflexive structure: the Real, the Ideal, and the Representation, 1874; 48 Shakespeare differentiated from Bacon, 1875; 49 Theseus as the central figure, 1875; 50 A comedy of incident, 1875; 51 Consummation of Shakespeare's lyrical genius, 1876; 52 Bottom, a self-made man, 1876; 53 The full glow of fancy and fun, 1877

54 The wood is the world, 187955 Titania and Ovid, 1880; 56 A Platonic reading, 1884; 57 Interpreting the spoken verse, 1885; 58 Observations on the lovers and the mechanicals, 1886; 59 Poet rather than dramatist, 1888; 60 Source of the play's popularity, 1888; 61 Classical and modern, 1890; 62 Reason and desire in Oberon and Titania, 1890; 63 The development of morality and art, 1891; 64 A true work of art, 1894; 65 The duration of the action, 1895; 66 Life and art, 1895; 67 Daly and the idea of titivation, 1895; 68 Remarks on the play and modern education, 1895

This study traces the response to ""A Midsummer Night's Dream"" from Shakespeare's day to the present, including critics from Britain, Europe and America.

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