Description

Book Synopsis

Edited, Introduced and Annotated by Cedric Watts, M.A., Ph.D., Emeritus Professor of English, University of Sussex.

The Wordsworth Classics’ Shakespeare Series, with Romeo and Juliet, Henry V and The Merchant of Venice as its inaugural volumes, presents a newly-edited sequence of William Shakespeare’s works. The textual editing takes account of recent scholarship while giving the material a careful reappraisal.

Its lyricism, comedy (both broad and subtle) and magical transformations have long made A Midsummer Night’s Dream one of the most popular of Shakespeare’s works. The supernatural and the mundane, the illusory and the substantial, are all shimmeringly blended. Love is treated as tragic, poignant, absurd and farcical. ‘Lord, what fools these mortals be!’, jeers Robin Goodfellow; but the joke may be on him and on his master Oberon when Bottom the weaver, his head transformed into that of an ass, is embraced by the voluptuously amorous Titania.

Recent stage-productions of A Midsummer Night’s Dream have emphasised the enchanting, spectacular, ambiguous and erotically joyous aspects of this magical drama which culminates in a multiple celebration of marriage.

A Midsummer Night's Dream

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    A Paperback / softback by William Shakespeare, Professor Cedric Watts, Professor Cedric Watts

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      Book details

      Publisher Wordsworth Editions Ltd
      Published 5 May 1992
      ISBN-13 9781853260308
      978-1853260308
      ISBN-10 1853260304
      Also in:
      Fiction Poetry Books by William Shakespeare

      Description

      Book Synopsis

      Edited, Introduced and Annotated by Cedric Watts, M.A., Ph.D., Emeritus Professor of English, University of Sussex.

      The Wordsworth Classics’ Shakespeare Series, with Romeo and Juliet, Henry V and The Merchant of Venice as its inaugural volumes, presents a newly-edited sequence of William Shakespeare’s works. The textual editing takes account of recent scholarship while giving the material a careful reappraisal.

      Its lyricism, comedy (both broad and subtle) and magical transformations have long made A Midsummer Night’s Dream one of the most popular of Shakespeare’s works. The supernatural and the mundane, the illusory and the substantial, are all shimmeringly blended. Love is treated as tragic, poignant, absurd and farcical. ‘Lord, what fools these mortals be!’, jeers Robin Goodfellow; but the joke may be on him and on his master Oberon when Bottom the weaver, his head transformed into that of an ass, is embraced by the voluptuously amorous Titania.

      Recent stage-productions of A Midsummer Night’s Dream have emphasised the enchanting, spectacular, ambiguous and erotically joyous aspects of this magical drama which culminates in a multiple celebration of marriage.

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