
William Shakespeare: A Critical Study
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Leather Binding on Spine and Corners with Golden Leaf Printing on round Spine (extra customization on request like complete leather, Golden Screen printing in Front, Color Leather, Colored book etc.) Reprinted in 2018 with the help of original edition published long back [1899]. This book is printed in black & white, sewing binding for longer life, Printed on high quality Paper, re-sized as per Current standards, professionally processed without changing its contents. As these are old books, we processed each page manually and make them readable but in some cases some pages which are blur or m...
Chapters (784)
- WILLIAM SHAKESPEARE
- A CRITICAL STUDY BY
- GEORGE BRANDES
- CONTENTS
- WILLIAM SHAKESPEARE
- BOOK FIRST
- I A BIOGRAPHY OF SHAKESPEARE DIFFICULT BUT NOT IMPOSSIBLE
- II STRATFORD—PARENTAGE—BOYHOOD
- III MARRIAGE—SIR THOMAS LUCY—DEPARTURE FROM STRATFORD
- IV LONDON—BUILDINGS, COSTUMES, MANNERS
- V POLITICAL AND RELIGIOUS CONDITIONS—ENGLAND'S GROWING GREATNESS
- VI SHAKESPEARE AS ACTOR AND RETOUCHER OF OLD PLAYS—GREENE'S ATTACK
- VII THE "HENRY VI." TRILOGY
- VIII CHRISTOPHER MARLOWE AND HIS LIFE-WORK—TITUS ANDRONICUS
- IX SHAKESPEARE'S CONCEPTION OF THE RELATIONS OF THE SEXES—HIS MARRIAGE VIEWED IN THIS LIGHT—LOVES LABOUR'S LOST—ITS MATTER AND STYLE—JOHN LYLY AND EUPHUISM—THE PERSONAL ELEMENT
- X LOVE'S LABOUR'S WON: THE FIRST SKETCH OF ALL'S WELL THAT ENDS WELL—THE COMEDY OF ERRORS—THE TWO GENTLEMEN OF VERONA
- XI VENUS AND ADONIS: DESCRIPTIONS OF NATURE—THE RAPE OF LUCRECE: RELATION TO PAINTING
- XII A MIDSUMMER NIGHTS DREAM—ITS HISTORICAL CIRCUMSTANCES—ITS ARISTOCRATIC, POPULAR, COMIC, AND SUPERNATURAL ELEMENTS
- XIII ROMEO AND JULIET—THE TWO QUARTOS—ITS ROMANESQUE STRUCTURE—THE USE OF OLD MOTIVES—THE CONCEPTION OF LOVE
- XIV LATTER-DAY ATTACKS UPON SHAKESPEARE—THE BACONIAN THEORY—SHAKESPEARE'S KNOWLEDGE, PHYSICAL AND PHILOSOPHICAL
- XV THE THEATRES—THEIR SITUATION AND ARRANGEMENTS—THE PLAYERS—THE POETS—POPULAR AUDIENCES—THE ARISTOCRATIC PUBLIC—SHAKESPEARE'S ARISTOCRATIC PRINCIPLES
- XVI THE THEATRES CLOSED ON ACCOUNT OF THE PLAGUE—DID SHAKESPEARE VISIT ITALY?—PASSAGES WHICH FAVOUR THIS CONJECTURE
- XVII SHAKESPEARE TURNS TO HISTORIC DRAMA—HIS RICHARD II. AND MARLOWE'S EDWARD II.—LACK OF HUMOUR AND OF CONSISTENCY OF STYLE—ENGLISH NATIONAL PRIDE
- XVIII RICHARD III. PSYCHOLOGY AND MONOLOGUES—SHAKESPEARE'S POWER OF SELF-TRANSFORMATION—CONTEMPT FOR WOMEN—THE PRINCIPAL SCENES—THE CLASSIC TENDENCY OF THE TRAGEDY
- XIX SHAKESPEARE 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
- XX "THE TAMING OF THE SHREW" AND "THE MERCHANT OF VENICE"—SHAKESPEARE'S PREOCCUPATION WITH THOUGHTS OF PROPERTY AND GAIN—HIS GROWING PROSPERITY—HIS ADMISSION TO THE RANKS OF THE "GENTRY"—HIS PURCHASE OF HOUSES AND LAND—MONEY TRANSACTIONS AND LAWSUITS
- XXI THE MERCHANT OF VENICE—ITS SOURCES—ITS CHARACTERS, ANTONIO, PORTIA, SHYLOCK—MOONLIGHT AND MUSIC—SHAKESPEARE'S RELATION TO MUSIC
- XXII "EDWARD III." AND "ARDEN OF FEVERSHAM"—SHAKESPEARE'S DICTION—THE FIRST PART OF "HENRY IV."—FIRST INTRODUCTION OF HIS OWN EXPERIENCES OF LIFE IN THE HISTORIC DRAMA—WHY THE SUBJECT APPEALED TO HIM—TAVERN LIFE—SHAKESPEARE'S CIRCLE—SIR JOHN FALSTAFF—FALSTAFF AND THE GRACIOSO OF THE SPANISH DRAMA—RABELAIS AND SHAKESPEARE—PANURGE AND FALSTAFF
- XXIII HENRY PERCY—THE MASTERY OF THE CHARACTER-DRAWING—HOTSPUR AND ACHILLES
- XXIV PRINCE HENRY—THE POINT OF DEPARTURE FOR SHAKESPEARE'S IMAGINATION—A TYPICAL ENGLISH NATIONAL HERO—THE FRESHNESS AND PERFECTION OF THE PLAY
- XXV "KING HENRY IV.," SECOND PART—OLD AND NEW CHARACTERS IN IT—DETAILS—"HENRY V.," A NATIONAL DRAMA—PATRIOTISM AND CHAUVINISM—THE VISION OF A GREATER ENGLAND
- XXVI ELIZABETH AND FALSTAFF—THE MERRY WIVES OF WINDSOR—THE PROSAIC AND BOURGEOIS TONE OF THE PIECE—THE FAIRY SCENES
- XXVII SHAKESPEARE'S MOST BRILLIANT PERIOD—THE FEMININE TYPES BELONGING TO IT—WITTY AND HIGHBORN YOUNG WOMEN—MUCH ADO ABOUT NOTHING—SLAVISH FAITHFULNESS TO HIS SOURCES—BENEDICK AND BEATRICE—SPIRITUAL DEVELOPMENT—THE LOW-COMEDY FIGURES
- XXVIII THE INTERVAL OF SERENITY—AS YOU LIKE IT—THE ROVING SPIRIT—THE LONGING FOR NATURE—JAQUES AND SHAKESPEARE—THE PLAY A FEAST OF WIT
- XXIX CONSUMMATE SPIRITUAL HARMONY—TWELFTH NIGHT—JIBES AT PURITANISM—THE LANGUISHING CHARACTERS—VIOLA'S INSINUATING GRACE—FAREWELL TO MIRTH
- XXX THE REVOLUTION IN SHAKESPEARE'S SOUL—THE GROWING MELANCHOLY OF THE FOLLOWING PERIOD—PESSIMISM, MISANTHROPY
- BOOK SECOND
- I INTRODUCTION—THE ENGLAND OF ELIZABETH IN SHAKESPEARE'S YOUTH
- II ELIZABETH'S OLD AGE
- III ELIZABETH, ESSEX, AND BACON
- IV THE FATE OF ESSEX AND SOUTHAMPTON
- V THE DEDICATION OF THE SONNETS
- VI THE "DARK LADY" OF THE SONNETS—MARY FITTON
- VII PLATONISM—SHAKESPEARE'S AND MICHAEL ANGELO'S SONNETS—THE TECHNIQUE OF THE SONNETS
- VIII JULIUS CÆSAR—ITS FUNDAMENTAL DEFECT
- IX JULIUS CÆSAR—THE MERITS OF THE DRAMA—BRUTUS
- X BEN JONSON AND HIS ROMAN PLAYS
- XI HAMLET: ITS ANTECEDENTS IN FICTION, HISTORY, AND DRAMA
- XII "HAMLET"—MONTAIGNE AND GIORDANO BRUNO—ANTECEDENTS IN ETHNOGRAPHY
- XIII THE PERSONAL ELEMENT IN HAMLET
- XIV THE PSYCHOLOGY OF HAMLET
- XV HAMLET AS A DRAMA
- XVI HAMLET AND OPHELIA
- XVII HAMLET'S INFLUENCE ON LATER TIMES
- XVIII HAMLET AS A CRITIC
- XIX ALL'S WELL THAT ENDS WELL—ATTACKS ON PURITANISM
- XX MEASURE FOR MEASURE—ANGELO AND TARTUFFE
- XXI ACCESSION OF JAMES AND ANNE—RALEIGH'S FATE— SHAKESPEARE'S COMPANY BECOME HIS MAJESTY'S SERVANTS—SCOTCH INFLUENCE.
- XXII MACBETH—MACBETH AND HAMLET—DIFFICULTIES ARISING FROM THE STATE OF THE TEXT
- XXIII OTHELLO—THE CHARACTER AND SIGNIFICANCE OF IAGO
- XXIV OTHELLO—THE THEME AND ITS TREATMENT—A MONOGRAPH IN THE GREAT STYLE
- XXV KING LEAR—THE FEELING UNDERLYING IT—THE CHRONICLE—SIDNEY'S ARCADIA AND THE OLD PLAY
- XXVI KING LEAR—THE TRAGEDY OF A WORLD-CATASTROPHE
- XXVII ANTONY AND CLEOPATRA—WHAT ATTRACTED SHAKESPEARE TO THE SUBJECT
- XXVIII THE DARK LADY AS A MODEL—THE FALL OF THE REPUBLIC A WORLD-CATASTROPHE
- BOOK THIRD
- I DISCORD AND SCORN
- II THE COURT—THE KING'S FAVOURITES AND RALEIGH
- III THE KING'S THEOLOGY AND IMPECUNIOSITY—HIS DISPUTES WITH THE HOUSE OF COMMONS
- IV THE CUSTOMS OF THE COURT
- V ARABELLA STUART AND WILLIAM SEYMOUR
- VI ROCHESTER AND LADY ESSEX
- VII CONTEMPT OF WOMEN—TROILUS AND CRESSIDA
- VIII TROILUS AND CRESSIDA—THE HISTORICAL MATERIAL.
- IX SHAKESPEARE AND CHAPMAN—SHAKESPEARE AND HOMER
- X SCORN OF WOMAN'S GUILE AND PUBLIC STUPIDITY
- XI DEATH OF SHAKESPEARE'S MOTHER—CORIOLANUS—HATRED OF THE MASSES
- XII CORIOLANUS AS A DRAMA
- XIII TIMON OF ATHENS—HATRED OF MANKIND
- XIV CONVALESCENCE—TRANSFORMATION—THE NEW TYPE
- XV PERICLES—COLLABORATION WITH WILKINS AND ROWLEY—SHAKESPEARE AND CORNEILLE
- XVI FRANCIS BEAUMONT AND JOHN FLETCHER
- XVII SHAKESPEARE AND FLETCHER—THE TWO NOBLE KINSMEN AND HENRY VIII.
- XVIII CYMBELINE—THE THEME—THE POINT OF DEPARTURE—THE MORAL—THE IDYLL —IMOGEN—SHAKESPEARE AND GOETHE—SHAKESPEARE AND CALDERON
- XIX WINTER'S TALE—AN EPIC TURN—CHILDLIKE FORMS—THE PLAY AS A MUSICAL STUDY—SHAKESPEARE'S ÆSTHETIC CONFESSION OF FAITH
- XX THE TEMPEST—WRITTEN FOR THE PRINCESS ELIZABETH'S WEDDING
- XXI SOURCES OF THE TEMPEST
- XXII THE TEMPEST AS A PLAY—SHAKESPEARE AND PROSPERO—FAREWELL TO ART
- XXIII THE RIDE TO STRATFORD
- XXIV STRATFORD-UPON-AVON
- XXV THE LAST YEARS OF SHAKESPEARE'S LIFE
- XXVI SHAKESPEARE'S DEATH
- XXVII CONCLUSION
- THE END
- THE END
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How to Listen
- 1. Click "Listen Free" above
- 2. The book opens in CastReader's browser reader
- 3. Click the play button — AI narration starts with word highlighting
- 4. Use "Send to Phone" to continue listening on your phone
More by Georg Brandes
FAQ
Is this audiobook really free?
Yes. "William Shakespeare: A Critical Study" is a public domain work from Project Gutenberg. CastReader converts it to audio using AI text-to-speech for free. No account or payment needed.
What does the AI voice sound like?
CastReader uses Kokoro TTS, a natural-sounding AI voice. It handles punctuation, names, and dialogue naturally. Most listeners forget it's AI after a few minutes.
Can I listen on my phone?
Yes. Open the book, then use "Send to Phone" to stream audio to your phone via Telegram. No app download needed.



