ABSTRACT
This conclusion covers closing thoughts discussed in preceding chapters of this book. The book includes here partly to mark the continuing passage of time in what is, after all, a chronological narrative of the critical profession. It is an at least symptomatically momentous occurrence, namely the extraordinarily rapid and widespread return to Shakespeare as the prime subject of critical interest in the English Renaissance field and maybe in the profession at large. The book premises the proper critical relation to the author of 'genius' as well as the nature of critical responsibility remain rather vexed. An apparent law of contraries, some of the strongest modern discussions of Shakespearean tragedy has been conducted as if those plays partake of black comedy or tragic farce. The book also explains about A Midsummer Night's Dream, which was written by Shakespeare. An extended critique of primitive terror might accordingly become one undertaking of an 'unpossessed' Shakespeare criticism.
