Such critics excuse it as prentice work and concentrate on deciding whether it is trying to be mainly a medieval tragedy of the stars and Fortune, or a social tragedy, or a tragedy of character. Many critics have settled the dilemma by sacrificing the play, for example Duthie, who agreed with Charlton that ‘as a pattern of the idea of tragedy is a failure’. Between them they may be taken to establish the two poles of preference, the one for the realistic, the other for the poetic, between which criticism has since oscillated. Coleridge thought he was a man possessing ‘all the elements of a Poet’. Dryden thought Mercutio was Shakespeare’s rather ill-bred idea of a Gentleman.
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