XVI. IN TOPICS OF DRAMATIC CRITICISM. Criticism science. N the Introduction to this book I pleaded that a regular CH. XVI. inductive science of literary criticism was a possibility. Purpose: In the preceding fifteen chapters I have endeavoured to exhibit to survey such a regular method at work on the dramatic analysis of Dramatic leading points in Shakespeare's plays. The design of the as an inwhole work will not be complete without an attempt to ductive present our results in complete form, in fact to map out a Science of Dramatic Art. I hope this may not seem too pretentious an undertaking in the case of a science yet in its infancy; while it may be useful at all events to the young student to have suggested to him a methodical treatment with which he may exercise himself on the literature he studies. Moreover the reproach against literary criticism is, not that there has not been plenty of inductive work done in this department, but that the assertion of its inductive character has 'been lacking; and I believe a critic does good service by throwing his results into a formal shape, however imperfectly he may be able to accomplish his task. It will be understood that the survey of Dramatic Science is here attempted only in the merest outline: it is a glimpse, not a view, of a new science that is proposed. Not even a survey would be possible within the limits of a few short chapters except by confining the matter introduced to that previously laid before the reader in a different form. The leading features of Dramatic Art have already been explained in the application of them CH. XVI. SO arranged that their mutual connection may be seen to be building up this singleness of view. Such a survey, like a microscopic lens of low power, must sacrifice detail to secure a wider field. Its compensating gain will consist in what it can contribute to the orderly product of methodised enquiry which is the essence of science, and the interest in which becomes associated with the interest of curiosity when the method has been applied in a region not usually acknowledging its reign. Definition of Dramatic The starting-point in the exposition of any science is naturally its definition. But this first step is sufficient to Criticism: divide inductive criticism from the treatment of literature mostly in vogue. I have already protested against the criticism which starts with the assumption of some 'object' or 'fundamental purpose' in the Drama from which to deduce binding canons. Such an all-embracing definition, if it is possible at all, will come as the final, not the first, step of investigation. Inductive criticism, on the contrary, will seek its point of departure from outside. On the one hand it will consider the relation of the matter which it proposes to treat to other matter which is the subject of scientific enquiry; on the other hand it will fix the nature of the treatment it proposes to apply by a reference to scientific method in general. That is to say, its definition will be based upon differentiation of matter and development in method. as to its field and its method. Stages of development in the in ductive method. To begin with the latter. There are three well-marked stages in the development of sciences. The first consists in the mere observation of the subject-matter. The second is distinguished by arrangement of observations, by analysis and classification. The third stage reaches systematisation/the wider arrangement which satisfies our sense of explanation, or curiosity as to causes which is the instinct specially developed by scientific enquiry. Astronomy remained for long ages in the first stage, while it was occupied with the constellations. It would pass into the second stage with CH. XVI. division of labour and the study of solar, lunar, planetary, and cometary phenomena separately. But by such discoveries as that of the laws of motion, or of gravitation, the great mass of astronomical knowledge was bound together in a system which at the same time satisfied the sense of causation, and astronomy was fully developed as an inductive science. Or to take a more modern instance: comparative philology has attained completeness in our own day. Philology was in its first stage at the Renaissance, when 'learning' meant the mere accumulation of detailed knowledge connected with the Classical languages; Grimm's Law may illustrate the second stage, a classification comprehensive but purely empiric; the principle of phonetic decay with its allied recuperative processes has struck a unity through the laws of philology which stamps it as a full-grown science. Applying this to our Dramatic Criticism present subject, I do not pretend that Literary Criticism has in the inreached the third of these three stages: but materials are termediate ready for giving it a secure place in the second stage. In time, no doubt, literary science must be able to explain the modus operandi of literary production, and show how different classes of writing come to produce their different effects. But at present such explanation belongs mostly to the region. of speculation; and before the science of criticism is ripe for this final stage much work has to be done in the way of methodising observation as to literary matter and form. Dramatic Criticism, then, is still in the stage of provisional arrangement. Its exact position is expressed by the technical or topical' term 'topical.' Where accumulation of observations is great stage. enough to necessitate methodical arrangement, yet progress is insufficient to suggest final bases of arrangement which will crystallise the whole into a system, science takes refuge in 'topics.' These have been aptly described as intellectual |