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CONTENTS
INTRODUCTION.
PLEA FOR AN INDUCTIVE SCIENCE OF LITERARY
CRITICISM.
PART FIRST.
SHAKESPEARE CONSIDERED AS A DRAMATIC ARTIST,
IN FIFTEEN STUDIES.
I.
BORROWS FOR HIS
THE TWO STORIES SHAKESPEARE
'MERCHANT OF VENICE.'
A Study in the Raw Material of the Romantic Drama
II.
How SHAKESPEARE MANIPULATES THE STORIES IN DRAMA-
TISING THEM.
A Study in Dramatic Workmanship
III.
HOW SHAKESPEARE MAKES HIS PLOT MORE COMPLEX IN
ORDER TO MAKE IT MORE SIMPLE.
PAGE
43
58
xii
IV.
A PICTURE OF IDEAL VILLAINY IN RICHARD III.'
A Study in Character-Interpretation
V.
'RICHARD III': How SHAKESPEARE WEAVES NEMESIS INTO
HOW THE PLAY OF JULIUS CÆSAR' WORKS UP TO A CLIMAX
HOW CLIMAX MEETS CLIMAX IN THE CENTRE OF 'LEAR.'
bles Passion and Movement
90
107
125
144
168
185
202
XI.
'OTHELLO' AS A PICTURE OF JEALOUSY AND INTRIGUE.
A Study in Character and Plot
XII.
HOW THE TEMPEST' IS A DRAMA OF ENCHANTMENT.
A Study in Dramatic Colouring.
XIII.
HOW THE ENCHANTMENT OF 'THE TEMPEST' PRESENTS
225
246
PERSONAL PROVIDENCE.
A Study in Central Ideas
XIV.
How 'LOVE'S LABOUR'S LOST' PRESENTS SIMPLE HUMOUR
IN CONFLICT WITH VARIOUS AFFECTATIONS AND CON-
VENTIONALITIES.
A further Study in Central Ideas
XV.
How As You LIKE IT' PRESENTS VARIED FORMS OF HUMOUR
IN CONFLICT WITH A SINGLE CONVENTIONALITY.
A Study of more Complex Dramatic Colouring
264
284
300
INTRODUCTION
PLEA FOR AN INDUCTIVE SCIENCE
OF LITERARY CRITICISM