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SHAKESPEARE

AS A DRAMATIC ARTIST

A

MOULTON

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PROFESSOR OF ENGLISH LITERATURE IN THE UNIVERSITY OF CHICAGO, LATE
LECTURER TO CAMBRIDGE UNIVERSITY (EXTENSION), TO THE LONDON

AND TO THE AMERICAN SOCIETIES FOR THE EXTENSION

OF UNIVERSITY TEACHING

THIRD EDITION: REVISED AND ENLARGED

Orford

AT THE CLARENDON PRESS

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PREFACE TO THE THIRD

EDITION

The present edition is distinguished by two features. In the first place, the list of plays treated in Part First has been enlarged by three,-Othello, Love's Labour's Lost, and As You Like It. The Study of Othello has been made No. XI, to associate it with previous Studies of Julius Cæsar and Lear, since it connects Character and Plot as these had connected Passion and Movement. The Studies of Love's Labour's Lost and As You Like It (Nos. XIV, XV) are placed after those on The Tempest, and carry further the topics of Central Ideas and Dramatic Colouring. The new matter is the substance of papers read at various times before the New Shakspere Society of London.

Such additions to Part First involve, according to the plan of the whole work, additions of detail and restatements of various points in Part Second. But besides these there is a change of a more general character in Part Second, which makes the other main feature of this edition. It has always been my contention that the Science of Dramatic Criticism admits at present of no systematisation other than a digest of critical topics,

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