Shakespeare as a Dramatic Artist

A Popular Illustration of the Principles of Scientific Criticism

By: Richard Green Moulton

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Paperback | 5 March 2011

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464 Pages

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21.59 x 13.97 x 2.62

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Written by British American critic Richard Moulton (1849 1924), this influential study of Shakespeare's dramatic technique introduces Moulton's 'prescience' of scientific criticism, an approach to literature that would later develop into modern literary theory. Moulton, who served as professor of English literature at Chicago, stated that his object was to 'claim for criticism a position amongst the inductive sciences, and to sketch in outline a plan for the dramatic side of such a critical science', arguing that Shakespeare's genius lay in his mastery of his dramatic art as much as in his deep knowledge of human nature. Published in 1893, this third edition expands significantly on the material in the first edition (1885) and the second (1888), as Moulton includes analysis of three additional Shakespearean plays, using work that had originally been presented to the New Shakespeare Society of London. Subsequent editions were produced in 1897 and 1906."

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You Can Find This Book In

Non-Fiction Language & Linguistics Reference, Dictionaries & Guides Creative Writing & Creative Writing Guides Literature, Poetry & Plays History & Criticism of Literature Literary Studies of Plays & Playwrights Shakespeare Studies & Criticism Linguistics Semantics & Discourse Analysis Arts & Entertainment Acting & Theatre Studies

Technical & Background Skills in Theatre General Literary Studies Literary Studies from 1500 to 1800 Plays Shakespeare Plays History

Preface to the third edition
Preface to the second edition
Preface to the first edition
Introduction: plea for an inductive science of literary criticism
Shakespeare Considered as a Dramatic Artist, in Fifteen Studies
The two stories Shakespeare borrows for his Merchant of Venice. A study in the raw material of the romantic drama
How Shakespeare manipulates the stories in dramatising them. A study in dramatic workmanship
How Shakespeare makes his plot more complex in order to make it more simple. A study in underplot
A picture of ideal villainy in Richard III. A study in character-interpretation
Richard III, how Shakespeare weaves Nemesis into history. A study in plot
How Nemesis and destiny are interwoven in Macbeth. A further study in plot
Macbeth, Lord and Lady. A study in character-contrast
Julius Caesar beside his murderers and his avenger. A study in character-grouping
How the play of Julius Caesar works up to a climax at the centre. A study in passion and movement
How climax meets climax in the centre of Lear. A study in more complex passion and movement
Othello as a picture of jealousy and intrigue. A study in character and plot
How The Tempest is a drama of enchantment. A study in dramatic colouring
How the enchantment of The Tempest presents personal providence. A study in central ideas
How Loves Labour's Lost presents simple humour in conflict with various affections and conventionalities. A further study in central ideas
How As You Like It presents varied forms of humour in conflict with a single conventionality. A study of more complex dramatic colouring
Survey of Dramatic Criticism as an Inductive Science
Topics of dramatic criticism
Interest of character
Interest of passion
Interest of plot: statics
Interest of plot: dynamics
Appendix
Index
Table of Contents provided by Publisher. All Rights Reserved.

Shakespeare as a Dramatic Artist

A Popular Illustration of the Principles of Scientific Criticism

At a Glance

Paperback

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Defective items

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