Shakespeare as a Dramatic Artist
A Popular Illustration of the Principles of Scientific Criticism

Table of Contents

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