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

Chapter 32: FOOTNOTES:
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About This Book

The author analyzes Shakespeare's technique through ten focused studies that examine how Shakespeare transforms source material, develops underplots, weaves nemesis and destiny into plot, and balances character contrast and grouping in plays such as The Merchant of Venice, Richard III, Macbeth, Julius Caesar, and King Lear. The second part advocates an inductive, scientific method for dramatic criticism, outlining topics and procedures for evaluating interest in character, passion, and plot. Aimed at readers and students, the work pairs concrete textual exemplars with pedagogical guidance to illustrate practical principles of dramatic workmanship and to propose a systematic approach to literary criticism.

FOOTNOTES:

[9] The reader will remember that 'Single' is used as antithetical to 'Complex,' and 'Simple' to 'Complicated.' See note to page 74.


INDEX OF SCENES

ILLUSTRATED IN THE FOREGOING CHAPTERS.

*** Clarendon type is used where the passage referred to approaches the character of an analysis of the scene.

JULIUS CÆSAR.

Act I.

Act II.

Act III.

Act IV.

Act V.

KING LEAR.

Act I.

Act II.

Act III.

Act IV.

Act V.

MACBETH.

Act I.

Act II.

Act III.

Act IV.

Act V.

MERCHANT OF VENICE.

Act I.

Act II.

Act III.

Act IV.

Act V.

RICHARD III.

Act I.

Act II.

Act III.

Act IV.

Act V.


Corrections.

The first line indicates the original, the second the correction.

p. 64:

  • It has further been ushered in in a manner
  • It has further been ushered in a manner

p. 310:

  • his inability to bear suspense 154, 160, 162, 163, 163, 164-5, 243-5.
  • his inability to bear suspense 154, 160, 162, 163, 164-5, 243-5.