Book contents
- Frontmatter
- PREFACE TO THE THIRD EDITION
- PREFACE
- PREFACE
- Contents
- INTRODUCTION
- PART FIRST SHAKESPEARE CONSIDERED AS A DRAMATIC ARTIST,IN FIFTEEN STUDIES
- I THE TWO STORIES SHAKESPEARE BORROWS FOR HIS ‘MERCHANT OF VENICE’
- II HOW SHAKESPEARE MANIPULATES THE STORIES IN DRAMATISING THEM
- III HOW SHAKESPEARE MAKES HIS PLOT MORE COMPLEX IN ORDER TO MAKE IT MORE SIMPLE
- IV A PICTURE OF IDEAL VILLAINY IN ‘RICHARD III’
- V ‘RICHARDIII’:HOW SHAKESPEARE WEAVES NEMESIS INTO HISTORY
- VI HOW NEMESIS AND DESTINY ARE INTERWOVEN IN ‘MACBETH’
- VII MACBETH, LORD AND LADY
- VIII JULIUS CÆSAR BESIDE HIS MURDERERS AND HIS AVENGER
- IX HOW THE PLAY OF ‘JULIUS CAÆSAR’ WORKS UP TO A CLIMAX AT THE CENTRE
- X HOW CLIMAX MEETS CLIMAX IN THE CENTRE OF ‘LEAR’
- XI ‘OTHELLO’ AS A PICTURE OF JEALOUSY AND INTRIGUE
- XII HOW ‘THE TEMPEST’ IS A DRAMA OF ENCHANTMENT
- XIII HOW THE ENCHANTMENT OF ‘THE TEMPEST’ PRESENTS PERSONAL PROVIDENCE
- XIV HOW ‘LOVE'S LABOUR'S LOST’ PRESENTS SIMPLE HUMOUR IN CONFLICT WITH VARIOUS AFFECTATIONS AND CONVENTIONALITIES
- XV HOW ‘As YOU LIKE IT’ PRESENTS VARIED FORMS OF HUMOUR IN CONFLICT WITH A SINGLE CONVENTIONALITY
- PART SECOND SURVEY OF DRAMATIC CRITICISM AS AN INDUCTIVE SCIENCE
- APPENDIX: TECHNICAL ANALYSIS OF PLOTS
- INDEXES
- INDEX OF SCENES
II - HOW SHAKESPEARE MANIPULATES THE STORIES IN DRAMATISING THEM
Published online by Cambridge University Press: 05 April 2012
Book contents
- Frontmatter
- PREFACE TO THE THIRD EDITION
- PREFACE
- PREFACE
- Contents
- INTRODUCTION
- PART FIRST SHAKESPEARE CONSIDERED AS A DRAMATIC ARTIST,IN FIFTEEN STUDIES
- I THE TWO STORIES SHAKESPEARE BORROWS FOR HIS ‘MERCHANT OF VENICE’
- II HOW SHAKESPEARE MANIPULATES THE STORIES IN DRAMATISING THEM
- III HOW SHAKESPEARE MAKES HIS PLOT MORE COMPLEX IN ORDER TO MAKE IT MORE SIMPLE
- IV A PICTURE OF IDEAL VILLAINY IN ‘RICHARD III’
- V ‘RICHARDIII’:HOW SHAKESPEARE WEAVES NEMESIS INTO HISTORY
- VI HOW NEMESIS AND DESTINY ARE INTERWOVEN IN ‘MACBETH’
- VII MACBETH, LORD AND LADY
- VIII JULIUS CÆSAR BESIDE HIS MURDERERS AND HIS AVENGER
- IX HOW THE PLAY OF ‘JULIUS CAÆSAR’ WORKS UP TO A CLIMAX AT THE CENTRE
- X HOW CLIMAX MEETS CLIMAX IN THE CENTRE OF ‘LEAR’
- XI ‘OTHELLO’ AS A PICTURE OF JEALOUSY AND INTRIGUE
- XII HOW ‘THE TEMPEST’ IS A DRAMA OF ENCHANTMENT
- XIII HOW THE ENCHANTMENT OF ‘THE TEMPEST’ PRESENTS PERSONAL PROVIDENCE
- XIV HOW ‘LOVE'S LABOUR'S LOST’ PRESENTS SIMPLE HUMOUR IN CONFLICT WITH VARIOUS AFFECTATIONS AND CONVENTIONALITIES
- XV HOW ‘As YOU LIKE IT’ PRESENTS VARIED FORMS OF HUMOUR IN CONFLICT WITH A SINGLE CONVENTIONALITY
- PART SECOND SURVEY OF DRAMATIC CRITICISM AS AN INDUCTIVE SCIENCE
- APPENDIX: TECHNICAL ANALYSIS OF PLOTS
- INDEXES
- INDEX OF SCENES
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- Shakespeare as a Dramatic ArtistA Popular Illustration of the Principles of Scientific Criticism, pp. 58 - 73Publisher: Cambridge University PressPrint publication year: 2011First published in: 1893