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INTRODUCTION

No attempt

In these lectures I propose to consider the four principal tragedies of Shakespeare from a single point of view. Nothing will be said of Shakespeare's place in the history either of English literature or of the drama in general. will be made to compare him with other writers. I shall leave untouched, or merely glanced at, questions regarding his life and character, the development of his genius and art, the genuineness, sources, texts, inter-relations of his various works. Even what may be called, in a restricted sense, the 'poetry' of the four tragedies—the beauties of style, diction, versification—I shall pass by in silence. Our one object will be what, again in a restricted sense, may be called dramatic appreciation ; to increase our understanding and enjoy

ment of these works as dramas ; to learn to | apprehend the action and some of the personages

of each with a somewhat greater truth and intensity, so that they may assume in our imaginations a shape a little less unlike the shape they wore in the imagination of their creator. For this end all those studies that were mentioned just now, of literary history and the like, are useful and even in various degrees necessary. But an overt pursuit of them is not necessary here, nor is any

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