Shakespeare as a Dramatic Artist A Popular Illustration of the Principles of Scientific Criticism — Themes and Context

The Scientific Method Applied to Drama

Moulton explicitly frames his project as a new branch of inductive science. He acknowledges existing Shakespeare criticism but contends that it lacks a recognized method. His goal is to claim for criticism a position among the inductive sciences, sketching a plan for dramatic criticism as a systematic discipline. The preface outlines three purposes: to illustrate Shakespeare's technical mastery for the general reader, to establish dramatic criticism as a science, and to provide an educational manual. Moulton notes that annotated editions of Shakespeare offer little beyond language and allusion, leaving literary characteristics and dramatic effect undiscussed—a gap he aims to fill.

The book's structure reflects this scientific ambition: early chapters present studies of specific plays, while later sections attempt to codify principles. Moulton's language is methodical, using terms like 'inductive spirit' and 'regular Inductive Science.' He positions himself as a pioneer, not merely a commentator, seeking to transform how readers and students engage with dramatic texts.

Macbeth's Practical Bent as Key to Character

Moulton's analysis of Macbeth centers on what he calls the protagonist's 'practical bent.' In the scene where Lady Macbeth persuades her husband to proceed with the murder, Moulton tracks the shift in Macbeth's resolve. Initially, Macbeth takes 'high ground,' citing gratitude and honor. When Lady Macbeth taunts him with cowardice, he responds with the famous line, 'I dare do all that may become a man; / Who dares do more is none.' Yet Moulton argues that this noble posture is self-deception: the real turning point comes when Macbeth blurts out, 'If we should fail?' At that moment, Lady Macbeth supplies a feasible scheme—drugging the chamberlains, framing them—and Macbeth, energized by practical details, interrupts to complete her plan. Moulton concludes that the practical man is nerved by having practical steps laid out, not by moral appeals.

Contrasting Weakness and Strength in the Murder Scene

Moulton examines the perpetration of the murder itself as a study in contrasting trajectories. He observes that Lady Macbeth passes from weakness to strength, while Macbeth moves from strength to weakness. For Lady Macbeth, the actual contact with blood is the severest strain; she feels on the verge of madness, confessing, 'These deeds must not be thought / After these ways; so, it will make us mad!' She requires stimulants to brace her nerves, and her intention to participate in the killing fails when she cannot strike because Duncan resembles her father as he slept. Macbeth, by contrast, after his earlier hesitation, never wavers once the deed begins. Moulton uses these details to argue that Shakespeare builds character through precise emotional and physical reactions, not through abstract traits. The scene's structure—alternating between the two characters' internal states—creates a dynamic tension that drives the narrative forward.

Diction and Dialogue as Revelatory Tools

Throughout his study, Moulton pays close attention to Shakespeare's diction and dialogue as indicators of character and dramatic purpose. In the Macbeth analysis, he highlights how Macbeth's tell-tale face is described as 'a book where men may read strange matters,' linking physical description to psychological state. He also notes the practical nature of Macbeth's thoughts even at crisis points, citing the character's focus on logistics rather than morality. Moulton's method involves isolating specific lines and tracing their implications across a scene. For instance, he points to Lady Macbeth's line 'That which hath made them drunk hath made me bold' as evidence of her need for artificial courage. By treating dialogue as data, Moulton builds a case for Shakespeare's deliberate craftsmanship, where every word choice serves the larger dramatic architecture.

Moulton's book offers a lens for reading Shakespeare that prioritizes technical analysis over thematic summary. Readers interested in how Shakespeare constructs scenes, develops characters through dialogue, and manipulates audience response will find a methodical approach grounded in textual specifics. The focus on Macbeth serves as a case study, but the principles Moulton articulates can be applied to other plays. This is not a guide to Shakespeare's life or times, but a rigorous examination of his craft—one that invites readers to become critics in their own right.

There are books that don't leave you, and Moulton’s careful reading of Macbeth felt like watching someone patiently unspool a knot—each word a deliberate thread. It made me think of The old English dramatists — A Closer Reading in the same quiet way, a kindred hand tracing these same strange, human shapes.