Abstract
TN 1948 there was published new edition of Professor A. C. Bradley's Shakespearean Tragedy, the first edition of which appeared in I904. During those forty-four years it remained probably the most influential book of Shakespearean criticism. As I wrote in an earlier article,1 It was mighty book, taking Shakespearean criticism again into the realm of the universal and the significant. But as I pointed out then, the enthusiasm of many critics for Bradley has made them demand that every new interpretation of Shakespeare be oriented to his Shakespearean Tragedy. To me it seems that the development of critical thought is no more possible than the development of scientific thought if there are certain priori assumptions that are never to be challenged. Bradley confessed that he worshiped Shakespeare, and the intensity of his feeling inspired his readers, sometimes to worship not only Shakespeare but'also Bradley. Yet I am convinced that Bradley set up certain stumbling blocks to progressive knowledge of the subject of his adoration, and that it is desirable to see just what they are. Professor H. B. Charlton in his recent book Shakespearian Tragedy, proclaiming himself a devout Bradleyite, considers modern trends in Shakespearean criticism:
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