Lowenthal deftly shows that Shakespeare, more a poet and dramatist than philosopher, was deeply interested in some fundamental issues of moral and political life, in such a way that his astonishing achievements in plot, character, and poetic utterance can best be understood as emanating from the particular issue or issues that each play explores. Like Harold Goddard, Lowenthal is not afraid to talk about 'meaning'; like Harold Bloom, he offers a countervailing argument to trends in current theoretical criticism.