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For the first time in the history of drama criticism, this book uses traditional rhetorical theory to evaluate moral values in plays from Shakespeare's time to the present. In an accessible style free of jargon, Robert King first reviews other theories and critiques of drama to show that they ignore or minimize the argument from moral worth (ethos), the rhetorical proof that earns a speaker or work its credibility. As the literary genre most dependent on an audience for its full realization, drama in performance, he argues, offers rich opportunities for rhetorical criticism while those plays of social or political relevance virtually demand an ethically grounded approach. Proceeding from this premise, this innovative book insists on the continuing relevance of traditional rhetoric as crucial to an appreciation of aesthetic strategy and moral worth in plays from the Early Modern to contemporary periods. Ethos is applied as a standard for discovering a play's worth in its control of syntax, diction, and stylistic devices; likewise it is used to judge character and persuasive argument. Among the artists discussed: Shakespeare, Chekhov, Arthur Miller, David Mamet, Eugene O'Neill, Tennessee Williams, John Dryden, Thomas Otway, David Hare, Tom Stoppard, and Bernard Shaw. Commenting in general on plays he has seen in performance, King applies ethical theory to the values of various dramatic techniques like costume, staging, action, and role playing. As an ultimate test of the theory, his concluding chapters study plays that respond to questions of overriding moral concern: the Holocaust, apartheid, and nuclear weaponry. This title offers a groundbreaking approach to drama criticism.