INDEXES.
Reading edition
GENERAL INDEX.
***For particular Characters or Scenes see under their respective plays.
Abbott, Dr., quoted 15.
Academy, French 18.
Achilles and the River-god 193.
Action a fundamental element of Drama 234-6
its threefold division 235
Plot as pure Action 236
or the intellectual side of Action 268.
Action, Analysis of: 271-4
canons of Analysis 271-2
Enveloping Action 272-4
Illustrations of Enveloping Action: Richard III 273, Macbeth 273, Julius Cæsar 273, King Lear 273-4.
'Action-Drama' as substitute for 'Comedy' 280-1.
Action, Economy of: 274-8.
General notion and connection with Analysis 274-5
Economic Forms 275-8
Connection and Linking 275
Dependence 276
Symmetry 276-8
Balance 276
Parallelism and Contrast 276-8
Economy in Technical Analyses of the five plays 291-8.
Actions, focussing of: 209.
Action, Forms of Dramatic: 269-70, 125, 202.
Action, Schemes of in Technical Analyses, 291-8.
Action, Single and Complex 236, 270, &c.
Action, Systems of: 108, 110, 208.
Action, Unity of: 14, 235, 269-71
unity of action in Modern Drama becomes harmony 270.
Actions, Varieties of: Character-Action 270; Comic Action 270, 291; Farcical 291; Generating 297; Initial and Resultant 208; Intrigue 270, 207; Irony 269; Link 81, 208; Main and Subordinate 270; Nemesis 269 &c.; Oracular 269 &c.; Problem 269, 202; Relief 291, 298; Rise and Fall 270, 119, 127; Stationary 291; Story 270; Tragic 270, 297; Triple 270, 125, 142.
Actor, Acting 98, 231. [See Stage-Representation.]
Addison:
on scientific progress 5
his Critique of Paradise Lost 16
his list of English poets 16
his Cato 17, 19
on rules of art 20
on Rymer 21.
Analysis as a stage in scientific development 228-9.
Analysis, Dramatic: 227, 271. [See Action, Analysis of.]
Ancient Drama 125, 259-60
Mixture of Tones an impossibility 252
the Supernatural its leading Motive 259
its unity of action different from that of the Modern Drama 270.
Ancient Thought, points of difference from Modern: 44, 125-7, 137.
Antithesis of Outer and Inner (or Practical and Intellectual) Life 144-6
as an element in Character-Interpretation 146
applied to the age of Macbeth 147
key to the portraiture of Macbeth and his wife 147-167
applied to the age of Julius Cæsar in the form of policy v. justice 168-71
connected with character of Antony 182, Brutus 171-6, Cæsar 176-81, Cassius 181
applied to the group as a whole 183-4.
Apparitions: Richard III 122,
Macbeth 135-6, 140, 167, 262-4. [See Supernatural.]
Apuleianism 15.
Arch as an illustration of dramatic form 127, 280
applied to the Movement in Julius Cæsar 186, 280
to King Lear: Main Plot 209, Underplot 215-17.
Aristotle: his criticism inductive 16
judicial 16
his position in the progress of Induction 230
made Stage-Representation a division of Dramatic Criticism 231
on the purification of our emotions in the Drama 259.
Art applied to the repulsive and trivial 90
common terms in the different arts 168
Dramatic Art 40, 227 &c.
topics common to the Drama and other arts 232
Art in general affords a fundamental basis for the Analysis of Drama 234
concrete and abstract elements in all the arts alike 234.
Background of Nature as an element in dramatic effect 192-4
its widespread use in poetry 192
analysed 192
illustrated in Julius Cæsar in connection with the Supernatural 193-6
used in Centrepiece of King Lear 214
considered as an example of the Supernatural illuminating human action 266.
Bacon 28.
Balance 82, 233
as an Economic form 276
in Technical Analyses 291, 295, 296.
Barbarism of enjoying personal defects 218.
Beaumont and Fletcher 13.
Betrothed, The: as example of Oracular Action 132.
Biblical citations: Psalm II (Irony) 138
conclusion of Job (Dramatic Background) 192.
Blank Verse 13.
Boileau on Terence 16
on Corneille 18.
Bossu 17, 18.
Brontë, Charlotte: 30.
Buckingham 17.
Byron 14.
Caro, Hannibal: 17.
Catastrophe, or Focus of Movement: 284-5
Examples: Merchant of Venice 285; Richard III 285, 120; Macbeth 285; Julius Cæsar 285, 198; King Lear 285, 205
in Technical Analyses 291-8.
Central Personages 119
Gloucester in King Lear 206, 207
Richard 291.
Centre, Dramatic: 67, 186
Shakespeare's fondness for central effects 186, 284.
Centre of Plot 284
Examples 285
in Technical Analyses 291-8.
Character: as an element in Judgment 56
as an Elementary Topic of Dramatic Criticism 235
subdivided 235.
Character, Interest of: 237 and Chapter XII. Character in Drama presented concretely 237.
Unity in Character-Interest 237-9
Complexity in Character-Interest 239-242
Development in Character-Interest 242-5.
Character-Interpretation 237-9.
Character-Foils 239
Contrast 240
Duplication 240
Grouping 241
Dramatic Colouring 241.
Character-Development 242-5.
Character-Contrast as a general term 239-42
strictly so-called 240, 144 and Chapter VII
general and from special standpoints 144
from standpoint of Outer and Inner Life 144-7, 168-71
as an Elementary Topic of Dramatic Criticism 236
Illustrations: Merchant of Venice 82-7
Macbeth 144 and Chapter VII
Julius Cæsar 178, &c.
Character-Development 242-5
Illustration: Macbeth ib.
Character-Duplication 240
Illustrations: Murderers in Richard III &c. 240-1.
Character-Foils 239
Illustrations: Jessica to Lorenzo 85
Jessica and Lorenzo to Portia and Bassanio 86
Cassius and Cæsar 179.
Character-Grouping described 168
Illustration: Julius Cæsar 169 and Chapter VIII.
Character-Interpretation 236, 237-9
of the nature of a scientific hypothesis 237
canons of interpretation 238-9
applied to more than one Character becomes Character-Contrast 240
analytical in its nature 186
has swallowed up other elements of dramatic effect in the popular estimation of Shakespeare 233
Illustration: Richard III 90 and Chapter IV.
Chess with living pieces, an illustration of Passion 185.
Cibber 17.
Ciceronianism 15.
Circumstance External 291.
Clash of Tones: 253. [See Tone.]
Classical Drama: see Ancient.
Classification a stage in development of Inductive Method 228, 229.
Climax in Passion-Movement 185-7
applied to Julius Cæsar 186-8 and Chapter IX.
Illustrated in King Lear 202 and Chapter X.
Gradual rise to the climax of the Main Plot 209-15
the climax itself 215
climax of Underplot 215-8
climax of the play double 217
and triple 218, 223.
Coleridge 11.
Collier, Jeremy: 35.
Colouring. Dramatic: 241-2.
Illustration: Macbeth ib.
'Comedy' unsuitable as a term in Shakespeare-Criticism 280-1.
Comic as a Tone 251-2.
Complex distinguished from Complicated 74 (note)
applied to Plot of Merchant of Venice 74 and Chapter III
Complexity distinguishes the plot of King Lear as compared with that of Julius Cæsar 186
traced in plot of King Lear 202, 208-9, &c.
not inconsistent with simplicity 208, 74
an element of Action 235, 236
applied to Character 239, Passion 250, Plot 270.
Complicated distinguished from Complex 74 (note)
Complicated Movement 279.
Complicating Force 67.
Complication and Resolution 66, 279
Illustration: Merchant of Venice 67.
Connection as an Economic form 275
by Link Personages and Actions 275
by Interweaving ib.
by common Envelopment 276.
Construction and Creation as processes in Character-Painting 30.
Contrast as an Economic form 277, 295-8. [See Character-Contrast.]
Corneille: the Corneille Incident 18
his Clitandre ib.
Courage, active and passive 146, 179.
Cowley 16.
Creation and Construction as processes in Character-Painting 30.
Criticism à priori 24, 37. [See Criticism Judicial.]
Criticism, Dramatic: as an Inductive Science 40, 227, &c.
surveyed in outline 227
indirectly by Studies ib.
its definition 228-34
its method 228-30
its field 230-4
distinguished from Literary Criticism in general 231
need not include Stage-Representation 231-2
common ground between Literary and Dramatic Criticism 232
between Dramatic Art and Stage-Representation 232-3
Drama and Representation separable in exposition not in idea 233-4
fundamental divisions of Dramatic Criticism 234-6
its elementary Topics tabulated 236
General Table of its Topics 288.
Criticism: History of 7-21. [See Criticism, Judicial, Shakespeare-Criticism.]
Criticism, Inductive: distinguished from Judicial 2
the two illustrated by the case of Ben Jonson 2-4
confusion of the two 4
gradual development of Inductive method in the history of Criticism 17-21
sphere of Inductive Criticism separate from that of the Criticism of Taste 21
three main points of contrast between Inductive and Judicial Criticism 27-40
(1) as to comparisons of merit 27-32
(2) as to the 'laws' of Art 32-7
(3) as to fixity of standard 37-40.
Difficulties of Inductive Criticism: want of positiveness in the subject-matter 23-5
absence of 'design' in authors 26
objection as to the ignoring of moral purpose 35
arbitrariness of literary creation 35-7.
Principles and Axioms of Inductive Criticism. Its foundation Axiom: Interpretation is of the nature of a scientific hypothesis 25
its antagonism to comparisons of merit 27-9
concerned with differences of kind rather than degree 29-32
Axiom: Its function to distinguish literary species 32
principle that each writer is a species to himself 30-2
the laws of Art: scientific laws 32-7
Inductive Criticism has no province to deal with faults 34
Axiom: Art a part of Nature 36
Axiom: Literature a thing of development 36
development to be applied equally to past and new literature 38.
Illustrations of Inductive Criticism. Applied by Addison 16, 20; Aristotle 16; Fontenelle 19; Perrault 19; Gervinus 20; Dr. Johnson 16.
Applied to the character of Macbeth 24; Music 29; to Charlotte Brontë and George Eliot 30; Beethoven 34.
Criticism, Judicial: distinguished from Inductive 2
the two illustrated by the case of Ben Jonson 2-4
confusion of the two 4
three main points of contrast between Judicial and Inductive Criticism 27-40
(1) as to comparisons of merit 27-32
(2) as to the 'laws' of Art 32-7
(3) as to fixity of standard 37-40.
Illegitimate supremacy of Judicial method in Criticism 4
connected with influence of the Renaissance 4
and Journalism 5
defence: Theory of Taste as condensed experience 6
the theory examined: judicial spirit a limit on appreciation 6.
History of Judicial Criticism a triumph of authors over critics 7-21.
Case of Shakespeare-Criticism 7-11
other authors 11-13
defeat of Judicial Criticism in the great literary questions 13-15
its failure to distinguish the permanent and transitory 15
its tendency to become obsolete 16
its gradual modification in the direction of Inductive method 17-21.
Proper sphere of Judicial Criticism 21
outside science ib.
and belonging to creative literature ib.
Vices of Judicial Criticism: its arbitrary method of eliminating variability of impression in literary effect 24
its fondness for comparisons of merit 27
its attempt to limit by 'laws' 32-5
its assumption of fixed standards 37-9
its confusion of development with improvement 39.
Illustrations of Judicial Criticism: applied by the French Academy 18; Aristotle 16; Boileau 16, 18; Byron 14; Dennis 19; Dryden 9, 12, 13, 17; Edwards 9; Hallam 12; Heywood 10; Jeffrey 12; Dr. Johnson 10, 12, 16, 19, 20; Lansdowne 9; Macaulay 13; Otway 9; Pope 10, 19; Rymer 8, 14, 17; Steevens 12, 15; Theobald 10; Voltaire 9, 14, 17.
Applied to Addison's Cato 17; Beethoven 34; Brontë 30; Buckingham 17; Eliot (Geo.) 30; Gray 12; Greek Drama 30; Herodotus 39; Jonson (Ben) 2, 17; Keats 12; Milton 11, 12, 14, 17, 39; Montgomery 13; Roscommon 17; Shakespeare's Plays 8-11, &c.; Shakespeare's Sonnets 12; Spenser 12, 17; Taylor (Jeremy) 39; Waller 17; Walsh 17; Waverley Novels 12; Wordsworth 12.
Criticism of Assaying 2, 6. [See Criticism, Judicial.]
Criticism of Taste 2, 6, 21-2. [See Criticism, Judicial.]
Cross Nemeses 291, 293, 47, 51.
Dancing (Greek) 231.
Dennis 19.
Dependence as an Economic form 276.
Design, its significance in Criticism 26.
Destiny interwoven with Nemesis in Macbeth 125 and Chapter VI
conception of it in Ancient and Modern Thought 125, 259-60
phases of Destiny in Modern Drama 127
the Oracular Action one phase of Destiny 130
Irony as a phase of Destiny 137-43
Destiny acting objectively 260
rationalised in Modern Drama 260
as a subjective force, Infatuation 261-2
rationalised in Shakespeare ib.
Development in literature 37-9
as an element of Action 235, 236
applied to Character 242.
Devices for increasing emotional strain 196.
Differentiation of matter accompanying progress of Inductive Science 230
applied to Dramatic Criticism 231-4.
Dover as the objective of the plot in King Lear 274, 284.
Drama: the word 'drama' 234
Drama a compound art 231
the Shakespearean a branch of the Romantic Drama 43
its relations with Stage-Representation 231-2, 233-4, 98
one of its purposes to interpret the beauty of fate 259.
Dramatic Satire 3.
Dryden on Spenser 12, 17
on Blank Verse 13
his Essay on the Drama ib.
his Essay on Satire ib.
on Milton's Blank Verse 17
on Shakespeare's English 15.
Duplication 240.
Economy of Action 274-8 [see Action]
an economy in Richard's Villainy 100.
Edwards 9.
Effect as a general term in Dramatic Criticism 248
strictly so-called ib.
an element of Passion ib.
distinguished from Situation and Incident 246
described 248-50
special Effects: Irony 248, Nemesis 249, Dramatic Foreshadowing 249.
Elevated as a Tone 251.
Eliot (Geo.) 30.
Emerson, quoted 7.
Emotion as a barrier to crime 93.
Enveloping Action 273-4, 111
Illustrations: Richard III 111-12; King Lear 273-4
Analogous to External Circumstance 291 note
in Technical Analyses 291-8.
Envelopment as a kind of Connection 276.
Euphuism utilised in Brutus's oration 175.
Eusden 17.
External Circumstance 291.
Farcical as a Tone 251, 252.
Fascination as an element in human influence 97.
Fate, determinants of in Drama 255 [see Motive Force]
fate other than retributive included in Poetic Justice 257
function of Drama to interpret beauty of fate 259.
Fault as a critical term 32, 34.
Focussing of trains of passion in King Lear 209.
Foils 239. [See Character.]
Fontenelle 19.
Foreshadowing, Dramatic: 249, 201.
Free Trade and Free Art 35.
Gervinus 11, 20, 127, 280.
Gloucester: see King Lear and Richard III.
Goethe 11.
Goldsmith 33.
Gray 12.
Grouping 241. [See Character.]
Hallam 11, 12.
Hamlet, Play of 262.
Hedging, Dramatic: 60, 78, 232-3.
Illustrations: Shylock 58-61; Richard III, 105; Brutus 176.
Heraclitus 28.
Herodotus 39.
Heroic as a Tone 251.
Heroic couplet 30.
Heywood 10.
Hippolyta 111.
Hippolytus 45, 126.
History, its interpretation of events compared with the effect of the Oracular Action 265.
Hogarth 7.
Homer: Episode of Achilles and the River-god 193
Iliad 23.
Hugo, Victor: 11.
Human Interest one of the two leading divisions of Drama 234
further divided, 235.
Humour in agony 162-3
an example of Tone-Clash 254.
Hybris 49, 262.
Hysterical passion in King Lear 210-15.
Iago compared with Richard III 92
self-deceived 101.
Idealisation as a dramatic effect 51
applied to the Caskets Story 51-4
of Incident 97.
Iliad 23, 193.
Imitation as a force in developing madness 214-15.
Incident as a division of Passion 246
distinguished from Situation and Effect ib.
Illustrations: 246-7.
Inclined Plane as a form of Passion-Movement 280.
Inconsistency in characters a mark of unfinished Interpretation 238.
Indirect elements of Character-Interpretation 238, 86.
Individuality of authorship corresponds to differentiation of species 39
individuality an element in the Inner Life 169.
Induction: its connection with facts 1
application to literature 22-40. [See Criticism Inductive.]
Stages in the development of Inductive Science 228-9
its progress accompanied by differentiation of subject-matter 230
application to Science of Dramatic Criticism 227 and Chapters XI to XIV
to the definition of Dramatic Criticism 228.
Infatuation: Destiny acting as a subjective force 261
prominence in Ancient Ethics 261
traces in Scripture expression 261
rationalised by Shakespeare 261-2.
Illustrations: Antonio 262, 49; Cæsar 197; Macbeth 261-2.
Inner Life 144-6. [See Antithesis of, &c.]
Interpretation by the actor an element in dramatic analysis 98
see Character-Interpretation.
Interweaving of Stories 43-4, 58, 66-73, 74 and Chapter III, 81-2, 87-8
of light and serious Stories 69-73. [See Story.]
Interweaving as a kind of Connection 275
in Technical Analyses 291, 298.
Intrigue Action 207-8
the Underplot of King Lear 207-8
Intrigues of Goneril and Regan, 206, 298.
Irony as a phase of Destiny 137-9
the word 'irony' 137
Irony of Socrates, ib.
illustrated by Story of Œdipus 138
in language of Scripture 138
modified in modern conception 138-9
connected with Oracular Action 139
combined with Nemesis 256
as an objective presentation of Destiny 260-1.
Dramatic Irony as example of mixed Passion 73
as a mode of emphasising Nemesis 115-119, 120
as one of the triple Forms of Action in Macbeth 139-42
as a Dramatic Effect 248-9
this a contribution of the Greek Stage 248.
Dramatic Irony extended to the language of a scene 249
Comic Irony 249.
Illustrations: in Merchant of Venice 73, 249; Richard III 115-19, 120, 121, 249, 256; Macbeth 139-142, 256; Macduff 143; Banquo 142; the Witches Action 143; proclamation of Cumberland 260; Julius Cæsar 249, 197; King Lear 249; Story of Œdipus 248.
Jeffrey 12.
Jester 218. [See King Lear: Fool.]
Jew, Story of: 44, &c. [See Story.]
Feud of Jew and Gentile 60
Jews viewed as social outcasts, 83.
Job, Book of: its conclusion as an example of Dramatic Background of Nature 192.
Johnson, Dr.: on Shakespeare 10-11, 20
on Milton's minor poems 11
on Blank Verse 14
on Metaphysical Poetry 16
on Addison's Cato 19
on the Unities 20.
Jonson, Ben: 2-4
his Dramatic Satires 3
his Blank Verse 13
his Catiline 17.
Journalism: its influence on critical method 5
place of Reviewing in literary classification 21-2.
Judicial Blindness 201, 261. [See Infatuation.]
Julius Cæsar, Play of: 168-201, Chapters VIII and IX. As an example of Character-Grouping 168 and Chapter VIII, 241
example of Enveloping Action 273
Balance 276
Regular Arch Movement 280
Similar Motion 282
Turning-points 285
Technical Analysis 296.
Julius Cæsar, Characters in:
Antony balances Cæsar 129
spared by the Conspirators 171
contrasted by Cæsar with Cassius 179-80
his general character 182-3
its culture 179-80
self-seeking 182
affection for Cæsar 183, 199
his position in the group of characters 183, 184
peculiar tone of his oratory 198
dominant spirit of the reaction 198
upspringing of a character in him 198
his ironical conciliation of the conspirators 199
his oration 199-200
Antony's servant 198.
Artemidorus 196.
Brutus: general character 171-6
its equal balance 171-5
its force 171
softness 173
this concealed under Stoicism 173, 174-5, 239
his culture 173
relations with his Page 173-4
with Portia 173, 174
with Cæsar 175
slays Cæsar for what he might become 175
position in the State 176
relations with Cassius 172, 173, 182
overrules Cassius in council 172
his general position in the Grouping 183.
Cæsar: a balance to Antony 129
general discussion of his character 176-81
its difficulty and contradictions 176-8
his vacillation 176-7
explained by the antithesis of Practical and Inner Life 178
Cæsar pre-eminently the Practical man 178-9
strong side of his character 176-7
lacking in the Inner Life 178-9
compared with Macbeth 178
a change in Cæsar and his world 180-1
his superstition 180-1
position in the Grouping 183
different effect of his personality in the earlier and later half of the play 188, 195, 197.
Calpurnia 194-5.
Casca 172, 194, 195.
Cassius: his relations with Brutus 172, 182
brings out the defective side of Cæsar 179
contrasted by Cæsar with Antony 179-80
his character discussed 181-2
Republicanism his grand passion, ib.
a professional politician 182
his tact 182
his position in the Grouping 183-4
his relish for the supernatural portents 195
his nemesis 249
Cassius and the eagles 250.
Decius 181, 195.
Ligarius 172.
Page of Brutus 173-4, 201.
Popilius Lena 172, 197.
Portia 173, 174, 196.
Roman Mob 188, 200.
Soothsayer 196, 250.
Trebonius 249.
Julius Cæsar, Incidents and Scenes.
Capitol Scene 196-200
Conspiracy Scene 171, 172, 176, 181
its connection with storm and portents 193-4
Incidents of the Fever and Flood 178, 179
Funeral and Will of Cæsar 175, 199-200, 239.
Julius Cæsar, Movement of: compared with movement of King Lear 186
its simplicity and form of Regular Arch 186, 280
key to the movement the justification of the conspirators' cause 187.
Stages of its Movement: Rise 188-96
Crisis 196-8
Catastrophe and Decline 198-201.
Starting-point in popular reaction against Cæsar 188
Crescendo in the Rise 189-91
the Conspiracy formed and developing the Strain begins 191-6
suspense an element in Strain 191
Strain increased by background of the Supernatural 192-6, 266
the conspirators and the victim compared in this stage 194-6.
Crisis, the Strain rising to a climax 196-200
exact commencement of the Crisis is marked 196
devices for heightening the Strain 196
the conspirators and victim just before the Catastrophe 197
the justification at its height 197
Catastrophe and commencement of the Decline 198
Antony dominating the Reaction 198
the Mob won to the Reaction 200.
Final stage of an Inevitable Fate: the Strain ceasing 200-1
the representative of the Reaction supreme 200
the position of Conspirators and Cæsar reversed 201
judicial blindness 201
the justification ceases 201.
Justice Poetic, as a Dramatic Motive 255-7
the term discussed 255
Nemesis as a form of Poetic Justice 255-6
Poetic Justice other than Nemesis 256-7.
Keats 12.
'Kindness': the word discussed 149-50, 222
'milk of human kindness' 149-50.
King Lear, Play of: as a study in complex Passion and Movement 202 and Chapter X
compared with Julius Cæsar 186
affording examples of Plot-Analysis 271
of Enveloping Action in the French War 273-4
of Parallelism and Contrast 277-8
of Convergent Motion 283-4
Turning-points 285
Technical Analysis 297-8.
King Lear, Characters in.
Cordelia: her conduct in the Opening Scene 203-4
her Tragedy 206
friendship for the Fool 223
question of her patriotism 257-8
an illustration of Pathos as a Dramatic Motive 257-9
connection with the Enveloping Action 274.
Cornwall 212.
Edgar: his Tragedy 208
his feigned madness and position in the Centrepiece 215-8, 223
his contact with his father and Lear in the hovel 215-8, 247
his madness an emotional climax to the Underplot 216.
Edmund compared with Richard III 92
his charge against Edgar 206
an agent in the Underplot 207-8
his Tragedy 208, 216
example of Irony 249
connected with the Enveloping Action 274.
The Fool: Institution of the Fool or Jester 218-20
modern analogue in Punch 219
utilised by Shakespeare 219
function of the Fool in King Lear 220-3
his personal character 223
friendship with Lear and Cordelia 223.
Gloucester: the central Personage of the Underplot 206-7
Link Personage between Main and Underplot 275
the Chamberlain and friend of Lear 276
his connection with the Enveloping Action 274, 298
with the Convergent Motion of the Play 283-4, 298.
Goneril 203, 206, 210, 213, 240, 256, 274, 283-4.
Kent represents Conscience in the Opening of the Problem 204-5
his Tragedy 206.
Lear: his conduct in the opening scene an example of imperiousness 203-5, 211
his nemesis double 205-6
gradual on-coming of madness 209-15
Lear in the Centrepiece of the play 214-5
after the centre madness gives place to shattered intellect 215
his connection with the Fool 220-3
with the Enveloping Action 274.
Regan 203, 206, 212, 213, 240, 256, 274, 283-4.
King Lear, Incidents and Scenes of: Opening Scene 203-5
Stocks Scene 211, 258
Outrage on Gloucester 247
Hovel Scene 215-8, 247.
King Lear, Movement of: 202 and Chapter X
its simplicity 208-9
Lear's madness a common climax to the trains of passion in the Main Plot 209
Rise of the Movement in the waves of on-coming madness 209-15
form of movement a Regular Arch, ib.
connection of the Fool with the Rise of the Movement 220-23
passage into the Central Climax marked by the Storm 214-5
Central Climax of the Movement 214-8
effect on Lear of the Storm 214
of contact with Edgar 215
Edgar's madness a common Climax to the trains of passion in the Underplot 215-7
the Central Climax a trio of madness 217-23
an example of Tone-Storm 254.
King Lear, Plot of: The Main Plot a Problem Action 202-6
the Problem enunciated in action 203-5
Solution in a triple Tragedy 205-6
Parallelism between Main and Underplot 206-8, 277-8, 297.
The Underplot an Intrigue Action 207-8
its Initial Action 207
its resultant a triple Tragedy parallel with that of the Main Plot 207-8
Main and Underplot drawn together by common Central Climax 208
by Dependence 276
by Convergent Motion 282-4, 298.
Kriegspiel 185.
Laius 134.
Lansdowne 9.
Laureate, Poets preceding Southey: 17.
Law as a term in Criticism and Science generally 32-7.
Legal evasions 65.
Lessing 11.
Light as a Tone 251, 252.
Line of Motion 278-9.
Line of Passion 280.
Linking 275.
Lycurgus 45.
Lyrics of Prose 22.
Macaulay 2, 3, 13
on active and passive courage 146.
Macbeth, Play of: affords examples of Dramatic Colouring 241-2
Enveloping Action (the Witches) 273
Balance 276
Parallelism and Contrast 277
Technical Analysis 295.
Macbeth, Character of: an illustration of methodical analysis 24
compared with Richard 92
with Julius Cæsar 178
an example of Character-Development 243-5.
General Analysis 147-154, 161, 243-5.
Macbeth as the Practical Man 147-54
his nobility superficial 148, 161
his character as analysed by his wife 148-50
illustrated by his soliloquy 151-3
compared in action and in mental conflicts 153, 162
flaws in his completeness as type of the practical 154
Macbeth's superstition 154, 159, 162, 165-6, 167, 243-5
his inability to bear suspense 154, 160, 162, 163, 164-5, 243-5.
Macbeth under temptation 158
in the deed of murder 161
his break-down and blunder 162
in the Discovery Scene 163
his blunder in stabbing the grooms 163
under the strain of concealment 164
confronted with the Ghost of Banquo 165
nemesis in his old age 167
and his trust in the false oracles 167.
Macbeth an example of Infatuation 261-2
relations with the Witches 263-4
not turned from good to evil by their influence 263.
Macbeth (Lady), Character of: 154-6
type of the Inner Life 154-6
her tact 155, 161, 164, 165
her feminine delicacy 156, 161, 162, 166
her wifely devotion 156.
Lady Macbeth under temptation 159
in the deed of murder 161
in the discovery 163
her fainting 164
under the strain of concealment 165
her tact in the Ghost Scene 165
her gentleness to Macbeth 166
her break-down in madness 166.
Macbeth, Lord and Lady, as a Study in Character-Contrast 144 and Chapter VII, 240
rests on the Antithesis of the Practical and Inner Life 147-56.
The Contrast traced through the action of the play 156-67
relations at the beginning of the play 156-8
first impulse to crime from Macbeth 156
the Temptation 158-61
the meeting after their separate temptations 160-1
the Deed 161-3
the Concealment 163-5
the Nemesis 165-7.
Macbeth, other Characters in. Banquo: his attitude to the supernatural compared with Macbeth's 154, 159, 263
the attempt against Banquo and Fleance the end of Macbeth's success and beginning of his failure 127
binds together the Rise and Fall 137
Macbeth's exultation over it 153
the Banquo Action balances the Macduff Action 129
gives unity to the Rise 127-9
partakes the triple form of the whole play 142.
Fleance: see Banquo.
Lennox 128, 163.
Macduff: massacre of his family 130, 141
his position in the scene with Malcolm 140, 247
the Macduff Action balances the Banquo Action 129
gives unity to the Fall 129-30
partakes triple form of the whole play 142
example of Oracular Action 265-6.
Malcolm 139, 247.
The Porter 253.
The Witches 129, 134, 135, 136, 137, 139, 141
their use to rationalise Macbeth's Infatuation 262
an example of the Supernatural intensifying human action 263-4
their different behaviour to Macbeth and Banquo 263-4
their exact function in the play 264
the Witches Action an Enveloping Action 295, 143
partakes the triple form of the whole play 143.
Macbeth, Incidents and Scenes in: Witches Scene 158-9, 263-4
Apparitions Scene 130, 135, 140
Ghost Scene 165-6, 247
Proclamation of Cumberland 135, 151, 260
Dagger Scene 153, 247
Discovery Scene 163
Flight of Duncan's Sons 139, 164, 261
Macduff with Malcolm in England 140, 247
the Sleep-walking 166-7
Final Combat 261.
Macbeth, Movement of: its four Stages 158-67
The Temptation 158-61
The Deed 161-3
The Concealment 163-5
The Nemesis 165-7.
Macbeth, Plot of: the interweaving of Nemesis and Destiny 127 and Chapter VI
its Action multiple in form 127, 270.
Macbeth as a Nemesis Action 127-30
the Rise 127
the Fall 129
the Rise and Fall together 127.
Macbeth as an Oracular Action 130-7
the Rise 134
the Fall 135
the Rise and Fall together 136.
Macbeth as an Irony Action 139-43
the Rise 139
the Fall 140
the Rise and Fall together 141.
Madness distinguished from Passion 209
connected with inspiration 218
madness of Lear: its gradual oncoming in waves of hysterical passion 209
change in its character after the Centrepiece 215
it makes the Passion-Climax of the main Plot 209
the madness of passion 217
madness of Edgar: the madness of idiocy 217-8
feigned 216
common Climax of the passions of the Underplot 215-8
madness of the Fool: professional madness 218-23
madness-duett 217-8
madness-trio 218, 223.
Malone 15.
Measure for Measure, Play of: 281.
Mechanical Construction 233, and Chapters II and III generally.
Mechanical Details utilised 77, 233.
Mechanical Difficulties, their Reduction: 76-7
the three months' interval in the Story of the Jew 77
the loss of Antonio's ships 77
not always necessary to solve these 77.
Mechanical Personages 75
their multiplication in Romantic Drama ib.
Melodrama 118.
Mephistopheles compared with Richard 92.
Merchant of Venice, The, Play of: as an illustration of the construction of Drama out of Story 43-89
Story as the Raw Material of the Romantic Drama 43
the two main Stories in the Merchant of Venice considered as Raw Material 43
Story of the Jew gives scope for Nemesis 44-51
Antonio side of the Nemesis 47-9
Shylock side of the Nemesis 49-51
Caskets Story gives scope for Idealisation 51-7
Problem of Judgment by Appearances idealised 52-4
its solution: Character as an element in Judgment 54-7
characters of the three Suitors 55-6.
Working up of the two Main Stories 58 and Chapter II.
Reduction of Difficulties 58-66
Monstrosity in Shylock's Character met by Dramatic Hedging 58-61
Difficulties as to the pound of flesh 61-6
significance of the discussion on interest 61-4.
Interweaving of the two Stories 66-73
assistance it gives to the movement of the play 66
to the symmetry of the plot 67-9
union of a light and serious story 69-73.
Further multiplication of Stories by the addition of an Underplot 74 and Chapter III.
Paradox of simplicity by means of complexity 74-5
uses of the Jessica Story 75-87
characters of Jessica and Lorenzo 82-7
uses of the Rings Episode 87-9.
The play illustrates every variety of Tone 251-2
Tone-Play 253
Turning-points 285, 68
Complication and Resolution 279, 66-7
Central effects 67-8
Interweaving 275-6
Wave Form of Passion-Movement 280
Contrary Motion 282.
Plot analysed 271
Technical Analysis 291-2.
Merchant of Venice, Characters in: Antonio 247
his nemesis 47-9
general character 47
friendship with Bassanio 47, 85
conduct in Bond Scene 48-9, 61, 262
centre of the serious side of the play 69-70
the loss of his ships 77
his sadness 250
his pathetic humour 254.
Arragon 55, 240, 251.
Bassanio: friendship with Antonio 47, 85
as a suitor 56
his part in the Bond Scene 61
in the Trial 73
in the Rings Episode 72, 88
a scholar 76
set off by Lorenzo 86
a Link Personage 88, 275
seen at a disadvantage in the play 86, 238
example of Tone-Clash 254.
Bellario 66.
Duke 64, 65.
Gobbo 76, 252.
Gratiano 60, 76, 84, 239, 249, 252.
Jessica, her Story 75-87, 68, &c.
her character 82-7
a compensation to Shylock 80
her attraction to Portia 87
foil to Portia 86
in Moonlight Scene 247.
Launcelot 76, 83, 84, 252.
Lorenzo: his character 85-7
its alleged inconsistency 238
a foil to Bassanio 86
in Moonlight Scene 247.
Morocco 55, 240, 251.
Nerissa 76, 239, 252.
Portia as centre of the lighter side of the play 69-70, 252
in the Trial Scene 49-51, 65-6, 70-3
her plea an evasion 65
playing with the situation 70-2
her outburst on mercy 73, 251
the Rings Stratagem 72
relations with Jessica 85-6
her character 88-9.
Salarino 48, 60, 76, 84.
Salanio 60, 76.
Salerio 76.
Shylock as a study of Nemesis 49-51
in the Trial Scene 49-51, 247
his character 59-61
sentence on him 60, 80, 257
relation with Jessica 78-81, 83.
Tubal 60, 76, 79, 239, 247.
Merchant of Venice, Incidents and Scenes in: Bond Scene 48-9, 61-4, 262
Scene of Bassanio's Choice 55, 56, 68, 253, 275
Scene between Shylock and Tubal 79, 247
Trial Scene 49
its difficulties 64-6
its mixture of passions 70-2, 73
as an Incident 246
its Comic Irony 249
its Tone-Clash 254
sentence on Shylock 257.
Moonlight Scene 247.
Merivale on Roman Life 170.
Midsummer Night's Dream, Play of 111.
'Milk of human kindness' 149-50.
Milton's Paradise Lost 11
minor poems 11, 12
versification 12, 13, 14
his Satan 123
on the Inner Life 144
his use of the Background of Nature 192.
Mixture of Tones 251-3. [See Tone.]
Mob in Julius Cæsar 296, 188, 200.
Molière 16.
Montgomery, Robert 13.
Motion, Line of: 278-9.
Motion, Modes of: 281-4
Similar Motion 282, 294, 295, 296
Contrary Motion 282, 291
Convergent Motion 282-4, 298. [See also Movement.]
Motive, Dramatic: 255-67. [See Motive Force.]
Motive Force, or Dramatic Motive: 254-67
General idea 254-5
distinguished from Motive Form ib.
Leading Motive Forces: Poetic Justice 255-7
Pathos 257-9
the Supernatural 259-67.
Motive Force in Richard III is Nemesis 119
in Macbeth the original oracle of the Witches 137.
Motive Form distinguished from Motive Force 254
general exposition 278-87.
Movement: as an element in Drama 185
Arch form applied to 186
simple in Julius Cæsar, complex in King Lear 186, 202
traced in Julius Cæsar 185 and Chapter IX
in King Lear 202 and Chapter X.
Movement as one division of Action 235, 236
applied to Character as Character-Development 242
applied to Passion 254 [see Motive Force]
applied to Plot 278 [see Motive Form].
Movement shown in the Technical Analyses 291-8.
Movement, Centre of, Focus of: 284-5. [See Catastrophe.]
Movement, Single[9] 278-81
its division into Simple and Complicated 278-9
Action-Movement and Passion-Movement 279-80
this distinction the basis of the main division of Shakespeare's plays 279-81
varieties of Passion-Movement 280.
Compound Movement 281-4
general idea 281
its three Modes of Motions: Similar Motion 282
Contrary Motion 282
Convergent Motion 282-4.
Movement, Varieties of: Single[9] 278
Compound 281-4
Action and Passion 279-81, 291-8
Regular Arch 280
Inclined Plane 280
Wave 280
Similar 282
Contrary 282
Convergent 282-4.
Multiplication of Actions 269-71
of Stories 74. [See Story.]
Nemesis as a dramatic idea 44
ancient and modern conception 44-5
its change with change in the idea of Destiny 126
its distinction from Justice 44
connection with Fortune 44
with risk 45
proverbs of Nemesis 46
connection with hybris 49.
Nemesis needed to counterbalance Richard's Villainy 106
woven into history in Richard III 107 and Chapter V
a system of Nemesis Actions in the Underplot of Richard III 108-119
modes of emphasising 114-18
its multiplication a suitable background to Richard's character 118.
Nemesis interwoven with Destiny in Macbeth 125 and Chapter VI
applied to the plot of Macbeth 127-30.
Nemesis as a Dramatic Effect 249
as a Dramatic Motive 255-6.
Nemesis, Varieties of: Surprise 47
Expectation and Satisfaction 49
Unlooked-for Source 256
Equality, or Measure for Measure 49, 120, 127, 208, 256
Sureness or Delay 120, 256
Suddenness 198, 256
Repetition and Multiplication 256, 107 and Chapter V generally
Self-inflicted 256
the Prize of Guilt 256
Combined with Mockery 256 and compare 115-9
Double 47, 205-6, 207-8
Cross Nemeses 291, 293, compare 47, 51.
Nemesis, Illustrations of: Anne 113
Antonio 47
Buckingham 109
Cæsar 197
Cassius 249
Clarence 108
the Conspirators in Julius Cæsar 201, 256
Edmund 208, 216-7
King Edward IV 108
Gloucester (in King Lear) 207-8, 216-7
Goneril and Regan 206, 256
Hastings 109
Hippolytus 45
in the Story of the Jew 46
Lear 205-6, 209-15, 220-3, 256
Lycurgus 45
Macbeth 217-30, 165-7, 256
Lady Macbeth 166
Macduff 129
Pentheus 45
Polycrates 45
Queen and her kindred (Richard III) 108
Regan 206, 256
Richard III 119-24, 256
Shylock 49, 256
Wars of the Roses 111-3.
Objective to the plot of King Lear 284, 298.
Observation as a Stage of Inductive Science 228-9.
Œdipus as an example of Oracular Action 134
of Irony 138.
Omens 193, 201. [See Supernatural.]
Oracular Action 130-4
applied to Macbeth 134-7
as an example of Supernatural agency illuminating human action 265-6
compared with the illumination of history 265.
Illustrations: of the first type 131, 134, 135
of the second 132, 134
of the third 133, 136.
Othello, play of: Rymer on 8, 9
Iago 92, 101.
Otway 9.
Outer and Inner Life 144-6. [See Antithesis.]
Overwinding as an illustration for the Movement of Macbeth 137.
Paradox of simplicity by means of complexity 74.
Parallelism 276-8 [see Action, Economy of]
between Main and Underplot in King Lear 206-9, 277-8, 297
other illustrations in the Technical Analyses 291, 295.
Passion 246
as an element in Drama 185-6
its connection with Movement ib.
as an Elementary Topic in Dramatic Criticism 235
subdivided 236. Examples: Julius Cæsar 185 and Chapter IX; Lear 202 and Chapter X.
'Passion-Drama' as substitute for 'Tragedy' 280-1, 293, 295, 296, 297.
Passion, Interest of: 246 and Chapter XIII
general description 246
unity in Passion-Interest 246-50 [see Incident, Situation, and Effect]
complexity in Passion-Interest 250-4 [see Tone]
Movement applied to Passion 254-67, 236 [see Motive Force].
Passion, Line of: 280.
Passion-Movement 254-67, 236. [See Motive Force.]
Passion-Strain 186
Strain and Reaction 280. Examples: Julius Cæsar 191-201; King Lear 208, 215.
Pathos as a Dramatic Motive 257-9.
St. Paul and Nemesis 47.
Pentheus 45.
Perrault 19.
Perspective in Plot 118.
Pharaoh an example of Infatuation 261.
Physical passion or madness in Lear 210-5
external shocks as a cause of madness 214.
Plato's Republic and its treatment of liberty 170.
Plot as an Elementary Topic in Dramatic Criticism 236
the intellectual side of Action, or pure Action 236
Shakespeare a Master of Plot 69, 269
close connection between Plot and Character illustrated by Richard III 107 and Chapter V
this play an example of complexity in Plot 107
perspective in Plot 118
Macbeth an example of subtlety in Plot 125, 142
Plot analytical in its nature 186
simple in Julius Cæsar, complex in King Lear 202
effect on the estimation of Plot of dissociation from the theatre 233
the most intellectual of all the elements of Drama 233
Technical Analyses of Plots 291-8.
Plot, Interest of: 268 and Chapter XIV.
Definition of Plot 268-9
its connection with design and pattern 268, 269, 270, 272, 108, 111, 118, 202
its dignity 268.
Unity applied to Plot 269-70 [see Action Single; Action, Forms of]
complexity applied to Plot 270-8 [see Action Analysis, Economy]
complexity of Action distinguishes Modern Drama from Ancient 270
Unity of Action becomes in Modern Drama Harmony of Actions 270
Shakespeare's plots federations of plots 271.
Movement applied to Plot, or Motive Form 278-85. [See Action Single and Compound, Turning-points.]
Poetic Justice 255-7. [See Justice.]
Polycrates 45, 126.
Pope 10, 17, 19.
Portia: see Merchant of Venice Julius Cæsar.
Practical Life 144-6. [See Antithesis.]
Problem Action 202-6, 224, 269
of Judgment by Appearances 52-6.
Prometheus 122-3.
Proverbs, Book of: quoted 144.
Proverbs of Nemesis 46.
Providence as modern analogue of Destiny 125.
Puritan Revolution, its effect on Dramatic Criticism 232.
Pye 17.
Quilp compared with Richard III 92, 94.
Rambler 17.
Raw Material of the Romantic Drama 43, 232.
Reaction 198. [See Passion-Strain.]
Reduction of Difficulties an element in Dramatic workmanship 58, 233
illustrated: Merchant of Venice 58-66.
Reed 8.
Relief 253. [See Tone.]
Renaissance and its influence on critical method 4, 18, 230
Shakespeare a type 287.
Representation 231. [See Stage.]
Resolution 67, 279 [see Complication]
Resolving Force 67.
Reviewing, the lyrics of prose 22.
Rhymed couplet 30
its usage by Shakespeare 135.
Richard III, Play of: an example of the intimate relation between Character and Plot 107
treated from the side of Character 90 and Chapter IV
from the side of Plot 107 and Chapter VI
its Enveloping Action, the wars of the Roses 273, 276
its Turning-points 285
its form of Passion-Movement 280
affords examples of Situations 247
of Dramatic Foreshadowing 250
of Similar Motion 282.
Richard III, Character of: 90 and Chapter IV
Ideal Villainy 90-1, 237
in scale 91
development 91, 243
not explained by sufficient motive 92
an end in itself 93.
Richard as an Artist in Villainy 93-6
absence of emotion 93
intellectual enjoyment of Villainy 95-6.
His Villainy ideal in its success 96-103
fascination of irresistibility 97, 103
use of unlikely means 98
economy 99
imperturbability and humour 100-1
fairness 101
recklessness suggesting resource 101, 239
inspiration as distinguished from calculation 102
his keen touch for human nature 102.
Ideal and Real Villainy 104
Ideal Villainy and Monstrosity 105. [Also called Gloster.]
Richard III, Characters in: Anne 94, 113, 115 [see Wooing Scene]
Buckingham 91, 96, 100, 109, 115, 118, 121, 240
Catesby 117, 240
Clarence 108, 114, 116
his Children 109
his Murderers 240-1
Derby 117
Dorset 120
Elizabeth 121
Ely 100, 121
Hastings 91, 98, 109, 114, 115, 117, 240, 249
King Edward IV 99, 108, 114, 117
King Edward V 100, 240, 250
Lord Mayor 99
Margaret 94, 112, 115, 247
Queen and her kindred 98, 108, 114, 115, 116
Richmond 120, 121
Stanley 117, 123
Tyrrel 94, 240
York 99, 240
Duchess of York 95, 111.
Richard III, Incidents and Scenes in: Wooing Scene 247
analysed 103-4
an example of fascination 94, 97
Richard's blunders 102, 239.
Margaret and the Courtiers 94, 247
Reconciliation Scene 99, 117
Murder of Clarence 116, 240-1, 246.
Richard III, Plot of: 107 and Chapter V.
How Shakespeare weaves Nemesis into History ib.
Its Underplot as a system of Nemesis 108
its Enveloping Action a Nemesis 111
further multiplication of Nemesis 112
special devices for neutralising the weakening effect of such multiplication 114-8
the multiplication needed as a background to the villainy 118
Motive Force of the whole a Nemesis Action 119.
Fall of Richard 119-23
protracted not sudden 119, 256
Turning-point delayed 120
tantalisation and mockery in Richard's fate 121-4
Climax in sleep and the Apparitions 122
final stages 123
play begins and ends in peace 123.
Roman political life 169-71 and Chapter VIII generally
its subordination of the individual to the State 170
a change during Cæsar's absence 180, 183.
Romantic Drama:
Shakespeare its Great Master 40, 43
its connection with Stories of Romance 43.
Romeo and Juliet, Play of: 9.
Roscommon 17.
Rowe 17.
Rymer the champion of 'Regular' Criticism 8
on Portia 8
and Othello generally 8
on Paradise Lost 11
on Blank Verse 14
on Modern Drama 17
on Catiline 17
on Classical Standards 18
his Edgar 21.
Satire, Dramatic 3.
Scale of Passion-Tones 251.
Schlegel 11.
Science of Dramatic Art 40, 227. [See Criticism.]
Scudéry 18.
Serious as a Tone 251.
Shadwell 17.
Shakespeare-Criticism, History of, in five stages 8-11.
Shakespeare's English 15
his Sonnets 12.
Situation, Dramatic: 247-8.
Socrates 230.
Sophocles 270.
Spenser 12, 17, 30.
Sprat 16.
Stage-Representation: an element in Interpretation 98
an allied art to Drama 231
separated in the present treatment 231-2
in exposition but not in idea 233-4.
Stationary Action 291 note.
Steevens 12, 15.
Stoicism 144, 173, 174, 175, 179, 188.
Storm in Julius Cæsar 192-6, 214 [see Background of Nature]
in King Lear 214-5.
Story as the Raw Material of the Shakespearean Drama 43 and Chapter I, 232
construction of Drama out of Stories illustrated in The Merchant of Venice 43-89
two Stories worked into one design in The Merchant of Venice 58 and Chapter II
in King Lear 206
Multiplication and Interweaving of Stories 66-73
effects on Movement 66-7
of Symmetry 67-9
interweaving of a Light with a Serious Story 69-73
effects of Human Interest 70
of Plot 70
of Passion 70-3.
Story of the Jew 43, 44-51.
Its two-fold Nemesis 46-51
its difficulties met 58-66
Complicated and Resolved 67
connection with the Central Scene 68
its mechanical difficulties 76-7.
Story of the Caskets 44, 51-6.
An illustration of Idealisation 51
careful contrivance of inscriptions and scrolls 53, 54
its problem 52
and solution 54
connection with the central scene 68.
Story of Jessica 75-87.
Its connection with the central scene 68
an Underplot to The Merchant of Venice 75-87
its use in attaching to Plot the Mechanical Personages 75
and generally assisting Mechanism 76-7
helps to reduce difficulties in the Main Plot 77-80
a Link Action 81
assists Symmetry and Balance 82
assists Characterisation 82-7.
Story [or Episode] of the Rings: its uses in the Underplot of The Merchant of Venice 87-9
compare 68, 72.
Strain of Passion 186. [See Passion-Strain.]
Sub-Actions:
Launcelot 76, 291
Cæsar and Antony 282, 296
in Technical Analyses 291-8.
Supernatural, The, as a Dramatic Motive 259-67.
Different use in Ancient and Modern Drama 259
rationalised in Modern Drama 260.
In an objective form as Destiny 260-1
in a subjective form as Infatuation 261-2.
Supernatural Agencies 262-7
not to be explained as hallucinations 262
Shakespeare's usage of Supernatural Agency: to intensify human action 263-4
to illuminate human action 263-4
the Oracular 265-6
the Dramatic Background of Nature 266.
Illustrations:
the Apparitions to Richard 122
the Ghost of Banquo 165-6
the Apparitions in Macbeth 135, &c.
the Witches 158, 263
portents in Julius Cæsar 193-4
the Ghost of Cæsar 201
omen of Eagles to Cassius 201.
Symmetry as a dramatic effect 68, 233
as a form of Economy 276-8.
Illustrations: Merchant of Venice 67-8; King Lear 207-9, 277-8.
Systematisation as a Stage of scientific progress 228, 229.
Table of Elementary Topics 236
of general Topics 288.
Taste as condensed experience 6. [See Criticism.]
Tate 17.
Taylor (Jeremy) 39.
Tempest, Play of: 10.
Terence 16.
Thackeray on the Inner Life 144.
Themistocles, Story of: 131.
Theobald 10.
Theseus and Hippolyta 111.
Tieck 11.
Tito Melema compared with Richard 91.
Tone as a dramatic term:
the application of complexity to Passion 236
Passion-Tones 250-4
Scale of Tones 251.
Mixture of Tones 251-4
this unknown to the Ancient Drama 252
mere mixture in the same field 251-2
mixture in the same Incident:
Tone-Play 253
Tone-Relief ib.
Tone-Clash ib.
Tone-Storm 254.
Topics as a technical term in science 229-30
topical stage of development in sciences 229
applied to Dramatic Criticism 229-30 and Chapter XI
Elementary Topics of Dramatic Criticism 236
General Table of Topics 288
Topics common to Dramatic and other arts 232.
Touchstone 223.
'Tragedy' or 'Passion-Drama' 280-1
Tragedies of Lear 205-6, &c., 209-15, 220-3
of Cordelia and Kent 206
of Goneril and Regan 206
of Gloucester 207-8, 216-7
of Edgar 208, 216-7
of Edmund 208, 216-7
Systems of Tragedies 208-9.
Tragic as a Tone 251.
Turning-points 284-5, 291-8.
Double in Shakespeare's plays: Catastrophe or Focus of Movement and Centre of Plot 284-5.
Illustrations: 284-5, compare 68, 120, 127, 186, 198, 205, 216-7.
Tyrtæus 132.
Ulrici 11, 26.
Underplot 74 and Chapter III
Illustrations: Merchant of Venice 74 and Chapter III, 291
Richard III 108-19, 293
Lear 206-9, 215-8, 223, 271, 283-4, 297-8.
Union of Light and Serious Stories 69-73.
Unity as an element of Action 235
applied to Character 237
to Passion 246
to Plot (Action) 270-71
the 'three unities' 14.
Unstable equilibrium in morals 45, 205.
Utilisation of the Mechanical 76-8, 233.
Variorum Shakespeare 8.
Villainy as a subject for art treatment 90
Ideal Villainy 90 and Chapter IV.
Voltaire 9, 14, 17.
Waller 17.
Walsh 17.
Warton 17.
Wave-form of Passion-Movement 280, 292
waves of hysterical passion in Lear 210-5.
Waverley Novels 12.
Whitehead 17.
Wit as a mental game 219.
Wordsworth 12.
Workmanship, Dramatic: 58 and Chapter II, 233.
FOOTNOTES:
INDEX OF SCENES
ILLUSTRATED IN THE FOREGOING CHAPTERS.
*** Clarendon type is used where the passage referred to approaches the character of an analysis of the scene.
JULIUS CÆSAR.
Act I.
Sc. i. 180, 188-9.
ii. 172, 178-80, 180, 189-91.
iii. 191-4, 195-6.
Act II.
Sc. i. 171-2, 172, 174, 175-6, 176, 180-1, 187, 191, 194.
ii. 177, 194-5.
iii. 196.
iv. 196-7
Act III.
Sc. i. 172-3, 177, 177-8, 182, 183, 196-9, 285.
ii. 175, 199-200.
iii. 180, 200.
Act IV.
Sc. i. 200.
ii. and iii. 172, 173-4, 182, 200-1.
Act V.
Scs. iii, v. 171, 172, 201.
KING LEAR.
Act I.
Sc. i. 203-5, 206, 285.
ii. 206.
iv. 210, 220-1.
v. 210-1, 221-2.
Act II.
Sc. i. 283.
ii. 258, note.
iv. 209, 211-4, 222-3, 283.
Act III.
Sc. i. 209, 214, 215, 223.
ii. 209, 215, 223.
iii. 209, 215, 216.
iv. 209, 215, 216, 217-8, 223, 285.
v. 209, 283.
vi. 207, 209.
vii. 209, 216, 247.
Act IV.
Sc. i. 216, 217.
vi. 215.
Act V.
Sc. iii. 208, 215, 259.
MACBETH.
Act I.
Sc. iii. 135, 136, 141, 154, 158-9, 244, 263-4.
iv. 135, 150-1, 244, 260.
v. 149-50, 156, 159-60.
vii. 151-3, 157, 160-1.
Act II.
Sc. i. 153-4.
ii. 154, 155, 161-3, 244.
iii. 139-40, 163-4, 253, 260.
iv. 140, 164.
Act III.
Sc. i. 129, 154, 164-5.
ii. 154, 164-5, 244.
iii. 127, 285.
iv. 130, 154, 165-6, 285.
v. 262, 264.
vi. 128-9.
Act IV.
Sc. i. 130, 135-6, 140, 167, 264.
ii. 130, 140.
iii. 140-1.
Act V.
Sc. i. 166-7.
iii. 167.
v. 167.
vii. and viii. 130, 167, 285.
MERCHANT OF VENICE.
Act I.
Sc. i. 48, 61, 70, 76.
ii. 54, 56, 70.
iii. 48-9, 61-4, 262.
Act II.
Sc. i. 53.
ii. 76.
iii. 76, 84.
iv. 84, 85.
v. 60, 76, 83.
vi. 84, 85.
vii. 53, 55.
viii. 78.
ix. 55-6.
Act III.
Sc. i. 60, 76, 78, 79, 85.
ii. 54-5, 56, 67-9, 76, 78.
iii. 60, 76, 78.
iv. 85, 86.
v. 76, 85.
Act IV.
Scs. i. and ii. 49-51, 60, 64-6, 70-3, 80, 87-8, 88-9, 254, 257, 285.
Act V.
Sc. i. 85, 247.
RICHARD III.
Act I.
Sc. i. 92-3, 96, 100, 101, 123.
ii. 93, 94, 96, 97-8, 99, 101, 102, 103-4, 113.
iii. 95, 96, 111-3, 115.
iv. 108, 114, 116, 240-1.
Act II.
Sc. i. 99, 101, 108, 116, 117-8.
ii. 95, 100, 109, 111-2.
Act III.
Sc. i. 91, 99, 100.
ii. 109, 117, 249.
iii. 114, 115, 120, 285.
iv. 98, 100, 114, 115.
v, vii. 96, 99.
Act IV.
Sc. i. 104, 111-2, 116.
ii. 110, 262, 280, 285.
iii. 94, 120-1.
iv. 91, 95, 111-2, 115, 121-2.
Act V.
Sc. i. 115, 118.
iii. 95, 122-3.
iv. and v. 123.