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]
Simple [9] and Complicated [9] [278]-[9]
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].