Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth - A. C. Bradley - Page №214
Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth
A. C. Bradley
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  • Aaron, [200], [211].
  • Abnormal mental conditions, [13], [398].
  • Accident, in tragedy, [7], [14-16], [26], [28];
    • in Hamlet, [143], [173];
    • in Othello, [181-2];
    • in King Lear, [253], [325].
  • Act, difficulty in Fourth, [57-8];
    • the five Acts, [49].
  • Action, tragic, [11], [12], [31];
    • and character, [12], [19];
    • a conflict, [16-19].
  • Adversity and prosperity in King Lear, [326-7].
  • Albany, [297-8].
  • Antonio, [110], [404].
  • Antony and Cleopatra, [3], [7], [45], [80];
    • conflict, [17-8];
    • crisis, [53], [55], [66];
    • humour in catastrophe, [62], [395-6];
    • battle-scenes, [62-3];
    • extended catastrophe, [64];
    • faulty construction, [71], [260];
    • passion in, [82];
    • evil in, [83-4];
    • versification, [87], [Note BB].
  • Antony, [22], [29], [63], [83-4].
  • Arden of Feversham, [9].
  • Ariel, [264].
  • Aristotle, [16], [22].
  • Art, Shakespeare's, conscious, [68-9];
    • defects in, [71-78].
  • Arthur, [294].
  • As You Like It, [71], [267], [390].
  • Atmosphere in tragedy, [333].
  • Banquo, [343], [379-86].
  • Barbara, the maid, [175].
  • Battle-scene, [62], [451], [469];
    • in King Lear, [255], [Note X].
  • Beast and man, in King Lear, [266-8];
    • in Timon, [453].
  • Bernhardt, Mme., [379].
  • Biblical ideas, in King Lear, [328].
  • Bombast, [73], [75-6], [389], [Note F].
  • Brandes, G., [379], [393].
  • Brutus, [7], [14], [22], [27], [32], [81-2], [101], [364].
  • Caliban, [264].
  • Cassio, [211-3], [238-9], [433-4].
  • Catastrophe, humour before, [61-2];
    • battle-scenes in, [62];
    • false hope before, [63];
    • extended, [62];
    • in Antony and Coriolanus, [83-4].
    • See [Hamlet], etc.
  • Character, and plot, [12];
    • is destiny, [13];
    • tragic, [19-23].
  • Chaucer, [8], [346].
  • Children, in the plays, [293-5].
  • Cleopatra, [7], [20], [84], [178], [208].
  • Coleridge, [104-5], [107], [109], [127], [165], [200], [201], [209], [223], [226], [228], [249], [343], [353], [362], [389], [391], [392], [397], [412], [413].
  • Comedy, [15], [41].
  • [Conflict], tragic, [16-9];
    • originates in evil, [34];
    • oscillating movement in, [50];
    • crisis in, [51-5];
    • descending movement of, [55-62].
  • Conscience. See [Hamlet].
  • Cordelia, [29], [32], [203-6], [250], [290], [314], [315-26], [Note W].
  • Coriolanus, [3], [9], [43], [394-5];
    • crisis, [53];
    • hero off stage, [57];
    • counter-stroke, [58];
    • humour, [61];
    • passion, [82];
    • catastrophe, [83-4];
    • versification, [Note BB].
  • Coriolanus, [20], [29], [83-4], [196].
  • Cornwall, [298-9].
  • Crisis. See [Conflict].
  • Curtain, no front, in Shakespeare's theatre, [185], [458].
  • Cymbeline, [7], [21], [72], [80], [Note BB];
    • Queen in, [300].
  • Desdemona, [32], [165], [179], [193], [197], [201-6], [323], [433], [437-9].
  • Disillusionment, in tragedies, [175].
  • Dog, the, Shakespeare and, [268].
  • Don John, [110], [210].
  • Double action in King Lear, [255-6], [262].
  • Dowden, E., [82], [105], [330], [408].
  • Dragging, [57-8], [64].
  • Drunkenness, invective against, [238].
  • Edgar, [305-7], [453], [465].
  • Edmund, [210], [245], [253], [300-3], Notes [P], [Q].
    • See [Iago].
  • Emilia, [214-6], [237], [239-42], [Note P].
  • Emotional tension, variations of, [48-9].
  • Evil, origin of conflict, [34];
    • negative, [35];
    • in earlier and later tragedies, [82-3];
    • poetic portrayal of, [207-8];
    • aspects of, specially impressive to Shakespeare, [232-3];
    • in King Lear, [298], [303-4], [327];
    • in Tempest, [328-30];
    • in Macbeth, [331], [386].
  • Exposition, [41-7].
  • Fate, Fatality, [10], [26-30], [45], [59], [177], [181], [287], [340-6].
  • Fleay, F.G., [419], [424], [445], [467], [479].
  • Fool in King Lear, the, [258], [311-5], [322], [447], [Note V].
  • Fools, Shakespeare's, [310].
  • Forman, Dr., [468], [493].
  • Fortinbras, [90].
  • Fortune, [9], [10].
  • Freytag, G., [40], [63].
  • Furness, H.H., [199], [200].
  • Garnet and equivocation, [397], [470-1].
  • Ghost, Banquo's, [332], [335], [338], [361], [Note FF].
  • Ghost, Caesar's, [Note FF].
  • Ghost in Hamlet, [97], [100], [118], [120], [125], [126], [134], [136], [138-40], [173-4].
  • Ghosts, not hallucinations because appearing only to one in a company, [140].
  • Gloster, [272], [293-6], [447].
  • Gnomic speeches, [74], [453].
  • Goethe, [101], [127], [165], [208].
  • Goneril, [245], [299-300], [331], [370], [447-8].
  • Greek tragedy, [7], [16], [30], [33], [182], [276-9], [282].
  • Greene, [409].
  • Hales, J.W., [397].
  • Hamlet, exposition, [43-7];
    • conflict, [17], [47], [50-1];
    • crisis and counter-stroke, [52], [58-60], [136-7];
    • dragging, [57];
    • humour, and false hope, before catastrophe, [61], [63];
    • obscurities, [73];
    • undramatic passages, [72], [74];
    • place among tragedies, [80-8];
    • position of hero, [89-92];
    • not simply tragedy of thought, [82], [113], [127];
    • in the Romantic Revival, [92], [127-8];
    • lapse of time in, [129], [141];
    • accident, [15], [143], [173];
    • religious ideas, [144-5], [147-8], [172-4];
    • player's speech, [389-90], [Note F];
    • grave-digger, [395-6];
    • last scene, [256].
    • See Notes [A] to [H], and[ BB].
  • Hamlet, only tragic character in play, [90];
    • contrasted with Laertes and Fortinbras, [90], [106];
    • failure of early criticism of, [91];
    • supposed unintelligible, [93-4];
    • external view, [94-7];
    • 'conscience' view, [97-101];
    • sentimental view, [101-4];
    • Schlegel-Coleridge view, [104-8], [116], [123], [126-7];
    • temperament, [109-10];
    • moral idealism, [110-3];
    • reflective genius, [113-5];
      • connection of this with inaction, [115-7];
    • origin of melancholy, [117-20];
      • its nature and effects, [120-7], [103], [158];
      • its diminution, [143-4];
    • his 'insanity,'[121-2], [421];
    • in Act ii.[129-31], [155-6];
    • in iii. i.[131-3], [157], [421];
    • in play-scene, [133-4];
    • spares King, [134-6], [100], [439];
    • with Queen, [136-8];
    • kills Polonius, [136-7], [104];
    • with Ghost, [138-40];
    • leaving Denmark, [140-1];
    • state after return, [143-5], [421];
    • in grave-yard, [145-6], [153], [158], [421-2];
    • in catastrophe, [102], [146-8], [151], [420-1];
    • and Ophelia, [103], [112], [119], [145-6], [152-9], [402], [420-1];
    • letter to Ophelia, [150], [403];
    • trick of repetition, [148-9];
    • word-play and humour, [149-52], [411];
    • aesthetic feeling, [133], [415];
    • and Iago, [208], [217], [222], [226];
    • other references, [9], [14], [20], [22], [28], [316], [353], Notes [A] to [H].
  • Hanmer, [91].
  • Hazlitt, [209], [223], [228], [231], [243], [248].
  • Hecate, [342], [Note Z].
  • Hegel, [16], [348].
  • 2 Henry VI., [492].
  • 3 Henry VI., [222], [418], [490], [492].
  • Henry VIII., [80], [472], [479].
  • Heredity, [30], [266], [303].
  • Hero, tragic, [7];
    • of 'high degree,' [9-11];
    • contributes to catastrophe, [12];
    • nature of, [19-23], [37];
    • error of, [21], [34];
    • unlucky, [28];
    • place of, in construction, [53-55];
    • absence of, from stage, [57];
    • in earlier and later plays, [81-2], [176];
    • in King Lear, [280];
    • feeling at death of, [147-8], [174], [198], [324].
  • Heywood, [140], [419].
  • Historical tragedies, [3], [53], [71].
  • Homer, [348].
  • Horatio, [99], [112], [310], Notes [A], [B], [C].
  • Humour, constructional use of, [61];
    • Hamlet's, [149-52];
    • in Othello, [177];
    • in Macbeth, [395].
  • Hunter, J., [199], [338].
  • Iachimo, [21], [210].
  • Iago, and evil, [207], [232-3];
    • false views of, [208-11], [223-7];
    • danger of accepting his own evidence, [211-2], [222-5];
    • how he appeared to others, [213-5];
      • and to Emilia, [215-6], [439-40];
    • inferences hence, [217-8];
    • further analysis, [218-22];
    • source of his action, [222-31];
    • his tragedy, [218], [222], [232];
    • not merely evil, [233-5];
    • nor of supreme intellect, [236];
    • cause of failure, [236-7];
    • and Edmund, [245], [300-1], [464];
    • and Hamlet, [208], [217], [222], [226];
    • other references, [21], [28], [32], [192], [193], [196], [364], Notes [L], [M], [P], [Q].
  • Improbability, not always a defect, [69];
    • in King Lear, [249], [256-7].
  • Inconsistencies, [73];
    • real or supposed, in Hamlet, [408];
    • in Othello, [Note I];
    • in King Lear, [256], [Note T];
    • in Macbeth, Notes [CC], [EE].
  • Ingram, Prof., [478].
  • Insanity in tragedy, [13];
    • Ophelia's, [164-5], [399];
    • Lear's, [288-90].
  • Intrigue in tragedy, [12], [67], [179].
  • Irony, [182], [338].
  • Isabella, [316], [317], [321].
  • Jameson, Mrs., [165], [204], [379].
  • Jealousy in Othello, [178], [194], [Note L].
  • Job, [11].
  • Johnson, [31], [91], [294], [298], [304], [377], [420].
  • Jonson, [69], [282], [389].
  • Juliet, [7], [204], [210].
  • Julius Caesar, [3], [7], [9], [33], [34], [479];
    • conflict, [17-8];
    • exposition, [43-5];
    • crisis, [52];
    • dragging, [57];
    • counter-stroke, [58];
    • quarrel-scene, [60-1];
    • battle-scenes, [62];
    • and Hamlet, [80-2];
    • style, [85-6].
  • Justice in tragedy, idea of, [31-33], [279], [318].