Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth

by A. C. Bradley

• Kean, [99], [243-4].
• Kent, [307-10], [314], [321], [447], [Note W].
• King Claudius, [28], [102], [133], [137], [142], [168-72], [402], [422].
• King John, [394], [490-1].
• King Lear, exposition, [44], [46-7];
  • conflict, [17], [53-4];
  • scenes of high and low tension, [49];
  • dragging, [57];
  • false hope before catastrophe, [63];
  • battle-scene, [62], [456-8];
  • soliloquy in, [72], [222];
  • place among tragedies, [82], [88], see [Tate];
  • Tate's, [243-4];
  • two-fold character, [244-6];
  • not wholly dramatic, [247];
  • opening scene, [71], [249-51], [258], [319-21], [447];
  • blinding of Gloster, [185], [251];
  • catastrophe, [250-4], [271], [290-3], [309], [322-6];
  • structural defects, [254-6];
  • improbabilities, etc., [256-8];
  • vagueness of locality, [259-60];
  • poetic value of defects, [261];
  • double action, [262];
  • characterisation, [263];
  • tendency to symbolism, [264-5];
  • idea of monstrosity, [265-6];
  • beast and man, [266-8];
  • storm-scenes, [269-70], [286-7], [315];
  • question of government of world, in, [271-3];
  • supposed pessimism, [273-9], [284-5], [303-4], [322-30];
  • accident and fatality, [15], [250-4], [287-8];
  • intrigue in, [179];
  • evil in, [298], [303-4];
  • preaching patience, [330];
  • and Othello, [176-7], [179], [181], [244-5], [441-3];
  • and Timon, [245-7], [310], [326-7], [443-5];
  • other references, [8], [10], [61], [181], Notes [R] to [Y], and [BB].
• König, G., [Note BB].
• Koppel, R., [306], [450], [453], [462].

• Laertes, [90], [111], [142], [422].
• Lamb, [202], [243], [248], [253], [255], [269], [343].
• Language, Shakespeare's, defects of, [73], [75], [416].
• Lear, [13], [14], [20], [28], [29], [32], [249-51], [280-93], [293-5], [Note W].
• Leontes, [21], [194].

• Macbeth, exposition, [43], [45-6];
  • conflict, [17-9], [48], [52];
  • crisis, [59], [60];
  • pathos and humour, [61], [391], [395-7];
  • battle-scenes, [62];
  • extended catastrophe, [64];
  • defects in construction, [57], [71];
  • place among tragedies, [82], [87-8], [Note BB];
  • religious ideas, [172-4];
  • atmosphere of, [333];
  • effects of darkness, [333-4],
  • colour, [334-6],
  • storm, [336-7],
  • supernatural, etc., [337-8],
  • irony, [338-40];
  • Witches, [340-9], [362], [379-86];
  • imagery, [336], [357];
  • minor characters, [387];
  • simplicity, [388];
  • Senecan effect, [389-90];
  • bombast, [389], [417];
  • prose, [388], [397-400];
  • relief-scenes, [391];
  • sleep-walking scene, [378], [398], [400];
  • references to Gunpowder Plot, [397], [470-1];
  • all genuine? [388], [391], [395-7], [Note Z];
  • and Hamlet, [331-2];
  • and Richard III., [338], [390], [395], [492];
  • other references, [7], [8], [386], and Notes [Z] to [FF].
• Macbeth, [13], [14], [20], [22], [28], [32], [63], [172], [343-5], [349-65], [380], [383], [386], Notes [CC], [EE].
• Macbeth, Lady, [13], [28], [32], [349-50], [358], [364], [366-79], [398-400], Notes [CC], [DD].
• Macduff, [387], [391-2], [490-1].
• Macduff, Lady, [61], [387], [391-2].
• Macduff, little, [393-5].
• Mackenzie, [91].
• Marlowe, [211], [415-6].
• Marston's possible reminiscences of Shakespeare's plays, [471-2].
• Measure for Measure, [76], [78], [275], [397].
• Mediaeval idea of tragedy, [8], [9].
• Melancholy, Shakespeare's representations of, [110], [121].
  • See [Hamlet].
• Mephistopheles, [208].
• Merchant of Venice, [21], [200].
• Metrical tests, Notes [S], [BB].
• Middleton, [466].
• Midsummer Night's Dream, [390], [469].
• Milton, [207], [362], [418].
• Monstrosity, idea of, in King Lear, [265-6].
• Moral order in tragedy, idea of, [26], [31-9].
• Moulton, R.G., [40].

• Negro? Othello a, [198-202].

• Opening scene in tragedy, [43-4].
• Ophelia, [14], [61], [112], [160-5], [204], [399].
  • See [Hamlet].
• Oswald, [298], [448].
• Othello, exposition, [44-5];
  • conflict, [17], [18], [48];
  • peculiar construction, [54-5], [64-7], [177];
  • inconsistencies, [73];
  • place among tragedies, [82], [83], [88];
  • and Hamlet, [175-6];
  • and King Lear, [176-7], [179], [181], [244-5], [441-3];
  • distinctive effect, and its causes, [176-80];
  • accident in, [15], [181-2];
  • objections to, considered, [183-5];
  • point of inferiority to other three tragedies, [185-6];
  • elements of reconciliation in catastrophe, [198], [242];
  • other references, [9], [61], Notes [I] to [R], and [BB].
• Othello, [9], [20], [21], [22], [28], [29], [32], [176], [178], [179], [186-98], [198-202], [211], [212], Notes [K] to [O].

• Pathos, and tragedy, [14], [103], [160], [203], [281-2];
  • constructional use of, [60-1].
• Peele, [200].
• Pericles, [474].
• Period, Shakespeare's tragic, [79-89], [275-6].
• Pessimism, supposed, in King Lear, [275-9], [327];
  • in Macbeth, [359], [393].
• Plays, Shakespeare's, list of, in periods, [79].
• Plot, [12].
  • See [Action], [Intrigue].
• 'Poetic justice,' [31-2].
• Poor, goodness of the, in King Lear and Timon, [326].
• Posthumus, [21].
• Problems, probably non-existent for original audience, [73], [157], [159], [315], [393], [483], [486], [488].
• Prose, in the tragedies, [388], [397-400].

• Queen Gertrude, [104], [118], [134], [136-8], [161], [164], [166-8].

• Reconciliation, feeling of, in tragedy, [31], [36], [84], [147-8], [174], [198], [242], [322-6].
• Regan, [299-300].
• Religion, in Edgar, [306],
  • Horatio, [310],
  • Banquo, [387].
• Richard II., [3], [10], [17], [18], [42].
• Richard II., [20], [22], [150], [152].
• Richard III., [3], [18], [42], [62], [82];
  • and Macbeth, [338], [390], [395], [492].
• Richard III., [14], [20], [22], [32], [63], [152], [207], [210], [217], [218], [233], [301].
• Romeo and Juliet, [3], [7], [9], [15];
  • conflict, [17], [18], [34];
  • exposition, [41-5];
  • crisis, [52];
  • counter-stroke, [58].
• Romeo, [22], [29], [150], [210].
• Rosencrantz and Guildenstern, [137], [405-6].
• Rules of drama, Shakespeare's supposed ignorance of, [69].

• Salvini, [434].
• Satan, Milton's, [207], [362].
• Scenery, no, in Shakespeare's theatre, [49], [71], [451].
• Scenes, their number, length, tone, [49];
  • wrong divisions of, [451].
• Schlegel, [82], [104], [105], [116], [123], [127], [254], [262], [344], [345], [413].
• Scot on Witch-craft, [341].
• Seneca, [389-90].
• Shakespeare the man, [6], [81], [83], [185-6], [246], [275-6], [282], [285], [327-30], [359], [393], [414-5].
• Shylock, [21].
• Siddons, Mrs., [371], [379].
• Soliloquy, [72];
  • of villains, [222];
  • scenes ending with, [451].
• Sonnets, Shakespeare's, [264], [364].
• Spedding, J., [255], [476], [Note X].
• Stage-directions, wrong modern, [260], [285], [422], [453-6], [462].
• Style in the tragedies, [85-9], [332], [336], [357].
• Suffering, tragic, [7], [8], [11].
• Supernatural, the, in tragedy, [14], [181], [295-6], [331-2].
  • See [Ghost], [Witch].
• Swinburne, A.C., [80], [179], [191], [209], [218], [223], [228], [231], [276-8], [431].
• Symonds, J.A., [10].

• Tate's version of King Lear, [243], [251-3], [313].
• Temperament, [110], [282], [306].
• Tempest, [42], [80], [185], [264], [328-30], [469]; [Note BB].
• Theological ideas in tragedy, [25], [144], [147], [279];
  • in Hamlet and Macbeth, [171-4], [439];
  • not in Othello, [181], [439];
  • in King Lear, [271-3], [296].
• Time, short and long, theory of, [426-7].
• Timon of Athens, [4], [9], [81-3], [88], [245-7], [266], [270], [275], [310], [326-7], [443-5], [460]; [Note BB].
• Timon, [9], [82], [112].
• Titus Andronicus, [4], [200], [211], [411], [491].
• Tourgénief, [11], [295].
• Toussaint, [198].
• Tragedy, Shakespearean; parts, [41], [51];
  • earlier and later, [18], [176];
  • pure and historical, [3], [71].
  • See [Accident], [Action], [Hero], [Period], [Reconciliation], etc.
• Transmigration of souls, [267].
• Troilus and Cressida, [7], [185-6], [268], [275-6], [302], [417], [419].
• Twelfth Night, [70], [267].
• Two Noble Kinsmen, [418], [472], [479].