[12] Bradbrook, pp. 30, 75.
[13] Doran, p. 295.
[14] See especially Twelfth Night, I, i-iii; Hamlet, I, i-iii; Lear, I, i; Measure for Measure, I, i; The Devil’s Charter, dumb show.
[15] The other ranking figures are Antonio in The Revenger’s Tragedy, Malevole, revealed as Duke Altofronto in The Malcontent, young Flowerdale in The London Prodigal, and the husband in A Yorkshire Tragedy. The prodigal son plays, Miseries of Enforced Marriage, The London Prodigal, and A Yorkshire Tragedy, have a double figure, the husband who judges himself and the wife who grants forgiveness.
[16] Discovery: As You Like It, Twelfth Night, Merry Wives of Windsor, All’s Well, Pericles; discovery-single combat: Hamlet, Lear; discovery-suicide: Othello; discovery-trial: Measure for Measure; single combat: Macbeth; suicide: Julius Caesar, Antony and Cleopatra; trial: Coriolanus; siege: Timon of Athens.
[17] Curtis B. Watson, “Shakespeare’s Dukes,” S.A.B., XVI (1941), 33. Watson insists that the Duke employed in this fashion is unique to Shakespeare’s plays. However, as the non-Shakespearean plays reveal, the same functions are carried out by father, king, or lord.
[18] G. Wilson Knight, Principles of Shakespearean Production (Harmondsworth Middlesex, 1949), p. 21.
[19] Ibid., p. 21; W. J. Lawrence, “Some Reflections on Shakespeare’s Dramaturgy,” Speeding Up Shakespeare (London, 1937), p. 43; Richard G. Moulton, Shakespeare as a Dramatic Artist (Oxford, 1893), p. 217.
[20] Moulton, p. 217. He persists in finding a “point” for the climax although he more clearly than any one of the other writers perceives the extended nature of the climax. On page 209 he treats the scenes of Lear’s madness as a “Centerpiece,” apparently realizing their climactic interconnection. Yet he fails to take the next step by abandoning the conception of a climactic moment.