INDEX The titles of plays are in italics. So are the numbers of the pages containing the main discussion of a character. The titles of the Notes are not repeated in the Index. Aaron, 171, 181 Abnormal mental conditions, 8, 352 Accident, in tragedy, 3, 9-10, 19, 21; in Hamlet, 120, 146; in Othello, 154-5; in King Lear, 216, 284-5 Act, difficulty in Fourth, 46; the five Acts, 39 Action, tragic, 6, 7, 23; and character, 7, 12-13; a conflict, 10-13 Adversity and prosperity in King Lear, 285 Albany, 258-9 Antonio, 92, 359 Antony and Cleopatra, 2-3, 35, 65; conflict, 11-12; crisis, 42, 44, 53; humour in catastrophe, 49, 350; battle-scenes, 50; extended catastrophe, 51; faulty construction, 57, 222; passion in, 66-7; evil in, 67-8; versification, 71-2, Note BB Antony, 15,21,50,67-8 Arden of Feversham, 5 Ariel,226 Aristotle, 11, 16 Art, Shakespeare's, conscious, 54-5; defects in, 57-63 Arthur, 348 As You Like It, 57, 228, 345 Atmosphere in tragedy, 291-2 Banquo, 301,334-41 Barbara, the maid, 149 Battle-scene, 50, 419, 441; in King Lear, 218, Note X Beast and man, in King Lear, 227-30; in Timon, 409 Bernhardt, Mme., 334 Biblical ideas, in King Lear, 287 Bombast, 59, 50, 344, Note F 471 Brandes, G., 334, 347 Brutus, 2,9,15,20,24,66,83,320 Caliban, 226 Cassio, 182-3, 204-6, 395-6 Catastrophe, humour before, 49; battle-scenes in, 50; false hope before, 50-1; extended, 49; in Antony and Coriolanus, 67-8. See Hamlet, etc. Character, and plot, 7-8; is destiny, 7-8; tragic, 13-17 Chaucer, 4, 303 Children, in the plays, 255-7 Cleopatra, 2-3, 14,68, 152, 179 Coleridge, 86-8, 89, 91, 107, 139, 172, 180, 192, 194, 195, 214, 300, 309, 318, 344, 345, 346, 370,371 Comedy, 10, 32 Conflict, tragic, 10-13; originates in evil, 26; oscillating movement in, 39-40; crisis in, 40-4; descending movement of, 45-9 Conscience. See Hamlet Cordelia, 21, 24, 175-7, 213-14, 252, 274, 275-85, Note W Coriolanus, 4, 34, 349; crisis, 42; hero off stage, 45; counter-stroke, 46-7; humour, 49; passion, 66; catastrophe, 67-9; versification, Note BB Coriolanus, 14,21,67-8, 168 Cornwall, 259-60 Crisis. See Conflict. Curtain, no front, in Shakespeare's theatre, 157, 427 Cymbeline, 3, 14, 58, 65, Note BB; Queen in, 261
472 Index Desdemona, 24,140,152,164,165, 169, 172-7, 282, 395, 401-4 Disillusionment, in tragedies, 149 Dog, the, Shakespeare and, 229 Don John, 91,180 Double action in King Lear, 217-19,223-4 Dowden, E., 66, 87, 289, 364 Dragging, 45-6, 52 Drunkenness, invective against, 204 Edgar, 266-7, 421, 436 Edmund, 180, 209, 216, 261-5, Notes P, Q. See Iago Emilia, 185-6,204, 205-7, Note P Emotional tension, variations of, 39 Evil, origin of conflict, 26; negative, 27; in earlier and later tragedies, 67; poetic portrayal of, 178-9; aspects of, specially impressive to Shakespeare, 199-200; in King Lear, 259-60, 264-5, 286; in Tempest, 287-9; in Macbeth, 290, 341 Exposition, 31-7 Fate, Fatality, 5,19-23,35,47,150, 154,249,298-303 Fleay, F. G., 378, 385, 411, 439, 450-1,453 Fool in King Lear, the, 221, 271-5, 282,411,413,421, Note V Fools, Shakespeare's, 271-2 Forman, Dr., 440, 470 Fortinbras, 74 Fortune, 4, 5 Freytag, G., 31, 50 Furness, H. H., 170, 172 Garnet and equivocation, 351-2, 443 Ghost, Banquo's, 291, 293, 295, 316-17, Note FF Ghost, Caesar's, Note FF Ghost in Hamlet, 80, 83, 98, 100, 105, 113, 114, 116-18, 147 Ghosts, not hallucinations because appearing only to one in a company,117 Gloster, 233-4, 255-8,413-14 Gnomic speeches, 60, 421 Goethe, 84, 107, 140, 178 Goneril,209, 260,290, 325-6,414 Greek tragedy, 2, 11, 22, 25, 155, 237-40 Greene, 365 Hamlet, exposition, 34-7; conflict, 12, 37-8, 39-40; crisis and counterstroke, 41-2, 46-8, 114-15; dragging, 46; humour, and false hope, before catastrophe, 49, 51; obscurities, 59; undramatic passages, 57-8, 59-60; place among tragedies, 64-72; position of hero, 73-6; not simply tragedy of thought, 66, 94, 106-7; in the Romantic Revival, 75-6, 107; lapse of time in, 108, 119; accident, 9, 120, 146-7; religious ideas, 121-2, 124-5, 145-8; player's speech, 344, Note F; gravedigger, 350-1; last scene, 218-19. See Notes A to H, and BB Hamlet, only tragic character in play, 73-4; contrasted with Laertes and Fortinbras, 74, 88; failure of early criticism of, 75-6; supposed unintelligible, 77; external view, 77-80; conscience view, 80-4; sentimental view, 84-6; Schlegel-Coleridge view, 86-91,97,103,106-7; temperament, 90-2; moral idealism, 92-3; reflective genius, 94-6; connection of this with inaction, 96-7; origin of melancholy, 97-100; its nature and effects, 101-7, 133; its diminution, 121; his 'insanity', 101-2, 380; in Act II., 108-9, 131-2; in III. i, 109, 132, 380; in play-scene, 110; spares King, 83,112-13,403; with Queen, 114-16; kills Polonius, 85-7, 115; with Ghost,
Index 473 116--17; leaving Denmark, 119-20; state after return, 120-2,380; in graveyard, 122, 129, 133,380; in catastrophe, 85, 123-4, 127, 379-80; and Ophelia, 86, 93, 99, 122-3, 129-34, 356, 379-80; letter to Ophelia, 126, 357; trick of repetition, 125-6; word-play and humour, 126--8, 367-8; aesthetic feeling, Ill, 373; and Iago, 179, 186, 191, 194; other references, 5, 9, 14, 15, 20, 276, 309, Notes A to H Hales,]. w., 351 Hanmer, 75 Hazlitt, 180, 192, 195, 198,208,212 Hecate, 300, Note Z Hegel, 11,305 2 Henry VI, 468 3 Henry VI, 191,377,466--7,468 Henry VIII, 64, 444, 452 Heredity, 22, 227, 264 Hero, tragic, 3; of 'high degree', 4-6; contributes to catastrophe, 8; nature of, 13-17,28-9; error of, 15, 26; unlucky, 21; place of, in construction, 42-4; absence of, from stage, 45; in earlier and later plays, 65-6, 149-50; in King Lear, 242; feeling at death of, 124, 147, 169-70, 283-4 Heywood, 117, 378 Historical tragedies, 42, 57 Homer, 305 Horatio, 82, 93, 94, 270, Notes A, B, C Humour, constructional use of, 49; Hamlet's 126--8; in Othello, 151; in Macbeth, 349-50 Hunter,]., 171,296 Iachimo, 15, 180 Iago, and evil, 179, 199-201; false views of, 179-81, 192-5; danger of accepting his own evidence, 181-2, 191-3; how he appeared to others, 183-5; and to Emilia, 185-6, 404; inferences hence, 186--7; further analysis, 187-90; source of his action, 190-9; his tragedy, 187, 190, 199; not merely evil, 201-2; nor of supreme intellect, 202-3; cause of failure, 203; and Edmund, 209, 261-3, 435; and Hamlet, 179, 186, 191, 194; other references, 15,20,24, 164, 165,167-8,320,321, Notes L, M, P,Q Improbability, not always a defect, 55; in King Lear, 212, 219-20 Inconsistencies, 58-9; real or supposed, in Hamlet, 363-4; in Othello, Note I; in KingILar, 219-20, Note T; in Macbeth, Notes CC, EE Ingram, Prof., 451 Insanity in tragedy, 8; Ophelia's, 139,353; Lear's, 249-52 Intrigue in tragedy, 7-8, 53-4, 153 Irony, 155,296 Isabella, 276, 280-1 jameson, Mrs., 140, 175, 333 jealousy in Othello, 151, 165-6, Note L job,6 johnson, 24, 75,255,260,265,332, 379 jonson, 55, 243, 344 juliet, 2-3, 175, 181 Julius Caesar, 2, 4, 25, 26, 452; conflict, 12; exposition, 34-5; crisis, 41; dragging, 46; counter-stroke, 47; quarrel-scene, 48; battlescenes, 50; and Hamlet, 65; style, 69-70 justice in tragedy, idea of, 24-5, 240, 277 Kean, 170,208 Kent, 268-70, 274, 281, 413-14, NoteW King Claudius, 12, 85, 109, 114, 119-20, I43-~355-6, 382-3 KingJohn, 348,466
474 Index King Lear, exposition, 34-5, 36--7; conflict, 11-12, 42-3; scenes of high and low tension, 39; dragging, 46; false hope before catastrophe, 50-1; battle-scene, 50, 425-7; soliloquy in, 58,191; place among tragedies, 67, 72; see Tate; Tate's, 208; two-fold character, 208-10; not wholly dramatic, 211-12; opening scene, 57, 212-14, 220, 278, 414; blinding of Gloster, 157,214-15; catastrophe, 213-17,232,252-5,269-70,282-6; structural defects, 217-20; improbabilities, etc., 219-21; vagueness of locality, 221-2; poetic value of defects, 223; double action, 223-4; characterization, 224-5; tendency to symbolism, 226--7; idea of monstrosity, 227; beast and man, 227-30; stormscenes, 231, 247-9, 274; question of government of world in, 232-5; supposed pessimism, 235-41, 245-7, 264-5, 282-9; accident and fatality, 9-10, 214-17, 249; intrigue in, 153; evil in, 259-60, 264-5; preaching patience, 289; and Othello, 150-1, 152-3, 154, 208-9, 407-8; and Timon, 210-11,271,285,409-11; other references, 3, 6, 48, 154, Notes R to Y, and BB Konig, G., Note BB Koppel, R., 267, 417, 422, 432-3 Laertes, 74, 93, 119,382-3 Lamb, 173,208,211,217,218,231, 300 Language, Shakespeare's, defects of, 59-61, 374-5 Lear, 8, 14,20,24,213-14,242-55, 255-7, Note W Leontes, 15, 166 Macbeth, exposition, 34, 35-7; conflict, 11-13, 38, 41; crisis, 47-8; pathos and humour, 49, 345-6, 349; battle scenes, 50; extended catastrophe, 51; defects in construction, 45-6, 57; place among tragedies, 66, 72-3, Note BB; religious ideas, 146--8; atmosphere of, 291-2; effects of darkness, 292-3; colour, 293-4; storm, 294-5; supernatural, etc., 295-6; irony, 296--7; Witches, 298-306, 318-19, 334-41; imagery, 294, 313; minor characters, 341-2; simplicity, 343; Senecan effect, 343-4; bombast, 344, 374-5; prose, 343, 351-4; relief-scenes, 345; sleepwalking scene, 333, 351-3, 353-4; references to Gunpowder Plot, 351-2, 443; all genuine? 342-3, 345,349-51, Note Z; and Hamlet, 290-1; and Richard III, 296, 344, 349, 467-8; other references, 3, 341 and Notes Z to FF Macbeth, 8, 14, 15, 16, 21, 24, 50, 146, 300-2, 306-21, 334-5, 337-8, 340, Notes CC, EE Macbeth, Lady, 8, 21, 24, 306--7, 312, 320, 322-34, 352-4, Notes CC,DD Macduff, 342, 345-8, 467 Macduff, Lady, 49, 342, 345-6 Macduff, little, 348-9 Mackenzie, 75 Marlowe, 181,374 Marston's possible reminiscences of Shakespeare's plays, 443-4 MeasureforMeasure, 61, 63, 237,352 Mediaeval idea of tragedy, 3, 4 Melancholy, Shakespeare's representations of, 91-2, 101-2. See Hamlet Mephistopheles, 178-9 Merchant of Venice, 15, 171, 172 Metrical tests, Notes S, BB Middleton, 438 Midsummer Night's Dream, 345, 441 Milton, 178,318,377 Monstrosity, idea of, in King Lear, 226--7
Index 475 Moral order in tragedy, idea of, 19, 23-30 Moulton, R. G., 31 Negro? Othello a, 170--3 Opening scene in tragedy, 33-5 Ophelia, 8, 48-9, 93, 135-9, 175, 353. See Hamlet Oswald, 260, 414, 415, 416 Othello, exposition, 33-5; conflict, 11-12,38; peculiar construction, 43, 51-4, 150--1; inconsistencies, 58-9; place among tragedies, 66, 67,72; and Hamlet, 149; and King Lear, 150--1, 152-3, 154, 209-10, 407-8; distinctive effect, and its causes, 150--3; accident in, 9-10, 154-5; objections to, considered, 156-8; point of inferiority to other three tragedies, 158; elements of reconciliation in catastrophe, 169-70, 207; other references, 4, 49, Notes I to R, andbb Othello, 4,14,15,20,24,150,151, 152, 158-70, 170-4, 181-2, Notes KtoO Pathos and tragedy, 8, 85-6, 135, 174, 243; constructional use of, 48-9 Peele, 171 Pericles, 447 period, Shakespeare's tragic, 64-73, 237 Pessimism, supposed, in King Lear, 236-41,286; in Macbeth, 315, 347 Plays, Shakespeare's, list of, in periods, 64 Plot, 7. See Action, Intrigue Poetic justice', 24 Poor, goodness of the, in King Lear and Timon, 285-6 Posthumus, 15 Problems, probably non-existent for original audience, 59, 133-4, 275, 347,457,464 Prose, in the tragedies, 343, 351-4 Queen Gertrude, 86, 98-9,114-17, 136, 138, 140-2 Reconciliation, feeling of, in tragedy, 24, 27-8, 68, 124-5, 147-8, 169-70, 207, 282-5 Regan, 260-1 Religion, in Edgar, 267; Horatio, 270; Banquo, 341 Richard II, 5, 11, 12, 33 Richard II, 14, 16, 127, 128 Richard III, 12, 33, 50, 67; and Macbeth, 296, 344, 349, 468 Rlchard III, 15, 24, 50, 128, 178, 180--1, 186, 187, 119,262 lwmeo andjuliet, 2, 4, 9; conflict, 11, 12, 26; exposition, 31-6; crisis, 41; counter-stroke, 47 Romeo, 15, 21, 127, 181 Rosencrantz and Guildenstern, 114, 360--2 Rules of drama, Shakespeare's supposed ignorance of, 55-6 Salvini, 397 Satan, Milton's, 178, 318 Scenery, no, in Shakespeare's theatre,39,57,419 Scenes, their number, length, tone, 39; wrong divisions of, 419 Schlegel, 66, 87, 88, 97, 103, 107, 217,224,302,371 Scot on witch-craft, 298 Seneca, 343-4 Shakespeare the man, 2, 65, 67, 158, 210,237,243,246-7,286-9,315, 347,371 Shylock, 15 Siddons, Mrs., 326, 334 Soliloquy, 58; of villains, 191; scenes ending with, 418 Sonnets, Shakespeare's, 226, 320 Spedding, J., 218, 448, Note X Stage-directions, wrong modern, 221-2,247,382-3,422-4,432-3
476 Index Style in the tragedies, 69-73, 290-1,294,313 Suffering, tragic, 3, 6-7 Supernatural, the, in tragedy, 8-9, 154, 257-8, 290-1. See Ghost, Witch Swinburne,A. C., 152, 163, 180,187, 192, 195, 198,237-9,393 Symonds, J. A., 5 Tate's version of King Lear, 208, 215-17,273 Temperament, 91-2, 243, 267 Tempest, 33, 64,158,226,287-9,441, Note BB Theological ideas in tragedy, 18-19,121,124,240-1; in Hamlet and Macbeth, 145-7,403; not in Othello, 154, 402-3; in King Lear, 232-5, 257-8 Time, short and long, theory of, 386-9 Timon of Athens, 5, 66-7, 72, 210-11,227,237-8,271,285,409-11, 430, Note BB Timon, 5, 66, 93 Titus Andronicus, 171, 181,369,468 Tourgenief, 6, 256 Toussaint, 170 Tragedy, Shakespearean; parts, 31-2,40-1; earlier and later, 12, 149-50; pure and historical, 57. See Accident, Action, Hero, Period, Reconciliation, etc. Transmigration of souls, 228-9 Troilus and Cressida, 3, 158,230,237-8, 263, 375-6, 377-8 Twelfth Night, 64, 229 Two Noble Kinsmen, 377, 444, 452 Ultimate power in tragedy, 17-30, 145-8, 232-41. See Fate, Moral Order, Reconciliation, Theological Undramatic speeches, 59, 88 Versification. See Style and Metrical tests Virgilia, 342 Waste, tragic, 16-17, 28-9 Werder, K.., 77, 146,454 Winter's Tale, 14-15, Note BB Witches, the, and Macbeth, 298-306, 318-19; and Banquo, 334-41 Wittenberg, Hamlet at, 357-62 Wordsworth, 22-3, 170 Yorkshire Tragedy, 5