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.
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.
Goneril, 245, 299–300, 331, 370, 447–8.
Greek tragedy, 7, 16, 30, 33, 182, 276–9, 282.
Greene, 409.
Hales, J. W., 397.
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.
