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.
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, 260, 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.
