Shakespearean Tragedy/Index
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, 200, 211.
Abnormal mental conditions, 13, 398.
Accident, in tragedy, 7, 14–16, 26, 28; in Hamlet, 143, 173; in Othello, 181–2; in King Lear, 253, 325.
Act, difficulty in Fourth, 57–8; the five Acts, 49.
Action, tragic, 11, 12, 31; and character, 12, 193; a conflict, 16–19.
Adversity and prosperity in King Lear, 326–7.
Albany, 297–8.
Antonio, 110, 404.
Antony and Cleopatra, 3, 7, 45, 80; conflict, 17–8; crisis, 53, 55, 66; humour in catastrophe, 62, 395–6; battle-scenes, 62–3; extended catastrophe, 64; faulty construction, 71, 260; passion in, 82; evil in, 83–4; versification, 87, Note BB.
Antony, 22, 29, 63, 83–4.
Arden of Feversham, 9.
Ariel, 264.
Aristotle, 16, 22.
Art, Shakespeare’s, conscious, 68–9; defects in, 71–78.
Arthur, 294.
As You Like It, 71, 267, 390.
Atmosphere in tragedy, 333.
Banquo, 343, 379–86.
Barbara, the maid, 175.
Battle-scene, 62, 451, 469; in King Lear, 255, Note X.
Beast and man, in King Lear, 266–8; in Timon, 453.
Bernhardt, Mme., 379.
Biblical ideas, in King Lear, 328.
Bombast, 73, 75–6, 389, Note F.
Brandes, G., 379, 393.
Brutus, 7, 14, 22, 27, 32, 81–2, 101, 364.
Caliban, 264.
Cassio, 211–3, 238–9, 433–4.
Catastrophe, humour before, 61–2; battle-scenes in, 62; false hope before, 63; extended, 62; in Antony and Coriolanus, 83–4. See Hamlet, etc.
Character, and plot, 12; is destiny, 13; tragic, 19–23.
Chaucer, 8, 346.
Children, in the plays, 293–5.
Cleopatra, 7, 20, 84, 178, 208.
Coleridge, 104–5, 107, 109, 127, 165, 200, 201, 209, 223, 226, 228, 249, 343, 353, 362, 389, 391, 392, 397, 412, 413.
Comedy, 15, 41.
Conflict, tragic, 16–9; originates in evil, 34; oscillating movement in, 50; crisis in, 51–5; descending movement of, 55–62.
Conscience. See Hamlet.
Cordelia, 29, 32, 203–6, 250, 290, 314, 315–26, Note W.
Coriolanus, 3, 9, 43, 394–5; crisis, 53; hero off stage, 57; counter-stroke, 58; humour, 61; passion, 82; catastrophe, 83–4; versification, Note BB.
Coriolanus, 20, 29, 83–4, 196.
Cornwall, 298–9.
Crisis. See Conflict.
Curtain, no front, in Shakespeare’s theatre, 185, 458.
Cymbeline, 7, 21, 72, 80, Note BB; Queen in, 300.
Desdemona, 32, 165, 179, 193, 197; 201–6, 323, 433, 437–9.
Disillusionment, in tragedies, 175.
Dog, the, Shakespeare and, 268.
Don John, 110, 210.
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.
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.
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.
Ultimate power in tragedy, 24–39, 171–4, 271–9. See Fate, Moral Order, Reconciliation, Theological.
Undramatic speeches, 74, 106.
Versification. See Style and Metrical tests.
Virgilia, 387.
Waste, tragic, 23, 37.
Werder, K., 94, 172, 480.
Winter’s Tale, 21, Note BB.
Witches, the, and Macbeth, 340–9, 362; and Banquo, 379–87.
Wittenberg, Hamlet at, 403–6.
Wordsworth, 30, 198.
Yorkshire Tragedy, 10.