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 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.