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PAGE 495
Disillusionment, in tragedies, 175. Dog, the, Shakespeare and, 268. Double action in King Lear, 255-6, 262. Dowden, E., 82, 105, 330, 408. Drunkenness, invective against, 238.
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, 446-7, Note V. Fools, Shakespeare's, 310. Fortinbras, 90.
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.
Hamlet, exposition, 43-7; conflict, 17, 47, 50-1; crisis and counterstroke, 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 graveyard, 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. 2 Henry VI., 492. 3 Henry VI., 222, 418, 490, 492. 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. |
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