Chapter XIV: Appendix: To Chapter XIV

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TECHNICAL ANALYSIS OF THE PLOT OF THE FIVE PLAYS.

THE MERCHANT OF VENICE.

AN ACTION-DRAMA.

_Scheme of Actions_.

External Circumstance[8]: The (rumoured) Shipwrecks.

_Economy_.

Two Main Actions connected by Common Personage [Bassanio] and by
Link Action [Jessica].

General Interweaving.

Balance. The First Main Action, which is complicated, balances the
Second, which is simple, by the additions to the latter of the
Jessica interest transferred to it, and the Episode of the Rings
generated out of it. [Pages 82, 88.]

_Movement_.

Action-Movement: with Contrary Motion between the two Main Actions.
The First Main complicated and resolved by the Second

Main [hero of Second, Bassanio, is Complicating Force; heroine of
Second, Portia, is Resolving Force], the Complication assisted by
the External Circumstance of the Shipwrecks--in process of
resolving the First generates a Complication to the Second in the
form of the Episode of the Rings, which is self-resolved.
[Pages 66, 282.]

Passion-Movement in the background: Wave-Line of Strain and Relief
by alternation of the two main Stories; the Episode of the Rings
is Final Relief to the Final Strain of the Trial.

_Turning-points._

Centre of Plot: Scene of Bassanio's Choice (=iii.= ii.) in which the
Complicating and Resolving Forces are united and all the Four
Actions meet. [Pages 67-8.]

Catastrophe: Portia's Judgment in the Trial (=iv.= i, from 299).

FOOTNOTES:

[7] Stationary, as having no place in the movement of the plot: its separateness from the rest of the Jessica Action only for purposes of Tone-effect, as Comic Relief.

[8] 'External' as not included in any Action, 'Circumstance' because it presents itself as a single detail instead of the series of details necessary to make up an Action. An External Circumstance is analogous to an Enveloping Action: outside the other Actions, yet in contact with them at certain points.

RICHARD THE THIRD.

A PASSION-DRAMA.

_Scheme of Actions._

Main =Nemesis= Action: Life and Death of Richard.

Link =Nemesis= Action connecting Main with LANCASTER side of Enveloping Action: Marriage of Richard and Anne (p. 113).

Enveloping =Nemesis= Action: The War of the Roses [the Duchess of York introduced to mark the York side, Queen Margaret to mark the Lancastrian side].

_Economy_.

All the Actions bound together by the Enveloping Action of which
they make up a phase.

Parallelism: the common form of Nemesis.

Central Personage: Richard.

_Movement_.

Passion-Movement, with Similar Motion [form Nemesis repeated
throughout (page 282)].

_Turning-points_.

Centre of Plot: Realisation of Margaret's Curses [turn of Enveloping
Action] in =iii.= iii. 15.

Catastrophe: Realisation of Nemesis in the Main Action: =iv.= ii,
from 45.

MACBETH.

A PASSION-DRAMA.

_Scheme of Actions._

+--Main =Character= Action: Rise and Fall of Macbeth.
+--=Character= Counter-Action: Lady Macbeth.

+--=Character= Sub-Action: covering and involved in the Rise:
| Banquo.
+--=Character= Sub-Action: covering and involving the Fall:
Macduff. [Pages 129, 142.]

Enveloping =Supernatural= Action: The Witches.

_Economy._

Parallelism: Triple form of Nemesis, Irony and Oracular Action
extending to the Main Action, to its parts the Rise and Fall
separately, and through to the Enveloping Action.

Contrast as a bond between the Main and Counter-Action.

Balance: the Rise by the Fall, the Sub-Action to the Rise by the
Sub-Action to the Fall. [Page 276.]

_Movement._

Passion Movement, with Similar Motion between all.

_Turning-points._

Centre of Plot: Change from unbroken success to unbroken failure:
=iii.= iii. 18. [Page 127.]

Catastrophe: Divided: First Shock of Nemesis; Appearance of Banquo's
Ghost: =iii.= iv.

Final Accumulation of Nemesis: Revelation of
Macduff's birth: =v.= viii. 12.

JULIUS CÆSAR.

A PASSION-DRAMA.

_Scheme of Actions._

Main =Nemesis= Action: Rise and Fall of the Republican Conspirators.

+--Sub-Action to the Rise [=Character-decline=]: The Victim Cæsar.
+--Sub-Action to the Fall [=Character-rise=]: The Avenger Antony.

Enveloping Action: the Roman Mob.

_Economy._

Balance about the Centre: the Rise by the Fall, the Sub-Action to
the Rise by the Sub-Action to the Fall.

_Movement._

Passion-Movement, with Similar Motion between the Main and
Sub-Actions. [The form of the Main is distributed between the two
Sub-Actions: compare page 282.]

_Turning-points._

The Centre of Plot and Catastrophe coincide: =iii.= i. between 121
and 122.

KING LEAR.

A PASSION-DRAMA.

_Scheme of Actions._

Main Plot: a =Problem= Action: Family of Lear: falling into

Generating Action: Lear's unstable settlement of the kingdom,
[the Problem]. power transferred from the good to the bad.

Underplot: an =Intrigue= Action: Family of Gloucester: falling into

Generating Action: Gloucester deceived into reversing the positions
[the Intrigue]. of Edgar and Edmund.

Central Link Personage between Main Plot and Underplot: Gloucester (page 283).

+--From the good side of |
+--First | the Main: Kent. +--Crossing
| Pair: | | & complicating
| +--From the evil side of | one another.
| | the Main: Oswald. |
|
| +--From the good side of the Main
Sub-Actions, linking | | assisting Nemesis on Evil Agent
Main and Underplot, +--Second | of the Underplot: Albany.
or different | Pair: |
elements of the | +--From the evil side of the Main
Main together. | | assisting Nemesis on Good Victim
| | of the Underplot: Cornwall.
|
+--Third Pair: Cross Intrigues between
| the Evil sides of Main and Underplot
| {Goneril and Edmund}
| {Regan and Edmund } culminating in
| destruction of all three (=v.= iii. 96, 221-7,
| and compare 82 with 160).

_Farcical Relief Action: The Fool: Stationary._

Enveloping Action: The French War: originating ultimately in the Initial Action and becoming the Objective of the _Dénouement_. [Page 273.]

_Economy._

The Underplot dependent to the Main (page 276).

Especially: Parallelism and Contrast (page 277).

Central Linking by Gloucester.

Interweaving: Linking by Sub-Actions, &c., and movement to a common
Objective.

Envelopment in Common Enveloping Action.

_Movement._

Passion-Movement, with Convergent Motion between the Main and
Underplot, and their parts: the Lear and Gloucester systems by the
visit to Gloucester's Castle drawn to a Central Focus and then
moving towards a common Objective in the Enveloping Action. [Page
282.]

_Turning-points._

Catastrophe: at the end of the Initial Action, the Problem being set
up in practical action. [Page 205.]

Centre of Plot: the summit of emotional agitation when three
madnesses are brought into contact (page 223).

INDEXES.

GENERAL INDEX.

_For particular Characters or Scenes see under their respective plays._

Abbott, Dr., quoted 15.

Academy, French 18.

Achilles and the River-god 193.

Action a fundamental element of Drama 234-6
its threefold division 235
Plot as pure Action 236
or the intellectual side of Action 268.

Action, Analysis of: 271-4
canons of Analysis 271-2
Enveloping Action 272-4
=Illustrations= of Enveloping Action: _Richard III_ 273, _Macbeth_
273, _Julius Cæsar_ 273, _King Lear_ 273-4.

'Action-Drama' as substitute for 'Comedy' 280-1.

Action, Economy of: 274-8.
General notion and connection with Analysis 274-5
Economic Forms 275-8
Connection and Linking 275
Dependence 276
Symmetry 276-8
Balance 276
Parallelism and Contrast 276-8
Economy in Technical Analyses of the five plays 291-8.

Actions, focussing of: 209.

Action, Forms of Dramatic: 269-70, 125, 202.

Action, Schemes of in Technical Analyses, 291-8.

Action, Single and Complex 236, 270, &c.

Action, Systems of: 108, 110, 208.

Action, Unity of: 14, 235, 269-71
unity of action in Modern Drama becomes harmony 270.

Actions, Varieties of: Character-Action 270; Comic Action 270,
291; Farcical 291; Generating 297; Initial and Resultant 208;
Intrigue 270, 207; Irony 269; Link 81, 208; Main and Subordinate
270; Nemesis 269 &c.; Oracular 269 &c.; Problem 269, 202; Relief
291, 298; Rise and Fall 270, 119, 127; Stationary 291; Story 270;
Tragic 270, 297; Triple 270, 125, 142.

Actor, Acting 98, 231. [_See_ Stage-Representation.]

Addison:
on scientific progress 5
his Critique of _Paradise Lost_ 16
his list of English poets 16
his _Cato_ 17, 19
on rules of art 20
on Rymer 21.

Analysis as a stage in scientific development 228-9.

Analysis, Dramatic: 227, 271. [_See_ Action, Analysis of.]

Ancient Drama 125, 259-60
Mixture of Tones an impossibility 252
the Supernatural its leading Motive 259
its unity of action different from that of the Modern Drama 270.

Ancient Thought, points of difference from Modern: 44, 125-7, 137.

Antithesis of Outer and Inner (or Practical and Intellectual) Life
144-6
as an element in Character-Interpretation 146
applied to the age of Macbeth 147
key to the portraiture of Macbeth and his wife 147-167
applied to the age of Julius Cæsar in the form of policy _v._
justice 168-71
connected with character of Antony 182, Brutus 171-6, Cæsar 176-81,
Cassius 181
applied to the group as a whole 183-4.

Apparitions:
_Richard III_ 122,
_Macbeth_ 135-6, 140, 167, 262-4. [_See_ Supernatural.]

Apuleianism 15.

Arch as an illustration of dramatic form 127, 280
applied to the Movement in Julius Cæsar 186, 280
to King Lear: Main Plot 209,
Underplot 215-17.

Aristotle: his criticism inductive 16
judicial 16
his position in the progress of Induction 230
made Stage-Representation a division of Dramatic Criticism 231
on the purification of our emotions in the Drama 259.

Art applied to the repulsive and trivial 90
common terms in the different arts 168
Dramatic Art 40, 227 &c.
topics common to the Drama and other arts 232
Art in general affords a fundamental basis for the Analysis of Drama
234
concrete and abstract elements in all the arts alike 234.

Background of Nature as an element in dramatic effect 192-4
its widespread use in poetry 192
analysed 192
illustrated in _Julius Cæsar_ in connection with the Supernatural
193-6
used in Centrepiece of King Lear 214
considered as an example of the Supernatural illuminating human
action 266.

Bacon 28.

Balance 82, 233
as an Economic form 276
in Technical Analyses 291, 295, 296.

Barbarism of enjoying personal defects 218.

Beaumont and Fletcher 13.

_Betrothed, The_: as example of Oracular Action 132.

Biblical citations: _Psalm_ II (Irony) 138
conclusion of _Job_ (Dramatic Background) 192.

Blank Verse 13.

Boileau on Terence 16
on Corneille 18.

Bossu 17, 18.

Brontë, Charlotte: 30.

Buckingham 17.

Byron 14.

Caro, Hannibal: 17.

Catastrophe, or Focus of Movement: 284-5
=Examples=: _Merchant of Venice_ 285; _Richard III_ 285, 120;
_Macbeth_ 285; _Julius Cæsar_ 285, 198; _King Lear_ 285, 205
in Technical Analyses 291-8.

Central Personages 119
Gloucester in _King Lear_ 206, 207
Richard 291.

Centre, Dramatic: 67, 186
Shakespeare's fondness for central effects 186, 284.

Centre of Plot 284
=Examples= 285
in Technical Analyses 291-8.

Character: as an element in Judgment 56
as an Elementary Topic of Dramatic Criticism 235
subdivided 235.

Character, Interest of: 237 and Chapter XII. Character in Drama
presented concretely 237.
Unity in Character-Interest 237-9
Complexity in Character-Interest 239-242
Development in Character-Interest 242-5.
Character-Interpretation 237-9.
Character-Foils 239
Contrast 240
Duplication 240
Grouping 241
Dramatic Colouring 241.
Character-Development 242-5.

Character-Contrast as a general term 239-42
strictly so-called 240, 144 and Chapter VII
general and from special standpoints 144
from standpoint of Outer and Inner Life 144-7, 168-71
as an Elementary Topic of Dramatic Criticism 236
=Illustrations=: _Merchant of Venice_ 82-7 _Macbeth_ 144 and Chapter
VII _Julius Cæsar_ 178, &c.

Character-Development 242-5
=Illustration=: _Macbeth_ ib.

Character-Duplication 240
=Illustrations=: Murderers in _Richard III_ &c. 240-1.

Character-Foils 239
Illustrations: Jessica to Lorenzo 85
Jessica and Lorenzo to Portia and Bassanio 86
Cassius and Cæsar 179.

Character-Grouping described 168
=Illustration=: _Julius Cæsar_ 169 and Chapter VIII.

Character-Interpretation 236, 237-9
of the nature of a scientific hypothesis 237
canons of interpretation 238-9
applied to more than one Character becomes Character-Contrast 240
analytical in its nature 186
has swallowed up other elements of dramatic effect in the popular
estimation of Shakespeare 233
=Illustration=: _Richard III_ 90 and Chapter IV.

Chess with living pieces, an illustration of Passion 185.

Cibber 17.

Ciceronianism 15.

Circumstance External 291.

Clash of Tones: 253. [_See_ Tone.]

Classical Drama: _see_ Ancient.

Classification a stage in development of Inductive Method 228, 229.

Climax in Passion-Movement 185-7
applied to _Julius Cæsar_ 186-8 and Chapter IX.
Illustrated in _King Lear_ 202 and Chapter X.
Gradual rise to the climax of the Main Plot 209-15
the climax itself 215
climax of Underplot 215-8
climax of the play double 217
and triple 218, 223.

Coleridge 11.

Collier, Jeremy: 35.

Colouring. Dramatic: 241-2.
=Illustration=: _Macbeth_ ib.

'Comedy' unsuitable as a term in Shakespeare-Criticism 280-1.

Comic as a Tone 251-2.

Complex distinguished from Complicated 74 (note)
applied to Plot of _Merchant of Venice_ 74 and Chapter III
Complexity distinguishes the plot of _King Lear_ as compared with
that of _Julius Cæsar_ 186
traced in plot of _King Lear_ 202, 208-9, &c.
not inconsistent with simplicity 208, 74
an element of Action 235, 236
applied to Character 239, Passion 250, Plot 270.

Complicated distinguished from Complex 74 (note)
Complicated Movement 279.

Complicating Force 67.

Complication and Resolution 66, 279
=Illustration=: _Merchant of Venice_ 67.

Connection as an Economic form 275
by Link Personages and Actions 275
by Interweaving _ib._
by common Envelopment 276.

Construction and Creation as processes in Character-Painting 30.

Contrast as an Economic form 277, 295-8. [_See_ Character-Contrast.]

Corneille: the Corneille Incident 18
his _Clitandre_ ib.

Courage, active and passive 146, 179.

Cowley 16.

Creation and Construction as processes in Character-Painting 30.

Criticism _à priori_ 24, 37. [_See_ Criticism Judicial.]

Criticism, Dramatic: as an Inductive Science 40, 227, &c.
surveyed in outline 227
indirectly by Studies _ib._
its definition 228-34
its method 228-30
its field 230-4
distinguished from Literary Criticism in general 231
need not include Stage-Representation 231-2
common ground between Literary and Dramatic Criticism 232
between Dramatic Art and Stage-Representation 232-3
Drama and Representation separable in exposition not in idea 233-4
fundamental divisions of Dramatic Criticism 234-6
its elementary Topics tabulated 236
General Table of its Topics 288.

Criticism: History of 7-21. [_See_ Criticism, Judicial,
Shakespeare-Criticism.]

Criticism, Inductive: distinguished from Judicial 2
the two illustrated by the case of Ben Jonson 2-4
confusion of the two 4
gradual development of Inductive method in the history of Criticism
17-21
sphere of Inductive Criticism separate from that of the Criticism of
Taste 21
three main points of contrast between Inductive and Judicial
Criticism 27-40
(1) as to comparisons of merit 27-32
(2) as to the 'laws' of Art 32-7
(3) as to fixity of standard 37-40.
=Difficulties= of Inductive Criticism: want of positiveness in the
subject-matter 23-5
absence of 'design' in authors 26
objection as to the ignoring of moral purpose 35
arbitrariness of literary creation 35-7.
=Principles= and =Axioms= of Inductive Criticism. Its foundation
Axiom: _Interpretation is of the nature of a scientific hypothesis_
25
its antagonism to comparisons of merit 27-9
concerned with differences of kind rather than degree 29-32
Axiom: _Its function to distinguish literary species_ 32
principle that each writer is a species to himself 30-2
the laws of Art: scientific laws 32-7
Inductive Criticism has no province to deal with faults 34
Axiom: _Art a part of Nature_ 36
Axiom: _Literature a thing of development_ 36
development to be applied equally to past and new literature 38.
=Illustrations= of Inductive Criticism. Applied by Addison 16, 20;
Aristotle 16; Fontenelle 19; Perrault 19; Gervinus 20; Dr. Johnson
16.
Applied to the character of Macbeth 24; Music 29; to Charlotte
Brontë and George Eliot 30; Beethoven 34.

Criticism, Judicial: distinguished from Inductive 2
the two illustrated by the case of Ben Jonson 2-4
confusion of the two 4
three main points of contrast between Judicial and Inductive
Criticism 27-40
(1) as to comparisons of merit 27-32
(2) as to the 'laws' of Art 32-7
(3) as to fixity of standard 37-40.
Illegitimate supremacy of Judicial method in Criticism 4
connected with influence of the Renaissance 4
and Journalism 5
defence: Theory of Taste as condensed experience 6
the theory examined: judicial spirit a limit on appreciation 6.
=History= of Judicial Criticism a triumph of authors over critics 7-21.
Case of Shakespeare-Criticism 7-11
other authors 11-13
defeat of Judicial Criticism in the great literary questions 13-15
its failure to distinguish the permanent and transitory 15
its tendency to become obsolete 16
its gradual modification in the direction of Inductive method
17-21.
Proper sphere of Judicial Criticism 21
outside science _ib._
and belonging to creative literature _ib._
Vices of Judicial Criticism:
its arbitrary method of eliminating variability of impression in
literary effect 24
its fondness for comparisons of merit 27
its attempt to limit by 'laws' 32-5
its assumption of fixed standards 37-9
its confusion of development with improvement 39.
=Illustrations= of Judicial Criticism: applied by the French Academy
18; Aristotle 16; Boileau 16, 18; Byron 14; Dennis 19; Dryden 9, 12,
13, 17; Edwards 9; Hallam 12; Heywood 10; Jeffrey 12; Dr. Johnson
10, 12, 16, 19, 20; Lansdowne 9; Macaulay 13; Otway 9; Pope 10, 19;
Rymer 8, 14, 17; Steevens 12, 15; Theobald 10; Voltaire 9, 14, 17.
Applied to Addison's _Cato_ 17; Beethoven 34; Brontë 30; Buckingham
17; Eliot (Geo.) 30; Gray 12; Greek Drama 30; Herodotus 39; Jonson
(Ben) 2, 17; Keats 12; Milton 11, 12, 14, 17, 39; Montgomery 13;
Roscommon 17; Shakespeare's Plays 8-11, &c.; Shakespeare's Sonnets
12; Spenser 12, 17; Taylor (Jeremy) 39; Waller 17; Walsh 17;
Waverley Novels 12; Wordsworth 12.

Criticism of Assaying 2, 6. [_See_ Criticism, Judicial.]

Criticism of Taste 2, 6, 21-2. [_See_ Criticism, Judicial.]

Cross Nemeses 291, 293, 47, 51.

Dancing (Greek) 231.

Dennis 19.

Dependence as an Economic form 276.

Design, its significance in Criticism 26.

Destiny interwoven with Nemesis in _Macbeth_ 125 and Chapter VI
conception of it in Ancient and Modern Thought 125, 259-60
phases of Destiny in Modern Drama 127
the Oracular Action one phase of Destiny 130
Irony as a phase of Destiny 137-43
Destiny acting objectively 260
rationalised in Modern Drama 260
as a subjective force, Infatuation 261-2
rationalised in Shakespeare _ib._

Development in literature 37-9
as an element of Action 235, 236
applied to Character 242.

Devices for increasing emotional strain 196.

Differentiation of matter accompanying progress of Inductive Science
230
applied to Dramatic Criticism 231-4.

Dover as the objective of the plot in _King Lear_ 274, 284.

Drama: the word 'drama' 234
Drama a compound art 231
the Shakespearean a branch of the Romantic Drama 43
its relations with Stage-Representation 231-2, 233-4, 98
one of its purposes to interpret the beauty of fate 259.

Dramatic Satire 3.

Dryden on Spenser 12, 17
on Blank Verse 13
his _Essay on the Drama_ ib.
his _Essay on Satire_ ib.
on Milton's Blank Verse 17
on Shakespeare's English 15.

Duplication 240.

Economy of Action 274-8 [_see_ Action]
an economy in Richard's Villainy 100.

Edwards 9.

Effect as a general term in Dramatic Criticism 248
strictly so-called _ib._
an element of Passion _ib._
distinguished from Situation and Incident 246
described 248-50
special Effects: Irony 248, Nemesis 249, Dramatic Foreshadowing 249.

Elevated as a Tone 251.

Eliot (Geo.) 30.

Emerson, quoted 7.

Emotion as a barrier to crime 93.

Enveloping Action 273-4, 111
=Illustrations=: _Richard III_ 111-12; _King Lear_ 273-4 Analogous
to External Circumstance 291 note in Technical Analyses 291-8.

Envelopment as a kind of Connection 276.

Euphuism utilised in Brutus's oration 175.

Eusden 17.

External Circumstance 291.

Farcical as a Tone 251, 252.

Fascination as an element in human influence 97.

Fate, determinants of in Drama 255 [_see_ Motive Force]
fate other than retributive included in Poetic Justice 257
function of Drama to interpret beauty of fate 259.

Fault as a critical term 32, 34.

Focussing of trains of passion in _King Lear_ 209.

Foils 239. [_See_ Character.]

Fontenelle 19.

Foreshadowing, Dramatic: 249, 201.

Free Trade and Free Art 35.

Gervinus 11, 20, 127, 280.

Gloucester: _see King Lear_ and _Richard III_.

Goethe 11.

Goldsmith 33.

Gray 12.

Grouping 241. [_See_ Character.]

Hallam 11, 12.

_Hamlet_, Play of 262.

Hedging, Dramatic: 60, 78, 232-3.
=Illustrations=: Shylock 58-61; Richard III, 105; Brutus 176.

Heraclitus 28.

Herodotus 39.

Heroic as a Tone 251.

Heroic couplet 30.

Heywood 10.

Hippolyta 111.

Hippolytus 45, 126.

History, its interpretation of events compared with the effect of
the Oracular Action 265.

Hogarth 7.

Homer: Episode of Achilles and the River-god 193
_Iliad_ 23.

Hugo, Victor: 11.

Human Interest one of the two leading divisions of Drama 234
further divided, 235.

Humour in agony 162-3
an example of Tone-Clash 254.

Hybris 49, 262.

Hysterical passion in _King Lear_ 210-15.

Iago compared with Richard III 92
self-deceived 101.

Idealisation as a dramatic effect 51
applied to the Caskets Story 51-4
of Incident 97.

_Iliad_ 23, 193.

Imitation as a force in developing madness 214-15.

Incident as a division of Passion 246
distinguished from Situation and Effect _ib._
=Illustrations=: 246-7.

Inclined Plane as a form of Passion-Movement 280.

Inconsistency in characters a mark of unfinished Interpretation 238.

Indirect elements of Character-Interpretation 238, 86.

Individuality of authorship corresponds to differentiation of
species 39
individuality an element in the Inner Life 169.

Induction: its connection with facts 1
application to literature 22-40. [_See_ Criticism Inductive.]
Stages in the development of Inductive Science 228-9
its progress accompanied by differentiation of subject-matter 230
application to Science of Dramatic Criticism 227 and Chapters XI
to XIV
to the definition of Dramatic Criticism 228.

Infatuation: Destiny acting as a subjective force 261
prominence in Ancient Ethics 261
traces in Scripture expression 261
rationalised by Shakespeare 261-2.
=Illustrations=: Antonio 262, 49; Cæsar 197; Macbeth 261-2.

Inner Life 144-6. [_See_ Antithesis of, &c.]

Interpretation by the actor an element in dramatic analysis 98
_see_ Character-Interpretation.

Interweaving of Stories 43-4, 58, 66-73, 74 and Chapter III, 81-2, 87-8
of light and serious Stories 69-73. [_See_ Story.]
Interweaving as a kind of Connection 275
in Technical Analyses 291, 298.

Intrigue Action 207-8
the Underplot of _King Lear_ 207-8
Intrigues of Goneril and Regan, 206, 298.

Irony as a phase of Destiny 137-9
the word 'irony' 137
Irony of Socrates, _ib._
illustrated by Story of Oedipus 138
in language of Scripture 138
modified in modern conception 138-9
connected with Oracular Action 139
combined with Nemesis 256
as an objective presentation of Destiny 260-1.
Dramatic Irony as example of mixed Passion 73
as a mode of emphasising Nemesis 115-119, 120
as one of the triple Forms of Action in _Macbeth_ 139-42
as a Dramatic Effect 248-9
this a contribution of the Greek Stage 248.
Dramatic Irony extended to the language of a scene 249
Comic Irony 249.
=Illustrations=: in _Merchant of Venice_ 73, 249; _Richard III_
115-19, 120, 121, 249, 256; _Macbeth_ 139-142, 256; Macduff 143;
Banquo 142; the Witches Action 143; proclamation of Cumberland 260;
_Julius Cæsar_ 249, 197; _King Lear_ 249; Story of Oedipus 248.

Jeffrey 12.

Jester 218. [_See_ King Lear: Fool.]

Jew, Story of: 44, &c. [_See_ Story.]
Feud of Jew and Gentile 60
Jews viewed as social outcasts, 83.

Job, Book of: its conclusion as an example of Dramatic Background of
Nature 192.

Johnson, Dr.: on Shakespeare 10-11, 20
on Milton's minor poems 11
on Blank Verse 14
on Metaphysical Poetry 16
on Addison's _Cato_ 19
on the Unities 20.

Jonson, Ben: 2-4
his Dramatic Satires 3
his Blank Verse 13
his _Catiline_ 17.

Journalism: its influence on critical method 5
place of Reviewing in literary classification 21-2.

Judicial Blindness 201, 261. [_See_ Infatuation.]

_Julius Cæsar_, Play of: 168-201, Chapters VIII and IX. As an example
of Character-Grouping 168 and Chapter VIII, 241
example of Enveloping Action 273
Balance 276
Regular Arch Movement 280
Similar Motion 282
Turning-points 285
Technical Analysis 296.

_Julius Cæsar_, Characters in:
Antony balances Cæsar 129
spared by the Conspirators 171
contrasted by Cæsar with Cassius 179-80
his general character 182-3
its culture 179-80
self-seeking 182
affection for Cæsar 183, 199
his position in the group of characters 183, 184
peculiar tone of his oratory 198
dominant spirit of the reaction 198
upspringing of a character in him 198
his ironical conciliation of the conspirators 199
his oration 199-200
Antony's servant 198.
Artemidorus 196.
Brutus: general character 171-6
its equal balance 171-5
its force 171
softness 173
this concealed under Stoicism 173, 174-5, 239
his culture 173
relations with his Page 173-4
with Portia 173, 174
with Cæsar 175
slays Cæsar for what he might become 175
position in the State 176
relations with Cassius 172, 173, 182
overrules Cassius in council 172
his general position in the Grouping 183.
Cæsar: a balance to Antony 129
general discussion of his character 176-81
its difficulty and contradictions 176-8
his vacillation 176-7
explained by the antithesis of Practical and Inner Life 178
Cæsar pre-eminently the Practical man 178-9
strong side of his character 176-7
lacking in the Inner Life 178-9
compared with Macbeth 178
a change in Cæsar and his world 180-1
his superstition 180-1
position in the Grouping 183
different effect of his personality in the earlier and later half
of the play 188, 195, 197.
Calpurnia 194-5.
Casca 172, 194, 195.
Cassius: his relations with Brutus 172, 182
brings out the defective side of Cæsar 179
contrasted by Cæsar with Antony 179-80
his character discussed 181-2
Republicanism his grand passion, _ib._
a professional politician 182
his tact 182
his position in the Grouping 183-4
his relish for the supernatural portents 195
his nemesis 249
Cassius and the eagles 250.
Decius 181, 195.
Ligarius 172.
Page of Brutus 173-4, 201.
Popilius Lena 172, 197.
Portia 173, 174, 196.
Roman Mob 188, 200.
Soothsayer 196, 250.
Trebonius 249.

_Julius Cæsar_, Incidents and Scenes.
Capitol Scene 196-200
Conspiracy Scene 171, 172, 176, 181
its connection with storm and portents 193-4
Incidents of the Fever and Flood 178, 179
Funeral and Will of Cæsar 175, 199-200, 239.

_Julius Cæsar_, Movement of: compared with movement of _King Lear_ 186
its simplicity and form of Regular Arch 186, 280
key to the movement the justification of the conspirators' cause 187.
Stages of its Movement: Rise 188-96
Crisis 196-8
Catastrophe and Decline 198-201.
Starting-point in popular reaction against Cæsar 188
Crescendo in the Rise 189-91
the Conspiracy formed and developing the Strain begins 191-6
suspense an element in Strain 191
Strain increased by background of the Supernatural 192-6, 266
the conspirators and the victim compared in this stage 194-6.
Crisis, the Strain rising to a climax 196-200
exact commencement of the Crisis is marked 196
devices for heightening the Strain 196
the conspirators and victim just before the Catastrophe 197
the justification at its height 197
Catastrophe and commencement of the Decline 198
Antony dominating the Reaction 198
the Mob won to the Reaction 200.
Final stage of an Inevitable Fate: the Strain ceasing 200-1
the representative of the Reaction supreme 200
the position of Conspirators and Cæsar reversed 201
judicial blindness 201
the justification ceases 201.

Justice Poetic, as a Dramatic Motive 255-7
the term discussed 255
Nemesis as a form of Poetic Justice 255-6
Poetic Justice other than Nemesis 256-7.

Keats 12.

'Kindness': the word discussed 149-50, 222
'milk of human kindness' 149-50.

_King Lear_, Play of: as a study in complex Passion and Movement 202
and Chapter X
compared with _Julius Cæsar_ 186
affording examples of Plot-Analysis 271
of Enveloping Action in the French War 273-4
of Parallelism and Contrast 277-8
of Convergent Motion 283-4
Turning-points 285
Technical Analysis 297-8.

_King Lear_, Characters in.
Cordelia: her conduct in the Opening Scene 203-4
her Tragedy 206
friendship for the Fool 223
question of her patriotism 257-8
an illustration of Pathos as a Dramatic Motive 257-9
connection with the Enveloping Action 274.
Cornwall 212.
Edgar: his Tragedy 208
his feigned madness and position in the Centrepiece 215-8, 223
his contact with his father and Lear in the hovel 215-8, 247
his madness an emotional climax to the Underplot 216.
Edmund compared with Richard III 92
his charge against Edgar 206
an agent in the Underplot 207-8
his Tragedy 208, 216
example of Irony 249
connected with the Enveloping Action 274.
The Fool: Institution of the Fool or Jester 218-20
modern analogue in _Punch_ 219
utilised by Shakespeare 219
function of the Fool in _King Lear_ 220-3
his personal character 223
friendship with Lear and Cordelia 223.
Gloucester: the central Personage of the Underplot 206-7
Link Personage between Main and Underplot 275
the Chamberlain and friend of Lear 276
his connection with the Enveloping Action 274, 298
with the Convergent Motion of the Play 283-4, 298.
Goneril 203, 206, 210, 213, 240, 256, 274, 283-4.
Kent represents Conscience in the Opening of the Problem 204-5
his Tragedy 206.
Lear: his conduct in the opening scene an
example of imperiousness 203-5, 211
his nemesis double 205-6
gradual on-coming of madness 209-15
Lear in the Centrepiece of the play 214-5
after the centre madness gives place to shattered intellect 215
his connection with the Fool 220-3
with the Enveloping Action 274.
Regan 203, 206, 212, 213, 240, 256, 274, 283-4.

_King Lear_, Incidents and Scenes of:
Opening Scene 203-5
Stocks Scene 211, 258
Outrage on Gloucester 247
Hovel Scene 215-8, 247.

_King Lear_, Movement of: 202 and Chapter X
its simplicity 208-9
Lear's madness a common climax to the trains of passion in the Main
Plot 209
Rise of the Movement in the waves of on-coming madness 209-15
form of movement a Regular Arch, _ib._
connection of the Fool with the Rise of the Movement 220-23
passage into the Central Climax marked by the Storm 214-5
Central Climax of the Movement 214-8
effect on Lear of the Storm 214
of contact with Edgar 215
Edgar's madness a common Climax to the trains of passion in the
Underplot 215-7
the Central Climax a trio of madness 217-23
an example of Tone-Storm 254.

_King Lear_, Plot of:
The Main Plot a Problem Action 202-6
the Problem enunciated in action 203-5
Solution in a triple Tragedy 205-6
Parallelism between Main and Underplot 206-8, 277-8, 297.
The Underplot an Intrigue Action 207-8
its Initial Action 207
its resultant a triple Tragedy parallel with that of the Main Plot
207-8
Main and Underplot drawn together by common Central Climax 208
by Dependence 276
by Convergent Motion 282-4, 298.

Kriegspiel 185.

Laius 134.

Lansdowne 9.

Laureate, Poets preceding Southey: 17.

Law as a term in Criticism and Science generally 32-7.

Legal evasions 65.

Lessing 11.

Light as a Tone 251, 252.

Line of Motion 278-9.

Line of Passion 280.

Linking 275.

Lycurgus 45.

Lyrics of Prose 22.

Macaulay 2, 3, 13
on active and passive courage 146.

_Macbeth_, Play of:
affords examples of Dramatic Colouring 241-2
Enveloping Action (the Witches) 273
Balance 276
Parallelism and Contrast 277
Technical Analysis 295.

Macbeth, Character of:
an illustration of methodical analysis 24
compared with Richard 92
with Julius Cæsar 178
an example of Character-Development 243-5.
General Analysis 147-154, 161, 243-5.
Macbeth as the Practical Man 147-54
his nobility superficial 148, 161
his character as analysed by his wife 148-50
illustrated by his soliloquy 151-3
compared in action and in mental conflicts 153, 162
flaws in his completeness as type of the practical 154
Macbeth's superstition 154, 159, 162, 165-6, 167, 243-5
his inability to bear suspense 154, 160, 162, 163, 164-5, 243-5.
Macbeth under temptation 158
in the deed of murder 161
his break-down and blunder 162
in the Discovery Scene 163
his blunder in stabbing the grooms 163
under the strain of concealment 164
confronted with the Ghost of Banquo 165
nemesis in his old age 167
and his trust in the false oracles 167.
Macbeth an example of Infatuation 261-2
relations with the Witches 263-4
not turned from good to evil by their influence 263.

Macbeth (Lady), Character of: 154-6
type of the Inner Life 154-6
her tact 155, 161, 164, 165
her feminine delicacy 156, 161, 162, 166
her wifely devotion 156.
Lady Macbeth under temptation 159
in the deed of murder 161
in the discovery 163
her fainting 164
under the strain of concealment 165
her tact in the Ghost Scene 165
her gentleness to Macbeth 166
her break-down in madness 166.

Macbeth, Lord and Lady, as a Study in Character-Contrast 144 and

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Shakespeare as a Dramatic ArtistChapter XIV: Appendix: To Chapter XIV

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