Chapter VI

its Action multiple in form 127, 270.
_Macbeth_ as a Nemesis Action 127-30
the Rise 127
the Fall 129
the Rise and Fall together 127.
_Macbeth_ as an Oracular Action 130-7
the Rise 134
the Fall 135
the Rise and Fall together 136.
_Macbeth_ as an Irony Action 139-43
the Rise 139
the Fall 140
the Rise and Fall together 141.

Madness distinguished from Passion 209
connected with inspiration 218
madness of Lear: its gradual oncoming in waves of hysterical passion
209
change in its character after the Centrepiece 215
it makes the Passion-Climax of the main Plot 209
the madness of passion 217
madness of Edgar: the madness of idiocy 217-8
feigned 216
common Climax of the passions of the Underplot 215-8
madness of the Fool: professional madness 218-23
madness-duett 217-8
madness-trio 218, 223.

Malone 15.

_Measure for Measure_, Play of: 281.

Mechanical Construction 233, and Chapters II and III generally.

Mechanical Details utilised 77, 233.

Mechanical Difficulties, their Reduction: 76-7
the three months' interval in the Story of the Jew 77
the loss of Antonio's ships 77
not always necessary to solve these 77.

Mechanical Personages 75
their multiplication in Romantic Drama _ib._

Melodrama 118.

Mephistopheles compared with Richard 92.

_Merchant of Venice, The_, Play of: as an illustration of the
construction of Drama out of Story 43-89
Story as the Raw Material of the Romantic Drama 43
the two main Stories in the _Merchant of Venice_ considered as Raw
Material 43
Story of the Jew gives scope for Nemesis 44-51
Antonio side of the Nemesis 47-9
Shylock side of the Nemesis 49-51
Caskets Story gives scope for Idealisation 51-7
Problem of Judgment by Appearances idealised 52-4
its solution: Character as an element in Judgment 54-7
characters of the three Suitors 55-6.
Working up of the two Main Stories 58 and Chapter II.
Reduction of Difficulties 58-66
Monstrosity in Shylock's Character met by Dramatic Hedging 58-61
Difficulties as to the pound of flesh 61-6
significance of the discussion on interest 61-4.
Interweaving of the two Stories 66-73
assistance it gives to the movement of the play 66
to the symmetry of the plot 67-9
union of a light and serious story 69-73.
Further multiplication of Stories by the addition of an Underplot 74
and Chapter III.
Paradox of simplicity by means of complexity 74-5
uses of the Jessica Story 75-87
characters of Jessica and Lorenzo 82-7
uses of the Rings Episode 87-9.
The play illustrates every variety of Tone 251-2
Tone-Play 253
Turning-points 285, 68
Complication and Resolution 279, 66-7
Central effects 67-8
Interweaving 275-6
Wave Form of Passion-Movement 280
Contrary Motion 282.
Plot analysed 271
Technical Analysis 291-2.

_Merchant of Venice_, Characters in:
Antonio 247
his nemesis 47-9
general character 47
friendship with Bassanio 47, 85
conduct in Bond Scene 48-9, 61, 262
centre of the serious side of the play 69-70
the loss of his ships 77
his sadness 250
his pathetic humour 254.
Arragon 55, 240, 251.
Bassanio: friendship with Antonio 47, 85
as a suitor 56
his part in the Bond Scene 61
in the Trial 73
in the Rings Episode 72, 88
a scholar 76
set off by Lorenzo 86
a Link Personage 88, 275
seen at a disadvantage in the play 86, 238
example of Tone-Clash 254.
Bellario 66.
Duke 64, 65.
Gobbo 76, 252.
Gratiano 60, 76, 84, 239, 249, 252.
Jessica, her Story 75-87, 68, &c.
her character 82-7
a compensation to Shylock 80
her attraction to Portia 87
foil to Portia 86
in Moonlight Scene 247.
Launcelot 76, 83, 84, 252.
Lorenzo: his character 85-7
its alleged inconsistency 238
a foil to Bassanio 86
in Moonlight Scene 247.
Morocco 55, 240, 251.
Nerissa 76, 239, 252.
Portia as centre of the lighter side of the play 69-70, 252
in the Trial Scene 49-51, 65-6, 70-3
her plea an evasion 65
playing with the situation 70-2
her outburst on mercy 73, 251
the Rings Stratagem 72
relations with Jessica 85-6
her character 88-9.
Salarino 48, 60, 76, 84.
Salanio 60, 76.
Salerio 76.
Shylock as a study of Nemesis 49-51
in the Trial Scene 49-51, 247
his character 59-61
sentence on him 60, 80, 257
relation with Jessica 78-81, 83.
Tubal 60, 76, 79, 239, 247.

_Merchant of Venice_, Incidents and Scenes in:
Bond Scene 48-9, 61-4, 262
Scene of Bassanio's Choice 55, 56, 68, 253, 275
Scene between Shylock and Tubal 79, 247
Trial Scene 49
its difficulties 64-6
its mixture of passions 70-2, 73
as an Incident 246
its Comic Irony 249
its Tone-Clash 254
sentence on Shylock 257.
Moonlight Scene 247.

Merivale on Roman Life 170.

_Midsummer Night's Dream_, Play of 111.

'Milk of human kindness' 149-50.

Milton's _Paradise Lost_ 11
minor poems 11, 12
versification 12, 13, 14
his Satan 123
on the Inner Life 144
his use of the Background of Nature 192.

Mixture of Tones 251-3. [_See_ Tone.]

Mob in _Julius Cæsar_ 296, 188, 200.

Molière 16.

Montgomery, Robert 13.

Motion, Line of: 278-9.

Motion, Modes of: 281-4
Similar Motion 282, 294, 295, 296
Contrary Motion 282, 291
Convergent Motion 282-4, 298. [_See_ also Movement.]

Motive, Dramatic: 255-67. [_See_ Motive Force.]

Motive Force, or Dramatic Motive: 254-67
General idea 254-5
distinguished from Motive Form _ib._
=Leading Motive Forces=: Poetic Justice 255-7
Pathos 257-9
the Supernatural 259-67.
Motive Force in _Richard III_ is Nemesis 119
in _Macbeth_ the original oracle of the Witches 137.

Motive Form distinguished from Motive Force 254
general exposition 278-87.

Movement: as an element in Drama 185
Arch form applied to 186
simple in _Julius Cæsar_, complex in _King Lear_ 186, 202
traced in _Julius Cæsar_ 185 and Chapter IX
in _King Lear_ 202 and Chapter X.
Movement as one division of Action 235, 236
applied to Character as Character-Development 242
applied to Passion 254 [_see_ Motive Force]
applied to Plot 278 [_see_ Motive Form].
Movement shown in the Technical Analyses 291-8.

Movement, Centre of, Focus of: 284-5. [_See_ Catastrophe.]

Movement, Single[9] 278-81
its division into Simple and Complicated 278-9
Action-Movement and Passion-Movement 279-80
this distinction the basis of the main division of Shakespeare's
plays 279-81
varieties of Passion-Movement 280.
Compound Movement 281-4
general idea 281
its three Modes of Motions:
Similar Motion 282
Contrary Motion 282
Convergent Motion 282-4.

Movement, Varieties of:
Single[9] 278
Compound 281-4
Simple[9] and Complicated[9] 278-9
Action and Passion 279-81, 291-8
Regular Arch 280
Inclined Plane 280
Wave 280
Similar 282
Contrary 282
Convergent 282-4.

Multiplication of Actions 269-71
of Stories 74. [_See_ Story.]

Nemesis as a dramatic idea 44
ancient and modern conception 44-5
its change with change in the idea of Destiny 126
its distinction from Justice 44
connection with Fortune 44
with risk 45
proverbs of Nemesis 46
connection with _hybris_ 49.
Nemesis needed to counterbalance Richard's Villainy 106
woven into history in _Richard III_ 107 and Chapter V
a system of Nemesis Actions in the Underplot of _Richard III_ 108-119
modes of emphasising 114-18
its multiplication a suitable background to Richard's character 118.
Nemesis interwoven with Destiny in _Macbeth_ 125 and Chapter VI
applied to the plot of _Macbeth_ 127-30.
Nemesis as a Dramatic Effect 249
as a Dramatic Motive 255-6.

Nemesis, Varieties of:
Surprise 47
Expectation and Satisfaction 49
Unlooked-for Source 256
Equality, or Measure for Measure 49, 120, 127, 208, 256
Sureness or Delay 120, 256
Suddenness 198, 256
Repetition and Multiplication 256, 107 and Chapter V generally
Self-inflicted 256
the Prize of Guilt 256
Combined with Mockery 256 and compare 115-9
Double 47, 205-6, 207-8
Cross Nemeses 291, 293, compare 47, 51.

Nemesis, =Illustrations= of:
Anne 113
Antonio 47
Buckingham 109
Cæsar 197
Cassius 249
Clarence 108
the Conspirators in _Julius Cæsar_ 201, 256
Edmund 208, 216-7
King Edward IV 108
Gloucester (in _King Lear_) 207-8, 216-7
Goneril and Regan 206, 256
Hastings 109
Hippolytus 45
in the Story of the Jew 46
Lear 205-6, 209-15, 220-3, 256
Lycurgus 45
Macbeth 217-30, 165-7, 256
Lady Macbeth 166
Macduff 129
Pentheus 45
Polycrates 45
Queen and her kindred (_Richard III_) 108
Regan 206, 256
Richard III 119-24, 256
Shylock 49, 256
Wars of the Roses 111-3.

Objective to the plot of _King Lear_ 284, 298.

Observation as a Stage of Inductive Science 228-9.

Oedipus as an example of Oracular Action 134
of Irony 138.

Omens 193, 201. [_See_ Supernatural.]

Oracular Action 130-4
applied to Macbeth 134-7
as an example of Supernatural agency illuminating human action 265-6
compared with the illumination of history 265.
=Illustrations=:
of the first type 131, 134, 135
of the second 132, 134
of the third 133, 136.

_Othello_, play of: Rymer on 8, 9
Iago 92, 101.

Otway 9.

Outer and Inner Life 144-6. [_See_ Antithesis.]

Overwinding as an illustration for the Movement of _Macbeth_ 137.

Paradox of simplicity by means of complexity 74.

Parallelism 276-8 [_see_ Action, Economy of]
between Main and Underplot in _King Lear_ 206-9, 277-8, 297
other illustrations in the Technical Analyses 291, 295.

Passion 246
as an element in Drama 185-6
its connection with Movement _ib._
as an Elementary Topic in Dramatic Criticism 235
subdivided 236. =Examples:= _Julius Cæsar_ 185 and Chapter IX;
_Lear_ 202 and Chapter X.

'Passion-Drama' as substitute for 'Tragedy' 280-1, 293, 295, 296, 297.

Passion, Interest of: 246 and Chapter XIII
general description 246
unity in Passion-Interest 246-50 [_see_ Incident, Situation, and
Effect]
complexity in Passion-Interest 250-4 [_see_ Tone]
Movement applied to Passion 254-67, 236 [_see_ Motive Force].

Passion, Line of: 280.

Passion-Movement 254-67, 236. [_See_ Motive Force.]

Passion-Strain 186
Strain and Reaction 280.
=Examples:= _Julius Cæsar_ 191-201; _King Lear_ 208, 215.

Pathos as a Dramatic Motive 257-9.

St. Paul and Nemesis 47.

Pentheus 45.

Perrault 19.

Perspective in Plot 118.

Pharaoh an example of Infatuation 261.

Physical passion or madness in Lear 210-5
external shocks as a cause of madness 214.

Plato's _Republic_ and its treatment of liberty 170.

Plot as an Elementary Topic in Dramatic Criticism 236
the intellectual side of Action, or pure Action 236
Shakespeare a Master of Plot 69, 269
close connection between Plot and Character illustrated by _Richard
III_ 107 and Chapter V
this play an example of complexity in Plot 107
perspective in Plot 118
_Macbeth_ an example of subtlety in Plot 125, 142
Plot analytical in its nature 186
simple in _Julius Cæsar_, complex in _King Lear_ 202
effect on the estimation of Plot of dissociation from the theatre 233
the most intellectual of all the elements of Drama 233
Technical Analyses of Plots 291-8.

Plot, Interest of: 268 and Chapter XIV.
Definition of Plot 268-9
its connection with design and pattern 268, 269, 270, 272, 108,
111, 118, 202
its dignity 268.
Unity applied to Plot 269-70 [_see_ Action Single; Action, Forms of]
complexity applied to Plot 270-8 [_see_ Action Analysis, Economy]
complexity of Action distinguishes Modern Drama from Ancient 270
Unity of Action becomes in Modern Drama Harmony of Actions 270
Shakespeare's plots federations of plots 271.
Movement applied to Plot, or Motive Form 278-85. [_See_ Action
Single and Compound, Turning-points.]

Poetic Justice 255-7. [_See_ Justice.]

Polycrates 45, 126.

Pope 10, 17, 19.

Portia: see _Merchant of Venice_
_Julius Cæsar_.

Practical Life 144-6. [_See_ Antithesis.]

Problem Action 202-6, 224, 269
of Judgment by Appearances 52-6.

Prometheus 122-3.

_Proverbs_, Book of: quoted 144.

Proverbs of Nemesis 46.

Providence as modern analogue of Destiny 125.

Puritan Revolution, its effect on Dramatic Criticism 232.

Pye 17.

Quilp compared with Richard III 92, 94.

_Rambler_ 17.

Raw Material of the Romantic Drama 43, 232.

Reaction 198. [_See_ Passion-Strain.]

Reduction of Difficulties an element in Dramatic workmanship 58, 233
illustrated: _Merchant of Venice_ 58-66.

Reed 8.

Relief 253. [_See_ Tone.]

Renaissance and its influence on critical method 4, 18, 230
Shakespeare a type 287.

Representation 231. [_See_ Stage.]

Resolution 67, 279. [_see_ Complication.]
Resolving Force 67.

Reviewing, the lyrics of prose 22.

Rhymed couplet 30
its usage by Shakespeare 135.

_Richard III_, Play of: an example of the intimate relation between
Character and Plot 107
treated from the side of Character 90 and Chapter IV
from the side of Plot 107 and Chapter VI
its Enveloping Action, the wars of the Roses 273, 276
its Turning-points 285
its form of Passion-Movement 280
affords examples of Situations 247
of Dramatic Foreshadowing 250
of Similar Motion 282.

Richard III, Character of: 90 and Chapter IV
Ideal Villainy 90-1, 237
in scale 91
development 91, 243
not explained by sufficient motive 92
an end in itself 93.
Richard as an Artist in Villainy 93-6
absence of emotion 93
intellectual enjoyment of Villainy 95-6.
His Villainy ideal in its success 96-103
fascination of irresistibility 97, 103
use of unlikely means 98
economy 99
imperturbability and humour 100-1
fairness 101
recklessness suggesting resource 101, 239
inspiration as distinguished from calculation 102
his keen touch for human nature 102.
Ideal and Real Villainy 104
Ideal Villainy and Monstrosity 105. [Also called Gloster.]

_Richard III_, Characters in:
Anne 94, 113, 115 [_see_ Wooing Scene]
Buckingham 91, 96, 100, 109, 115, 118, 121, 240
Catesby 117, 240
Clarence 108, 114, 116
his Children 109
his Murderers 240-1
Derby 117
Dorset 120
Elizabeth 121
Ely 100, 121
Hastings 91, 98, 109, 114, 115, 117, 240, 249
King Edward IV 99, 108, 114, 117
King Edward V 100, 240, 250
Lord Mayor 99
Margaret 94, 112, 115, 247
Queen and her kindred 98, 108, 114, 115, 116
Richmond 120, 121
Stanley 117, 123
Tyrrel 94, 240
York 99, 240
Duchess of York 95, 111.

_Richard III_, Incidents and Scenes in:
Wooing Scene 247
analysed 103-4
an example of fascination 94, 97
Richard's blunders 102, 239.
Margaret and the Courtiers 94, 247
Reconciliation Scene 99, 117
Murder of Clarence 116, 240-1, 246.

_Richard III_, Plot of: 107 and Chapter V.
How Shakespeare weaves Nemesis into History _ib._
Its Underplot as a system of Nemesis 108
its Enveloping Action a Nemesis 111
further multiplication of Nemesis 112
special devices for neutralising the weakening effect of such
multiplication 114-8
the multiplication needed as a background to the villainy 118
Motive Force of the whole a Nemesis Action 119.
Fall of Richard 119-23
protracted not sudden 119, 256
Turning-point delayed 120
tantalisation and mockery in Richard's fate 121-4
Climax in sleep and the Apparitions 122
final stages 123
play begins and ends in peace 123.

Roman political life 169-71 and Chapter VIII generally
its subordination of the individual to the State 170
a change during Cæsar's absence 180, 183.

Romantic Drama:
Shakespeare its Great Master 40, 43
its connection with Stories of Romance 43.

_Romeo and Juliet_, Play of: 9.

Roscommon 17.

Rowe 17.

Rymer the champion of 'Regular' Criticism 8
on Portia 8
and _Othello_ generally 8
on _Paradise Lost_ 11
on Blank Verse 14
on Modern Drama 17
on _Catiline_ 17
on Classical Standards 18
his _Edgar_ 21.

Satire, Dramatic 3.

Scale of Passion-Tones 251.

Schlegel 11.

Science of Dramatic Art 40, 227. [_See_ Criticism.]

Scudéry 18.

Serious as a Tone 251.

Shadwell 17.

Shakespeare-Criticism, History of, in five stages 8-11.

Shakespeare's English 15
his Sonnets 12.

Situation, Dramatic: 247-8.

Socrates 230.

Sophocles 270.

Spenser 12, 17, 30.

Sprat 16.

Stage-Representation: an element in Interpretation 98
an allied art to Drama 231
separated in the present treatment 231-2
in exposition but not in idea 233-4.

Stationary Action 291 note.

Steevens 12, 15.

Stoicism 144, 173, 174, 175, 179, 188.

Storm in _Julius Cæsar_ 192-6, 214 [_see_ Background of Nature]
in _King Lear_ 214-5.

Story as the Raw Material of the Shakespearean Drama 43 and Chapter
I, 232
construction of Drama out of Stories illustrated in _The Merchant of
Venice_ 43-89
two Stories worked into one design in _The Merchant of Venice_ 58
and Chapter II
in _King Lear_ 206
Multiplication and Interweaving of Stories 66-73
effects on Movement 66-7
of Symmetry 67-9
interweaving of a Light with a Serious Story 69-73
effects of
Human Interest 70
of Plot 70
of Passion 70-3.

Story of the Jew 43, 44-51.
Its two-fold Nemesis 46-51
its difficulties met 58-66
Complicated and Resolved 67
connection with the Central Scene 68
its mechanical difficulties 76-7.

Story of the Caskets 44, 51-6.
An illustration of Idealisation 51
careful contrivance of inscriptions and scrolls 53, 54
its problem 52
and solution 54
connection with the central scene 68.

Story of Jessica 75-87.
Its connection with the central scene 68
an Underplot to _The Merchant of Venice_ 75-87
its use in attaching to Plot the Mechanical Personages 75
and generally assisting Mechanism 76-7
helps to reduce difficulties in the Main Plot 77-80
a Link Action 81
assists Symmetry and Balance 82
assists Characterisation 82-7.

Story [or Episode] of the Rings: its uses in the Underplot of _The
Merchant of Venice_ 87-9
compare 68, 72.

Strain of Passion 186. [_See_ Passion-Strain.]

Sub-Actions:
Launcelot 76, 291
Cæsar and Antony 282, 296
in Technical Analyses 291-8.

Supernatural, The, as a Dramatic Motive 259-67.
Different use in Ancient and Modern Drama 259
rationalised in Modern Drama 260.
In an objective form as Destiny 260-1
in a subjective form as Infatuation 261-2.
Supernatural Agencies 262-7
not to be explained as hallucinations 262
Shakespeare's usage of Supernatural Agency:
to intensify human action 263-4
to illuminate human action 263-4
the Oracular 265-6
the Dramatic Background of Nature 266.
=Illustrations=:
the Apparitions to Richard 122
the Ghost of Banquo 165-6
the Apparitions in _Macbeth_ 135, &c.
the Witches 158, 263
portents in _Julius Cæsar_ 193-4
the Ghost of Cæsar 201
omen of Eagles to Cassius 201.

Symmetry as a dramatic effect 68, 233
as a form of Economy 276-8.
=Illustrations=: _Merchant of Venice_ 67-8; _King Lear_ 207-9,
277-8.

Systematisation as a Stage of scientific progress 228, 229.

Table of Elementary Topics 236
of general Topics 288.

Taste as condensed experience 6. [_See_ Criticism.]

Tate 17.

Taylor (Jeremy) 39.

_Tempest_, Play of: 10.

Terence 16.

Thackeray on the Inner Life 144.

Themistocles, Story of: 131.

Theobald 10.

Theseus and Hippolyta 111.

Tieck 11.

Tito Melema compared with Richard 91.

Tone as a dramatic term:
the application of complexity to Passion 236
Passion-Tones 250-4
Scale of Tones 251.
Mixture of Tones 251-4
this unknown to the Ancient Drama 252
mere mixture in the same field 251-2
mixture in the same Incident:
Tone-Play 253
Tone-Relief _ib._
Tone-Clash _ib._
Tone-Storm 254.

Topics as a technical term in science 229-30
topical stage of development in sciences 229
applied to Dramatic Criticism 229-30 and Chapter XI
Elementary Topics of Dramatic Criticism 236
General Table of Topics 288
Topics common to Dramatic and other arts 232.

Touchstone 223.

'Tragedy' or 'Passion-Drama' 280-1
Tragedies of Lear 205-6, &c., 209-15, 220-3
of Cordelia and
Kent 206
of Goneril and Regan 206
of Gloucester 207-8, 216-7
of Edgar 208, 216-7
of Edmund 208, 216-7
Systems of Tragedies 208-9.

Tragic as a Tone 251.

Turning-points 284-5, 291-8.
Double in Shakespeare's plays: Catastrophe or Focus of Movement and
Centre of Plot 284-5.
=Illustrations= 284-5, compare 68, 120, 127, 186, 198, 205, 216-7.

Tyrtæus 132.

Ulrici 11, 26.

Underplot 74 and Chapter III
=Illustrations=: _Merchant of Venice_ 74 and Chapter III, 291
_Richard III_ 108-19, 293
Lear 206-9, 215-8, 223, 271, 283-4, 297-8.

Union of Light and Serious Stories 69-73.

Unity as an element of Action 235
applied to Character 237
to Passion 246
to Plot (Action) 270-71
the 'three unities' 14.

Unstable equilibrium in morals 45, 205.

Utilisation of the Mechanical 76-8, 233.

_Variorum Shakespeare_ 8.

Villainy as a subject for art treatment 90
Ideal Villainy 90 and Chapter IV.

Voltaire 9, 14, 17.

Waller 17.

Walsh 17.

Warton 17.

Wave-form of Passion-Movement 280, 292
waves of hysterical passion in Lear 210-5.

_Waverley Novels_ 12.

Whitehead 17.

Wit as a mental game 219.

Wordsworth 12.

Workmanship, Dramatic: 58 and Chapter II, 233.

FOOTNOTES:

[9] The reader will remember that 'Single' is used as antithetical to 'Complex,' and 'Simple' to 'Complicated.' See note to page 74.

INDEX OF SCENES

ILLUSTRATED IN THE FOREGOING CHAPTERS.

_Clarendon type is used where the passage referred to approaches the character of an analysis of the scene._

JULIUS CÆSAR.

Act I.

Sc. i. 180, =188-9=.
ii. 172, =178-80=, 180, =189-91=.
iii. =191-4=, =195-6=.

Act II.

Sc. i. 171-2, 172, 174, =175-6=, 176, 180-1, 187, 191, =194=.
ii. 177, =194-5=.
iii. 196.
iv. 196-7

Act III.

Sc. i. 172-3, 177, 177-8, 182, 183, =196-9=, 285.
ii. 175, =199-200=.
iii. 180, 200.

Act IV.

Sc. i. 200.
ii. and iii. 172, 173-4, 182, =200-1=.

Act V.

Scs. iii, v. 171, 172, 201.

KING LEAR.

Act I.

Sc. i. =203-5=, 206, 285.
ii. 206.
iv. =210=, =220-1=.
v. =210-1=, =221-2=.

Act II.

Sc. i. 283.
ii. 258, note.
iv. 209, =211-4=, =222-3=, 283.

Act III.

Sc. i. 209, 214, 215, 223.
ii. 209, 215, 223.
iii. 209, =215=, 216.
iv. 209, 215, =216=, 217-8, 223, 285.
v. 209, 283.
vi. 207, 209.
vii. 209, 216, 247.

Act IV.

Sc. i. 216, 217.
vi. 215.

Act V.

Sc. iii. 208, 215, 259.

MACBETH.

Act I.

Sc. iii. =135=, 136, 141, 154, =158-9=, 244, =263-4=.
iv. =135=, 150-1, 244, 260.
v. =149-50=, 156, =159-60=.
vii. =151-3=, 157, =160-1=.

Act II.

Sc. i. =153-4=.
ii. 154, 155, =161-3=, 244.
iii. =139-40=, =163-4=, 253, 260.
iv. =140=, 164.

Act III.

Sc. i. 129, 154, =164-5=.
ii. 154, =164-5=, 244.
iii. =127=, 285.
iv. 130, 154, =165-6=, 285.
v. 262, 264.
vi. =128-9=.

Act IV.

Sc. i. 130, =135-6=, 140, 167, 264.
ii. 130, 140.
iii. =140-1=.

Act V.

Sc. i. =166-7=.
iii. 167.
v. 167.
vii. and viii. 130, 167, 285.

MERCHANT OF VENICE.

Act I.

Sc. i. 48, 61, 70, 76.
ii. 54, 56, 70.
iii. 48-9, =61-4=, 262.

Act II.

Sc. i. 53.
ii. 76.
iii. 76, 84.
iv. 84, 85.
v. 60, 76, =83=.
vi. 84, 85.
vii. 53, 55.
viii. 78.
ix. 55-6.

Act III.

Sc. i. 60, 76, 78, 79, 85.
ii. 54-5, 56, =67-9=, 76, 78.
iii. 60, 76, 78.
iv. 85, 86.
v. 76, 85.

Act IV.

Scs. i. and ii. =49-51=, 60, =64-6=, =70-3=, 80, 87-8, 88-9, 254,
257, 285.

Act V.

Sc. i. 85, 247.

RICHARD III.