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PAGE 494
[Aaron -- Desdemona]
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. 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, 19; a conflict, 16-19. Adversity and prosperity in King Lear, 326-7. Albany, 297-8. 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. Arden of Feversham, 9. Ariel, 264. Art, Shakespeare's, conscious 68-9; defects in, 71-78. Arthur, 294. Atmosphere in tragedy, 333. 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 443. Bernhardt, Mme., 379. Biblical ideas in King Lear, 328. Bombast, 73, 75-6, 389, Note F. Brutus, 7, 14, 22, 27, 32, 81-2, 101, 364. Caliban, 264. 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. 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. 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, counterstroke, 58; humour, 61, passion, 82; catastrophe, 83-4, versification 61, Note BB. Coriolanus, 20, 29, 83-4, 196. Cornwall, 298-9. Crisis. See Conflict. Curtain, no front, in Shakespeare's theatre, 185, 458. |
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