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INDEX

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Coleridge, puzzled, 161
Contrast, of characters, 137
Critics, their failure to connect
parts, 52, 78, 82, 241; mere
verbal methods, 114, 125,
126, 136, 174; wrong sen-
tence division, 3, 13; a failing
of, 152; loose methods, 132;
poetic ear needed, 18; look-
ing at characters "in round,"
229

Dialogue, highest type of, 186
Falconry, practice of, II
Figures of speech, unity of,
9; in time of passion, 10;
their essential nature, 46;
worn out by use, 61; Shake-
speare's policy in regard to,
4, 104
Flattery, art of, 23, 24, 188
Folios, first folio correct, 13,

25, 55, 161, 203, 231, 245;
first folio in error, 172;
second folio not independent
source, 50

Furness, 20, 109, 116, 126,
132, 134

Gesture, words suiting, 14,
15, 19
Government and law, Shake-
speare's theory of, 27–32

Hamlet, character of Polonius,
20-25; central idea of solil-
oquy, 35-37; Hamlet not
inconsistent, 204; not in-

sane, 217; psychology of,
218-219; compared with
Romeo, 222; a dead self,
223; gradually unfolded, 228;
not a mystery, 229
Henry IV, Part II, characters

of play analyzed, 136–142
"Hopelessly corrupt," Neil-
son's four passages, 12, 27,
44, 195
Horsemanship, of Macbeth, 75,

76, 78

Human nature, Shakespeare
true to, 4, 20, 42, 98, 127
Hunting, sight and scent, 69
Insanity, Hamlet, 217; Shake-
speare's depiction of its na-
ture, 84, 85
"Intention,"Elizabethan mean-

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