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INDEX

Acting, lines fitted for, 14
Agriculture, Shakespeare's

knowledge of, 193–194
All's Well that Ends Well,

Diana and Bertram, 8
Angelo, character of, 32, 69
Anticipation, art of, 68, 99,

210, 217
Apposition, antithesis and con-

trast, 17, 22, 32, 91, 196
Archbishop, Wolsey character-

ized, 187; Scroop, 200-201
Aristocracy, nature of, 158-160
Astronomy, Shakespeare and

Ptolemaic, 103
Audience, the Globe's appre-

ciation of Prince Hal, 89;
understanding of scene
Tempest, 130; knowledge
of “cut," 166, 167

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, 11
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

in

Bank and shoal, meaning in

Macbeth, 75

Central ideas, interpretation

by, 208
Character, interpretation of

lines by, 22, 52, 74, 126,

136, 184, 197
Chess-playing in Tempest,

128-130
Chivalry and knighthood, na-

ture of, 79
Cleopatra, femininity of, 133
Climatic and pivotal pas-

sages, 109, III, 113, 127
Cloten, characterized, 57-58
Clothier's yard, defined, 86, 87

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-

Macbeth, his horsemanship,

75, 76, 78
Marlowe, lines compared with

Shakespeare's, 190
Marriage, Adriana's ideas of,

241, 242
Measure for Measure, the gen-

eral purport, 27
Merchant of Venice, scene ex-

plained, 175-181
Metaphysics, in As You Like

It, 147, 152
Metre, purposely irregular, 18
Miracles, nature of, 110
Motherhood, Leontes' theory

of, 101
Opening lines, dramatic art in,

29, 32, 33, 43, 74, 89, 130
Ophelia, like Polonius, 25
Organization, Shakespeare's

art of, 100
Othello, his feeling of obloquy,

171
Parallel passages, 25, 95, 156
Phænix and Turtle, note on,

ing, 103

a

245-246

Interpretation of obscure lines,

See Human nature, Char-
acter, Central ideas, Play as

whole, Apposition and
Contrast
Irving (Henry) and Measure

for Measure, 27
Italian women, parallel be-

tween Diana and Juliet, 8,

9, 44
Knighthood, ceremonial of

dubbing, 80, 81
Lacuna, supposed instance, 26
Language, nature of, 61, 188;

worn phrases avoided, 185;
fundamental use of words,

Pistol, his conversation, 72–73
Play as a whole, governing

interpretation, 27, 31, 34,
60, 70, 91, 108, 110, 127,

174, 175, 190, 224
Plot making, its deeper aspects,

211-212
Plummet, meaning of, 65
Point of view anticipated,

remarkable instance of, 76
Political economy, in Meas-

ure for Measure, 28, 29
Polonius, character of, 21-22
Preconceptions, disadvantages

of, 5, 12, 42
Prince Hal, humor of his

reform, 89
Psychology in trifles, 165, 168,

188, 199, 200; of the art of
writing, 211–212

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