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
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,
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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