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 in Tempest, 130; knowledge of "cut," 166, 167
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
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
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- ing, 103
Interpretation of obscure lines, See Human nature, Char- acter, Central ideas, Play as a 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, 88, 113
Lear, insanity of, 84, 86; cliff episode, its beauty, 112; remarkable instance of sus- pended interest, 114 Leontes, character of, 96, 109 Love, self-abnegation of, 129 Love's Labour's Lost, char-
acters described, 53, 57
Macbeth, his horsemanship, 75, 76, 78
Marlowe, lines compared with Shakespeare's, 190
Marriage, Adriana's ideas of,
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, ΙΟΙ
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 Phoenix and Turtle, note on, 245-246
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,
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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