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Frame: A System of Enveloping Actions, one within another (pages 363-5):

Outer Enveloping Action: Civil War of the Dukes.

Inner Enveloping Action: Feud in the De Boys family.
Woodland Action: Life in Arden Forest.

Humour Action: Melancholy of Jaques.

These form a setting to

Main Plot: A System of Four Love Actions:

I. Love and (Genuine) Humour: Orlando and Rosalind: initiated in complication out of the Enveloping Action and self-resolved.

2. Love at first sight: Oliver and Celia: initiated out of the Frame and consummated.

3. Conventional Pastoral Love: Silvius and Phoebe: rises out of the Frame, complicated and resolved by No. I.

4. Love and (Professional) Humour: initiated out of the Frame Actions and consummated.

[Half-developed Character Sub-Action: Adam-ignored after second act.]

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Movement

Action-Movement: with Convergent Motion between separate Actions up to a common Culmination: dropping of Rosalind's disguise. Interference of the three Humour Actions with the rest and with one another. [Pages 307, 309.]

Motive Force.

(1) The Frame Actions initiate the Actions of the Main system, assisting their complication and [arrival of Oliver] resolution: then are self-destroyed coincidently with consummation of the Main System. [Pages 364-5.]

(2) Rosalind serves as further Motive Personage.

Turning-points

Centre of Plot: iii. ii. 313: Orlando and the disguised Rosalind meet for the first time.

Catastrophe: v. iv. 113: Rosalind drops her disguise.

Further Resolution: v. iv. 156: Entrance of Jaques de Boys with

news.

INDEXES

GENERAL INDEX.

***For particular Characters or Scenes see under their respective plays.

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Action a fundamental element of
Drama 323-5-its threefold divi-
sion 324-Plot as pure Action 325
-or the intellectual side of Action
356.

Action, Analysis of: 360-5-canons
of Analysis 360-1.
'Action-Drama' as substitute for
'Comedy' 372-3.

Action, Economy of: 365-9. Gen-

eral notion and connection with
Analysis 365-Economic Forms
365-6-Connection and Linking
365-6-Dependence 366-Sym-
metry 366-9-Balance 367-Par-
allelism and Contrast 367-9—
Economy in Technical Analyses
of the plays 401-16.
Action, Enveloping 361-5-Illus-

trations: Richard III 361-111-
2-Macbeth 362-Julius Cæsar
362-King Lear 362-3-As You
Like It 363-5.

Actions, focussing of: 209.
Action, Forms of Dramatic: 358-9,
125, 202.

Action, Schemes of in Technical
Analyses, 401-16.

Action, Single and Complex 324,
357, &c.

Action, Systems of: 108, 110,
208.

Action, Unity of: 14, 324, 358-9-
unity of action in Modern Drama
becomes harmony 359.

Action 358; Comic Action 358,
401; Enveloping 361-5; Farcical
408; Generating 407; Humorous
358, 413; Initial and Resultant
208; Intrigue 358, 207; Irony
358; Link 81, 208; Main and
Subordinate 359; Motive 358;
Nemesis 358, &c.; Oracular 358,
&c.; Problem 358, 202; Provi-
dence 411; Relief 401, 408;
Rise and Fall 358, 119, 127;
Stationary 401; Story 358; Super-
natural 411; Tragic 358, 407;
Triple 358, 125, 142.

Actor, Acting 98, 321. [See Stage-
Representation.]

Addison: on scientific progress 5-
his Critique of Paradise Lost 16-
his list of English poets 16-his
Cato 17, 19-on rules of art 20—
on Rymer 21.

Affectations attacked by Humour
the Central Idea of Love's Labour's
Lost 285-compare As You Like
It 300.

Analysis as a stage in scientific de-
velopment 318.

Analysis, Dramatic: 360. [See
Action, Analysis of.]

Ancient Drama 125, 387-Mixture
of Tones an impossibility 345-
the Supernatural its leading Mo-
tive 387-its unity of action dif-
ferent from that of the Modern
Drama 359.

Ancient Thought, points of differ-
ence from Modern: 44, 125-7,

ster-

137.
Antigo.

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