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. 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.] 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. GENERAL INDEX. ***For particular Characters or Scenes see under their respective plays. Action a fundamental element of Action, Analysis of: 360-5-canons Action, Economy of: 365-9. Gen- eral notion and connection with trations: Richard III 361-111- Actions, focussing of: 209. Action, Schemes of in Technical Action, Single and Complex 324, Action, Systems of: 108, 110, Action, Unity of: 14, 324, 358-9- Action 358; Comic Action 358, Actor, Acting 98, 321. [See Stage- Addison: on scientific progress 5- Affectations attacked by Humour Analysis as a stage in scientific de- Analysis, Dramatic: 360. [See Ancient Drama 125, 387-Mixture Ancient Thought, points of differ- ster- 137. |