Chapter VI

its Action multiple in form 127, 270. _Macbeth_ as a Nemesis Action 127-30 the Rise 127 the Fall 129 the Rise and Fall together 127. _Macbeth_ as an Oracular Action 130-7 the Rise 134 the Fall 135 the Rise and Fall together 136. _Macbeth_ as an Irony Action 139-43 the Rise 139 the Fall 140 the Rise and Fall together 141.

Madness distinguished from Passion 209 connected with inspiration 218 madness of Lear: its gradual oncoming in waves of hysterical passion 209 change in its character after the Centrepiece 215 it makes the Passion-Climax of the main Plot 209 the madness of passion 217 madness of Edgar: the madness of idiocy 217-8 feigned 216 common Climax of the passions of the Underplot 215-8 madness of the Fool: professional madness 218-23 madness-duett 217-8 madness-trio 218, 223.

Malone 15.

_Measure for Measure_, Play of: 281.

Mechanical Construction 233, and Chapters II and III generally.

Mechanical Details utilised 77, 233.

Mechanical Difficulties, their Reduction: 76-7 the three months' interval in the Story of the Jew 77 the loss of Antonio's ships 77 not always necessary to solve these 77.

Mechanical Personages 75 their multiplication in Romantic Drama _ib._

Melodrama 118.

Mephistopheles compared with Richard 92.

_Merchant of Venice, The_, Play of: as an illustration of the construction of Drama out of Story 43-89 Story as the Raw Material of the Romantic Drama 43 the two main Stories in the _Merchant of Venice_ considered as Raw Material 43 Story of the Jew gives scope for Nemesis 44-51 Antonio side of the Nemesis 47-9 Shylock side of the Nemesis 49-51 Caskets Story gives scope for Idealisation 51-7 Problem of Judgment by Appearances idealised 52-4 its solution: Character as an element in Judgment 54-7 characters of the three Suitors 55-6. Working up of the two Main Stories 58 and Chapter II. Reduction of Difficulties 58-66 Monstrosity in Shylock's Character met by Dramatic Hedging 58-61 Difficulties as to the pound of flesh 61-6 significance of the discussion on interest 61-4. Interweaving of the two Stories 66-73 assistance it gives to the movement of the play 66 to the symmetry of the plot 67-9 union of a light and serious story 69-73. Further multiplication of Stories by the addition of an Underplot 74 and Chapter III. Paradox of simplicity by means of complexity 74-5 uses of the Jessica Story 75-87 characters of Jessica and Lorenzo 82-7 uses of the Rings Episode 87-9. The play illustrates every variety of Tone 251-2 Tone-Play 253 Turning-points 285, 68 Complication and Resolution 279, 66-7 Central effects 67-8 Interweaving 275-6 Wave Form of Passion-Movement 280 Contrary Motion 282. Plot analysed 271 Technical Analysis 291-2.

_Merchant of Venice_, Characters in: Antonio 247 his nemesis 47-9 general character 47 friendship with Bassanio 47, 85 conduct in Bond Scene 48-9, 61, 262 centre of the serious side of the play 69-70 the loss of his ships 77 his sadness 250 his pathetic humour 254. Arragon 55, 240, 251. Bassanio: friendship with Antonio 47, 85 as a suitor 56 his part in the Bond Scene 61 in the Trial 73 in the Rings Episode 72, 88 a scholar 76 set off by Lorenzo 86 a Link Personage 88, 275 seen at a disadvantage in the play 86, 238 example of Tone-Clash 254. Bellario 66. Duke 64, 65. Gobbo 76, 252. Gratiano 60, 76, 84, 239, 249, 252. Jessica, her Story 75-87, 68, &c. her character 82-7 a compensation to Shylock 80 her attraction to Portia 87 foil to Portia 86 in Moonlight Scene 247. Launcelot 76, 83, 84, 252. Lorenzo: his character 85-7 its alleged inconsistency 238 a foil to Bassanio 86 in Moonlight Scene 247. Morocco 55, 240, 251. Nerissa 76, 239, 252. Portia as centre of the lighter side of the play 69-70, 252 in the Trial Scene 49-51, 65-6, 70-3 her plea an evasion 65 playing with the situation 70-2 her outburst on mercy 73, 251 the Rings Stratagem 72 relations with Jessica 85-6 her character 88-9. Salarino 48, 60, 76, 84. Salanio 60, 76. Salerio 76. Shylock as a study of Nemesis 49-51 in the Trial Scene 49-51, 247 his character 59-61 sentence on him 60, 80, 257 relation with Jessica 78-81, 83. Tubal 60, 76, 79, 239, 247.

_Merchant of Venice_, Incidents and Scenes in: Bond Scene 48-9, 61-4, 262 Scene of Bassanio's Choice 55, 56, 68, 253, 275 Scene between Shylock and Tubal 79, 247 Trial Scene 49 its difficulties 64-6 its mixture of passions 70-2, 73 as an Incident 246 its Comic Irony 249 its Tone-Clash 254 sentence on Shylock 257. Moonlight Scene 247.

Merivale on Roman Life 170.

_Midsummer Night's Dream_, Play of 111.

'Milk of human kindness' 149-50.

Milton's _Paradise Lost_ 11 minor poems 11, 12 versification 12, 13, 14 his Satan 123 on the Inner Life 144 his use of the Background of Nature 192.

Mixture of Tones 251-3. [_See_ Tone.]

Mob in _Julius Cæsar_ 296, 188, 200.

Molière 16.

Montgomery, Robert 13.

Motion, Line of: 278-9.

Motion, Modes of: 281-4 Similar Motion 282, 294, 295, 296 Contrary Motion 282, 291 Convergent Motion 282-4, 298. [_See_ also Movement.]

Motive, Dramatic: 255-67. [_See_ Motive Force.]

Motive Force, or Dramatic Motive: 254-67 General idea 254-5 distinguished from Motive Form _ib._ =Leading Motive Forces=: Poetic Justice 255-7 Pathos 257-9 the Supernatural 259-67. Motive Force in _Richard III_ is Nemesis 119 in _Macbeth_ the original oracle of the Witches 137.

Motive Form distinguished from Motive Force 254 general exposition 278-87.

Movement: as an element in Drama 185 Arch form applied to 186 simple in _Julius Cæsar_, complex in _King Lear_ 186, 202 traced in _Julius Cæsar_ 185 and Chapter IX in _King Lear_ 202 and Chapter X. Movement as one division of Action 235, 236 applied to Character as Character-Development 242 applied to Passion 254 [_see_ Motive Force] applied to Plot 278 [_see_ Motive Form]. Movement shown in the Technical Analyses 291-8.

Movement, Centre of, Focus of: 284-5. [_See_ Catastrophe.]

Movement, Single[9] 278-81 its division into Simple and Complicated 278-9 Action-Movement and Passion-Movement 279-80 this distinction the basis of the main division of Shakespeare's plays 279-81 varieties of Passion-Movement 280. Compound Movement 281-4 general idea 281 its three Modes of Motions: Similar Motion 282 Contrary Motion 282 Convergent Motion 282-4.

Movement, Varieties of: Single[9] 278 Compound 281-4 Simple[9] and Complicated[9] 278-9 Action and Passion 279-81, 291-8 Regular Arch 280 Inclined Plane 280 Wave 280 Similar 282 Contrary 282 Convergent 282-4.

Multiplication of Actions 269-71 of Stories 74. [_See_ Story.]

Nemesis as a dramatic idea 44 ancient and modern conception 44-5 its change with change in the idea of Destiny 126 its distinction from Justice 44 connection with Fortune 44 with risk 45 proverbs of Nemesis 46 connection with _hybris_ 49. Nemesis needed to counterbalance Richard's Villainy 106 woven into history in _Richard III_ 107 and Chapter V a system of Nemesis Actions in the Underplot of _Richard III_ 108-119 modes of emphasising 114-18 its multiplication a suitable background to Richard's character 118. Nemesis interwoven with Destiny in _Macbeth_ 125 and Chapter VI applied to the plot of _Macbeth_ 127-30. Nemesis as a Dramatic Effect 249 as a Dramatic Motive 255-6.

Nemesis, Varieties of: Surprise 47 Expectation and Satisfaction 49 Unlooked-for Source 256 Equality, or Measure for Measure 49, 120, 127, 208, 256 Sureness or Delay 120, 256 Suddenness 198, 256 Repetition and Multiplication 256, 107 and Chapter V generally Self-inflicted 256 the Prize of Guilt 256 Combined with Mockery 256 and compare 115-9 Double 47, 205-6, 207-8 Cross Nemeses 291, 293, compare 47, 51.

Nemesis, =Illustrations= of: Anne 113 Antonio 47 Buckingham 109 Cæsar 197 Cassius 249 Clarence 108 the Conspirators in _Julius Cæsar_ 201, 256 Edmund 208, 216-7 King Edward IV 108 Gloucester (in _King Lear_) 207-8, 216-7 Goneril and Regan 206, 256 Hastings 109 Hippolytus 45 in the Story of the Jew 46 Lear 205-6, 209-15, 220-3, 256 Lycurgus 45 Macbeth 217-30, 165-7, 256 Lady Macbeth 166 Macduff 129 Pentheus 45 Polycrates 45 Queen and her kindred (_Richard III_) 108 Regan 206, 256 Richard III 119-24, 256 Shylock 49, 256 Wars of the Roses 111-3.

Objective to the plot of _King Lear_ 284, 298.

Observation as a Stage of Inductive Science 228-9.

Oedipus as an example of Oracular Action 134 of Irony 138.

Omens 193, 201. [_See_ Supernatural.]

Oracular Action 130-4 applied to Macbeth 134-7 as an example of Supernatural agency illuminating human action 265-6 compared with the illumination of history 265. =Illustrations=: of the first type 131, 134, 135 of the second 132, 134 of the third 133, 136.

_Othello_, play of: Rymer on 8, 9 Iago 92, 101.

Otway 9.

Outer and Inner Life 144-6. [_See_ Antithesis.]

Overwinding as an illustration for the Movement of _Macbeth_ 137.

Paradox of simplicity by means of complexity 74.

Parallelism 276-8 [_see_ Action, Economy of] between Main and Underplot in _King Lear_ 206-9, 277-8, 297 other illustrations in the Technical Analyses 291, 295.

Passion 246 as an element in Drama 185-6 its connection with Movement _ib._ as an Elementary Topic in Dramatic Criticism 235 subdivided 236. =Examples:= _Julius Cæsar_ 185 and Chapter IX; _Lear_ 202 and Chapter X.

'Passion-Drama' as substitute for 'Tragedy' 280-1, 293, 295, 296, 297.

Passion, Interest of: 246 and Chapter XIII general description 246 unity in Passion-Interest 246-50 [_see_ Incident, Situation, and Effect] complexity in Passion-Interest 250-4 [_see_ Tone] Movement applied to Passion 254-67, 236 [_see_ Motive Force].

Passion, Line of: 280.

Passion-Movement 254-67, 236. [_See_ Motive Force.]

Passion-Strain 186 Strain and Reaction 280. =Examples:= _Julius Cæsar_ 191-201; _King Lear_ 208, 215.

Pathos as a Dramatic Motive 257-9.

St. Paul and Nemesis 47.

Pentheus 45.

Perrault 19.

Perspective in Plot 118.

Pharaoh an example of Infatuation 261.

Physical passion or madness in Lear 210-5 external shocks as a cause of madness 214.

Plato's _Republic_ and its treatment of liberty 170.

Plot as an Elementary Topic in Dramatic Criticism 236 the intellectual side of Action, or pure Action 236 Shakespeare a Master of Plot 69, 269 close connection between Plot and Character illustrated by _Richard III_ 107 and Chapter V this play an example of complexity in Plot 107 perspective in Plot 118 _Macbeth_ an example of subtlety in Plot 125, 142 Plot analytical in its nature 186 simple in _Julius Cæsar_, complex in _King Lear_ 202 effect on the estimation of Plot of dissociation from the theatre 233 the most intellectual of all the elements of Drama 233 Technical Analyses of Plots 291-8.

Plot, Interest of: 268 and Chapter XIV. Definition of Plot 268-9 its connection with design and pattern 268, 269, 270, 272, 108, 111, 118, 202 its dignity 268. Unity applied to Plot 269-70 [_see_ Action Single; Action, Forms of] complexity applied to Plot 270-8 [_see_ Action Analysis, Economy] complexity of Action distinguishes Modern Drama from Ancient 270 Unity of Action becomes in Modern Drama Harmony of Actions 270 Shakespeare's plots federations of plots 271. Movement applied to Plot, or Motive Form 278-85. [_See_ Action Single and Compound, Turning-points.]

Poetic Justice 255-7. [_See_ Justice.]

Polycrates 45, 126.

Pope 10, 17, 19.

Portia: see _Merchant of Venice_ _Julius Cæsar_.

Practical Life 144-6. [_See_ Antithesis.]

Problem Action 202-6, 224, 269 of Judgment by Appearances 52-6.

Prometheus 122-3.

_Proverbs_, Book of: quoted 144.

Proverbs of Nemesis 46.

Providence as modern analogue of Destiny 125.

Puritan Revolution, its effect on Dramatic Criticism 232.

Pye 17.

Quilp compared with Richard III 92, 94.

_Rambler_ 17.

Raw Material of the Romantic Drama 43, 232.

Reaction 198. [_See_ Passion-Strain.]

Reduction of Difficulties an element in Dramatic workmanship 58, 233 illustrated: _Merchant of Venice_ 58-66.

Reed 8.

Relief 253. [_See_ Tone.]

Renaissance and its influence on critical method 4, 18, 230 Shakespeare a type 287.

Representation 231. [_See_ Stage.]

Resolution 67, 279. [_see_ Complication.] Resolving Force 67.

Reviewing, the lyrics of prose 22.

Rhymed couplet 30 its usage by Shakespeare 135.

_Richard III_, Play of: an example of the intimate relation between Character and Plot 107 treated from the side of Character 90 and Chapter IV from the side of Plot 107 and Chapter VI its Enveloping Action, the wars of the Roses 273, 276 its Turning-points 285 its form of Passion-Movement 280 affords examples of Situations 247 of Dramatic Foreshadowing 250 of Similar Motion 282.

Richard III, Character of: 90 and Chapter IV Ideal Villainy 90-1, 237 in scale 91 development 91, 243 not explained by sufficient motive 92 an end in itself 93. Richard as an Artist in Villainy 93-6 absence of emotion 93 intellectual enjoyment of Villainy 95-6. His Villainy ideal in its success 96-103 fascination of irresistibility 97, 103 use of unlikely means 98 economy 99 imperturbability and humour 100-1 fairness 101 recklessness suggesting resource 101, 239 inspiration as distinguished from calculation 102 his keen touch for human nature 102. Ideal and Real Villainy 104 Ideal Villainy and Monstrosity 105. [Also called Gloster.]

_Richard III_, Characters in: Anne 94, 113, 115 [_see_ Wooing Scene] Buckingham 91, 96, 100, 109, 115, 118, 121, 240 Catesby 117, 240 Clarence 108, 114, 116 his Children 109 his Murderers 240-1 Derby 117 Dorset 120 Elizabeth 121 Ely 100, 121 Hastings 91, 98, 109, 114, 115, 117, 240, 249 King Edward IV 99, 108, 114, 117 King Edward V 100, 240, 250 Lord Mayor 99 Margaret 94, 112, 115, 247 Queen and her kindred 98, 108, 114, 115, 116 Richmond 120, 121 Stanley 117, 123 Tyrrel 94, 240 York 99, 240 Duchess of York 95, 111.

_Richard III_, Incidents and Scenes in: Wooing Scene 247 analysed 103-4 an example of fascination 94, 97 Richard's blunders 102, 239. Margaret and the Courtiers 94, 247 Reconciliation Scene 99, 117 Murder of Clarence 116, 240-1, 246.

_Richard III_, Plot of: 107 and Chapter V. How Shakespeare weaves Nemesis into History _ib._ Its Underplot as a system of Nemesis 108 its Enveloping Action a Nemesis 111 further multiplication of Nemesis 112 special devices for neutralising the weakening effect of such multiplication 114-8 the multiplication needed as a background to the villainy 118 Motive Force of the whole a Nemesis Action 119. Fall of Richard 119-23 protracted not sudden 119, 256 Turning-point delayed 120 tantalisation and mockery in Richard's fate 121-4 Climax in sleep and the Apparitions 122 final stages 123 play begins and ends in peace 123.

Roman political life 169-71 and Chapter VIII generally its subordination of the individual to the State 170 a change during Cæsar's absence 180, 183.

Romantic Drama: Shakespeare its Great Master 40, 43 its connection with Stories of Romance 43.

_Romeo and Juliet_, Play of: 9.

Roscommon 17.

Rowe 17.

Rymer the champion of 'Regular' Criticism 8 on Portia 8 and _Othello_ generally 8 on _Paradise Lost_ 11 on Blank Verse 14 on Modern Drama 17 on _Catiline_ 17 on Classical Standards 18 his _Edgar_ 21.

Satire, Dramatic 3.

Scale of Passion-Tones 251.

Schlegel 11.

Science of Dramatic Art 40, 227. [_See_ Criticism.]

Scudéry 18.

Serious as a Tone 251.

Shadwell 17.

Shakespeare-Criticism, History of, in five stages 8-11.

Shakespeare's English 15 his Sonnets 12.

Situation, Dramatic: 247-8.

Socrates 230.

Sophocles 270.

Spenser 12, 17, 30.

Sprat 16.

Stage-Representation: an element in Interpretation 98 an allied art to Drama 231 separated in the present treatment 231-2 in exposition but not in idea 233-4.

Stationary Action 291 note.

Steevens 12, 15.

Stoicism 144, 173, 174, 175, 179, 188.

Storm in _Julius Cæsar_ 192-6, 214 [_see_ Background of Nature] in _King Lear_ 214-5.

Story as the Raw Material of the Shakespearean Drama 43 and Chapter I, 232 construction of Drama out of Stories illustrated in _The Merchant of Venice_ 43-89 two Stories worked into one design in _The Merchant of Venice_ 58 and Chapter II in _King Lear_ 206 Multiplication and Interweaving of Stories 66-73 effects on Movement 66-7 of Symmetry 67-9 interweaving of a Light with a Serious Story 69-73 effects of Human Interest 70 of Plot 70 of Passion 70-3.

Story of the Jew 43, 44-51. Its two-fold Nemesis 46-51 its difficulties met 58-66 Complicated and Resolved 67 connection with the Central Scene 68 its mechanical difficulties 76-7.

Story of the Caskets 44, 51-6. An illustration of Idealisation 51 careful contrivance of inscriptions and scrolls 53, 54 its problem 52 and solution 54 connection with the central scene 68.

Story of Jessica 75-87. Its connection with the central scene 68 an Underplot to _The Merchant of Venice_ 75-87 its use in attaching to Plot the Mechanical Personages 75 and generally assisting Mechanism 76-7 helps to reduce difficulties in the Main Plot 77-80 a Link Action 81 assists Symmetry and Balance 82 assists Characterisation 82-7.

Story [or Episode] of the Rings: its uses in the Underplot of _The Merchant of Venice_ 87-9 compare 68, 72.

Strain of Passion 186. [_See_ Passion-Strain.]

Sub-Actions: Launcelot 76, 291 Cæsar and Antony 282, 296 in Technical Analyses 291-8.

Supernatural, The, as a Dramatic Motive 259-67. Different use in Ancient and Modern Drama 259 rationalised in Modern Drama 260. In an objective form as Destiny 260-1 in a subjective form as Infatuation 261-2. Supernatural Agencies 262-7 not to be explained as hallucinations 262 Shakespeare's usage of Supernatural Agency: to intensify human action 263-4 to illuminate human action 263-4 the Oracular 265-6 the Dramatic Background of Nature 266. =Illustrations=: the Apparitions to Richard 122 the Ghost of Banquo 165-6 the Apparitions in _Macbeth_ 135, &c. the Witches 158, 263 portents in _Julius Cæsar_ 193-4 the Ghost of Cæsar 201 omen of Eagles to Cassius 201.

Symmetry as a dramatic effect 68, 233 as a form of Economy 276-8. =Illustrations=: _Merchant of Venice_ 67-8; _King Lear_ 207-9, 277-8.

Systematisation as a Stage of scientific progress 228, 229.

Table of Elementary Topics 236 of general Topics 288.

Taste as condensed experience 6. [_See_ Criticism.]

Tate 17.

Taylor (Jeremy) 39.

_Tempest_, Play of: 10.

Terence 16.

Thackeray on the Inner Life 144.

Themistocles, Story of: 131.

Theobald 10.

Theseus and Hippolyta 111.

Tieck 11.

Tito Melema compared with Richard 91.

Tone as a dramatic term: the application of complexity to Passion 236 Passion-Tones 250-4 Scale of Tones 251. Mixture of Tones 251-4 this unknown to the Ancient Drama 252 mere mixture in the same field 251-2 mixture in the same Incident: Tone-Play 253 Tone-Relief _ib._ Tone-Clash _ib._ Tone-Storm 254.

Topics as a technical term in science 229-30 topical stage of development in sciences 229 applied to Dramatic Criticism 229-30 and Chapter XI Elementary Topics of Dramatic Criticism 236 General Table of Topics 288 Topics common to Dramatic and other arts 232.

Touchstone 223.

'Tragedy' or 'Passion-Drama' 280-1 Tragedies of Lear 205-6, &c., 209-15, 220-3 of Cordelia and Kent 206 of Goneril and Regan 206 of Gloucester 207-8, 216-7 of Edgar 208, 216-7 of Edmund 208, 216-7 Systems of Tragedies 208-9.

Tragic as a Tone 251.

Turning-points 284-5, 291-8. Double in Shakespeare's plays: Catastrophe or Focus of Movement and Centre of Plot 284-5. =Illustrations= 284-5, compare 68, 120, 127, 186, 198, 205, 216-7.

Tyrtæus 132.

Ulrici 11, 26.

Underplot 74 and Chapter III =Illustrations=: _Merchant of Venice_ 74 and Chapter III, 291 _Richard III_ 108-19, 293 Lear 206-9, 215-8, 223, 271, 283-4, 297-8.

Union of Light and Serious Stories 69-73.

Unity as an element of Action 235 applied to Character 237 to Passion 246 to Plot (Action) 270-71 the 'three unities' 14.

Unstable equilibrium in morals 45, 205.

Utilisation of the Mechanical 76-8, 233.

_Variorum Shakespeare_ 8.

Villainy as a subject for art treatment 90 Ideal Villainy 90 and Chapter IV.

Voltaire 9, 14, 17.

Waller 17.

Walsh 17.

Warton 17.

Wave-form of Passion-Movement 280, 292 waves of hysterical passion in Lear 210-5.

_Waverley Novels_ 12.

Whitehead 17.

Wit as a mental game 219.

Wordsworth 12.

Workmanship, Dramatic: 58 and Chapter II, 233.

FOOTNOTES:

[9] The reader will remember that 'Single' is used as antithetical to 'Complex,' and 'Simple' to 'Complicated.' See note to page 74.

INDEX OF SCENES

ILLUSTRATED IN THE FOREGOING CHAPTERS.

_Clarendon type is used where the passage referred to approaches the character of an analysis of the scene._

JULIUS CÆSAR.