Richard G. Moulton

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

@g@html@files@43435@43435-h@43435-h-12.htm.html#Page_241" class="pginternal">241

Dramatic Colouring 241.< a>.

Proper sphere of Judicial Criticism 21

outside science ib.

and belonging to creative literature ib.

Vices of Judicial Criticism: its arbitrary method of eliminating variability of impression in literary effect 24

its fondness for comparisons of merit 27

its attempt to limit by 'laws' 32-5

its assumption of fixed standards 37-9

its confusion of development with improvement 39.

Illustrations of Judicial Criticism: applied by the French Academy 18; Aristotle 16; Boileau 16, 18; Byron 14; Dennis 19; Dryden 9, 12, 13, 17; Edwards 9; Hallam 12; Heywood 10; Jeffrey 12; Dr. Johnson 10, 12, 16, 19, 20; Lansdowne 9; Macaulay 13; Otway 9; Pope 10, 19; Rymer 8, 14, 17; Steevens 12, 15; Theobald 10; Voltaire 9, 14, 17.

Applied to Addison's Cato 17; Beethoven 34; BrontË 30; Buckingham 17; Eliot (Geo.) 30; Gray 12; Greek Drama 30; Herodotus 39; Jonson (Ben) 2, 17; Keats 12; Milton 11, 12, 14, 17, 39; Montgomery 13; Roscommon 17; Shakespeare's Plays 8-11, &c.; Shakespeare's Sonnets 12; Spenser 12, 17; Taylor (Jeremy) 39; Waller 17; Walsh 17; Waverley Novels 12; Wordsworth 4

with Portia 173, 283-4.

King Lear, Incidents and Scenes of: Opening Scene 203-5

Stocks Scene 211, 258

Outrage on Gloucester 247

Hovel Scene 215-8, 247.

King Lear, Movement of: 202 and Chapter X

its simplicity 208-9

Lear's madness a common climax to the trains of passion in the Main Plot 209

Rise of the Movement in the waves of on-coming madness 209-15

form of movement a Regular Arch, ib.

connection of the Fool with the Rise of the Movement 220-23

passage into the Central Climax marked by the Storm 214-5

Central Climax of the Movement 214-8

effect on Lear of the Storm 214

of contact with Edgar 215

Edgar's madness a common Climax to the trains of passion in the Underplot 215-7

the Central Climax a trio of madness 217-23

an example of Tone-Storm 254.

King Lear, Plot of: The Main Plot a Problem Action 202-6

the Problem enunciated in action 203-5

Solution in a triple Tragedy 205-6

Parallelism between Main and Underplot 206-8, 277-8, 297.

The Underplot an Intrigue Action 207-8

its Initial Action 207

its resultant a triple Tragedy parallel with that of the Main Plot 207-8

Main and Underplot drawn together by common Central Climax 208

by Dependence 276

by Convergent Motion 282-4, 298.

Kriegspiel 185.

Laius 134.

Lansdowne 9.

Laureate, Poets preceding Southey: 17.

Law as a term in Criticism and Science generally 32-7.

Legal evasions 65.

Lessing 11.

Light as a Tone 251, 252.

Line of Motion 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--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, 209-118

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 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 [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.

Act I.

• Sc. i. 180, 188-9.
• ii. 172, 178-80, 180, 189-91.
• iii. 191-4, 195-6.

Act II.

• Sc. i. 171-2, 172, 174, 175-6, 176, 180-1, 187, 191, 194.
• ii. 177, 194-5.
• iii. 196.
• iv. 196-7

Act III.

• Sc. i. 172-3, 177, 177-8, 182, 183, 196-9, 285.
• ii. 175, 199-200.
• iii. 180, 200.

Act IV.

• Sc. i. 200.
• ii. and iii. 172, 173-4, 182, 200-1.

Act V.

• Scs. iii, v. 171, 172, 201.

KING LEAR.

Act I.

• Sc. i. 203-5, 206, 285.
• ii. 206.
• iv. 210, 220-1.
• v. 210-1, 221-2.

Act II.

• Sc. i. 283.
• ii. 258, note.
• iv. 209, 211-4, 222-3, 283.

Act III.

• Sc. i. 209, 214, 215, 223.
• ii. 209, 215, 223.
• iii. 209, 215, 216.
• iv. 209, 215, 216, 217-8, 223, 285.
• v. 209, 283.
• vi. 207, 209.
• vii. 209, 216, 247.

Act IV.

• Sc. i. 216, 217.
• vi. 215.

Act V.

• Sc. iii. 208, 215, 259.

MACBETH.

Act I.

• Sc. iii. 135, 136, 141, 154, 158-9, 244, 263-4.
• iv. 135, 150-1, 244, 260.
• v. 149-50, 156, 159-60.
• vii. 151-3, 157, 160-1.

Act II.

• Sc. i. 153-4.
• ii. 154, 155, 161-3, 244.
• iii. 139-40, 163-4, 253, 260.
• iv. 140, 164.

Act III.

• Sc. i. 129, 154, 164-5.
• ii. 154, 164-5, 244.
• iii. 127, 285.
• iv. 130, 154, 165-6, 285.
• v. 262, 264.
• vi. 128-9.

Act IV.

• Sc. i. 130, 135-6, 140, 167, 264.
• ii. 130, 140.
• iii. 140-1.

Act V.

• Sc. i. 166-7.
• iii. 167.
• v. 167.
• vii. and viii. 130, 167, 285.

MERCHANT OF VENICE.

Act I.

• Sc. i. 48, 61, 70, 76.
• ii. 54, 56, 70.
• iii. 48-9, 61-4, 262.

Act II.

• Sc. i. 53.
• ii. 76.
• iii. 76, 84.
• iv. 84, 85.
• v. 60, 76, 83.
• vi. 84, 85.
• vii. 53, 55.
• viii. 78.
• ix. 55-6.

Act III.

• Sc. i. 60, 76, 78, 79, 85.
• ii. 54-5, 56, 67-9, 76, 78.
• iii. 60, 76, 78.
• iv. 85, 86.
• v. 76, 85.

Act IV.

• Scs. i. and ii. 49-51, 60, 64-6, 70-3, 80, 87-8, 88-9, 254, 257, 285.

Act V.

• Sc. i. 85, 247.

RICHARD III.

Act I.

• Sc. i. 92-3, 96, 100, 101, 123.
• ii. 93, 94, 96, 97-8, 99, 101, 102, 103-4, 113.
• iii. 95, 96, 111-3, 115.
• iv. 108, 114, 116, 240-1.

Act II.

• Sc. i. 99, 101, 108, 116, 117-8.
• ii. 95, 100, 109, 111-2.

Act III.

• Sc. i. 91, 99, 100.
• ii. 109, 117, 249.
• iii. 114, 115, 120, 285.
• iv. 98, 100, 114, 115.
• v, vii. 96, 99.

Act IV.

• Sc. i. 104, 111-2, 116.
• ii. 110, 262, 280, 285.
• iii. 94, 120-1.
• iv. 91, 95, 111-2, 115, 121-2.

Act V.

• Sc. i. 115, 118.
• iii. 95, 122-3.
• iv. and v. 123.