Amazons, The, Act III, 222.
Ambassador, The, 350.
Ancient Classical Drama, The, 18, 154.
Anne, 159.
As a Man Thinks, Act II, 189.
At the New Theatre, 249.
At the Top of the Tenement, 424.
Auteurs Dramatiques, see L’Année Psychologique.
Barbara Frietchie, 61.
Barnwell, The History of George, see The London Merchant.
Becket, arranged by Henry Irving, 25, 197, 290, 362.
Becket, Tennyson, 195, 290, 362.
Big Drum, The, Preface, 258.
Blind, The, 38.
Browning, Introduction, Corson, 390.
Captain, The, Scenario, 459.
Case of Rebellious Susan, The, Act I, 351.
Chains, Act III, 223.
Changeling, The, 85.
Chaste Maid in Cheapside, A, 284.
Choephori, The, 155.
Clod, The, 219.
Colombe’s Birthday, Act IV, Sc. 1, 306.
Come Here, George Riddle’s Readings, 368.
Concerning Humour in Comedy, Congreve, 396.
Coniston, Scenario, 448.
Conquest of Granada, The, 336.
Conscious Lovers, The, 134.
Consultation, The, Scenario, 466.
Coventry Plays, Ludus Coventriæ, 327.
Cradle, The, Act I, Sc. 9, 301.
Crucifixion, The, York Plays, 327.
Cymbeline, Act I, Sc. 1, 23.
Débutante, The, Scenario, 216.
De la Poésie Dramatique, 72, 74.
Development of the Drama, The, 19.
Devonshire Hamlets, The, 241, 318, 344, 358, 398.
Duchess of Malfi. The, 267, 303, 384.
Edward II, Introduction, Marlowe, 128.
Electra, Euripides, Act I, 282.
Electra, Hofmannsthal, 380.
Encore, An, Scenario, 457.
Epicoene, 289.
Essay on Comedy, Meredith, 117, 513.
Eternal Triangle, The, Scenario, 425.
Études Critiques, Brunetière, 44.
European Dramatists, 462.
Everyman, 373.
Every Man in His Humour, Induction, 235.
Eyes of the Blind, The, Scenario, 428.
Faustus, Act V, 35.
Fishing of Suzanne, The, Scenario, 455.
Fortune by Land and Sea, 345.
Foundations of a National Drama, 395.
Frau im Fenster, Die, 377.
Fritzschen, 226.
Gabriel Schilling’s Flight, Introduction, 193.
Galloper, The, 164.
George Riddle’s Readings, Come Here, 368.
Good Hope, The, 218.
Good Natured Man, The, Act I, 323.
Great Divide, The, Act I, 379.
Great Galeoto, The, 385.
Hamburg Dramaturgy, 9, 68, 114, 121, 212, 247, 255, 291.
Hazlitt’s Dramatic Essays, 243.
Hegge Plays (Ludus Coventriæ), 327.
Henry V, Act II, 139.
Henry VI, Part I, 97.
Herod, Act II, 222.
Hindle Wakes, Act I, Sc. 1, 324.
Home, 29.
House of Usna, The (Foreword), 65.
Ibsen’s Workshop, 51, 179, 233, 348, 470.
Importance of Being Earnest, The, 403, 410.
Induction, Every Man in His Humour, 235.
Influence of Local Theatrical Conditions upon the Drama of the Greeks, 125, 141.
Introduction to Browning, Corson, 390.
Jim, The Penman, 374.
Journey of Papa Perrichon, The, Act I, 173.
Julius Cæsar, Act III, Sc. 3, 332.
Justice, Act III, 375.
King Argimenes, 49.
King John, 268.
Kismet, Scenario, 474.
L’Année Psychologique.
Lady of Andros, The, Act I, 170. Act III, 171.
Lady Windermere’s Fan, 187, 230, 231, 388, 389, 402, 404.
La Princesse Georges, 34.
La Princesse Georges, Au Public, 74, 94, 259.
Legacy, The, Scenario, 464.
Le Supplice d’une Femme, Preface, 100.
Les 36 Situations Dramatiques, 63.
Les Oberlé, 83.
Les Petits Oiseaux, 131.
Letters of Bulwer-Lytton to Macready, 77, 90, 125, 136, 211, 227, 339, 344.
Letters of Henrik Ibsen, 151, 183, 259, 419, 421.
Lettres sur les Anglais, Voltaire, 113.
Life of Man, 328.
Little Stories of New Plays, 422.
London Merchant, The, or The History of George Barnwell, Act IV, 131.
Lonely Lives, Act IV, 164.
Macaire, Act I, Sc. 1, 27.
Macbeth, Act I, Sc. 5, 166. Introduction, 127.
Mme. Sans-Gêne, 163.
Madras House, The, 278.
Magda (Heimat), Act IV, 229.
Maid’s Tragedy, The, Act III, Sc. 2, 281.
Masqueraders, The, 265.
Measure for Measure, 406.
Miss Julia, Introduction, 118.
Mistress Beatrice Cope, 352. Scenario, 453.
Money Spinner, The, 383.
Monsieur Poirier’s Son-in-Law, Act I, 221.
Mrs. Dane’s Defence, Act III, 279.
My Best Play, Edgar Selwyn, 81.
Nathan Hale, Act IV, Sc. 2, 198.
New Rehearsal, A, or Bays the Younger, 249.
Nigger, The, Act I, 341.
Note on Act Division as practiced in the Early Elizabethan Drama, 151.
Orchids, 156.
Othello, Act III, Sc. 3, 185.
Phædra, Act I, 169.
Pierre Patelin, 406.
Playboy of the Western World, The, 417.
Play-Making, 45, 50, 55, 61, 78, 151, 214, 237, 510.
Princess and the Butterfly, The, Act II, 292.
Profligate, The, 255.
Provoked Wife, The, Act IV, 297. Act III, 395.
Quem Quaeritis, trope, 16.
Revesby Sword Play, 372.
Richard III, Act I, Sc. 1, 143.
Riddle’s (George) Readings, 368.
Ring and the Book, The, 391.
Rising of the Moon, The, 162.
Robert Louis Stevenson: The Dramatist, 6, 15, 382.
Romancers, The, Act I, Sc. 1, 36, 225.
Romeo and Juliet, Act I, Sc. 1, 31.
Rosmersholm, Ibsen’s Prose Dramas, 181.
Rosmersholm, Ibsen’s Workshop, 179.
Sardou and the Sardou Plays, 48, 71.
Selected Dramas of John Dryden, 261.
Servant in the House, The, 122.
Sire de Maletroit’s Door, The, Scenario, 450, 451, 452.
Some Platitudes Concerning Drama, 66, 183, 244.
Soul’s Tragedy, A, 399.
Spanish Friar, The, Act III, Sc. 1, 123.
Spanish Tragedy, The, 370.
Squire of Alsatia, The, 276.
Stage in America, The, 58, 243.
Still Waters Run Deep, 220.
Storm, The, 86.
Strife, 191.
Tartuffe, Act I, 280.
Theatrical World for 1893, The, 260.
Trail of the Torch, The, 192.
Treasure, The, 330.
Troilus and Cressida, 142.
Trope, Quem Quaeritis, 16.
Troublesome Raigne of King Iohn. The, Part I, 215.
Truth, The, 283.
Twelfth Night, Act I, Sc. 5, 409.
Two Gentlemen of Verona, The, 253.
Two Hearts, 316.
Two Loves and a Life, Act II, Sc. 2, 393.
United States of Playwrights, The, iii, 69.
Vittoria Corombona, Act III, Sc. 2, 285.
Way of the World, The, 413.
Winning of General Jane, The, Scenario, 468.
You Never Can Tell, Act IV, 299.
INDEX OF SUBJECTS
Acts, number and length, 117-120.
Barbara Frietchie—
Business, stage, definition of, 372-373.
Central idea—
Central purpose, value of in selecting material, 87-89.
Changing tastes in public, 513.
Character drawing and psychology distinguished, 237.
Characters—
prompt identification of, 154-161.
devices for showing relations among, 166-183.
test for number of, 296.
Characterization—
by intimate knowledge of characters, 239-247.
in historical plays, 246.
good but not needed, 247.
in stage directions, 277.
by illustrative action, 283-286.
Climax—
definition of, 215.
anticlimax, illustrated, 215-233.
by quiet endings, 221-222, 224-225.
anticipating, 227.
selection for, 228.
postponing, for, 229.
essentials of, 229.
Contrast, for emphasis, 201-204.
Critical and creative faculties, relation of, 519.
Delayed exposition and movement, 211.
Detail, contrasted in novel and play, 352-357.
Dialogue—
essentials of clearness, 309.
clearness without characterization not sufficient, 314-322.
in character, 316-328, 334-336.
secret of good, (Emerson), 328.
unassigned and assigned, 328-334.
author speaking through persons, 334.
style and emotion, 339, 344-350.
fitted for stage, 350.
actors aided by voice, gesture in etc., 351-357, 367-372.
facial expression and gesture, 367-372.
dialogue and “stage business,” 372-382.
Differences, fundamental between novel and play, 4-14.
Disregarding public, danger of, 517.
Dramatic—
Dramatic technique, usual growth of, 518.
Dramatist—
Dramatization of a novel, suggestions for, Edward Knobloch, 13-14.
Emotion—
Emphasis—
Essentials—
Exits and entrances, for characterization, 287-294.
Exposition—
preliminary, 141-148, 166-183.
distinction between preliminary and later, 176-182.
emphasis in, 183.
Facial expression, importance of, 367-372.
Fact vs. fiction in drama, 67-68.
Falsification of life by drama, 14-15.
Gesture, importance of, 367-372.
Identifying promptly persons of play, 154-161.
Illustrative action, 82-88, 109.
Importance of facial expression, gesture and voice, 367-372.
Inaction, utter, possibly dramatic, 41.
Knowledge of theatre necessary, 68-70.
Melodrama and tragedy, 268-276.
Movement—
qualities of, 207.
where needed, 207.
in interwoven plots, 210.
and transitional scenes, 210-211.
and delayed exposition, 211.
and explanatory last act, 211.
Novelist, technique of vs. dramatic technique, 5-14.
Number of characters, test for, 296.
Number of possible dramatic subjects, 63-67.
Obtrusive motivation, 267.
Plot contrasted with story, 57-61.
Program characterization, 276-277.
Psychology and character drawing distinguished, 237.
Public, changing tastes in, 513.
Scene, definition of, 130-132.
Scenario—
summary vs. scenario, 421-426.
preliminary exposition in, 446-447.
entrances and exits in, 449-450.
cardinal principle of, 449.
proper length, 461.
Stage direction—
Story—
unity of action in, 111.
Summary vs. scenario, 421-426.
and suspense, distinction, 214.
Suspense—
Technique in Drama—
Technique of novelist and dramatist compared, 5-14.
Theatric, distinguished from dramatic, 45.
Time—
Truckling to an audience, definition, 509.