• Aaron, 200, 211.
• Abnormal mental conditions, 13, 398.
• Accident, in tragedy, 7, 14-16, 26, 28;
  • in Hamlet, 143, 173;
  • in Othello, 181-2;
  • in King Lear, 253, 325.
• Act, difficulty in Fourth, 57-8;
  • the five Acts, 49.
• Action, tragic, 11, 12, 31;
  • and character, 12, 19;
  • a conflict, 16-19.
• Adversity and prosperity in King Lear, 326-7.
• Albany, 297-8.
• Antonio, 110, 404.
• Antony and Cleopatra, 3, 7, 45, 80;
  • conflict, 17-8;
  • crisis, 53, 55, 66;
  • humour in catastrophe, 62, 395-6;
  • battle-scenes, 62-3;
  • extended catastrophe, 64;
  • faulty construction, 71, 260;
  • passion in, 82;
  • evil in, 83-4;
  • versification, 87, Note BB.
• Antony, 22, 29, 63, 83-4.
• Arden of Feversham, 9.
• Ariel, 264.
• Aristotle, 16, 22.
• Art, Shakespeare's, conscious, 68-9;
  • defects in, 71-78.
• Arthur, 294.
• As You Like It, 71, 267, 390.
• Atmosphere in tragedy, 333.

• Banquo, 343, 379-86.
• Barbara, the maid, 175.
• Battle-scene, 62, 451, 469;
  • in King Lear, 255, Note X.
• Beast and man, in King Lear, 266-8;
  • in Timon, 453.
• Bernhardt, Mme., 379.
• Biblical ideas, in King Lear, 328.
• Bombast, 73, 75-6, 389, Note F.
• Brandes, G., 379, 393.
• Brutus, 7, 14, 22, 27, 32, 81-2, 101, 364.

• Caliban, 264.
• Cassio, 211-3, 238-9, 433-4.
• Catastrophe, humour before, 61-2;
  • battle-scenes in, 62;
  • false hope before, 63;
  • extended, 62;
  • in Antony and Coriolanus, 83-4.
  • See Hamlet, etc.
• Character, and plot, 12;
  • is destiny, 13;
  • tragic, 19-23.
• Chaucer, 8, 346.
• Children, in the plays, 293-5.
• Cleopatra, 7, 20, 84, 178, 208.
• Coleridge, 104-5, 107, 109, 127, 165, 200, 201, 209, 223, 226, 228, 249, 343, 353, 362, 389, 391, 392, 397, 412, 413.
• Comedy, 15, 41.
• Conflict, tragic, 16-9;
  • originates in evil, 34;
  • oscillating movement in, 50;
  • crisis in, 51-5;
  • descending movement of, 55-62.
• Conscience. See Hamlet.
• Cordelia, 29, 32, 203-6, 250, 290, 314, 315-26, Note W.
• Coriolanus, 3, 9, 43, 394-5;
  • crisis, 53;
  • hero off stage, 57;
  • counter-stroke, 58;
  • humour, 61;
  • passion, 82;
  • catastrophe, 83-4;
  • versification, Note BB.
• Coriolanus, 20, 29, 83-4, 196.
• Cornwall, 298-9.
• Crisis. See Conflict.
• Curtain, no front, in Shakespeare's theatre, 185, 458.
• Cymbeline, 7, 21, 72, 80, Note BB;
  • Queen in, 300.

• Desdemona, 32, 165, 179, 193, 197, 201-6, 323, 433, 437-9.
• Disillusionment, in tragedies, 175.
• Dog, the, Shakespeare and, 268.
• Don John, 110, 210.
• Double action in King Lear, 255-6, 262.
• Dowden, E., 82, 105, 330, 408.
• Dragging, 57-8, 64.
• Drunkenness, invective against, 238.

• Edgar, 305-7, 453, 465.
• Edmund, 210, 245, 253, 300-3, Notes P, Q.
  • See Iago.
• Emilia, 214-6, 237, 239-42, Note P.
• Emotional tension, variations of, 48-9.
• Evil, origin of conflict, 34;
  • negative, 35;
  • in earlier and later tragedies, 82-3;
  • poetic portrayal of, 207-8;
  • aspects of, specially impressive to Shakespeare, 232-3;
  • in King Lear, 298, 303-4, 327;
  • in Tempest, 328-30;
  • in Macbeth, 331, 386.
• Exposition, 41-7.

• Fate, Fatality, 10, 26-30, 45, 59, 177, 181, 287, 340-6.
• Fleay, F.G., 419, 424, 445, 467, 479.
• Fool in King Lear, the, 258, 311-5, 322, 447, Note V.
• Fools, Shakespeare's, 310.
• Forman, Dr., 468, 493.
• Fortinbras, 90.
• Fortune, 9, 10.
• Freytag, G., 40, 63.
• Furness, H.H., 199, 200.

• Garnet and equivocation, 397, 470-1.
• Ghost, Banquo's, 332, 335, 338, 361, Note FF.
• Ghost, Caesar's, Note FF.
• Ghost in Hamlet, 97, 100, 118, 120, 125, 126, 134, 136, 138-40, 173-4.
• Ghosts, not hallucinations because appearing only to one in a company, 140.
• Gloster, 272, 293-6, 447.
• Gnomic speeches, 74, 453.
• Goethe, 101, 127, 165, 208.
• Goneril, 245, 299-300, 331, 370, 447-8.
• Greek tragedy, 7, 16, 30, 33, 182, 276-9, 282.
• Greene, 409.

• Hales, J.W., 397.
• Hamlet, exposition, 43-7;
  • conflict, 17, 47, 50-1;
  • crisis and counter-stroke, 52, 58-60, 136-7;
  • dragging, 57;
  • humour, and false hope, before catastrophe, 61, 63;
  • obscurities, 73;
  • undramatic passages, 72, 74;
  • place among tragedies, 80-8;
  • position of hero, 89-92;
  • not simply tragedy of thought, 82, 113, 127;
  • in the Romantic Revival, 92, 127-8;
  • lapse of time in, 129, 141;
  • accident, 15, 143, 173;
  • religious ideas, 144-5, 147-8, 172-4;
  • player's speech, 389-90, Note F;
  • grave-digger, 395-6;
  • last scene, 256.
  • See Notes A to H, and BB.
• Hamlet, only tragic character in play, 90;
  • contrasted with Laertes and Fortinbras, 90, 106;
  • failure of early criticism of, 91;
  • supposed unintelligible, 93-4;
  • external view, 94-7;
  • 'conscience' view, 97-101;
  • sentimental view, 101-4;
  • Schlegel-Coleridge view, 104-8, 116, 123, 126-7;
  • temperament, 109-10;
  • moral idealism, 110-3;
  • reflective genius, 113-5;
    • connection of this with inaction, 115-7;
  • origin of melancholy, 117-20;
    • its nature and effects, 120-7, 103, 158;
    • its diminution, 143-4;
  • his 'insanity,'121-2, 421;
  • in Act ii.129-31, 155-6;
  • in iii. i.131-3, 157, 421;
  • in play-scene, 133-4;
  • spares King, 134-6, 100, 439;
  • with Queen, 136-8;
  • kills Polonius, 136-7, 104;
  • with Ghost, 138-40;
  • leaving Denmark, 140-1;
  • state after return, 143-5, 421;
  • in grave-yard, 145-6, 153, 158, 421-2;
  • in catastrophe, 102, 146-8, 151, 420-1;
  • and Ophelia, 103, 112, 119, 145-6, 152-9, 402, 420-1;
  • letter to Ophelia, 150, 403;
  • trick of repetition, 148-9;
  • word-play and humour, 149-52, 411;
  • aesthetic feeling, 133, 415;
  • and Iago, 208, 217, 222, 226;
  • other references, 9, 14, 20, 22, 28, 316, 353, Notes A to H.
• Hanmer, 91.
• Hazlitt, 209, 223, 228, 231, 243, 248.
• Hecate, 342, Note Z.
• Hegel, 16, 348.
• 2 Henry VI., 492.
• 3 Henry VI., 222, 418, 490, 492.
• Henry VIII., 80, 472, 479.
• Heredity, 30, 266, 303.
• Hero, tragic, 7;
  • of 'high degree,' 9-11;
  • contributes to catastrophe, 12;
  • nature of, 19-23, 37;
  • error of, 21, 34;
  • unlucky, 28;
  • place of, in construction, 53-55;
  • absence of, from stage, 57;
  • in earlier and later plays, 81-2, 176;
  • in King Lear, 280;
  • feeling at death of, 147-8, 174, 198, 324.
• Heywood, 140, 419.
• Historical tragedies, 3, 53, 71.
• Homer, 348.
• Horatio, 99, 112, 310, Notes A, B, C.
• Humour, constructional use of, 61;
  • Hamlet's, 149-52;
  • in Othello, 177;
  • in Macbeth, 395.
• Hunter, J., 199, 338.

• Iachimo, 21, 210.
• Iago, and evil, 207, 232-3;
  • false views of, 208-11, 223-7;
  • danger of accepting his own evidence, 211-2, 222-5;
  • how he appeared to others, 213-5;
    • and to Emilia, 215-6, 439-40;
  • inferences hence, 217-8;
  • further analysis, 218-22;
  • source of his action, 222-31;
  • his tragedy, 218, 222, 232;
  • not merely evil, 233-5;
  • nor of supreme intellect, 236;
  • cause of failure, 236-7;
  • and Edmund, 245, 300-1, 464;
  • and Hamlet, 208, 217, 222, 226;
  • other references, 21, 28, 32, 192, 193, 196, 364, Notes L, M, P, Q.
• Improbability, not always a defect, 69;
  • in King Lear, 249, 256-7.
• Inconsistencies, 73;
  • real or supposed, in Hamlet, 408;
  • in Othello, Note I;
  • in King Lear, 256, Note T;
  • in Macbeth, Notes CC, EE.
• Ingram, Prof., 478.
• Insanity in tragedy, 13;
  • Ophelia's, 164-5, 399;
  • Lear's, 288-90.
• Intrigue in tragedy, 12, 67, 179.
• Irony, 182, 338.
• Isabella, 316, 317, 321.

• Jameson, Mrs., 165, 204, 379.
• Jealousy in Othello, 178, 194, Note L.
• Job, 11.
• Johnson, 31, 91, 294, 298, 304, 377, 420.
• Jonson, 69, 282, 389.
• Juliet, 7, 204, 210.
• Julius Caesar, 3, 7, 9, 33, 34, 479;
  • conflict, 17-8;
  • exposition, 43-5;
  • crisis, 52;
  • dragging, 57;
  • counter-stroke, 58;
  • quarrel-scene, 60-1;
  • battle-scenes, 62;
  • and Hamlet, 80-2;
  • style, 85-6.
• Justice in tragedy, idea of, 31-33, 279, 318.

• Kean, 99, 243-4.
• Kent, 307-10, 314, 321, 447, Note W.
• King Claudius, 28, 102, 133, 137, 142, 168-72, 402, 422.
• King John, 394, 490-1.
• King Lear, exposition, 44, 46-7;
  • conflict, 17, 53-4;
  • scenes of high and low tension, 49;
  • dragging, 57;
  • false hope before catastrophe, 63;
  • battle-scene, 62, 456-8;
  • soliloquy in, 72, 222;
  • place among tragedies, 82, 88, see Tate;
  • Tate's, 243-4;
  • two-fold character, 244-6;
  • not wholly dramatic, 247;
  • opening scene, 71, 249-51, 258, 319-21, 447;
  • blinding of Gloster, 185, 251;
  • catastrophe, 250-4, 271, 290-3, 309, 322-6;
  • structural defects, 254-6;
  • improbabilities, etc., 256-8;
  • vagueness of locality, 259-60;
  • poetic value of defects, 261;
  • double action, 262;
  • characterisation, 263;
  • tendency to symbolism, 264-5;
  • idea of monstrosity, 265-6;
  • beast and man, 266-8;
  • storm-scenes, 269-70, 286-7, 315;
  • question of government of world, in, 271-3;
  • supposed pessimism, 273-9, 284-5, 303-4, 322-30;
  • accident and fatality, 15, 250-4, 287-8;
  • intrigue in, 179;
  • evil in, 298, 303-4;
  • preaching patience, 330;
  • and Othello, 176-7, 179, 181, 244-5, 441-3;
  • and Timon, 245-7, 310, 326-7, 443-5;
  • other references, 8, 10, 61, 181, Notes R to Y, and BB.
• König, G., Note BB.
• Koppel, R., 306, 450, 453, 462.

• Laertes, 90, 111, 142, 422.
• Lamb, 202, 243, 248, 253, 255, 269, 343.
• Language, Shakespeare's, defects of, 73, 75, 416.
• Lear, 13, 14, 20, 28, 29, 32, 249-51, 280-93, 293-5, Note W.
• Leontes, 21, 194.

• Macbeth, exposition, 43, 45-6;
  • conflict, 17-9, 48, 52;
  • crisis, 59, 60;
  • pathos and humour, 61, 391, 395-7;
  • battle-scenes, 62;
  • extended catastrophe, 64;
  • defects in construction, 57, 71;
  • place among tragedies, 82, 87-8, Note BB;
  • religious ideas, 172-4;
  • atmosphere of, 333;
  • effects of darkness, 333-4,
  • colour, 334-6,
  • storm, 336-7,
  • supernatural, etc., 337-8,
  • irony, 338-40;
  • Witches, 340-9, 362, 379-86;
  • imagery, 336, 357;
  • minor characters, 387;
  • simplicity, 388;
  • Senecan effect, 389-90;
  • bombast, 389, 417;
  • prose, 388, 397-400;
  • relief-scenes, 391;
  • sleep-walking scene, 378, 398, 400;
  • references to Gunpowder Plot, 397, 470-1;
  • all genuine? 388, 391, 395-7, Note Z;
  • and Hamlet, 331-2;
  • and Richard III., 338, 390, 395, 492;
  • other references, 7, 8, 386, and Notes Z to FF.
• Macbeth, 13, 14, 20, 22, 28, 32, 63, 172, 343-5, 349-65, 380, 383, 386, Notes CC, EE.
• Macbeth, Lady, 13, 28, 32, 349-50, 358, 364, 366-79, 398-400, Notes CC, DD.
• Macduff, 387, 391-2, 490-1.
• Macduff, Lady, 61, 387, 391-2.
• Macduff, little, 393-5.
• Mackenzie, 91.
• Marlowe, 211, 415-6.
• Marston's possible reminiscences of Shakespeare's plays, 471-2.
• Measure for Measure, 76, 78, 275, 397.
• Mediaeval idea of tragedy, 8, 9.
• Melancholy, Shakespeare's representations of, 110, 121.
  • See Hamlet.
• Mephistopheles, 208.
• Merchant of Venice, 21, 200.
• Metrical tests, Notes S, BB.
• Middleton, 466.
• Midsummer Night's Dream, 390, 469.
• Milton, 207, 362, 418.
• Monstrosity, idea of, in King Lear, 265-6.
• Moral order in tragedy, idea of, 26, 31-9.
• Moulton, R.G., 40.

• Negro? Othello a, 198-202.

• Opening scene in tragedy, 43-4.
• Ophelia, 14, 61, 112, 160-5, 204, 399.
  • See Hamlet.
• Oswald, 298, 448.
• Othello, exposition, 44-5;
  • conflict, 17, 18, 48;
  • peculiar construction, 54-5, 64-7, 177;
  • inconsistencies, 73;
  • place among tragedies, 82, 83, 88;
  • and Hamlet, 175-6;
  • and King Lear, 176-7, 179, 181, 244-5, 441-3;
  • distinctive effect, and its causes, 176-80;
  • accident in, 15, 181-2;
  • objections to, considered, 183-5;
  • point of inferiority to other three tragedies, 185-6;
  • elements of reconciliation in catastrophe, 198, 242;
  • other references, 9, 61, Notes I to R, and BB.
• Othello, 9, 20, 21, 22, 28, 29, 32, 176, 178, 179, 186-98, 198-202, 211, 212, Notes K to O.

• Pathos, and tragedy, 14, 103, 160, 203, 281-2;
  • constructional use of, 60-1.
• Peele, 200.
• Pericles, 474.
• Period, Shakespeare's tragic, 79-89, 275-6.
• Pessimism, supposed, in King Lear, 275-9, 327;
  • in Macbeth, 359, 393.
• Plays, Shakespeare's, list of, in periods, 79.
• Plot, 12.
  • See Action, Intrigue.
• 'Poetic justice,' 31-2.
• Poor, goodness of the, in King Lear and Timon, 326.
• Posthumus, 21.
• Problems, probably non-existent for original audience, 73, 157, 159, 315, 393, 483, 486, 488.
• Prose, in the tragedies, 388, 397-400.

• Queen Gertrude, 104, 118, 134, 136-8, 161, 164, 166-8.

• Reconciliation, feeling of, in tragedy, 31, 36, 84, 147-8, 174, 198, 242, 322-6.
• Regan, 299-300.
• Religion, in Edgar, 306,
  • Horatio, 310,
  • Banquo, 387.
• Richard II., 3, 10, 17, 18, 42.
• Richard II., 20, 22, 150, 152.
• Richard III., 3, 18, 42, 62, 82;
  • and Macbeth, 338, 390, 395, 492.
• Richard III., 14, 20, 22, 32, 63, 152, 207, 210, 217, 218, 233, 301.
• Romeo and Juliet, 3, 7, 9, 15;
  • conflict, 17, 18, 34;
  • exposition, 41-5;
  • crisis, 52;
  • counter-stroke, 58.
• Romeo, 22, 29, 150, 210.
• Rosencrantz and Guildenstern, 137, 405-6.
• Rules of drama, Shakespeare's supposed ignorance of, 69.

• Salvini, 434.
• Satan, Milton's, 207, 362.
• Scenery, no, in Shakespeare's theatre, 49, 71, 451.
• Scenes, their number, length, tone, 49;
  • wrong divisions of, 451.
• Schlegel, 82, 104, 105, 116, 123, 127, 254, 262, 344, 345, 413.
• Scot on Witch-craft, 341.
• Seneca, 389-90.
• Shakespeare the man, 6, 81, 83, 185-6, 246, 275-6, 282, 285, 327-30, 359, 393, 414-5.
• Shylock, 21.
• Siddons, Mrs., 371, 379.
• Soliloquy, 72;
  • of villains, 222;
  • scenes ending with, 451.
• Sonnets, Shakespeare's, 264, 364.
• Spedding, J., 255, 476, Note X.
• Stage-directions, wrong modern, 260, 285, 422, 453-6, 462.
• Style in the tragedies, 85-9, 332, 336, 357.
• Suffering, tragic, 7, 8, 11.
• Supernatural, the, in tragedy, 14, 181, 295-6, 331-2.
  • See Ghost, Witch.
• Swinburne, A.C., 80, 179, 191, 209, 218, 223, 228, 231, 276-8, 431.
• Symonds, J.A., 10.

• Tate's version of King Lear, 243, 251-3, 313.
• Temperament, 110, 282, 306.
• Tempest, 42, 80, 185, 264, 328-30, 469; Note BB.
• Theological ideas in tragedy, 25, 144, 147, 279;
  • in Hamlet and Macbeth, 171-4, 439;
  • not in Othello, 181, 439;
  • in King Lear, 271-3, 296.
• Time, short and long, theory of, 426-7.
• Timon of Athens, 4, 9, 81-3, 88, 245-7, 266, 270, 275, 310, 326-7, 443-5, 460; Note BB.
• Timon, 9, 82, 112.
• Titus Andronicus, 4, 200, 211, 411, 491.
• Tourgénief, 11, 295.
• Toussaint, 198.
• Tragedy, Shakespearean; parts, 41, 51;
  • earlier and later, 18, 176;
  • pure and historical, 3, 71.
  • See Accident, Action, Hero, Period, Reconciliation, etc.
• Transmigration of souls, 267.
• Troilus and Cressida, 7, 185-6, 268, 275-6, 302, 417, 419.
• Twelfth Night, 70, 267.
• Two Noble Kinsmen, 418, 472, 479.

• Ultimate power in tragedy, 24-39, 171-4, 271-9.
  • See Fate, Moral Order, Reconciliation, Theological.
• Undramatic speeches, 74, 106.

• Versification. See Style and Metrical tests.
• Wordsworth, 387.

• Waste, tragic, 23, 37.
• Werder, K., 94, 172, 480.
• Winter's Tale, 21, Note BB.
• Witches, the, and Macbeth, 340-9, 362;
  • and Banquo, 379-87.
• Wittenberg, Hamlet at, 403-6.
• Wordsworth, 30, 198.

• Yorkshire Tragedy, 10.