All's Well
scheme 345 ·
236-8, 265.

-

comments 169, 178,

As You Like It: plot scheme 349-com-
ments 179, 243, 336.

Comedy of Errors: plot scheme 339-
comments 169, 178, 311, 330, 334,
334-5, 336.

Coriolanus: plot scheme 358 -com-
ments 113-25, 189, 332, 333.
Cymbeline: plot scheme 351 com-
ments 76-88, 179, 243, 265, 267, 298,
319.

Hamlet: plot scheme 364-comments
191-4, 242, 265, 267, 298, 299-302,
305-6, 308-10, 312–3, 318-22, 332, 334.
Henry the Fourth: plot scheme 370 and
366- comments 279, 281-4, 331.
First Part: comments 15-22, 206,
243.
Second Part: comments 16,

-

189, 246-64, 298-9, 302, 303-4, 305,
306-8, 336.

Measure for Measure: plot scheme 353
comments 143-57, 158, 178, 211-2.
Merchant of Venice: plot scheme 347 -
comments 168-9, 178-9, 210, 245-6,
265, 313-7, 330, 334, 335.

Merry Wives of Windsor: plot scheme
343-
3-comments 174-5, 177-8, 201,
228, 332, 335, 337.
Midsummer-Night's Dream: plot scheme
342-comments 178, 229-33, 266, 297,
330, 336.

Much Ado about Nothing: plot scheme
346-comments 178, 233-6, 243, 265-6,
311, 333, 336.

-

Othello: plot scheme 363 — comments
188, 189, 238-41, 265, 330.
Richard the Second: plot scheme 370
and 366-comments 15, 17, 18, 188,
188-9, 280-1.

Richard the Third: plot scheme 372
and 369-comments 39-45, 188, 190,
265, 267, 293-4, 303.
Romeo and Juliet: plot scheme 360-
comments 46-64, 188, 190, 265, 323,
334, 336.

Taming of the Shrew: plot scheme 344 —
comments 177, 212-21, 333.

Tempest: plot scheme 352-comments
179, 297, 322-6.

Timon of Athens: plot scheme 355-
comments 189, 331, 334.

Titus Andronicus: plot scheme 361-

comment 189.

Troilus and Cressida: plot scheme 362
-comments 331, 335.

Twelfth Night: plot scheme 340— com-

ments 170-4, 178, 228-9, 331, 334, 337.
Two Gentlemen of Verona: plot scheme
341 -comments 180-4, 222-8, 311, 331,
332, 334, 337.

Winter's Tale: plot scheme 350 com-
ments 65-76, 179, 298, 306, 331-2,
337.

Captives, Play of: 163-4.
Caricature as a dramatic tone 160, 163,
176, 177-8, 343.

Centre, dramatic [central personages,
etc.]: 76, 84, 351, 352, 362, 363, 366.
Character, relation to fate: 7, 46–51—
character action 331, 370-comedies
of 344-7-contrast 355-7, 370-de-
velopment 14-23, 33-9, 370 — ideal
character 371 [compare Chapter I]
- tragedies of 355-9, 364.
Chorus 159, 161.

Chronicle histories, 185.
Circumstance as an element of plot 334,
339-41, 364.
Circumstances, sway of, as one of the
forces of life: 264-8 [compare 62–4] —
its dramatic expression in the Envelop-
ing Action 264-8.

Clash and disentanglement 170-6, 339-
40, 342-3, 347, 362.
Classification of Shakespearean plays
185.

Climax, dramatic: 76, 343, 352.
Clouds, Play of: 161.

Community and individual, antithesis

of: III and Chapter VI - ancient and
modern conceptions distinguished 111-
3-a view point for the Roman plays
113-in Coriolanus appears as princi-
ple and compromise 113-25 · in
Julius Cæsar evenly balanced 125-8
-in Antony and Cleopatra appears
as public and private life of Antony
128-40.

Complexity, moral, in the Shakespearean
world: 109 and Book II.
Complexity and Harmony, in Measure
for Measure: 143-57.
Complicating action 332.

Complication and resolution: 162-3, 330
— an element of Shakespearean com-
edy 169-76-illustrations: Twelfth

circumstances as immediate environ-
ment 264-8-historical environment
269 and Chapter XIII-supernatural
environment 297 and Chapter XIV —
overruling providence 311 and Chap-
ter XV.

Epic form 359, 371.

Equilibrium: Life in, as comedy 109-
overthrown, as tragedy 109 — unstable,
as a moral problem in Lear 141-3.
Error as a dramatic term 169, 339, 340.
Ethics, relation of Shakespeare to: 5-
institutional 144.

Experiment in morals (Measure for
Measure): 148–56.

Experimental side of philosophy, as fic-
tion: 4, 141.

various 169-70.

Compliment as an element of the mask

89, 92, 105.

Compromise v. principle in Coriolanus

114-25.
Comus 159.

Contrast as an element of plot interest
334.

Convention, comedies of, 348-9.
Counteraction, 333, 358, 361.

Court Fool 142: see Clown.

Cross Actions, 345, 358-61.

Dark Ages, 164-5.

Deformity of Richard 33-4.
Dependent Underplot 336, 344, 347, 359.
Destiny in Greek drama 47-in Shake-
speare 62-4, 302, 309.

Doing and Being, antithesis of: 91.

- of Montagues and Capulets 360
[compare Chapter III passim].
Fiction as the experimental side of phi-
losophy 3-6.

Fool 142, 189-94, 205, 354-5. [See Clown.]
Forces of life in Shakespeare's moral
system 8, 9, 207 and Book III - of
restoration in Winter's Tale and Cym-
beline 84.

Fun as a dramatic tone 176.
Foreshadowing, dramatic: 62-4.

Gay Science 180, 341.
Generating Action 333, 345, 354.
Germ Action 334, 371-2.
Ghost scenes as dramatic relief 193.

moral system 242-64.
Heroic tragedy 362.

Heroism as a root idea in Shakespeare's

moral system II and Chapter I.
Historic movement as one of the forces
in Shakespeare's moral system 270,
294-6-historic succession of plays
269-96, 365-73.

History as a class of drama 185, 268 and
Chapter XIII- pendulum of 269 and
Chapter XIII.

Histrionic passion as relief in drama
193, 364.

Horror, tragedy of: 361.

-

Humour, moral significance of: 195 and
Chapter X the word 'humour' 195-6
- as a technical term of drama 196-8
its various applications in life and in
drama 199-206- an element in char-

acter 199-as comic conscience 199
as suspension of moral law 199-201
—in relation to ways of human nature
201 application to vice 201-3-es-
sential to a censor of morals 202-
humour and wit 204-6 [compare 196]

relation to the Jester 205.
Hysteria in relation to the Jester and to
madness 190-4-as relief in tragedy
193, 364—as tone-clash 197-8-puns
as verbal hysterics 198.

Individual and community, antithesis

of: III and Chapter VI―ancient and
modern conceptions distinguished
III-3-a view point for the Roman
plays 113-in Coriolanus appears as
compromise and principle 113-25 — in
Julius Cæsar evenly balanced 125–8 -
in Antony and Cleopatra appears as
private and public life of Antony
128-40.

Individual and law, antithesis of, in
Measure for Measure: 143-57.

Interlude 185-6.

Interweaving of plots 168, 335 [com-
pare 334-8].

-

Intrigue as a dramatic expression of
personal will; 209 and Chapter XI —
relation between intrigue and irony
210-2-illustrations: Taming of Shrew
212-21; Two Gentlemen 221-8; various
210, 211, 228-41, 340-1, 343-6, 363,
[compare 85].

Comedies of Intrigue 343-6— Trag-
edies of Intrigue 363.

Irony associated with Intrigue as a
dramatic expression of personal will
211-2 [see above Intrigue] — other
illustrations: 42, 74, 82-3, 346 — irony
of fate and of circumstances distin-
guished 241 [compare 62-4].

Jester 189-94. [See Clown.]
Jealousy, types of, distinguished: 66.

Job, Book of, its bearing on connection
of Character and Fate: 48-9.
Justice and Policy, in Julius Cæsar:
127-8.

Laboratory, moral, the theatre as: 141.
Law and individual, antithesis of, in
Measure for Measure: 143-57.
Liberty, ancient and modern conceptions
of: 112 [compare 128].

Life, types of, in Measure for Measure:
143-57.

Life Without and Life Within, The: II,
89 and Chapter V-one of the root
ideas in Shakespeare's moral system
90-2, 106-7-as Doing and Being 91
- as law and individual 143-in rela-
tion to differences between ancient
and modern thought 111-3-illustra
tions: Henry the Eighth 90-107, 294;
Coriolanus 113-25, 358; Julius Cæsar
125-8, 357; Antony and Cleopatra 128-
40, 359; various 143, 321-2, 355-9, 364.