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CONTENTS
PART I
CHAPTER I
INTRODUCTORY
PAGE
Scope of the work, how limited and why-Ancient and Modern
Tragedy, different, yet analogous-Prevalent opinions, old
and new-Dionysiac and Apolline elements-Links of con-
nection between the ancient and modern-Shakespearian
tragedy an independent growth-The Age of Tragedy.. 1
CHAPTER II
THE TRAGIC FABLE
The fable not invented in the great periods-Reasons for this-
Principles of selection-Chief sources, ancient and modern
-Innovation with regard to subjects in the decline of the
drama.
20
CHAPTER III
TRAGIC ACTION
A great crisis in a great life -Greatness, both outward and
inward-Fate and free-will in ancient and modern tragedy
-The English taste for action on the stage-How far con-
descended to by Shakespeare-The influence of circumstance
-The action developed from the fable--Universality of
motive-Continuity-Proportion between horror and pity.
29
CHAPTER IV
TRAGIC PERSONS-CHARACTERISATION
Characterisation in Shakespeare and Sophocles-Types and
individuals-The Achilles of Homer-The solidity of the
antique-Contrasted persons-The reaction of situation
on character --Supremacy of Shakespeare
40
CHAPTER V
TRAGIC IDEAS
Great tragedy not pessimistic-The tragic situation exceptional
-Universality-Tragic ideas in Aeschylus, Sophocles, and
Shakespeare Machiavellianism renounced by Shakespeare
-Humanity Religion--The supernatural-Poetical justice
not required-General maxims borrowed or original . .
51
CHAPTER VI
TRAGIC CONSTRUCTION
Remoulding of the fable--Evolution not contrivance-Tension
and repose-Climax and catastrophe-Culmination and
sequel-Tragic movement compared to a parabola-Con-
struction in Aeschylus, Sophocles, and Shakespeare-The
Ajax of Sophocles-The fourth act in Shakespeare-
Construction of 'Othello '-Tragic effect through accidental
fatality-A possible change in the construction of 'Hamlet'
--Expectation and fulfilment
74
CHAPTER VII
TRAGIC DICTION
Natural and artificial grammar-Special causes of difficulty in
the interpretation of tragedy-Remote analogies between
the language of Shakespeare and that of Sophocles
100
CHAPTER VIII
TRAGIC DICTION (continued)
Tragic diction in Shakespeare and Sophocles is (1) idiomatic;
(2) concentrated; (3) dramatic; (4) simple; (5) sensuous
(i.e. vivid, not prosaic); (6) passionate (i.e. emotional, not
frigid)
xi
111
PART II
CHAPTER IX
AESCHYLUS
Chronological order-Choral and epic elements-Miracle play--
The great manner-The naïveté of the early stage-Expec-
tation rather than surprise-Manner of production-Growth
of the dramatic element-Ideal of equity--Religious basis
-From chaos to cosmos-The Orphic movement -Super-
human plays-Meaning of the Prometheus '-Development
in religious speculation-From the Supplices' to the
'Eumenides 'The Persians,' an historical drama-
Liberty and democracy-Aeschylus and Pindar—Analogy
of Hebrew prophecy-Conclusion
CHAPTER X
SOPHOCLES
135
Characteristics-Disillusionment-Yet unclouded faith-' Hu-
man nature'-'The noble living and the noble dead '-The
unwritten law-Revenge as a motive, how far modified-
Contrasts of character-Subordinate persons-The curse of
Oedipus-Action through narrative-Supposed flaw in the
'Antigone ''The irony of Sophocles'-Last plays-Com-
parison with Shakespeare-Love of Nature-The pathetic
fallacy.
CHAPTER XI
THE GROWTH OF SERIOUSNESS IN SHAKESPEARE
Period of apprenticeship-Closing of London theatres-Poems
-The heart of Shakespeare-'Romeo and Juliet '-Tragic
157
element in the higher comedy-Chronicle plays-Deepening
of the tragic note in the last days of Elizabeth-The Roman
plays- Antony and Cleopatra '—Notes
CHAPTER XII
176
Remarks of Coleridge and Goethe criticised-The Hamlet legend
and the old play-The person of Hamlet-The ideal prince
of Shakespeare in the court of Denmark-Glimpses of his
earlier days-An impossible position- Lapsed in time
and passion'-Pretended madness-The age of Hamlet-
Horatio- Laertes-Ophelia-Claudius-Gertrude-Rosen-
crantz and Guildenstern-Polonius-Fortinbras-Osric-
Bernardo and Marcellus-Notes.
CHAPTER XIII
'MACBETH
Not a villain in grain-The double nature-Dramatic fore-
shortening-Development of personality-Sources of the
fable-The witches-Lady Macbeth and Banquo-The
third murderer-Apparition of Banquo the main crisis-
Macduff the avenger-World-weariness-The porter-The
sergeant
194
218
CHAPTER XIV
'OTHELLO'
Construction of Othello '-Increased concentration-Coleridge
on the catastrophe-Iago's soliloquies-Comparison with
Cinthio's Moor of Venice '-The handkerchief-The recall
of Othello-The fourth act-Appendix to Chapter XIV.
Note
CHAPTER XV
KING LEAR'
Interpretation falls short of dramatic production-Rapidity of
climax in 'King Lear '-Disappearance of the Fool-Slight
235
inconsistencies-Act III. sc. ii., iv. and vi. examined-Part
of Edgar-Progressive stages in Lear's madness-Removal
to Dover-Conception of a prehistoric age
CHAPTER XVI
CYMBELINE,'' WINTER'S TALE,' AND 'TEMPEST'
Romantic plays-Common characteristics—' The Tempest'
xiii
247