Part 44

In favour of (_c_) as against (_a_) I see no argument except that the words of Macduff almost repeat those of Margaret; and this fact does not seem to me to have much weight. It shows only that Shakespeare might easily use the words in the sense of (_c_) if that sense were suitable to the occasion. It is not unlikely, again, I think, that the words came to him here because he had used them many years before;[296] but it does not follow that he knew he was repeating them; or that, if he did, he remembered the sense they had previously borne; or that, if he did remember it, he might not use them now in another sense.

FOOTNOTES:

[Footnote 294: So in Holinshed, as well as in the play, where however 'cousin' need not have its specific meaning.]

[Footnote 295: 'May,' Johnson conjectured, without necessity.]

[Footnote 296: As this point occurs here, I may observe that Shakespeare's later tragedies contain many such reminiscences of the tragic plays of his young days. For instance, cf. _Titus Andronicus_, I. i. 150 f.:

In peace and honour rest you here, my sons,

* * * * *

Secure from worldly chances and mishaps! Here lurks no treason, here no envy swells, Here grow no damned drugs: here are no storms, No noise, but silence and eternal sleep,

with _Macbeth_, III. ii. 22 f.:

Duncan is in his grave; After life's fitful fever he sleeps well; Treason has done his worst: nor steel, nor poison, Malice domestic, foreign levy, nothing, Can touch him further.

In writing IV. i. Shakespeare can hardly have failed to remember the conjuring of the Spirit, and the ambiguous oracles, in _2 Henry VI._ I. iv. The 'Hyrcan tiger' of _Macbeth_ III. iv. 101, which is also alluded to in _Hamlet_, appears first in _3 Henry VI._ I. iv. 155. Cf. _Richard III._ II. i. 92, 'Nearer in bloody thoughts, but not in blood,' with _Macbeth_ II. iii. 146, 'the near in blood, the nearer bloody'; _Richard III._ IV. ii. 64, 'But I am in So far in blood that sin will pluck on sin,' with _Macbeth_ III. iv. 136, 'I am in blood stepp'd in so far,' etc. These are but a few instances. (It makes no difference whether Shakespeare was author or reviser of _Titus_ and _Henry VI._).]

NOTE FF.

THE GHOST OF BANQUO.

I do not think the suggestions that the Ghost on its first appearance is Banquo's, and on its second Duncan's, or _vice versâ_, are worth discussion. But the question whether Shakespeare meant the Ghost to be real or a mere hallucination, has some interest, and I have not seen it fully examined.

The following reasons may be given for the hallucination view:

(1) We remember that Macbeth has already seen one hallucination, that of the dagger; and if we failed to remember it Lady Macbeth would remind us of it here:

This is the very painting of your fear; This is the air-drawn dagger which, you said, Led you to Duncan.

(2) The Ghost seems to be created by Macbeth's imagination; for his words,

now they rise again With twenty mortal murders on their crowns,

describe it, and they echo what the murderer had said to him a little before,

Safe in a ditch he bides With twenty trenched gashes on his head.

(3) It vanishes the second time on his making a violent effort and asserting its unreality:

Hence, horrible shadow! Unreal mockery, hence!

This is not quite so the first time, but then too its disappearance follows on his defying it:

Why what care I? If thou canst nod, speak too.

So, apparently, the dagger vanishes when he exclaims, 'There's no such thing!'

(4) At the end of the scene Macbeth himself seems to regard it as an illusion:

My strange and self-abuse Is the initiate fear that wants hard use.

(5) It does not speak, like the Ghost in _Hamlet_ even on its last appearance, and like the Ghost in _Julius Caesar_.

(6) It is visible only to Macbeth.

I should attach no weight to (6) taken alone (see p. 140). Of (3) it may be remarked that Brutus himself seems to attribute the vanishing of Caesar's Ghost to his taking courage: 'now I have taken heart thou vanishest:' yet he certainly holds it to be real. It may also be remarked on (5) that Caesar's Ghost says nothing that Brutus' own forebodings might not have conjured up. And further it may be asked why, if the Ghost of Banquo was meant for an illusion, it was represented on the stage, as the stage-directions and Forman's account show it to have been.

On the whole, and with some doubt, I think that Shakespeare (1) meant the judicious to take the Ghost for an hallucination, but (2) knew that the bulk of the audience would take it for a reality. And I am more sure of (2) than of (1).

INDEX

The titles of plays are in italics. So are the numbers of the pages containing the main discussion of a character. The titles of the Notes are not repeated in the Index.

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.

Virgilia, 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.

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