Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth

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. Tourgenief, 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. GLASGOW: PRINTED AT THE UNIVERSITY PRESS BY ROBERT MACLEHOSE AND CO. LTD. _8vo. 12s. 6d. net._ Oxford Lectures on Poetry BY A.C. BRADLEY, LL.D., Litt.D. _ATHENAEUM._--"A remarkable achievement.... It is probable that this volume will attain a permanence for which critical literature generally cannot hope. Very many of the things that are said here are finally said; they exhaust their subject. Of one thing we are certain--that there is no work in English devoted to the interpretation of poetic experience which can claim the delicacy and sureness of Mr. Bradley's." _SPECTATOR._--"In reviewing Professor Bradley's previous book on _Shakespearean Tragedy_ we declared our opinion that it was probably the best Shakespearean criticism since Coleridge. The new volume shows the same complete sanity of judgment, the same subtlety, the same persuasive and eloquent exposition." _TIMES._--"Nothing higher need be said of the present volume than it is not unworthy to be the sequel to _Shakespearean Tragedy_." _DAILY TELEGRAPH._--"This is not a book to be written about in a hasty review of a thousand words. It is one to be perused and appreciated at leisure--to be returned to again and again, partly because of its supreme interest, partly because it provokes, as all good books should do, a certain antagonism, partly because it is itself the product of a careful, scholarly mind, basing conclusions on a scrupulous perusal of documents and authorities.... The whole book is so full of good things that it is impossible to make any adequate selection. In an age which is not supposed to be very much interested in literary criticism, a book like Mr. Bradley's is of no little significance and importance." _SATURDAY REVIEW._--"The writer of these admirable lectures may claim what is rare even in this age of criticism--a note of his own. In type he belongs to those critics of the best order, whose view of literature is part and parcel of their view of life. His lectures on poetry are therefore what they profess to be: not scraps of textual comment, nor studies in the craft of verse-making, but broad considerations of poetry as a mode of spiritual revelation. An accomplished style and signs of careful reading we may justly demand from any professor who sets out to lecture in literature. Mr. Bradley has them in full measure. But he has also not a little of that priceless quality so seldom found in the professional or professorial critic--the capacity of naive vision and admiration. Here he is in a line with the really stimulating essayists, the artists in criticism." MACMILLAN AND CO. LTD., LONDON. _Second Edition. Crown 8vo. 5s. 6d. net._ A Commentary on Tennyson's 'In Memoriam' BY A.C. BRADLEY, LL.D., Litt.D. _THE SATURDAY REVIEW._--"Here we find a model of what a commentary on a great work should be, every page instinct with thoughtfulness; complete sympathy and appreciation; the most reverent care shown in the attempted interpretation of passages whose meaning to a large degree evades, and will always evade, readers of 'In Memoriam.' It is clear to us that Mr. Bradley has devoted long time and thought to his work, and that he has published the result of his labours simply to help those who, like himself, have been and are in difficulties as to the drift of various passages. He is not of course the first who has addressed himself to the interpretation of 'In Memoriam'--in this spirit ... but Mr. Bradley's commentary is sure to take rank as the most searching and scholarly of any." _THE PILOT._--"In re-studying 'In Memoriam' with Dr. Bradley's aid, we have found his interpretation helpful in numerous passages. The notes are prefaced by a long introduction dealing with the origin, composition, and structure of the poem, the ideas used in it, the metre and the debt to other poems. All of these are good, but more interesting than any of them is a section entitled, 'The Way of the Soul,' reviewing the spiritual experience which 'In Memoriam' records. This is quite admirable throughout, and proves conclusively that Dr. Bradley's keen desire to fathom the exact meaning of every phrase has only quickened his appreciation of the poem as a whole." MACMILLAN AND CO. LTD., LONDON.