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diff --git a/43435-h/43435-h.htm b/43435-h/43435-h.htm index c4d89d9..a4cc965 100644 --- a/43435-h/43435-h.htm +++ b/43435-h/43435-h.htm @@ -2,7 +2,7 @@ "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> <html xmlns="http://www.w3.org/1999/xhtml" xml:lang="en" lang="en"> <head> -<meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> +<meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> <meta http-equiv="Content-Style-Type" content="text/css" /> <title> The Project Gutenberg eBook of Shakespeare as a dramatic artist, by Richard G. Moulton. @@ -144,45 +144,7 @@ div.bd {margin-left: 25%; margin-right: 25%;} </style> </head> <body> - - -<pre> - -Project Gutenberg's Shakespeare as a Dramatic Artist, by Richard G. Moulton - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - -Title: Shakespeare as a Dramatic Artist - A Popular Illustration of the Principles of Scientific Criticism - -Author: Richard G. Moulton - -Release Date: August 10, 2013 [EBook #43435] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK SHAKESPEARE AS A DRAMATIC ARTIST *** - - - - -Produced by Jonathan Ingram, Eleni Christofaki and the -Online Distributed Proofreading Team at http://www.pgdp.net -(This file was produced from images generously made -available by The Internet Archive/Canadian Libraries) - - - - - - -</pre> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 43435 ***</div> <div class="bd"> <div class="transnote"> @@ -322,7 +284,7 @@ educational stage of life can have the detailed knowledge of Shakespeare's plays as a whole which is required for a full treatment of the subject. The present work is so arranged that it assumes knowledge of only five plays—<em>The Merchant -of Venice</em>, <em>Richard III</em>, <em>Macbeth</em>, <em>Julius Cæsar</em>, and <em>King Lear</em>. +of Venice</em>, <em>Richard III</em>, <em>Macbeth</em>, <em>Julius Cæsar</em>, and <em>King Lear</em>. Not only in the Studies, but also in the final review, the matter introduced is confined to what can be illustrated out of these five plays. These are amongst the most familiar of @@ -434,13 +396,13 @@ The Two Stories Shakespeare Borrows for His 'Merchant of Venice.' </tr> <tr><td colspan="2" class="center"><a href="#VIII">VIII.</a></td> </tr> -<tr><td class="smcap">Julius Cæsar beside his Murderers and his Avenger.</td></tr> +<tr><td class="smcap">Julius Cæsar beside his Murderers and his Avenger.</td></tr> <tr><td><em>A Study in Character-Grouping</em>.</td> <td class="tdr">168</td> </tr> <tr><td colspan="2" class="center"><a href="#IX">IX.</a></td> </tr> -<tr><td class="smcap">How the Play of 'Julius Cæsar' works up to a Climax +<tr><td class="smcap">How the Play of 'Julius Cæsar' works up to a Climax at the centre.</td></tr> <tr><td><em>A Study in Passion and Movement</em>.</td> <td class="tdr">185</td> @@ -514,7 +476,7 @@ criticism.</em></div> branches of thought in becoming inductive. Ultimately, science means no more than organised thought; and amongst the methods of organisation induction is the most practical. To begin with the observation of facts; -to advance from this through the arrangement of observed facts; to use <em>à +to advance from this through the arrangement of observed facts; to use <em>à priori</em> ideas, instinctive notions of the fitness of things, insight into far probabilities, only as side-lights for suggesting convenient arrangements, the value of which is tested only by the actual @@ -921,7 +883,7 @@ marks of distinction and veneration.' But before this the more celebrated dramatists of the Restoration had shown the double feeling in the way they reconstructed Shakespeare's plays, and turned them into 'correct' dramas. Thus Otway -made the mediæval Capulets and Montagus presentable by +made the mediæval Capulets and Montagus presentable by giving them a classical dress as followers of Marius and Sulla; and even Dryden joined in a polite version of <em>The <span class="pagenum"><a name="Page_10" id="Page_10">10</a></span>Tempest</em>, with an original touch for symmetry's sake in the @@ -1222,7 +1184,7 @@ future. The critic peers into the dimness of history, and is found to have been blind to what was by his side: Boileau strives to erect a throne of Comedy for Terence, and never suspects that a truer king was at hand in his own personal -friend Molière. It is in vain for critics to denounce, their +friend Molière. It is in vain for critics to denounce, their <span class="pagenum"><a name="Page_17" id="Page_17">17</a></span>denunciation recoils on themselves: the sentence of Rymer that the soul of modern Drama was a brutish and not a reasonable soul, or of Voltaire, that Shakespeare's Tragedy @@ -1289,7 +1251,7 @@ one of the tragical passions as laid down by Aristotle. To Rymer's mind it was clearly a case of classical standards or no standards, and he describes his opponents as 'a kind of stage-quacks and empirics in poetry who have got a receipt -to please.' And there is a degree of <em>naïveté</em> in the way in +to please.' And there is a degree of <em>naïveté</em> in the way in which Bossu betrays his utter unconsciousness of the possibility that there should be more than one kind of excellence, where, in a passage in which he is admitting that the @@ -1300,7 +1262,7 @@ masters, and that they must condemn all their works who could not foresee all our humours.' Criticism in this spirit is notably illustrated by the Corneille incident in the history of the French Academy. The fashionable literary world, -led by a Scudéry, solemnly impeach Corneille of originality, +led by a Scudéry, solemnly impeach Corneille of originality, and Richelieu insists on the Academy pronouncing judgment; which they at last do, unwillingly enough, since, as Boileau admitted, all France was against them. The only @@ -1556,8 +1518,8 @@ eliminated by reference not to taste;</em></div> -<p>It is precisely at this point that <em>à priori</em> criticism and induction -part company. The <em>à priori</em> critic gets rid of +<p>It is precisely at this point that <em>à priori</em> criticism and induction +part company. The <em>à priori</em> critic gets rid of uncertainty in literary interpretation by confining his attention to effects produced upon the best minds: he sets up <em>taste</em> as a standard by which to try impressions of literature @@ -1585,7 +1547,7 @@ it is not the objective details but the subjective impressions they produce that make literary effect, but the objective details are the <em>limit</em> on the variability of the subjective impressions. The character of Macbeth impresses two readers -differently: how is the difference to be settled? The <em>à priori</em> +differently: how is the difference to be settled? The <em>à priori</em> <span class="pagenum"><a name="Page_25" id="Page_25">25</a></span>critic contends that his conception is the loftier; that a hero should be heroic; that moreover the tradition of the stage and the greatest names in the criticism of the past bear him @@ -1819,12 +1781,12 @@ time impelled to rank one above the other. The confusion of the two is a constant obstacle in the way of literary appreciation. It has been said, by way of comparison between two <span class="pagenum"><a name="Page_30" id="Page_30">30</a></span>great novelists, that George Eliot constructs characters, but -Charlotte Brontë creates them. The description (assuming +Charlotte Brontë creates them. The description (assuming it to be true) ought to shed a flood of interest upon both authoresses; by perpetually throwing on the two modes of treatment the clear light of contrast it ought to intensify our appreciation of both. As a fact, however, the description is -usually quoted to suggest a preference for Charlotte Brontë +usually quoted to suggest a preference for Charlotte Brontë on the supposed ground that creation is 'higher' than construction; and the usual consequences of preferences are threatened—the gradual closing of our susceptibilities to those @@ -1965,7 +1927,7 @@ obligations, restraints of the will; they exist where the will of a ruler or of the community is applied to the individual will. In science, on the other hand, law has to do not with what ought to be, but with what is; scientific laws are facts -reduced to formulæ, statements of the habits of things, so to +reduced to formulæ, statements of the habits of things, so to speak. The laws of the stars in the first sense could only mean some creative fiat, such as 'Let there be lights in the firmament of heaven'; in the scientific sense laws of the stars @@ -2179,7 +2141,7 @@ fresh regions before science, like settled government in the wake of the pioneer, follows to explain the new effects by new principles. No doubt in name literary development is recognised in all criticism; yet in its treatment both of old -literature and new the <em>à priori</em> criticism is false to development +literature and new the <em>à priori</em> criticism is false to development in the scientific sense of the term. <span class="sidenote"><em>Ignoring of development in @@ -2515,7 +2477,7 @@ of Surprise.</em></div> <p>Antonio must be understood as a perfect character: for we must read the play in the light of its age, and intolerance -was a mediæval virtue. But there is no single good quality +was a mediæval virtue. But there is no single good quality that does not carry with it its special temptation, and the sum of them all, or perfection, has its shadow in self-sufficiency. It is so with Antonio. Of all national types @@ -3142,7 +3104,7 @@ but he takes equal pains to rouse our indignation at the treatment he is made to suffer. <span class="sidenote">e.g. <strong>iii.</strong> i.; <strong>iv.</strong> i, &c.</span>Personages such as Gratiano, -Salanio, Salarino, Tubal, serve to keep before us the mediæval +Salanio, Salarino, Tubal, serve to keep before us the mediæval feud between Jew and Gentile, and the persecuting insolence with which the fashionable youth met the money-lenders who ministered to their necessities. @@ -3255,7 +3217,7 @@ The effect of this device a modern reader is in danger of losing: <span class="sidenote"><strong>i.</strong> iii, from 69.</span>we are so familiar with the idea of interest at the present day that we are apt to forget what the difficulty was -to the ancient and mediæval mind, which for so many generations +to the ancient and mediæval mind, which for so many generations kept the practice of taking interest outside the pale of social decency. This prejudice was one of the confusions arising out of the use of a metal currency. The ancient @@ -4259,7 +4221,7 @@ effect of the play, Jessica and Lorenzo serving as a foil to Portia and Bassanio. The characters of Jessica and Lorenzo <span class="pagenum"><a name="Page_83" id="Page_83">83</a></span>are charmingly sketched, though liable to misreading unless carefully studied. To appreciate Jessica we must in the first -place assume the grossly unjust mediæval view of the Jews as +place assume the grossly unjust mediæval view of the Jews as social outcasts. <span class="sidenote"><strong>ii.</strong> v.</span>The dramatist has vouchsafed us a glimpse of Shylock at home, and brief as the scene is it is remarkable how much of evil is crowded into it. The breath of @@ -6621,9 +6583,9 @@ the fall of Macbeth not only serves as the retribution for his rise, but further contains in itself a crime and its nemesis complete. What Banquo is to the first half of the play Macduff is to the latter half; the two balance one another as, -in the play of <em>Julius Cæsar</em>, Cæsar himself is balanced by +in the play of <em>Julius Cæsar</em>, Cæsar himself is balanced by Antony; and Macduff comes into prominence upon Banquo's -death as Antony upon the fall of Cæsar. Now Macduff, when +death as Antony upon the fall of Cæsar. Now Macduff, when he finally slays Macbeth, is avenging not only Scotland, but also his own wrongs; and the tyrant's crime against Macduff, with its retribution, just gives unity to the second half of the @@ -6760,7 +6722,7 @@ they can find—a man whose bodily infirmities had excluded him from the military exercises altogether. Yet in the end the faith of the Spartans is rewarded. It had been no lack of generalship that had caused their former defeats, but discord -and faction in their ranks; now Tyrtæus turned out to +and faction in their ranks; now Tyrtæus turned out to be a lyric poet, whose songs roused the spirit of the Spartans and united them as one man, and when united, their native military talent led them to victory. Thus in its fulfilment the @@ -7800,7 +7762,7 @@ and his helplessness in suspense, is at every turn the source of his betrayal.</p> <p>In the case of Lady Macbeth, the old-fashioned view of -<span class="pagenum"><a name="Page_155" id="Page_155">155</a></span>her as a second Clytæmnestra has long been steadily giving +<span class="pagenum"><a name="Page_155" id="Page_155">155</a></span>her as a second Clytæmnestra has long been steadily giving way before a conception higher at least on the intellectual side. <span class="sidenote"><em>Lady Macbeth as an @@ -8472,7 +8434,7 @@ sword and refuses to fight.</p> <hr class="chap" /> <h2><a name="VIII" id="VIII">VIII.</a></h2> -<p class="hang"><span class="smcap">Julius Cæsar beside his Murderers +<p class="hang"><span class="smcap">Julius Cæsar beside his Murderers and his Avenger.</span></p> <p class="right"><em>A Study in Character-Grouping.</em></p> @@ -8507,9 +8469,9 @@ different personages not only present points of contrast with one another, but their varieties suddenly fall into a unity of effect if looked at from some one point of view. <span class="sidenote"><em> -The grouping in Julius Cæsar rests on the antithesis of the practical +The grouping in Julius Cæsar rests on the antithesis of the practical and inner life.</em></span>An example of such Character-Grouping is seen in the play -of <em>Julius Cæsar</em>, where the four leading figures, all on the grandest +of <em>Julius Cæsar</em>, where the four leading figures, all on the grandest scale, have the elements of their characters thrown into relief by comparison with one another, and the contrast stands out boldly when the four are reviewed in relation to one single idea.</p> @@ -8557,7 +8519,7 @@ up is justice; the corresponding claim which public life makes upon us is (in the highest sense of the term) policy: wherever these two, justice and policy, seem to clash, the outer and inner life are brought into conflict. It is in this form -that the conflict is raised in the play of <em>Julius Cæsar</em>. To +that the conflict is raised in the play of <em>Julius Cæsar</em>. To get it in its full force, the dramatist goes to the world of antiquity, for one of the leading distinctions between ancient and modern society is that the modern world gives the fullest @@ -8575,7 +8537,7 @@ of the heroes of Roman story. Few of the renowned heroes of old had attained their eminence as public benefactors without steeling their hearts against the purest instincts of nature. The deeds of a Brutus or a Manlius, of a Sulla -or a Cæsar, would have been branded as crimes in private +or a Cæsar, would have been branded as crimes in private citizens; it was the public character of the actors that stamped them with immortal glory in the eyes of their countrymen.' Accordingly, the opposition of outer and @@ -8634,7 +8596,7 @@ to it that it is useless to haggle over the amount of the crime until the end be obtained. <span class="sidenote"><strong>ii.</strong> i. 162.</span>Brutus resists this intoxication, setting his face against the proposal to include Antony in -Cæsar's fate, and resolving that not one life shall be unnecessarily +Cæsar's fate, and resolving that not one life shall be unnecessarily sacrificed. He scorns the refuge of suicide; and with warmth adjures his comrades not to stain—</p> @@ -8697,7 +8659,7 @@ swept along with the current of Brutus's irresistible influence. iii. 196-225, &c.</span>In the councils every point is decided—and, so far as success is concerned, wrongly decided—against Cassius's better judgment. In the sensational moment when Popilius Lena enters -the Senate-house and is seen to whisper Cæsar, Cassius's +the Senate-house and is seen to whisper Cæsar, Cassius's presence of mind fails him, <span class="sidenote"><strong>iii.</strong> i. 19.</span>and he prepares in despair for suicide; Brutus retains calmness enough to <em>watch faces</em>:</p> @@ -8706,7 +8668,7 @@ suicide; Brutus retains calmness enough to <em>watch faces</em>:</p> <span class="pagenum"><a name="Page_173" id="Page_173">173</a></span> <div class="i7">Cassius, be constant:</div> <div class="i0">Popilius Lena speaks not of our purposes;</div> -<div class="i0">For, look, he smiles, and Cæsar doth not change.</div> +<div class="i0">For, look, he smiles, and Cæsar doth not change.</div> </div></div></div> <div class="sidenote"><strong>iv.</strong> iii.</div> @@ -8833,7 +8795,7 @@ emotionless rhetoric builds up in the quiet of a study.</p> <div class="blockquotesmall"> -<p>As Cæsar loved me, I weep for him; as he was fortunate, I rejoice +<p>As Cæsar loved me, I weep for him; as he was fortunate, I rejoice at it; as he was valiant, I honour him: but, as he was ambitious, I slew him. There is tears for his love; joy for his fortune; honour for his valour; and death for his ambition.</p></div> @@ -8860,12 +8822,12 @@ been readily decided by a Stoic. But the question which presented itself to Brutus was distinctly not this. <span class="sidenote"><strong>ii.</strong> i. 18-34.</span>Shakespeare has been careful to represent Brutus as admitting to -himself that Cæsar has done no wrong: he slays him <em>for +himself that Cæsar has done no wrong: he slays him <em>for what he might do</em>.</p> <div class="center"> <div class="poem"><div class="stanza"> <div class="i0">The abuse of greatness is, when it disjoins</div> -<div class="i0">Remorse from power: and, <em>to speak truth of Cæsar,</em></div> +<div class="i0">Remorse from power: and, <em>to speak truth of Cæsar,</em></div> <div class="i0"><em>I have not known when his affections sway'd</em></div> <div class="i0"><em>More than his reason</em>. But 'tis a common proof,</div> <div class="i0">That lowliness is young ambition's ladder,</div> @@ -8874,7 +8836,7 @@ what he might do</em>.</p> <div class="i0">But when he once attains the upmost round,</div> <div class="i0">He then unto the ladder turns his back,</div> <div class="i0">Looks in the clouds, scorning the base degrees</div> -<div class="i0">By which he did ascend. So Cæsar may.</div> +<div class="i0">By which he did ascend. So Cæsar may.</div> <div class="i0">Then, lest he may, prevent. And <em>since the quarrel</em></div> <div class="i0"><em>Will bear no colour for the thing he is,</em></div> <div class="i0">Fashion it thus; that what he is, augmented,</div> @@ -8896,23 +8858,23 @@ guiltless; and so the conscious sacrifice of justice and friendship to policy is a fatal error which is source sufficient for the whole tragedy of which Brutus is the hero.</p> -<div class="sidenote"><em>Cæsar: discrepancies +<div class="sidenote"><em>Cæsar: discrepancies in his character to be reconciled.</em></div> -<p>The character of Cæsar is one of the most difficult in +<p>The character of Cæsar is one of the most difficult in Shakespeare. Under the influence of some of his speeches we find ourselves in the presence of one of the master spirits of mankind; other scenes in which he plays a leading part breathe nothing but the feeblest vacillation and weakness. It is the business of Character-Interpretation to harmonise this contradiction; it is not interpretation at all to ignore one -side of it and be content with describing Cæsar as vacillating. +side of it and be content with describing Cæsar as vacillating. The force and strength of his character is seen in the impression he makes upon forceful and strong men. The -attitude of Brutus to Cæsar seems throughout to be that of -looking up; and notably at one point the thought of Cæsar's +attitude of Brutus to Cæsar seems throughout to be that of +looking up; and notably at one point the thought of Cæsar's greatness seems to cast a lurid gleam over the assassination plot itself, and Brutus feels that the grandeur of the victim gives a dignity to the crime:</p> @@ -8927,7 +8889,7 @@ gives a dignity to the crime:</p> <span class="pagenum"><a name="Page_177" id="Page_177">177</a></span> The strength and force of Antony again no one will question; and Antony, at the moment when he is alone with the -corpse of Cæsar and can have no motive for hypocrisy, +corpse of Cæsar and can have no motive for hypocrisy, apostrophises it in the words—</p> <div class="sidenote"><strong>iii.</strong> i. 256.</div> @@ -8937,13 +8899,13 @@ apostrophises it in the words—</p> <div class="i0">That ever lived in the tide of times.</div> </div></div></div> -<p>And we see enough of Cæsar in the play to bear out the +<p>And we see enough of Cæsar in the play to bear out the opinions of Brutus and Antony. Those who accept vacillation -as sufficient description of Cæsar's character must explain +as sufficient description of Cæsar's character must explain his strong speeches as vaunting and self-assertion. But surely it must be possible for dramatic language to distinguish between the true and the assumed force; and equally surely -there is a genuine ring in the speeches in which Cæsar's +there is a genuine ring in the speeches in which Cæsar's heroic spirit, shut out from the natural sphere of action in which it has been so often proved, leaps restlessly at every opportunity into pregnant words. We may thus feel certain @@ -8962,7 +8924,7 @@ of his lofty physical courage.</p> <div class="stanza"> <div class="i6">Danger knows full well</div> -<div class="i0">That Cæsar is more dangerous than he:</div> +<div class="i0">That Cæsar is more dangerous than he:</div> <div class="i0">We are two lions litter'd in one day,</div> <div class="i0">And I the elder and more terrible.</div> </div></div></div> @@ -8971,17 +8933,17 @@ of his lofty physical courage.</p> food, danger, before his self-assertion finds language of this kind in which to express itself. In another scene we have the perfect <em>fortiter in re</em> and <em>suaviter in modo</em> of the trained -statesman exhibited in the courtesy with which Cæsar receives +statesman exhibited in the courtesy with which Cæsar receives the conspirators, <span class="sidenote"><strong>ii.</strong> ii, from 57.</span>combined with his perfect readiness to 'tell graybeards the truth.' <span class="sidenote"><strong>iii.</strong> i. 35.</span>Nor could imperial firmness be more -ideally painted than in the way in which Cæsar 'prevents' +ideally painted than in the way in which Cæsar 'prevents' Cimber's intercession.</p> <div class="center"> <div class="poem"><div class="stanza"> <div class="i8">Be not fond,</div> -<div class="i0">To think that Cæsar bears such rebel blood</div> +<div class="i0">To think that Cæsar bears such rebel blood</div> <span class="pagenum"><a name="Page_178" id="Page_178">178</a></span> <div class="i0">That will be thaw'd from the true quality</div> <div class="i0">With that which melteth fools; I mean, sweet words,</div> @@ -8989,7 +8951,7 @@ Cimber's intercession.</p> <div class="i0">Thy brother by decree is banished:</div> <div class="i0">If thou dost bend and pray and fawn for him,</div> <div class="i0">I spurn thee like a cur out of my way.</div> -<div class="i0">Know, Cæsar doth not wrong, nor without cause</div> +<div class="i0">Know, Cæsar doth not wrong, nor without cause</div> <div class="i0">Will he be satisfied.</div> </div></div></div> @@ -8998,17 +8960,17 @@ relent: the true imperial spirit feels it a preliminary condition to see first that it never does wrong.</p> <div class="sidenote"><em>Reconciliation: -Cæsar the +Cæsar the highest type of the practical;</em></div> <p>It is the antithesis of the outer and inner life that explains -this contradiction in Cæsar's character. Like Macbeth, he is +this contradiction in Cæsar's character. Like Macbeth, he is the embodiment of one side and one side only of the antithesis; he is the complete type of the practical—though in special qualities he is as unlike Macbeth as his age is unlike -Macbeth's age. Accordingly Cæsar appears before us perfect +Macbeth's age. Accordingly Cæsar appears before us perfect up to the point where his own personality comes in. The military and political spheres, in which he has been such a colossal figure, call forth practical powers, and do not involve @@ -9023,7 +8985,7 @@ of thought.</p> <p>The tasks of the soldier and the statesman are imposed upon them by external authority and necessities, and the faculties exercised are those which shape means to ends. But at last -Cæsar comes to a crisis that does involve his personality; he +Cæsar comes to a crisis that does involve his personality; he attempts a task imposed on him by his own ambition. He plays in a game of which the prize is the world and the stake himself, and to estimate chances in such a game tests @@ -9031,7 +8993,7 @@ self-knowledge and self-command to its depths. <span class="sidenote"><em>but lacking in the inner life.</em></span>How wanting -Cæsar is in the cultivation of the inner life is brought out +Cæsar is in the cultivation of the inner life is brought out by his contrast with Cassius. <span class="sidenote"><strong>i.</strong> ii. 100-128.</span>The incidents of the flood and the fever, retained by the memory of Cassius, illustrate this. @@ -9039,19 +9001,19 @@ The first of these was no mere swimming-match; the flood in the Tiber was such as to reduce to nothing the difference <span class="pagenum"><a name="Page_179" id="Page_179">179</a></span>between one swimmer and another. <span class="sidenote"><strong>i.</strong> ii. 102.</span>It was a trial of nerve: -and as long as action was possible Cæsar was not only as +and as long as action was possible Cæsar was not only as brave as Cassius, but was the one attracted by the danger. Then some chance wave or cross current renders his chance of life hopeless, and no buffeting with lusty sinews is of any avail; that is the point at which the <em>passive</em> courage born of the inner life comes in, and gives strength to submit to the -inevitable in calmness. This Cæsar lacks, and he calls for +inevitable in calmness. This Cæsar lacks, and he calls for rescue: Cassius would have felt the water close over him and have sunk to the bottom and died rather than accept aid from his rival. In like manner the sick bed is a region in which the highest physical and intellectual activity is helpless; the trained self-control of a Stoic may have a sphere for exercise -even here; but the god Cæsar shakes, and cries for drink +even here; but the god Cæsar shakes, and cries for drink like a sick girl. <span class="sidenote"><em>The conception brought out by personal @@ -9068,7 +9030,7 @@ uneasily conscious of a sort of superiority in one whose intellectual aims and habits he finds it so difficult to follow—yet superiority it is not, for what has he <em>done</em>? <span class="sidenote"><strong>i.</strong> ii. 182-214.</span>Shakespeare has -illustrated this in the play by contriving to bring Cæsar and +illustrated this in the play by contriving to bring Cæsar and his suite across the 'public place' in which Cassius is discoursing to Brutus. Cassius feels the usual irritation at being utterly unable to find in his old acquaintance any @@ -9078,11 +9040,11 @@ special qualities to explain his elevation.</p> <div class="center"> <div class="poem"><div class="stanza"> <div class="i0">Now, in the names of all the gods at once,</div> -<div class="i0">Upon what meat doth this our Cæsar feed,</div> +<div class="i0">Upon what meat doth this our Cæsar feed,</div> <div class="i0">That he is grown so great?</div> </div></div></div> -<p>Similarly Cæsar, as he casts a passing glance at Cassius, becomes +<p>Similarly Cæsar, as he casts a passing glance at Cassius, becomes at once uneasy. 'He thinks too much,' is the exclamation of the man of action:</p> <div class="center"> @@ -9095,11 +9057,11 @@ of the man of action:</p> <p>The practical man, accustomed to divide mankind into a few simple types, is always uncomfortable at finding a man he cannot classify. Finally there is a climax to the jealousy that -exists between the two lives: Cæsar complains that Cassius +exists between the two lives: Cæsar complains that Cassius '<em>looks quite through the deeds of men.</em>'</p> <div class="sidenote"><em>A change in -Cæsar and +Cæsar and a change in Rome itself.</em></div> <div class="sidenote"> @@ -9113,9 +9075,9 @@ and <strong>iii.</strong> iii; 69-72, &c.</div> <p>There is another circumstance to be taken into account in -explaining the weakness of Cæsar. A change has come over +explaining the weakness of Cæsar. A change has come over the spirit of Roman political life itself—such seems to be -Shakespeare's conception: Cæsar on his return has found +Shakespeare's conception: Cæsar on his return has found Rome no longer the Rome he had known. Before he left for Gaul, Rome had been the ideal sphere for public life, the arena in which principles alone were allowed to combat, and @@ -9128,7 +9090,7 @@ of public men has arisen, of which Cassius and Antony are the types; personal aims, personal temptations, and personal risks are now inextricably interwoven with public action. This is a changed order of things to which the mind of -Cæsar, cast in a higher mould, lacks the power to adapt itself. +Cæsar, cast in a higher mould, lacks the power to adapt itself. His vacillation is the vacillation of unfamiliarity with the new political conditions. <span class="sidenote"><strong>i.</strong> ii. 230.</span>He refuses the crown 'each time @@ -9139,7 +9101,7 @@ Capitol he is too untrained in hypocrisy to conceal the angry spot upon his face; he has tried to use the new weapons which he does not understand, and has failed. <span class="sidenote"><strong>ii.</strong> i. 195.</span>It is a subtle -touch of Shakespeare's to the same effect that Cæsar is represented +touch of Shakespeare's to the same effect that Cæsar is represented as having himself undergone a change <em>of late</em>:</p> <div class="center"> <div class="poem"><div class="stanza"> @@ -9154,9 +9116,9 @@ To come back to a world of which you have mastered the machinery, and to find that it is no longer governed by machinery at all, that causes no longer produce their effects—this, if anything, might well drive a strong intellect to superstition. -And herein consists the pathos of Cæsar's situation. +And herein consists the pathos of Cæsar's situation. The deepest tragedy of the play is not the assassination of -Cæsar, it is rather seen in such a speech as this of Decius:</p> +Cæsar, it is rather seen in such a speech as this of Decius:</p> <div class="sidenote"><strong>ii.</strong> i. 202.</div> <div class="center"> @@ -9175,7 +9137,7 @@ intellect by its very strength unable to contend against the low cunning of a fifth-rate intriguer.</p> <p>Such, then, appears to be Shakespeare's conception of -Julius Cæsar. He is the consummate type of the practical: +Julius Cæsar. He is the consummate type of the practical: emphatically the public man, complete in all the greatness that belongs to action. On the other hand, the knowledge of self produced by self-contemplation is wanting, and @@ -9183,7 +9145,7 @@ so when he comes to consider the relation of his individual self to the state he vacillates with the vacillation of a strong man moving amongst men of whose greater intellectual subtlety he is dimly conscious: no unnatural conception for a -Cæsar who has been founding empires abroad while his +Cæsar who has been founding empires abroad while his fellows have been sharpening their wits in the party contests of a decaying state.</p> @@ -9271,9 +9233,9 @@ Cassius. His distinguishing mark lies in the use to which these powers are put; like Cassius, he has concentrated his whole nature in one aim, but this aim is not a disinterested object of public good, it is unmitigated self-seeking. Antony -has greatness enough to appreciate the greatness of Cæsar; +has greatness enough to appreciate the greatness of Cæsar; hence in the first half of the play he has effaced himself, -<span class="pagenum"><a name="Page_183" id="Page_183">183</a></span>choosing to rise to power as the useful tool of Cæsar. +<span class="pagenum"><a name="Page_183" id="Page_183">183</a></span>choosing to rise to power as the useful tool of Cæsar. <span class="sidenote">esp. <strong>i.</strong> ii, from 190; comp. <strong>ii.</strong> i. @@ -9284,7 +9246,7 @@ is put forth. There seems to be but one element in Antony that is not selfish: <span class="sidenote"><strong>iii.</strong> i, from 254; comp. -194-213.</span>his attachment to Cæsar is genuine, and +194-213.</span>his attachment to Cæsar is genuine, and its force is measured in the violent imagery of the vow with which, when alone for a moment with the corpse, he promises vengeance till all pity is 'choked with custom of fell deeds.' @@ -9298,11 +9260,11 @@ as a whole surveyed.</em></div> <p>Such, then, is the Grouping of Characters in the play of -<em>Julius Cæsar</em>. To catch it they must be contemplated in the +<em>Julius Cæsar</em>. To catch it they must be contemplated in the light of the antithesis between the outer and inner life. In Brutus the antithesis disappears amid the perfect balancing of his character, to reappear in the action, when Brutus has -to choose between his cause and his friend. In Cæsar the +to choose between his cause and his friend. In Cæsar the practical life only is developed, and he fails as soon as action involves the inner life. Cassius has the powers of both outer and inner life perfect, and they are fused into one master-passion, @@ -9320,12 +9282,12 @@ he is glorious: the one false judgment of his life brings him, what is more to him than victory, the chance of maintaining the calmness of principle amid the ruins of a falling cause, and showing how a Stoic can fail and die. The new spirit -<span class="pagenum"><a name="Page_184" id="Page_184">184</a></span>affects Cæsar and tempts him into a personal enterprise in +<span class="pagenum"><a name="Page_184" id="Page_184">184</a></span>affects Cæsar and tempts him into a personal enterprise in which success demands a meanness that he lacks, and he is betrayed to his fall. Yet in his fall he is glorious: the assassins' daggers purge him from the stain of his momentary personal ambition, and the sequel shows that the Roman -world was not worthy of a ruler such as Cæsar. The spirit +world was not worthy of a ruler such as Cæsar. The spirit of the age effects Cassius, and fans his passion to work itself out to his own destruction, and he falls. Yet in his fall he is glorious: we forgive him the lowered tone of his political @@ -9343,7 +9305,7 @@ evil.</p> <hr class="chap" /> <h2><a name="IX" id="IX">IX.</a></h2> -<p class="hang"><span class="smcap">How the Play of Julius Cæsar works +<p class="hang"><span class="smcap">How the Play of Julius Cæsar works to a Climax at the centre.</span></p> <p class="right"><em>A Study in Passion and Movement.</em></p> @@ -9415,7 +9377,7 @@ emotional strain to a summit of agitation at the centre, then through the rest of the play declining into a calmness of a different kind. It is the purpose of the two remaining studies to illustrate this kind of movement in two very different -plays. <em>Julius Cæsar</em> has the simplest of plots; our attention +plays. <em>Julius Cæsar</em> has the simplest of plots; our attention is engaged with a train of emotion which is made to rise gradually to a climax at the centre, and then equally gradually to decline. <em>Lear</em>, on the contrary, is amongst the @@ -9425,7 +9387,7 @@ dramatist contrives to keep the same simple form of emotional of emotional agitation in a few central scenes.</p> <div class="sidenote"><em>In Julius -Cæsar the +Cæsar the movement follows the justification @@ -9433,7 +9395,7 @@ of the conspirators to the audience:</em></div> -<p>The passion in the play of <em>Julius Cæsar</em> gathers around +<p>The passion in the play of <em>Julius Cæsar</em> gathers around the conspirators, and follows them through the mutations of their fortunes. If however we are to catch the different parts of the action in their proper proportions we must remember @@ -9452,7 +9414,7 @@ from the centre.</em></span>and it is this which is found to rise gradually to its height in the centre of the play, and from that point to decline to the end. I have pointed out in the preceding -study how the issue at stake in <em>Julius Cæsar</em> amounts to a +study how the issue at stake in <em>Julius Cæsar</em> amounts to a conflict between the outer and inner life, between devotion to a public enterprise and such sympathy with the claims of individual humanity as is specially fostered by the cultivation @@ -9466,20 +9428,20 @@ Brutus already quoted:</p> <div class="i0">Remorse from power.</div> </div></div></div> -<p>Brutus applies this as a test to Cæsar's action, and is forced +<p>Brutus applies this as a test to Cæsar's action, and is forced to acquit him: but is not Brutus here laying down the very principle of which his own error in the play is the violation? The assassin's dagger puts Brutus and the conspirators in the position of power; while 'remorse'—the word in Shakespearean English means human sympathy—is the due of -their victim Cæsar, whose rights to justice as a man, and to +their victim Cæsar, whose rights to justice as a man, and to more than justice as the friend of Brutus, the conspirators have the responsibility of balancing against the claims of a political cause. These claims of justice and humanity are <span class="pagenum"><a name="Page_188" id="Page_188">188</a></span>deliberately ignored by the stoicism of Brutus, while the rest of the conspirators are blinded to them by the mists of political enthusiasm; this outraged human sympathy asserts -itself after Cæsar's death in a monstrous form in the passions +itself after Cæsar's death in a monstrous form in the passions of the mob, which are guided by the skill of Antony to the destruction of the assassins. Of course both the original violation of the balance between the two lives and the @@ -9523,13 +9485,13 @@ signs of reaction in the popular worship of -Cæsar.</em></span>In it we see the tribunes of the people—officers whose whole -<em>raison d'être</em> is to be the mouthpiece of the commonalty—restraining +Cæsar.</em></span>In it we see the tribunes of the people—officers whose whole +<em>raison d'être</em> is to be the mouthpiece of the commonalty—restraining their own clients from the noisy honours they are disposed -<span class="pagenum"><a name="Page_189" id="Page_189">189</a></span>to pay to Cæsar. +<span class="pagenum"><a name="Page_189" id="Page_189">189</a></span>to pay to Cæsar. <span class="sidenote"><strong>i.</strong> i.</span>To the justification in our eyes of a -conspiracy against Cæsar, there could not be a better starting-point -than this hint that the popular worship of Cæsar, +conspiracy against Cæsar, there could not be a better starting-point +than this hint that the popular worship of Cæsar, which has made him what he is, is itself reaching its reaction-point. Such a suggestion moreover makes the whole play one complete <em>wave</em> of popular fickleness from @@ -9581,13 +9543,13 @@ Without it Cassius thinks life not worth living.</p> <div class="poem"><div class="stanza"> <div class="i0">I had as lief not be as live to be</div> <div class="i0">In awe of such a thing as I myself.</div> -<div class="i0">I was born free as Cæsar; so were you;</div> +<div class="i0">I was born free as Cæsar; so were you;</div> <div class="i0">We both have fed as well, and we can both</div> <div class="i0">Endure the winter's cold as well as he.</div> </div></div></div> <p>The examples follow of the flood and fever incidents, which -show how the majesty of Cæsar vanished before the violence +show how the majesty of Cæsar vanished before the violence of natural forces and the prostration of disease.</p> <div class="sidenote">115.</div> @@ -9596,7 +9558,7 @@ of natural forces and the prostration of disease.</p> <div class="i7">And this man</div> <div class="i0">Is now become a god, and Cassius is</div> <div class="i0">A wretched creature and must bend his body,</div> -<div class="i0">If Cæsar carelessly but nod on him.</div> +<div class="i0">If Cæsar carelessly but nod on him.</div> </div></div></div> <p>In the eye of the state, individuals are so many members of a @@ -9606,14 +9568,14 @@ examples of the proper noun.</p> <div class="sidenote">142.</div> <div class="center"> <div class="poem"><div class="stanza"> -<div class="i0">Brutus and Cæsar: what should be in that 'Cæsar'?</div> +<div class="i0">Brutus and Cæsar: what should be in that 'Cæsar'?</div> <div class="i0">Why should that name be sounded more than yours?</div> <div class="i0">Write them together, yours is as fair a name;</div> <div class="i0">Sound them, it doth become the mouth as well;</div> <div class="i0">Weigh them, it is as heavy; conjure with them,</div> -<div class="i0">Brutus will start a spirit as soon as Cæsar.</div> +<div class="i0">Brutus will start a spirit as soon as Cæsar.</div> <div class="i0">Now, in the names of all the gods at once,</div> -<div class="i0">Upon what meat doth this our Cæsar feed,</div> +<div class="i0">Upon what meat doth this our Cæsar feed,</div> <div class="i0">That he is grown so great?</div> </div></div></div> @@ -9624,14 +9586,14 @@ his worst. <span class="sidenote">from 182.</span>All through the conversation b Cassius, the shouting of the mob reminds of the scene which is at the moment going on in the Capitol, while the conversation is interrupted for a time by the returning procession of -Cæsar. In this action behind the scenes which thus mingles -with the main incident Cæsar is committing the one fault of +Cæsar. In this action behind the scenes which thus mingles +with the main incident Cæsar is committing the one fault of his life: this is the fault of 'treason,' which can be justified <span class="pagenum"><a name="Page_191" id="Page_191">191</a></span>only by being successful and so becoming 'revolution,' -whereas Cæsar is failing, and deserving to fail from the +whereas Cæsar is failing, and deserving to fail from the vacillating hesitation with which he sins. Moreover, unfavourable as such incidents would be in themselves to our -sympathy with Cæsar, yet it is not the actual facts that we +sympathy with Cæsar, yet it is not the actual facts that we are permitted to see, but they are further distorted by the medium through which they reach us—the cynicism of Casca which belittles and disparages all he relates.</p> @@ -9651,14 +9613,14 @@ again: but, to my thinking, he was very loath to lay his fingers off it. And then he offer'd it the third time; he put it the third time by: and still as he refused it, the rabblement hooted and clapped their chapped hands and threw up their sweaty night-caps and uttered such a deal of -stinking breath because Cæsar had refused the crown that it had almost -choked Cæsar; for he swounded and fell down at it: and, for mine own +stinking breath because Cæsar had refused the crown that it had almost +choked Cæsar; for he swounded and fell down at it: and, for mine own part, I durst not laugh, for fear of opening my lips and receiving the bad air.... When he came to himself again, he said, If he had done or said anything amiss, he desired their worships to think it was his infirmity. Three or four wenches, where I stood, cried, 'Alas, good soul!' and forgave him with all their hearts; but there's no heed to be -taken of them; if Cæsar had stabbed their mothers they would have +taken of them; if Cæsar had stabbed their mothers they would have done no less.</p> </div> @@ -9819,7 +9781,7 @@ conspirators step aside, to occupy a few moments while the rest are conferring apart, it is to the sky their thoughts naturally seem to turn, and they with difficulty can make out the East from the West; the discussion of the conspirators -includes the effect on Cæsar of the night's prodigies. Later +includes the effect on Cæsar of the night's prodigies. Later Portia remonstrates against her husband's exposure to the raw and dank morning, to the rheumy and unpurged air; even when daylight has fully returned, the conversation is of @@ -9837,14 +9799,14 @@ excitement side by side with Brutus's immovable moderation. 233.</span>Then the Conspiracy Scene fades in the early morning light into a display of Brutus in his softer relations; and with -<span class="sidenote"><strong>ii.</strong> ii.</span>complete return of day changes to the house of Cæsar on -the fatal morning. Cæsar also is displayed in contact with +<span class="sidenote"><strong>ii.</strong> ii.</span>complete return of day changes to the house of Cæsar on +the fatal morning. Cæsar also is displayed in contact with the supernatural, as represented by Calpurnia's terrors and repeated messages of omens that forbid his venturing upon <span class="pagenum"><a name="Page_195" id="Page_195">195</a></span>public action for that day. -<span class="sidenote"><em>Cæsar still +<span class="sidenote"><em>Cæsar still seen at a -disadvantage;</em></span>Cæsar faces all this with his +disadvantage;</em></span>Cæsar faces all this with his usual loftiness of mind; yet the scene is so contrived that, as far as immediate effect is concerned, this very loftiness is made to tell against him. The unflinching courage that @@ -9854,15 +9816,15 @@ seems presumption to us who know the reality of the danger. Why should he not? his is not the conscious weakness that must be firm to show that it is not afraid. Yet when, upon Decius's explaining away the dream and satisfying Calpurnia's -fears, Cæsar's own attraction to danger leads him to +fears, Cæsar's own attraction to danger leads him to persevere in his first intention, this change of purpose seems to us, <span class="sidenote"><strong>ii.</strong> i. 202.</span>who have heard Decius's boast that he can o'ersway -Cæsar with flattery, a confirmation of Cæsar's weakness. So +Cæsar with flattery, a confirmation of Cæsar's weakness. So in accordance with the purpose that reigns through the first half of the play the victim is made to appear at his worst: the <em>passing</em> effect of the scene is to suggest weakness in -Cæsar, while it is in fact furnishing elements which, upon +Cæsar, while it is in fact furnishing elements which, upon reflection, go to build up a character of strength. <span class="sidenote"><em>and the justification @@ -9905,7 +9867,7 @@ confidence to his comrades.</p> <div class="i4">In personal action, yet prodigious grown</div> <div class="i4">And fearful, as these strange eruptions are—</div> -<div class="i0"><em>Casca.</em> 'Tis Cæsar that you mean; is it not, Cassius?</div> +<div class="i0"><em>Casca.</em> 'Tis Cæsar that you mean; is it not, Cassius?</div> </div></div></div> <div class="sidenote"><em>Third @@ -9920,14 +9882,14 @@ the passion; the strain upon our emotions now rises to a height of agitation. The exact commencement of the crisis seems to be marked by the soothsayer's words at the opening of Act III. <span class="sidenote"><strong>ii.</strong> iii—<strong>iii.</strong> -i. 121.</span>Cæsar observes on entering the Capitol the +i. 121.</span>Cæsar observes on entering the Capitol the soothsayer who had warned him to beware of this very day.</p> <div class="center"> <div class="poem"><div class="stanza"> -<div class="i0"><em>Cæsar.</em> The ides of March are come.</div> +<div class="i0"><em>Cæsar.</em> The ides of March are come.</div> -<div class="i0"><em>Sooth.</em> Ay, Cæsar; but not gone.</div> +<div class="i0"><em>Sooth.</em> Ay, Cæsar; but not gone.</div> </div></div></div> <p>Such words seem to measure out a narrow area of time in @@ -9941,12 +9903,12 @@ devices to bring about a distinct advance in the intensification of the strain. <span class="sidenote"><em>Artemidorus</em>; <strong>ii.</strong> iii. and <strong>iii.</strong> i. 3.</span>In the first, Artemidorus appeared reading -a letter of warning which he purposed to present to Cæsar +a letter of warning which he purposed to present to Cæsar on his way to the fatal spot. In the Capitol Scene he presents it, while the ready Decius hastens to interpose another -petition to take off Cæsar's attention. Artemidorus conjures -Cæsar to read his first for 'it touches him nearer'; but the -imperial chivalry of Cæsar forbids:</p> +petition to take off Cæsar's attention. Artemidorus conjures +Cæsar to read his first for 'it touches him nearer'; but the +imperial chivalry of Cæsar forbids:</p> <div class="center"> <div class="poem"><div class="stanza"> <div class="i0">What touches us ourself shall be last served.</div> @@ -9968,18 +9930,18 @@ moves on the side of the conspirators. <span class="sidenote"><em>Popilius Lena.</em></span>In the crisis itself the agitation becomes painful as the entrance of Popilius -<span class="sidenote"><strong>iii.</strong> i. 13.</span>Lena and his secret communication to Cæsar cause a panic +<span class="sidenote"><strong>iii.</strong> i. 13.</span>Lena and his secret communication to Cæsar cause a panic that threatens to wreck the whole plot on the verge of its success. Brutus's nerve sustains even this trial, and the way for the accomplishment of the deed is again clear. Emotional devices like these have carried the passion up to a climax of agitation; and the conspirators now advance to present their pretended suit and achieve the bloody deed. To the -last the double effect of Cæsar's demeanour continues. +last the double effect of Cæsar's demeanour continues. Considered in itself, his unrelenting firmness of principle exhibits the highest model of a ruler; yet to us, who know the purpose lurking behind the hypocritical intercession of -the conspirators, Cæsar's self-confidence resembles the infatuation +the conspirators, Cæsar's self-confidence resembles the infatuation that goes before Nemesis. <span class="sidenote">from 58.</span>He scorns the fickle politicians before him as mere wandering sparks of heavenly fire, while he is left alone as a pole-star of true-fixed and @@ -10010,7 +9972,7 @@ whole world and all time.</p> <div class="i3">Shall this our lofty scene be acted over</div> <div class="i3">In states unborn and accents yet unknown!</div> -<div class="i0"><em>Brutus</em>. How many times shall Cæsar bleed in sport,</div> +<div class="i0"><em>Brutus</em>. How many times shall Cæsar bleed in sport,</div> <span class="pagenum"><a name="Page_198" id="Page_198">198</a></span> <div class="i3">That now on Pompey's basis lies along,</div> <div class="i3">No worthier than the dust!</div> @@ -10044,13 +10006,13 @@ scene to the very end.</p> <div class="poem"><div class="stanza"> <div class="i7">Thus he bade me say:</div> <div class="i0">Brutus is noble, wise, valiant, and honest,</div> -<div class="i0">Cæsar was mighty, bold, royal, and loving,</div> +<div class="i0">Cæsar was mighty, bold, royal, and loving,</div> <div class="i0">Say I love Brutus, and I honour him;</div> -<div class="i0">Say I fear'd Cæsar, honour'd him, and lov'd him.</div> +<div class="i0">Say I fear'd Cæsar, honour'd him, and lov'd him.</div> <div class="i0">If Brutus will vouchsafe that Antony</div> <div class="i0">May safely come to him, and be resolv'd</div> -<div class="i0">How Cæsar hath deserved to lie in death,</div> -<div class="i0">Mark Antony shall not love Cæsar dead</div> +<div class="i0">How Cæsar hath deserved to lie in death,</div> +<div class="i0">Mark Antony shall not love Cæsar dead</div> <div class="i0">So well as Brutus living.</div> </div></div></div> @@ -10059,7 +10021,7 @@ swift swinging round of a dramatic action as is here marked by this sudden up-springing of the suppressed individuality in Antony's character, <span class="sidenote"><strong>ii.</strong> i. 165.</span>hitherto so colourless that he has -been spared by the conspirators as a mere limb of Cæsar. +been spared by the conspirators as a mere limb of Cæsar. <span class="sidenote"><strong>iii.</strong> i. 144.</span>The tone of exultant triumph in the conspirators has in an instant given place to Cassius's 'misgiving' as Brutus grants Antony an audience; @@ -10094,7 +10056,7 @@ becomes the natural relief to his pent-up passion.</p> <div class="poem"><div class="stanza"> <div class="i0">Friends am I with you all and love you all,</div> <div class="i0"><em>Upon this hope, that you shall give me reasons</em></div> -<div class="i0">Why and wherein Cæsar was dangerous.</div> +<div class="i0">Why and wherein Cæsar was dangerous.</div> </div></div></div> <p>It is as he feels the sense of innate oratorical power and of @@ -10103,7 +10065,7 @@ he exaggerates his temporary amity with the men he is about to crush: it is the executioner arranging his victim comfortably on the rack before he proceeds to apply the levers. Already the passion of the drama has fallen under -the guidance of Antony. The view of Cæsar as an innocent +the guidance of Antony. The view of Cæsar as an innocent victim is now allowed full play upon our sympathies when Antony, <span class="sidenote">from 254.</span>left alone with the corpse, can drop the @@ -10134,7 +10096,7 @@ is a diversion: the mention of the victory over the Nervii turns the emotions in the direction of historic pride, <span class="sidenote">178.</span>which harmonises well with the opposite emotions roused as the -orator fingers hole after hole in Cæsar's mantle made by the +orator fingers hole after hole in Cæsar's mantle made by the daggers of his false friends, <span class="sidenote">200.</span>and so leads up to a sudden shock when he uncovers the body itself and displays the @@ -10194,7 +10156,7 @@ now attractive touches in them serve only to increase the pathos of a fate which, however, our sympathy no longer seeks to resist. <span class="sidenote"><strong>iv.</strong> iii. 275.</span>We get a supernatural foreshadowing of the -end in the appearance to Brutus of Cæsar's Ghost, +end in the appearance to Brutus of Cæsar's Ghost, <span class="sidenote"><strong>v.</strong> i. 80.</span>and the omen Cassius sees of the eagles that had consorted his army to Philippi giving place to ravens, crows, and kites on the @@ -10209,7 +10171,7 @@ entirely vanishes as the conspirators recognise -Cæsar's +Cæsar's victory.</em></span>The last remnant of justification for their cause ceases as the conspirators themselves seem to acknowledge their error and @@ -10219,7 +10181,7 @@ weapon with which he had committed the crime:</p> <div class="sidenote"><strong>v.</strong> iii. 45.</div> <div class="center"> <div class="poem"><div class="stanza"> -<div class="i3">Cæsar, thou art revenged,</div> +<div class="i3">Cæsar, thou art revenged,</div> <div class="i0">Even with the sword that kill'd thee.</div> </div></div> </div> @@ -10228,7 +10190,7 @@ weapon with which he had committed the crime:</p> <div class="sidenote"><strong>v.</strong> v. 94.</div> <div class="center"> <div class="poem"><div class="stanza"> -<div class="i0">O Julius Cæsar, thou art mighty yet!</div> +<div class="i0">O Julius Cæsar, thou art mighty yet!</div> <div class="i0">Thy spirit walks abroad, and turns our swords</div> <div class="i0">In our own proper entrails.</div> </div></div></div> @@ -10247,7 +10209,7 @@ of Lear highly complex</em>.</div> -<p class="dropcap">IN <em>Julius Cæsar</em> we have seen how, in the case of a very +<p class="dropcap">IN <em>Julius Cæsar</em> we have seen how, in the case of a very simple play, a few simple devices are sufficient to produce a regular rise and fall in the passion. We now turn to a highly elaborate plot and trace how, notwithstanding the @@ -10410,7 +10372,7 @@ a single scene brings about the unnatural state of affairs, the consequences of which it takes the rest of the play to trace. The 'catastrophe,' or turning-point of the play at which the ultimate issues are decided, appears in the present case, not -close to the end of the play, nor (as in <em>Julius Cæsar</em>) in the +close to the end of the play, nor (as in <em>Julius Cæsar</em>) in the centre, but close to the commencement: at the end of the opening scene Lear's act of folly has in reality determined the issue of the whole action; the scenes which follow are @@ -10910,7 +10872,7 @@ play.</em></div> <p>As Lear with these words rushes out into the night, we hear the first sound of the storm—the storm which here, as -in <em>Julius Cæsar</em>, will be recognised as the dramatic background +in <em>Julius Cæsar</em>, will be recognised as the dramatic background to the tempest of human emotions; it is the signal that we have now entered upon the mysterious Centrepiece of the play, in which the gathering passions of the whole @@ -11124,7 +11086,7 @@ called madness, the professional madness of the court fool. <span class="sidenote"><em>Institution of the court fool.</em></span>This court fool or jester is an institution of considerable -interest. It seems to rest upon three mediæval and ancient +interest. It seems to rest upon three mediæval and ancient notions. The first is the barbarism of enjoying personal defects, illustrated in the large number of Roman names derived from bodily infirmities, Varus the bandy-legged, Balbus @@ -11135,7 +11097,7 @@ underlying the institution of a jester is the connection to the ancient mind between madness and inspiration; the same <span class="pagenum"><a name="Page_219" id="Page_219">219</a></span>Greek word <em>entheos</em> stands for both, and to this day the idiot of a Scotch village is believed in some way to see further -than sane folk. A third idea to be kept in mind is the mediæval +than sane folk. A third idea to be kept in mind is the mediæval conception of wit. With us wit is weighed by its intrinsic worth; the old idea, appearing repeatedly in Shakespeare's scenes, was that wit was a mental game, a sort of @@ -11743,7 +11705,7 @@ of the present enquiry that the Drama is to be considered throughout relatively to its acting. Much of dramatic effect that is special to Stage-Representation will be here ignored: <span class="pagenum"><a name="Page_234" id="Page_234">234</a></span>the whole mechanism of elocution, effects of light, colour and -costume, the greater portion of what constitutes <em>mise-en-scène</em>. +costume, the greater portion of what constitutes <em>mise-en-scène</em>. But in dealing with any play the fullest scope is assumed for ideal acting. The interpretation of a character must include what an actor can put into it; in dealing with @@ -11994,7 +11956,7 @@ displayed.</em></span>As a third principle, it is perhaps too obvious to be worth formulating that Interpretation must allow for the degree to which the character is displayed by the action: that Brutus's frigid eloquence at the funeral of -Cæsar means not coldness of feeling but stoicism of public +Cæsar means not coldness of feeling but stoicism of public demeanour. <span class="sidenote"><em>Interpretation reacting on @@ -12107,7 +12069,7 @@ how the same antithesis of outer and inner life which made the conception of Macbeth and his wife intelligible would serve, when adapted to the widely different world of Roman political life, to explain the characters of the leading -conspirators in <em>Julius Cæsar</em>, of their victim and of his +conspirators in <em>Julius Cæsar</em>, of their victim and of his avenger: while, over and above the satisfaction of Interpretation, the Grouping of these four figures, so colossal and so impressive, round a single idea is an interest in itself. @@ -12393,7 +12355,7 @@ of Irony. His most characteristic handling of it belongs to the lighter plays; yet in the group of dramas dealt with in this work it is prominent amongst his effects. It has been pointed out how <em>Macbeth</em> and <em>Richard III</em> are saturated -with it. There are casual illustrations in <em>Julius Cæsar</em>, as +with it. There are casual illustrations in <em>Julius Cæsar</em>, as when the dictator bids his intended murderer</p> <div class="sidenote"><strong>ii.</strong> ii. 123.</div> @@ -12442,7 +12404,7 @@ an effect of detail—a sign connecting very closely retribution with sin or reaction with triumph. <span class="sidenote"><strong>v.</strong> iii. 45.</span>Such a Nemesis may be seen where Cassius in the act of falling on his sword recognises -the weapon as the same with which he stabbed Cæsar. +the weapon as the same with which he stabbed Cæsar. <span class="sidenote"><em>Dramatic Foreshadowing.</em></span>Another special variety of effect is <em>Dramatic Foreshadowing</em>—mysterious details pointing to an explanation in the @@ -12456,7 +12418,7 @@ themselves—<span class="sidenote"><strong>i.</strong> i. 39.</span>the Pri in <em>Richard III</em>, <span class="sidenote"><strong>v.</strong> i. 77-90.</span>the letter G that of Edward's heirs the murderer should be, the crows substituted for Cassius's eagles on the morning of the final battle. A more elaborate -example is seen in <em>Julius Cæsar</em>, +example is seen in <em>Julius Cæsar</em>, <span class="sidenote"><strong>i.</strong> ii. 18.</span>where the soothsayer's vague warning 'Beware the Ides of March'—a solitary voice that could yet arrest the hero through the shouting of the @@ -12467,8 +12429,8 @@ nearer:</p> <div class="sidenote"><strong>iii.</strong> i. 1.</div> <div class="center"> <div class="poem"><div class="stanza"> -<div class="i0"><em>Cæsar.</em> The Ides of March are come.</div> -<div class="i0"><em>Soothsayer.</em> Ay, Cæsar; but not gone.</div> +<div class="i0"><em>Cæsar.</em> The Ides of March are come.</div> +<div class="i0"><em>Soothsayer.</em> Ay, Cæsar; but not gone.</div> </div></div></div> <p>These three leading Effects may be sufficient to illustrate @@ -12741,7 +12703,7 @@ be no security.</p> in the world in which Richard is plunged there appears to be no event which is not a nemesis. Or the point may be the unlooked-for source from which the nemesis comes; as when -upon the murder of Cæsar a colossus of energy and resource +upon the murder of Cæsar a colossus of energy and resource starts up in the time-serving and frivolous Antony, <span class="sidenote"><strong>ii.</strong> i. 165.</span>whom the conspirators had spared for his insignificance. Or again, @@ -13171,7 +13133,7 @@ Background.</em></div> <p>In another and very different way we have supernatural agency called in to throw a peculiar illumination over human events. In dealing with the movement of <em>Julius -Cæsar</em> I have described at length the <em>Supernatural Background</em> +Cæsar</em> I have described at length the <em>Supernatural Background</em> of storm, tempest, and portent, which assist the emotional agitation throughout the second stage of the action. These are clearly supernatural in that they are made to suggest @@ -13462,7 +13424,7 @@ and the Duchess of York to bring out its opposite sides. In <em>Macbeth</em> there is an Enveloping Action of the supernatural centring round the Witches: the human workings of the play are wrapped in a deeper working out of destiny, -with prophetic beings to keep it before us. <em>Julius Cæsar</em>, +with prophetic beings to keep it before us. <em>Julius Cæsar</em>, as a story of political conspiracy and political reaction, is furnished with a loose Enveloping Action in the passions of the Roman mob: this is a vague power outside recognised @@ -13622,7 +13584,7 @@ till he falls a victim to its success; to balance this we have in the Fall Macduff, who becomes important only after Banquo's death, and from that point occupies more and more of the field of view until he brings the action to a -close. Similarly in <em>Julius Cæsar</em> the victim himself dominates +close. Similarly in <em>Julius Cæsar</em> the victim himself dominates the first half; Antony, his avenger, succeeds to his position for the second half. <span class="sidenote"><em>Parallelism and @@ -13793,7 +13755,7 @@ Line of Passion has its various forms. A chapter has been devoted to illustrating one form of Passion-Movement, which may be called the <em>Regular Arch</em>—if we may found a technical term on the happy illustration of Gervinus. The -example was taken from the play of <em>Julius Cæsar</em>, the +example was taken from the play of <em>Julius Cæsar</em>, the emotional effect in which was shown to pass from calm interest to greater and greater degree of agitation, until after culminating in the centre it softens down and yields to the @@ -13876,8 +13838,8 @@ elements which are themselves rising and falling Nemeses. Such Similar Motion is only Parallelism looked at from the side of movement. A variation of it occurs when the form of one action is distributed amongst the rest: the main -action of <em>Julius Cæsar</em> is a Nemesis Action, the two subactions -are the separate interests of Cæsar and Antony, +action of <em>Julius Cæsar</em> is a Nemesis Action, the two subactions +are the separate interests of Cæsar and Antony, which put together amount to Nemesis.</p> <div class="sidenote"><em>Contrary @@ -13965,7 +13927,7 @@ in military phrase Dover is the common <em>objective</em> on which all the separate trains of interest are concentrating. In this way have the actions of this intricate plot, so numerous and so separate at first, been found to converge to a common -centre and then move together to a common <em>dénouement</em>.</p> +centre and then move together to a common <em>dénouement</em>.</p> <div class="sidenote"><em>Turning-points.</em></div> @@ -14015,7 +13977,7 @@ failure: the corresponding Catastrophe in this play is double, <strong>v.</strong> viii. 13.</span>a first appearance of Nemesis in Banquo's ghost, its final stroke in the revelation of Macduff's secret of birth. <span class="sidenote"><strong>iii.</strong> i. 122.</span><em>Julius -Cæsar</em> presents the interesting feature of the Catastrophe +Cæsar</em> presents the interesting feature of the Catastrophe and Central Turning-point exactly coinciding, in the triumphant appeal of the conspirators to future history. <em>Lear</em>, according to the scheme of analysis suggested in this work, @@ -14605,7 +14567,7 @@ of Macduff's birth: <strong>v.</strong> viii. 12.</span></p> <hr class="chap" /> <p><span class="pagenum"><a name="Page_296" id="Page_296">296</a></span></p> -<h3>JULIUS CÆSAR.</h3> +<h3>JULIUS CÆSAR.</h3> <p class="center"><span class="smcap">A Passion-Drama.</span></p> @@ -14616,7 +14578,7 @@ of Macduff's birth: <strong>v.</strong> viii. 12.</span></p> <table summary="sub actions"> <tr><td rowspan="2"><big>{</big></td> <td>Sub-Action to the Rise [<strong>Character-decline</strong>]: -The Victim Cæsar.</td></tr> +The Victim Cæsar.</td></tr> <tr> <td> @@ -14751,7 +14713,7 @@ and compare 82 with 160).</td></tr> <p><em>Farcical Relief Action: The Fool: Stationary.</em></p> <blockquote> <p class="hang">Enveloping Action: The French War: originating ultimately in -the Initial Action and becoming the Objective of the <em>Dénouement</em>. +the Initial Action and becoming the Objective of the <em>Dénouement</em>. [Page <a href="#Page_273">273</a>.]</p> </blockquote> <p><em>Economy.</em></p> @@ -14812,7 +14774,7 @@ madnesses are brought into contact (page <a href="#Page_223">223</a>).</p> <li class="isuba">Enveloping Action <a href="#Page_272">272</a>-<a href="#Page_274">4</a></li> <li class="isuba"><strong>Illustrations</strong> of Enveloping Action: <em>Richard III</em> <a href="#Page_273">273</a>, <em>Macbeth</em> <a href="#Page_273">273</a>, - <em>Julius Cæsar</em> <a href="#Page_273">273</a>, + <em>Julius Cæsar</em> <a href="#Page_273">273</a>, <em>King Lear</em> <a href="#Page_273">273</a>-<a href="#Page_274">4</a>.</li> <li>'Action-Drama' as substitute for 'Comedy' <a href="#Page_280">280</a>-<a href="#Page_281">1</a>.</li> @@ -14886,11 +14848,11 @@ Triple <a href="#Page_270">270</a>, <a href="#VI">125</a>, <a href="#Page_142">1 <li class="isuba">as an element in Character-Interpretation <a href="#Page_146">146</a></li> <li class="isuba">applied to the age of Macbeth <a href="#Page_147">147</a></li> <li class="isuba">key to the portraiture of Macbeth and his wife <a href="#Page_147">147</a>-<a href="#Page_167">167</a></li> -<li class="isuba">applied to the age of Julius Cæsar in the form of policy <em>v.</em> justice <a href="#VIII">168</a>-<a href="#Page_171">71</a></li> +<li class="isuba">applied to the age of Julius Cæsar in the form of policy <em>v.</em> justice <a href="#VIII">168</a>-<a href="#Page_171">71</a></li> <li class="isuba">connected with character of Antony <a href="#Page_182">182</a>, <span class="pagenum"><a name="Page_302" id="Page_302">302</a></span> Brutus <a href="#Page_171">171</a>-<a href="#Page_176">6</a>, - Cæsar <a href="#Page_176">176</a>-<a href="#Page_181">81</a>, + Cæsar <a href="#Page_176">176</a>-<a href="#Page_181">81</a>, Cassius <a href="#Page_181">181</a></li> <li class="isuba">applied to the group as a whole <a href="#Page_183">183</a>-<a href="#Page_184">4</a>.</li> @@ -14902,7 +14864,7 @@ Brutus <a href="#Page_171">171</a>-<a href="#Page_176">6</a>, <li>Apuleianism <a href="#Page_15">15</a>.</li> <li>Arch as an illustration of dramatic form <a href="#Page_127">127</a>, <a href="#Page_280">280</a></li> -<li class="isuba">applied to the Movement in Julius Cæsar <a href="#Page_186">186</a>, <a href="#Page_280">280</a></li> +<li class="isuba">applied to the Movement in Julius Cæsar <a href="#Page_186">186</a>, <a href="#Page_280">280</a></li> <li class="isuba">to King Lear: Main Plot <a href="#Page_209">209</a>, Underplot <a href="#Page_215">215</a>-<a href="#Page_217">17</a>.</li> @@ -14922,7 +14884,7 @@ Brutus <a href="#Page_171">171</a>-<a href="#Page_176">6</a>, <li class="ifrst"><a id="Background_of_Nature"></a>Background of Nature as an element in dramatic effect <a href="#Page_192">192</a>-<a href="#Page_194">4</a></li> <li class="isuba">its widespread use in poetry <a href="#Page_192">192</a></li> <li class="isuba">analysed <a href="#Page_192">192</a></li> -<li class="isuba">illustrated in <em>Julius Cæsar</em> in connection with the Supernatural <a href="#Page_193">193</a>-<a href="#Page_196">6</a></li> +<li class="isuba">illustrated in <em>Julius Cæsar</em> in connection with the Supernatural <a href="#Page_193">193</a>-<a href="#Page_196">6</a></li> <li class="isuba">used in Centrepiece of King Lear <a href="#Page_214">214</a></li> <li class="isuba">considered as an example of the Supernatural illuminating human action <a href="#Page_266">266</a>.</li> @@ -14948,7 +14910,7 @@ Brutus <a href="#Page_171">171</a>-<a href="#Page_176">6</a>, <li>Bossu <a href="#Page_17">17</a>, <a href="#Page_18">18</a>.</li> -<li>Brontë, Charlotte: <a href="#Page_30">30</a>.</li> +<li>Brontë, Charlotte: <a href="#Page_30">30</a>.</li> <li>Buckingham <a href="#Page_17">17</a>.</li> @@ -14960,7 +14922,7 @@ Brutus <a href="#Page_171">171</a>-<a href="#Page_176">6</a>, <li class="isuba"><strong>Examples</strong>: <em>Merchant of Venice</em> <a href="#Page_285">285</a>; <em>Richard III</em> <a href="#Page_285">285</a>, <a href="#Page_120">120</a>; <em>Macbeth</em> <a href="#Page_285">285</a>; -<em>Julius Cæsar</em> <a href="#Page_285">285</a>, <a href="#Page_198">198</a>; +<em>Julius Cæsar</em> <a href="#Page_285">285</a>, <a href="#Page_198">198</a>; <em>King Lear</em> <a href="#Page_285">285</a>, <a href="#Page_205">205</a></li> <li class="isuba">in Technical Analyses <a href="#Page_291">291</a>-<a href="#Page_298">8</a>.</li> @@ -14999,7 +14961,7 @@ Brutus <a href="#Page_171">171</a>-<a href="#Page_176">6</a>, <li class="isuba">as an Elementary Topic of Dramatic Criticism <a href="#Page_236">236</a></li> <li class="isuba"><strong>Illustrations</strong>: <em>Merchant of Venice</em> <a href="#Page_82">82</a>-<a href="#Page_87">7</a></li> <li class="isuba"><em>Macbeth</em> <a href="#VII">144</a> and Chapter <a href="#VII">VII</a></li> -<li class="isuba"><em>Julius Cæsar</em> <a href="#Page_178">178</a>, &c.</li> +<li class="isuba"><em>Julius Cæsar</em> <a href="#Page_178">178</a>, &c.</li> <li><span class="pagenum"><a name="Page_303" id="Page_303">303</a></span> Character-Development <a href="#Page_242">242</a>-<a href="#Page_245">5</a></li> @@ -15011,10 +14973,10 @@ Character-Development <a href="#Page_242">242</a>-<a href="#Page_245">5</a></li> <li>Character-Foils <a href="#Page_239">239</a></li> <li class="isuba"><strong>Illustrations</strong>: Jessica to Lorenzo <a href="#Page_85">85</a></li> <li class="isuba">Jessica and Lorenzo to Portia and Bassanio <a href="#Page_86">86</a></li> -<li class="isuba">Cassius and Cæsar <a href="#Page_179">179</a>.</li> +<li class="isuba">Cassius and Cæsar <a href="#Page_179">179</a>.</li> <li>Character-Grouping described <a href="#VIII">168</a></li> -<li class="isuba"><strong>Illustration</strong>: <em>Julius Cæsar</em> <a href="#Page_169">169</a> and Chapter <a href="#VIII">VIII</a>.</li> +<li class="isuba"><strong>Illustration</strong>: <em>Julius Cæsar</em> <a href="#Page_169">169</a> and Chapter <a href="#VIII">VIII</a>.</li> <li><a id="Character-Interpretation"></a>Character-Interpretation <a href="#Page_236">236</a>, <a href="#XII">237</a>-<a href="#Page_239">9</a></li> <li class="isuba">of the nature of a scientific hypothesis <a href="#XII">237</a></li> @@ -15040,7 +15002,7 @@ Character-Development <a href="#Page_242">242</a>-<a href="#Page_245">5</a></li> <li>Classification a stage in development of Inductive Method <a href="#Page_228">228</a>, <a href="#Page_229">229</a>.</li> <li>Climax in Passion-Movement <a href="#IX">185</a>-<a href="#Page_187">7</a></li> -<li class="isubb">applied to <em>Julius Cæsar</em> <a href="#Page_186">186</a>-<a href="#Page_188">8</a> and Chapter <a href="#IX">IX</a>.</li> +<li class="isubb">applied to <em>Julius Cæsar</em> <a href="#Page_186">186</a>-<a href="#Page_188">8</a> and Chapter <a href="#IX">IX</a>.</li> <li class="isuba">Illustrated in <em>King Lear</em> <a href="#X">202</a> and Chapter <a href="#X">X</a>.</li> <li class="isubb">Gradual rise to the climax of the Main Plot <a href="#Page_209">209</a>-<a href="#Page_215">15</a></li> <li class="isubb">the climax itself <a href="#Page_215">215</a></li> @@ -15061,7 +15023,7 @@ Character-Development <a href="#Page_242">242</a>-<a href="#Page_245">5</a></li> <li>Complex distinguished from Complicated <a href="#Footnote_2_2">74</a> (note)</li> <li class="isuba">applied to Plot of <em>Merchant of Venice</em> <a href="#Footnote_2_2">74</a> and Chapter <a href="#III">III</a></li> -<li class="isuba">Complexity distinguishes the plot of <em>King Lear</em> as compared with that of <em>Julius Cæsar</em> <a href="#Page_186">186</a> +<li class="isuba">Complexity distinguishes the plot of <em>King Lear</em> as compared with that of <em>Julius Cæsar</em> <a href="#Page_186">186</a> </li> <li class="isuba">traced in plot of <em>King Lear</em> <a href="#X">202</a>, <a href="#Page_208">208</a>-<a href="#Page_209">9</a>, &c.</li> <li class="isuba">not inconsistent with simplicity <a href="#Page_208">208</a>, <a href="#III">74</a></li> @@ -15095,7 +15057,7 @@ Character-Development <a href="#Page_242">242</a>-<a href="#Page_245">5</a></li> <li>Creation and Construction as processes in Character-Painting <a href="#Page_30">30</a>.</li> -<li class="ifrst">Criticism <em>à priori</em> <a href="#Page_24">24</a>, <a href="#Page_37">37</a>. +<li class="ifrst">Criticism <em>à priori</em> <a href="#Page_24">24</a>, <a href="#Page_37">37</a>. [<em>See</em> <a href="#Criticism_Judicial">Criticism Judicial</a>.]</li> <li>Criticism, Dramatic: as an Inductive Science <a href="#Page_40">40</a>, <a href="#XI">227</a>, &c.</li> @@ -15151,7 +15113,7 @@ Its foundation Axiom: <em>Interpretation is of the nature of a scientific hypoth Dr. Johnson <a href="#Page_16">16</a>.</li> <li class="isubb">Applied to the character of Macbeth <a href="#Page_24">24</a>; Music <a href="#Page_29">29</a>; - to Charlotte Brontë and George Eliot <a href="#Page_30">30</a>; + to Charlotte Brontë and George Eliot <a href="#Page_30">30</a>; Beethoven <a href="#Page_34">34</a>.</li> <li><a id="Criticism_Judicial"></a>Criticism, Judicial: distinguished from Inductive <a href="#Page_2">2</a></li> @@ -15205,7 +15167,7 @@ Steevens <a href="#Page_12">12</a>, <a href="#Page_15">15</a>; <li class="isubb">Applied to Addison's <em>Cato</em> <a href="#Page_17">17</a>; Beethoven <a href="#Page_34">34</a>; - Brontë <a href="#Page_30">30</a>; + Brontë <a href="#Page_30">30</a>; Buckingham <a href="#Page_17">17</a>; Eliot (Geo.) <a href="#Page_30">30</a>; Gray <a href="#Page_12">12</a>; @@ -15432,7 +15394,7 @@ Focussing of trains of passion in <em>King Lear</em> <a href="#Page_209">209</a> <li class="isuba">traces in Scripture expression <a href="#Page_261">261</a></li> <li class="isuba">rationalised by Shakespeare <a href="#Page_261">261</a>-<a href="#Page_262">2</a>.</li> <li class="isubb"><strong>Illustrations</strong>: Antonio <a href="#Page_262">262</a>, <a href="#Page_49">49</a>; - Cæsar <a href="#Page_197">197</a>; + Cæsar <a href="#Page_197">197</a>; Macbeth <a href="#Page_261">261</a>-<a href="#Page_262">2</a>.</li> <li>Inner Life <a href="#VII">144</a>-<a href="#Page_146">6</a>. @@ -15476,7 +15438,7 @@ connected with Oracular Action <a href="#Page_139">139</a></li> Macduff <a href="#Page_143">143</a>; Banquo <a href="#Page_142">142</a>; the Witches Action <a href="#Page_143">143</a>; - proclamation of Cumberland <a href="#Page_260">260</a>; <em>Julius Cæsar</em> <a href="#Page_249">249</a>, <a href="#Page_197">197</a>; + proclamation of Cumberland <a href="#Page_260">260</a>; <em>Julius Cæsar</em> <a href="#Page_249">249</a>, <a href="#Page_197">197</a>; <em>King Lear</em> <a href="#Page_249">249</a>; Story of Œdipus <a href="#Page_248">248</a>.</li> @@ -15510,7 +15472,7 @@ connected with Oracular Action <a href="#Page_139">139</a></li> <li>Judicial Blindness <a href="#Page_201">201</a>, <a href="#Page_261">261</a>. [<em>See</em> <a href="#Infatuation">Infatuation</a>.]</li> -<li class="ifrst"><em>Julius Cæsar</em>, Play of: <a href="#VIII">168</a>-<a href="#Page_201">201</a>, +<li class="ifrst"><em>Julius Cæsar</em>, Play of: <a href="#VIII">168</a>-<a href="#Page_201">201</a>, Chapters <a href="#VIII">VIII</a> and <a href="#IX">IX</a>. As an example of Character-Grouping <a href="#VIII">168</a> and Chapter <a href="#VIII">VIII</a>, <a href="#Page_241">241</a></li> <li class="isuba">example of Enveloping Action <a href="#Page_273">273</a></li> @@ -15520,14 +15482,14 @@ As an example of Character-Grouping <a href="#VIII">168</a> and Chapter <a href= <li class="isuba">Turning-points <a href="#Page_285">285</a></li> <li class="isuba">Technical Analysis <a href="#Page_296">296</a>.</li> -<li><em>Julius Cæsar</em>, Characters in:</li> -<li class="isubb">Antony balances Cæsar <a href="#Page_129">129</a></li> +<li><em>Julius Cæsar</em>, Characters in:</li> +<li class="isubb">Antony balances Cæsar <a href="#Page_129">129</a></li> <li class="isubb">spared by the Conspirators <a href="#Page_171">171</a></li> -<li class="isubb">contrasted by Cæsar with Cassius <a href="#Page_179">179</a>-<a href="#Page_180">80</a></li> +<li class="isubb">contrasted by Cæsar with Cassius <a href="#Page_179">179</a>-<a href="#Page_180">80</a></li> <li class="isubb">his general character <a href="#Page_182">182</a>-<a href="#Page_183">3</a></li> <li class="isubb">its culture <a href="#Page_179">179</a>-<a href="#Page_180">80</a></li> <li class="isubb">self-seeking <a href="#Page_182">182</a></li> -<li class="isubb">affection for Cæsar <a href="#Page_183">183</a>, <a href="#Page_199">199</a></li> +<li class="isubb">affection for Cæsar <a href="#Page_183">183</a>, <a href="#Page_199">199</a></li> <li class="isubb">his position in the group of characters <a href="#Page_183">183</a>, <a href="#Page_184">184</a></li> <li class="isubb">peculiar tone of his oratory <a href="#Page_198">198</a></li> <li class="isubb">dominant spirit of the reaction <a href="#Page_198">198</a></li> @@ -15545,22 +15507,22 @@ As an example of Character-Grouping <a href="#VIII">168</a> and Chapter <a href= <li class="isubb">his culture <a href="#Page_173">173</a></li> <li class="isubb">relations with his Page <a href="#Page_173">173</a>-<a href="#Page_174">4</a></li> <li class="isubb">with Portia <a href="#Page_173">173</a>, <a href="#Page_174">174</a></li> -<li class="isubb">with Cæsar <a href="#Page_175">175</a></li> -<li class="isubb">slays Cæsar for what he might become <a href="#Page_175">175</a></li> +<li class="isubb">with Cæsar <a href="#Page_175">175</a></li> +<li class="isubb">slays Cæsar for what he might become <a href="#Page_175">175</a></li> <li class="isubb">position in the State <a href="#Page_176">176</a></li> <li class="isubb">relations with Cassius <a href="#Page_172">172</a>, <a href="#Page_173">173</a>, <a href="#Page_182">182</a></li> <li class="isubb">overrules Cassius in council <a href="#Page_172">172</a></li> <li class="isubb">his general position in the Grouping <a href="#Page_183">183</a>.</li> -<li class="isuba">Cæsar: a balance to Antony <a href="#Page_129">129</a></li> +<li class="isuba">Cæsar: a balance to Antony <a href="#Page_129">129</a></li> <li class="isubb">general discussion of his character <a href="#Page_176">176</a>-<a href="#Page_181">81</a></li> <li class="isubb">its difficulty and contradictions <a href="#Page_176">176</a>-<a href="#Page_178">8</a></li> <li class="isubb">his vacillation <a href="#Page_176">176</a>-<a href="#Page_177">7</a></li> <li class="isubb">explained by the antithesis of Practical and Inner Life <a href="#Page_178">178</a></li> -<li class="isubb">Cæsar pre-eminently the Practical man <a href="#Page_178">178</a>-<a href="#Page_179">9</a></li> +<li class="isubb">Cæsar pre-eminently the Practical man <a href="#Page_178">178</a>-<a href="#Page_179">9</a></li> <li class="isubb">strong side of his character <a href="#Page_176">176</a>-<a href="#Page_177">7</a></li> <li class="isubb">lacking in the Inner Life <a href="#Page_178">178</a>-<a href="#Page_179">9</a></li> <li class="isubb">compared with Macbeth <a href="#Page_178">178</a></li> -<li class="isubb">a change in Cæsar and his world <a href="#Page_180">180</a>-<a href="#Page_181">1</a></li> +<li class="isubb">a change in Cæsar and his world <a href="#Page_180">180</a>-<a href="#Page_181">1</a></li> <li class="isubb">his superstition <a href="#Page_180">180</a>-<a href="#Page_181">1</a></li> <li class="isubb">position in the Grouping <a href="#Page_183">183</a></li> <li class="isubb">different effect of his personality in the earlier and later half of the play <a href="#Page_188">188</a>, <a href="#Page_195">195</a>, <a href="#Page_197">197</a>.</li> @@ -15568,8 +15530,8 @@ As an example of Character-Grouping <a href="#VIII">168</a> and Chapter <a href= <li class="isuba"><span class="pagenum"><a name="Page_308" id="Page_308">308</a></span> Casca <a href="#Page_172">172</a>, <a href="#Page_194">194</a>, <a href="#Page_195">195</a>.</li> <li class="isuba">Cassius: his relations with Brutus <a href="#Page_172">172</a>, <a href="#Page_182">182</a></li> -<li class="isubb">brings out the defective side of Cæsar <a href="#Page_179">179</a></li> -<li class="isubb">contrasted by Cæsar with Antony <a href="#Page_179">179</a>-<a href="#Page_180">80</a></li> +<li class="isubb">brings out the defective side of Cæsar <a href="#Page_179">179</a></li> +<li class="isubb">contrasted by Cæsar with Antony <a href="#Page_179">179</a>-<a href="#Page_180">80</a></li> <li class="isubb">his character discussed <a href="#Page_181">181</a>-<a href="#Page_182">2</a></li> <li class="isubb">Republicanism his grand passion, <em>ib.</em></li> <li class="isubb">a professional politician <a href="#Page_182">182</a></li> @@ -15587,20 +15549,20 @@ Casca <a href="#Page_172">172</a>, <a href="#Page_194">194</a>, <a href="#Page_1 <li class="isuba">Soothsayer <a href="#Page_196">196</a>, <a href="#Page_250">250</a>.</li> <li class="isuba">Trebonius <a href="#Page_249">249</a>.</li> -<li><em>Julius Cæsar</em>, Incidents and Scenes.</li> +<li><em>Julius Cæsar</em>, Incidents and Scenes.</li> <li class="isuba">Capitol Scene <a href="#Page_196">196</a>-<a href="#Page_200">200</a></li> <li class="isuba">Conspiracy Scene <a href="#Page_171">171</a>, <a href="#Page_172">172</a>, <a href="#Page_176">176</a>, <a href="#Page_181">181</a></li> <li class="isuba">its connection with storm and portents <a href="#Page_193">193</a>-<a href="#Page_194">4</a></li> <li class="isuba">Incidents of the Fever and Flood <a href="#Page_178">178</a>, <a href="#Page_179">179</a></li> -<li class="isuba">Funeral and Will of Cæsar <a href="#Page_175">175</a>, <a href="#Page_199">199</a>-<a href="#Page_200">200</a>, <a href="#Page_239">239</a>.</li> +<li class="isuba">Funeral and Will of Cæsar <a href="#Page_175">175</a>, <a href="#Page_199">199</a>-<a href="#Page_200">200</a>, <a href="#Page_239">239</a>.</li> -<li><em>Julius Cæsar</em>, Movement of: compared with movement of <em>King Lear</em> <a href="#Page_186">186</a></li> +<li><em>Julius Cæsar</em>, Movement of: compared with movement of <em>King Lear</em> <a href="#Page_186">186</a></li> <li class="isubb">its simplicity and form of Regular Arch <a href="#Page_186">186</a>, <a href="#Page_280">280</a></li> <li class="isubb">key to the movement the justification of the conspirators' cause <a href="#Page_187">187</a>.</li> <li class="isubb">Stages of its Movement: Rise <a href="#Page_188">188</a>-<a href="#Page_196">96</a></li> <li class="isubb">Crisis <a href="#Page_196">196</a>-<a href="#Page_198">8</a></li> <li class="isubb">Catastrophe and Decline <a href="#Page_198">198</a>-<a href="#Page_201">201</a>.</li> -<li class="isuba">Starting-point in popular reaction against Cæsar <a href="#Page_188">188</a></li> +<li class="isuba">Starting-point in popular reaction against Cæsar <a href="#Page_188">188</a></li> <li class="isubb">Crescendo in the Rise <a href="#Page_189">189</a>-<a href="#Page_191">91</a></li> <li class="isubb">the Conspiracy formed and developing the Strain begins <a href="#Page_191">191</a>-<a href="#Page_196">6</a></li> <li class="isubb">suspense an element in Strain <a href="#Page_191">191</a></li> @@ -15616,7 +15578,7 @@ Casca <a href="#Page_172">172</a>, <a href="#Page_194">194</a>, <a href="#Page_1 <li class="isubb">the Mob won to the Reaction <a href="#Page_200">200</a>.</li> <li class="isuba">Final stage of an Inevitable Fate: the Strain ceasing <a href="#Page_200">200</a>-<a href="#Page_201">1</a></li> <li class="isubb">the representative of the Reaction supreme <a href="#Page_200">200</a></li> -<li class="isubb">the position of Conspirators and Cæsar reversed <a href="#Page_201">201</a></li> +<li class="isubb">the position of Conspirators and Cæsar reversed <a href="#Page_201">201</a></li> <li class="isubb">judicial blindness <a href="#Page_201">201</a></li> <li class="isubb">the justification ceases <a href="#Page_201">201</a>.</li> @@ -15632,7 +15594,7 @@ Casca <a href="#Page_172">172</a>, <a href="#Page_194">194</a>, <a href="#Page_1 <li class="ifrst"><a id="King_Lear"></a><em>King Lear</em>, Play of: as a study in complex Passion and Movement <a href="#X">202</a> and Chapter <a href="#X">X</a> </li> -<li class="isuba">compared with <em>Julius Cæsar</em> <a href="#Page_186">186</a></li> +<li class="isuba">compared with <em>Julius Cæsar</em> <a href="#Page_186">186</a></li> <li class="isuba">affording examples of Plot-Analysis <a href="#Page_271">271</a></li> <li class="isuba">of Enveloping Action in the French War <a href="#Page_273">273</a>-<a href="#Page_274">4</a></li> <li class="isuba">of Parallelism and Contrast <a href="#Page_277">277</a>-<a href="#Page_278">8</a></li> @@ -15756,7 +15718,7 @@ Enveloping Action (the Witches) <a href="#Page_273">273</a> <li>Macbeth, Character of: an illustration of methodical analysis <a href="#Page_24">24</a></li> <li class="isubb">compared with Richard <a href="#Page_92">92</a></li> -<li class="isubb">with Julius Cæsar <a href="#Page_178">178</a></li> +<li class="isubb">with Julius Cæsar <a href="#Page_178">178</a></li> <li class="isubb">an example of Character-Development <a href="#Page_243">243</a>-<a href="#Page_245">5</a>.</li> <li class="isuba">General Analysis <a href="#Page_147">147</a>-<a href="#Page_154">154</a>, <a href="#Page_161">161</a>, <a href="#Page_243">243</a>-<a href="#Page_245">5</a>.</li> <li class="isuba">Macbeth as the Practical Man <a href="#Page_147">147</a>-<a href="#Page_154">54</a></li> @@ -16023,9 +15985,9 @@ uses of the Rings Episode <a href="#Page_87">87</a>-<a href="#Page_89">9</a>.</l <li>Mixture of Tones <a href="#Page_251">251</a>-<a href="#Page_253">3</a>. [<em>See</em> <a href="#Tone">Tone</a>.]</li> -<li>Mob in <em>Julius Cæsar</em> <a href="#Page_296">296</a>, <a href="#Page_188">188</a>, <a href="#Page_200">200</a>.</li> +<li>Mob in <em>Julius Cæsar</em> <a href="#Page_296">296</a>, <a href="#Page_188">188</a>, <a href="#Page_200">200</a>.</li> -<li>Molière <a href="#Page_16">16</a>.</li> +<li>Molière <a href="#Page_16">16</a>.</li> <li>Montgomery, Robert <a href="#Page_13">13</a>.</li> @@ -16054,8 +16016,8 @@ uses of the Rings Episode <a href="#Page_87">87</a>-<a href="#Page_89">9</a>.</l <li><a id="Movement"></a>Movement: as an element in Drama <a href="#IX">185</a></li> <li class="isuba">Arch form applied to <a href="#Page_186">186</a></li> -<li class="isuba">simple in <em>Julius Cæsar</em>, complex in <em>King Lear</em> <a href="#Page_186">186</a>, <a href="#X">202</a></li> -<li class="isuba">traced in <em>Julius Cæsar</em> <a href="#IX">185</a> and Chapter <a href="#IX">IX</a></li> +<li class="isuba">simple in <em>Julius Cæsar</em>, complex in <em>King Lear</em> <a href="#Page_186">186</a>, <a href="#X">202</a></li> +<li class="isuba">traced in <em>Julius Cæsar</em> <a href="#IX">185</a> and Chapter <a href="#IX">IX</a></li> <li class="isuba">in <em>King Lear</em> <a href="#X">202</a> and Chapter <a href="#X">X</a>.</li> <li class="isuba">Movement as one division of Action <a href="#Page_235">235</a>, <a href="#Page_236">236</a></li> <li class="isubb">applied to Character as Character-Development <a href="#Page_242">242</a></li> @@ -16136,10 +16098,10 @@ and compare <a href="#Page_115">115</a>-<a href="#Page_119">9</a></li> Anne <a href="#Page_113">113</a></li> <li class="isuba">Antonio <a href="#Page_47">47</a></li> <li class="isuba">Buckingham <a href="#Page_109">109</a></li> -<li class="isuba">Cæsar <a href="#Page_197">197</a></li> +<li class="isuba">Cæsar <a href="#Page_197">197</a></li> <li class="isuba">Cassius <a href="#Page_249">249</a></li> <li class="isuba">Clarence <a href="#Page_108">108</a></li> -<li class="isuba">the Conspirators in <em>Julius Cæsar</em> <a href="#Page_201">201</a>, <a href="#Page_256">256</a></li> +<li class="isuba">the Conspirators in <em>Julius Cæsar</em> <a href="#Page_201">201</a>, <a href="#Page_256">256</a></li> <li class="isuba">Edmund <a href="#Page_208">208</a>, <a href="#Page_216">216</a>-<a href="#Page_217">7</a></li> <li class="isuba">King Edward IV <a href="#Page_108">108</a></li> <li class="isuba">Gloucester (in <em>King Lear</em>) <a href="#Page_207">207</a>-<a href="#Page_208">8</a>, <a href="#Page_216">216</a>-<a href="#Page_217">7</a></li> @@ -16203,7 +16165,7 @@ of the first type <a href="#Page_131">131</a>, <a href="#Page_134">134</a>, <a h <li class="isuba">as an Elementary Topic in Dramatic Criticism <a href="#Page_235">235</a></li> <li class="isuba">subdivided <a href="#Page_236">236</a>. <strong>Examples:</strong> - <em>Julius Cæsar</em> <a href="#IX">185</a> and Chapter <a href="#IX">IX</a>; + <em>Julius Cæsar</em> <a href="#IX">185</a> and Chapter <a href="#IX">IX</a>; <em>Lear</em> <a href="#X">202</a> and Chapter <a href="#X">X</a>.</li> <li>'Passion-Drama' as substitute for 'Tragedy' <a href="#Page_280">280</a>-<a href="#Page_281">1</a>, <a href="#Page_293">293</a>, <a href="#Page_295">295</a>, <a href="#Page_296">296</a>, <a href="#Page_297">297</a>.</li> @@ -16225,7 +16187,7 @@ of the first type <a href="#Page_131">131</a>, <a href="#Page_134">134</a>, <a h <li><a id="Passion-Strain"></a>Passion-Strain <a href="#Page_186">186</a></li> <li class="isuba">Strain and Reaction <a href="#Page_280">280</a>. <strong>Examples:</strong> -<em>Julius Cæsar</em> <a href="#Page_191">191</a>-<a href="#Page_201">201</a>; +<em>Julius Cæsar</em> <a href="#Page_191">191</a>-<a href="#Page_201">201</a>; <em>King Lear</em> <a href="#Page_208">208</a>, <a href="#Page_215">215</a>.</li> <li class="ifrst">Pathos as a Dramatic Motive <a href="#Page_257">257</a>-<a href="#Page_259">9</a>.</li> @@ -16253,7 +16215,7 @@ of the first type <a href="#Page_131">131</a>, <a href="#Page_134">134</a>, <a h <li class="isuba">perspective in Plot <a href="#Page_118">118</a></li> <li class="isuba"><em>Macbeth</em> an example of subtlety in Plot <a href="#VI">125</a>, <a href="#Page_142">142</a></li> <li class="isuba">Plot analytical in its nature <a href="#Page_186">186</a></li> -<li class="isuba">simple in <em>Julius Cæsar</em>, complex in <em>King Lear</em> <a href="#X">202</a></li> +<li class="isuba">simple in <em>Julius Cæsar</em>, complex in <em>King Lear</em> <a href="#X">202</a></li> <li class="isuba">effect on the estimation of Plot of dissociation from the theatre <a href="#Page_233">233</a></li> <li class="isuba">the most intellectual of all the elements of Drama <a href="#Page_233">233</a></li> <li class="isuba">Technical Analyses of Plots <a href="#Page_291">291</a>-<a href="#Page_298">8</a>.</li> @@ -16281,7 +16243,7 @@ its connection with design and pattern <a href="#XIV">268</a>, <a href="#Page_26 <li>Pope <a href="#Page_10">10</a>, <a href="#Page_17">17</a>, <a href="#Page_19">19</a>.</li> <li>Portia: see <em>Merchant of Venice</em> - <em>Julius Cæsar</em>.</li> + <em>Julius Cæsar</em>.</li> <li>Practical Life <a href="#VII">144</a>-<a href="#Page_146">6</a>. [<em>See</em> <a href="#Antithesis">Antithesis</a>.]</li> @@ -16414,7 +16376,7 @@ Hastings 91, <a href="#Page_98">98</a>, <a href="#Page_109">109</a>, <a href="#P <li class="ifrst">Roman political life <a href="#Page_169">169</a>-<a href="#Page_171">71</a> and Chapter <a href="#VIII">VIII</a> generally</li> <li class="isuba">its subordination of the individual to the State <a href="#Page_170">170</a></li> -<li class="isuba">a change during Cæsar's absence <a href="#Page_180">180</a>, <a href="#Page_183">183</a>.</li> +<li class="isuba">a change during Cæsar's absence <a href="#Page_180">180</a>, <a href="#Page_183">183</a>.</li> <li>Romantic Drama:</li> <li class="isuba">Shakespeare its Great Master <a href="#Page_40">40</a>, <a href="#I">43</a></li> @@ -16445,7 +16407,7 @@ Hastings 91, <a href="#Page_98">98</a>, <a href="#Page_109">109</a>, <a href="#P <li>Science of Dramatic Art <a href="#Page_40">40</a>, <a href="#XI">227</a>. [<em>See</em> <a href="#Criticism">Criticism</a>.]</li> -<li>Scudéry <a href="#Page_18">18</a>.</li> +<li>Scudéry <a href="#Page_18">18</a>.</li> <li>Serious as a Tone <a href="#Page_251">251</a>.</li> @@ -16477,7 +16439,7 @@ Hastings 91, <a href="#Page_98">98</a>, <a href="#Page_109">109</a>, <a href="#P <li>Stoicism <a href="#VII">144</a>, <a href="#Page_173">173</a>, <a href="#Page_174">174</a>, <a href="#Page_175">175</a>, <a href="#Page_179">179</a>, <a href="#Page_188">188</a>.</li> -<li>Storm in <em>Julius Cæsar</em> <a href="#Page_192">192</a>-<a href="#Page_196">6</a>, <a href="#Page_214">214</a> +<li>Storm in <em>Julius Cæsar</em> <a href="#Page_192">192</a>-<a href="#Page_196">6</a>, <a href="#Page_214">214</a> [<em>see</em> <a href="#Background_of_Nature">Background of Nature</a>]</li> <li class="isuba">in <em>King Lear</em> <a href="#Page_214">214</a>-<a href="#Page_215">5</a>.</li> @@ -16528,7 +16490,7 @@ Human Interest <a href="#Page_70">70</a></li> <li>Sub-Actions:</li> <li class="isuba">Launcelot <a href="#Page_76">76</a>, <a href="#Page_291">291</a></li> - <li class="isuba">Cæsar and Antony <a href="#Page_282">282</a>, <a href="#Page_296">296</a></li> + <li class="isuba">Cæsar and Antony <a href="#Page_282">282</a>, <a href="#Page_296">296</a></li> <li class="isuba">in Technical Analyses <a href="#Page_291">291</a>-<a href="#Page_298">8</a>.</li> <li><a id="Supernatural"></a>Supernatural, The, as a Dramatic Motive <a href="#Page_259">259</a>-<a href="#Page_267">67</a>.</li> @@ -16548,8 +16510,8 @@ Human Interest <a href="#Page_70">70</a></li> <li class="isubb">the Ghost of Banquo <a href="#Page_165">165</a>-<a href="#Page_166">6</a></li> <li class="isubb">the Apparitions in <em>Macbeth</em> <a href="#Page_135">135</a>, &c.</li> <li class="isubb">the Witches <a href="#Page_158">158</a>, <a href="#Page_263">263</a></li> -<li class="isubb">portents in <em>Julius Cæsar</em> <a href="#Page_193">193</a>-<a href="#Page_194">4</a></li> -<li class="isubb">the Ghost of Cæsar <a href="#Page_201">201</a></li> +<li class="isubb">portents in <em>Julius Cæsar</em> <a href="#Page_193">193</a>-<a href="#Page_194">4</a></li> +<li class="isubb">the Ghost of Cæsar <a href="#Page_201">201</a></li> <li class="isubb">omen of Eagles to Cassius <a href="#Page_201">201</a>.</li> <li>Symmetry as a dramatic effect <a href="#Page_68">68</a>, <a href="#Page_233">233</a></li> @@ -16625,7 +16587,7 @@ Human Interest <a href="#Page_70">70</a></li> </li> <li class="isuba"><strong>Illustrations</strong>: <a href="#Page_284">284</a>-<a href="#Page_285">5</a>, compare <a href="#Page_68">68</a>, <a href="#Page_120">120</a>, <a href="#Page_127">127</a>, <a href="#Page_186">186</a>, <a href="#Page_198">198</a>, <a href="#Page_205">205</a>, <a href="#Page_216">216</a>-<a href="#Page_217">7</a>.</li> -<li>Tyrtæus <a href="#Page_132">132</a>.</li> +<li>Tyrtæus <a href="#Page_132">132</a>.</li> <li class="ifrst">Ulrici <a href="#Page_11">11</a>, <a href="#Page_26">26</a>.</li> @@ -16689,7 +16651,7 @@ Human Interest <a href="#Page_70">70</a></li> <p class="center"><sup>*</sup><sub>*</sub><sup>*</sup> <em>Clarendon type is used where the passage referred to approaches the character of an analysis of the scene.</em></p> -<p class="center">JULIUS CÆSAR.</p> +<p class="center">JULIUS CÆSAR.</p> <p class="center">Act I.</p> <ul> @@ -16896,384 +16858,6 @@ Scs. i. and ii. <em class="font"><a href="#Page_49">49</a>-<a href="#Page_51">51 </div> </div> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Shakespeare as a Dramatic Artist, by -Richard G. 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