Index
Action, in Greek tragedy, 267
Æschylus, his command of situation, 31-6; treatment of character, 36-9; keenness of moral vision, 38, 57; Hebraic element in his genius, 49- 50; sparseness of relations, 96; style, 57-8; Agamemnon, 33-4, 40, 101; Choeplhoroe, 34-6, 53-5; Eumenides, 20-3, 31, 40, 95, 101; Oresteia, 42-4; Persae, 30-2, 40, 64, 96; Prometheus, 30, 40, 42; Supplices, 30-1, 101; Seven against Thebes, 37-8, 96
Agathon, Anthos (or Antheus), 77, 103
Alfieri, romantic elements in, 128-9, 149; essentially classical genius, 128-9; dramatic compression, 129, 140; vehemence of his characters, 129-31; his tyrants, 131-2; his nobler characters, 132-3; his command of dramatic situation, 135-6; use of his sources, 136-8; style, 138-9; Agamennone, 132, 135, 137; Agntigone, 131, 133, 135; Don Garzia, 131-2; Filippo, 131, 133; compared with Don Carios, 133-5; Mirra, 128; Oreste, 132, 136, 137- 138; Polinice, 132, 136; Saul, 128; Maria Stuarda, 128
Angelo, Michael, 11-13
Aristophanes, his criticism of Euripides, 73-4
Aristotle, 26-7, 65, 75, 77, 103, 142 149, 226
Aautos sacramentales, 169, 194
Browning, 2, 128, 208; extreme inwardness of his plays, 248-9; use of dramatic situation, 249-50; bearing of this on his view of character, 252-4; and on the acting quality of his plays, 257-8; Colmbe's Birthday, 250-1; In a Balcony, 251; Pippa Passes, 251; Luria, 254-7; its stress on temperament, 154-6; its relation to Othello, 155
Byron, 198, 200
Calderon, Italian metres, 172-3; national metres, 173-4; disregard of unities, 174-5; treatment of character, 175-6, 179; Lances de Calderon, 178-9; his occasional violence, 180-3; blending of tragedy and comedy, 183-5; lyric strain, 189-92; reflective strain, 192-4; Dams Duende, 170; Secrets Venganza, 171-2; Medico de su Honra, 171-2, 181-3; Pintor de su Deshonra, 171-2, 175, 185-9; Amar despues de la Muerte, 171, 175, 176-9, 189-90; Vida es Sueño, 171, 191-4; Cisma de Ing1attrra, 181; Devocion de la Cruz, 181; El Joseph de las Mugeres, 172; Magico Prodigioso, 174-5, 180, 185; El mayor Monstruo, 172
Cervantes, and classical drama, 107, 168
Character, in Greek tragedy, 36-8
Chorus, in Greek tragedy, 2, 5, 101-3; in Seneca, 102; in Die Braut von Messina, 223, 225; equivalents in Shakespeare, 161-2; in Iphigenie, 225-6
Convention, in drama, 5
Corneille, 109, 111, 169, 245

-273-

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