Emilia, 214-6, 237, 239-42, Note P.

Emotional tension, variations of, 48-9.

Evil, origin of conflict, 34;
  negative, 35;
  in earlier and later tragedies, 82-3;
  poetic portrayal of, 207-8;
  aspects of, specially impressive to Shakespeare, 232-3;
  in King Lear, 298, 303-4, 327;
  in Tempest, 328-30;
  in Macbeth, 331, 386.

Exposition, 41-7.

Fate, Fatality, 10, 26-30, 45, 59, 177, 181, 287, 340-6.

Fleay, F.G., 419, 424, 445, 467, 479.

Fool in King Lear, the, 258, 311-5, 322, 447, Note V.

Fools, Shakespeare’s, 310.

Forman, Dr., 468, 493.

Fortinbras, 90.

Fortune, 9, 10.

Freytag, G., 40, 63.

Furness, H.H., 199, 200.

Garnet and equivocation, 397, 470-1.

Ghost, Banquo’s, 332, 335, 338, 361, Note FF.

Ghost, Caesar’s, Note FF.

Ghost in Hamlet, 97, 100, 118, 120, 125, 126, 134, 136, 138-40,
  173-4.

Ghosts, not hallucinations because appearing only to one in a company,
  140.

Gloster, 272, 293-6, 447.

Gnomic speeches, 74, 453.

Goethe, 101, 127, 165, 208.

Goneril, 245, 299-300, 331, 370, 447-8.

Greek tragedy, 7, 16, 30, 33, 182, 276-9, 282.

Greene, 409.

Hales, J.W., 397.

Hamlet, exposition, 43-7;
  conflict, 17, 47, 50-1;
  crisis and counter-stroke, 52, 58-60, 136-7;
  dragging, 57;
  humour, and false hope, before catastrophe, 61, 63;
  obscurities, 73;
  undramatic passages, 72, 74;
  place among tragedies, 80-8;
  position of hero, 89-92;
  not simply tragedy of thought, 82, 113, 127;
  in the Romantic Revival, 92, 127-8;
  lapse of time in, 129, 141;
  accident, 15, 143, 173;
  religious ideas, 144-5, 147-8, 172-4;
  player’s speech, 389-90, Note F;
  grave-digger, 395-6;
  last scene, 256. 
  See Notes A to H, and BB.

Hamlet, only tragic character in play, 90;
  contrasted with Laertes and Fortinbras, 90, 106;
  failure of early criticism of, 91;
  supposed unintelligible, 93-4;
  external view, 94-7;
  ‘conscience’ view, 97-101;
  sentimental view, 101-4;
  Schlegel-Coleridge view, 104-8, 116, 123, 126-7;
  temperament, 109-10;
  moral idealism, 110-3;
  reflective genius, 113-5;
    connection of this with inaction, 115-7;
  origin of melancholy, 117-20;
    its nature and effects, 120-7, 103, 158;
    its diminution, 143-4;
  his ‘insanity,’ 121-2, 421;
  in Act II. 129-31, 155-6;
  in III. i. 131-3, 157, 421;
  in play-scene, 133-4;
  spares King, 134-6, 100, 439;
  with Queen, 136-8;
  kills Polonius, 136-7, 104;
  with Ghost, 138-40;
  leaving Denmark, 140-1;