[131:2]“Philaster,”ii., 3.
[131:2]“Philaster,”ii., 3.
[131:3]e.g.iii., 1, 277;iii., 2, 83,etc.
[131:3]e.g.iii., 1, 277;iii., 2, 83,etc.
[133:1]“A Very Woman,”ii., 3.
[133:1]“A Very Woman,”ii., 3.
[134:1]Ibid.,ii., 3.
[134:1]Ibid.,ii., 3.
[134:2]Ibid.,ii., 3.
[134:2]Ibid.,ii., 3.
[134:3]pp.105ff.
[134:3]pp.105ff.
[135:1]“The Antipodes,”i., 2.
[135:1]“The Antipodes,”i., 2.
[135:2]Ibid.,i., 1.
[135:2]Ibid.,i., 1.
[136:1]Ibid.,i., 1.
[136:1]Ibid.,i., 1.
[136:2]Ibid.,i., 6.
[136:2]Ibid.,i., 6.
[136:3]The scenes in which Joyless, Diana, Peregrine and the rest listen to this play and pass comments on it often bear a striking resemblance to the better known “Knight of the Burning Pestle.”
[136:3]The scenes in which Joyless, Diana, Peregrine and the rest listen to this play and pass comments on it often bear a striking resemblance to the better known “Knight of the Burning Pestle.”
[137:1]“The Antipodes,”v., 9.
[137:1]“The Antipodes,”v., 9.
[137:2]A medical friend reminds me that there is, properly speaking, no such thing as “melancholy false,” and that the characters mentioned under this head are not suffering, in his opinion, from any form of mental disease. I will therefore repeat here that the classification of “melancholy” adopted in this chapter isnota scientific one, that it is made on a seventeenth century, rather than on a twentieth century basis—we are trying, that is, to take up the positions of the several dramatists. Few specialists of to-day would consider Jacques, Achilles or Antonio to be in a state of disease, but that the Elizabethan doctor would have diagnosed their malady as “melancholy” I have little doubt. The ordinary spectator would probably not consider the question in any detail.
[137:2]A medical friend reminds me that there is, properly speaking, no such thing as “melancholy false,” and that the characters mentioned under this head are not suffering, in his opinion, from any form of mental disease. I will therefore repeat here that the classification of “melancholy” adopted in this chapter isnota scientific one, that it is made on a seventeenth century, rather than on a twentieth century basis—we are trying, that is, to take up the positions of the several dramatists. Few specialists of to-day would consider Jacques, Achilles or Antonio to be in a state of disease, but that the Elizabethan doctor would have diagnosed their malady as “melancholy” I have little doubt. The ordinary spectator would probably not consider the question in any detail.
[138:1]“Love’s Labour’s Lost,” Moth:i., 2, 9-10.
[138:1]“Love’s Labour’s Lost,” Moth:i., 2, 9-10.
[139:1]“Mad Folk,”etc.,p.310.
[139:1]“Mad Folk,”etc.,p.310.
[139:2]p.128.
[139:2]p.128.
[140:1]“Love’s Labour’s Lost,”i., 1, 233,etc.
[140:1]“Love’s Labour’s Lost,”i., 1, 233,etc.
[140:2]“Troilus and Cressida,”ii., 3, 92,etc.
[140:2]“Troilus and Cressida,”ii., 3, 92,etc.
[140:3]Ibid.,ii., 3, 132.
[140:3]Ibid.,ii., 3, 132.
[140:4]Ibid.,ii., 3, 180.
[140:4]Ibid.,ii., 3, 180.
[140:5]Ibid.,i., 3, 161,etc.
[140:5]Ibid.,i., 3, 161,etc.
[141:1]“Merchant of Venice,”i., 1, 1,etc.
[141:1]“Merchant of Venice,”i., 1, 1,etc.
[141:2]Bucknill, “Mad Folk,”etc.,p.307.
[141:2]Bucknill, “Mad Folk,”etc.,p.307.
[141:3]“Merchant of Venice,”iv., 1, 114,etc.
[141:3]“Merchant of Venice,”iv., 1, 114,etc.
[142:1]“As You Like It,”iv., 1, 15,etc.
[142:1]“As You Like It,”iv., 1, 15,etc.
[142:2]Ibid.,ii., 7, 60.
[142:2]Ibid.,ii., 7, 60.
[143:1]Ibid.,ii., 7, 67-9.
[143:1]Ibid.,ii., 7, 67-9.
[144:1]“Merchant of Venice,”i., 1, 91-2.
[144:1]“Merchant of Venice,”i., 1, 91-2.
[144:2]“King John,”iii., 4, 18.
[144:2]“King John,”iii., 4, 18.
[146:1]“Hamlet,”v., 2, 408.
[146:1]“Hamlet,”v., 2, 408.
[146:2]Ibid.,iv., 7, 136—the King’s testimony.
[146:2]Ibid.,iv., 7, 136—the King’s testimony.
[146:3]Ibid.,i., 2, 131-2.
[146:3]Ibid.,i., 2, 131-2.
[146:4]Ibid.,i., 2, 159.
[146:4]Ibid.,i., 2, 159.
[147:1]“Hamlet,”iv., 7, 119-20.
[147:1]“Hamlet,”iv., 7, 119-20.
[149:1]“Shakespearean Tragedy,”p.121.
[149:1]“Shakespearean Tragedy,”p.121.
[149:2]Ibid.,p.121.
[149:2]Ibid.,p.121.
[149:3]Beside the melancholy of Hamlet we might place that of Haraldus, the young Prince of Shirley’s play, “The Politician,” were it not that the part played by his melancholy is purely nominal. His father—the Politician—sends two courtiers to cure him, and they make him drunk. His excesses bring on a fever which causes his death. His likeness to Hamlet only strikes us here and there, and the melancholy, such as it is, is caused chiefly by the discovery that he is a bastard.
[149:3]Beside the melancholy of Hamlet we might place that of Haraldus, the young Prince of Shirley’s play, “The Politician,” were it not that the part played by his melancholy is purely nominal. His father—the Politician—sends two courtiers to cure him, and they make him drunk. His excesses bring on a fever which causes his death. His likeness to Hamlet only strikes us here and there, and the melancholy, such as it is, is caused chiefly by the discovery that he is a bastard.