The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1900-10-29
THIRTY
SHAKESPEARE EVENINGS.


with a considerable degree OF accuracy
by system OF graphical illustration. in
those cases at least where the interest
OF the play is derived from a general
course or events and from the careers
or individual actors tn various stages OF
complication. Character, being quaiita-
tive. Is not expressed with the same fair
ness as plot by any scheme OF line re-
lation. but tnasmuch as action In Shakes
peare is usually the outcome Of character
IL VIII be found that character and plot
commonly coincide and the line that de-
seiops action is also the expression Of
character. The advantage Of a graphical
Illustration lies In its directness and vivid
ness II conveys q good idea OF the arch
Mcclure, so TO speak. Of the play and
Is decided aid to the Imagination. The
entire action of play may be held be-
FORE the mind and the lines along which
character lis supposed to be moving
nave the same meaning to the student
OF the play as has a map OF a railroad
10 a train operator A manager knows BY
glance at a chart the location ana
movement OF each one Of his trains
at given moment In like manner
IL 10 possible to construct a chart
OF play so that the student
can know the location and condition
81 q player at any point In the dramatic
process The defect of any system OF
sraphics Is, OF course that map of any
hhd IL mere approximation Of only
one aspect OF truth. the external, but as
map OF country Is useful TO an econo-
inist or sociologist so its counterpart in
SPIRITUAL geography may be serviceable
lot interpreting physical facts.
Snakespearean pay Is divided more
or less mechanically into 1--we main ,lIyi
SONS ana these subdivided into scenes.
may be ignored and the acts only dsfine1
Five uniform spaces may be used To rem
resent the arena or field OF the action.
~ hhsse ,, acts correspond more or less close
Take for Illustration the course 81
tragedy. Tragedy Is the history Of nm
successiul sirusgle ~ involves at least
suhering: From state OF equilibrium
a condition of conflict is evolved The
play proceeds from conflict to conflict
ana concludes with the downfall OF the
nero: With the disappearance OF dis
turning elements equilibrium is again es-
tapnshed This process requires begin
be devoted. therefore. to the Introduction
or the characters In action and the NTH
TO their disposition. Between these tive
For conflict two forces are required. a
moving force and an opposing force II
the play Is ethical In motive these forces
the first part of the play the evil pIotters
Will be triumphant, but there with come
a moment when the opposing force has
gathered sufficient strength for active
opposition. Opposition creates the ell
max. This would naturally occur In the
mechanical center OF tho play and its
display would be the function OF the third
act This leaves the second and fourth
acts TO exhibit the rising and falling
actions respectively. The ideal course OF
a tragedy may then be represented by a
line laid upon tho field of the play rising
from the lower level OF zero To the me-
chanical middle OF the third space and
thence falling again to the level OF the
OF course this ideally perfect scheme IA
rarely maintained in practice. Variations
In Shakespeare are found OF three kinds.
First. the climax may occur earlier or
later than the middle point. This varia-
tlon AT once changes the rising and fall
ing lines. Second the division into acts
may not agree with the logical divisions
acts may be transferred. Thus tho intro
ductlon may extend well into the second
act or the falling action may continue
Into the Held of conclusion. Third. tho
movement OF tho play may not be direct
rise and fall, but the course OF events
may frequently bo suspended. This yaria-
ton may oe represented BY an irregular
action. Bat In general the regular plot
serves as the form Of construction.
To illustrate the course and relation of
Individual players ths tragedy OF King
Lear" which is the most regular and
consistent OF ell Of Shakespeare plays 10
.
diagram. We draw again the furda-
mental plan. Upon Il We lay the lines OF
action As the action Is here determined
by the history q the players before the
Incidents OF the FIRST set the scheme may
include an indennlts held fronting the
The play opens with Lear at the hslsh,
have been attached 30 the kings person
for many years. and as Cordeiia has been
the kings favor1te daughter. their iines
81 49, a.
time anterior to the date OF the play For
two acts Lear suffers deprivation % au-
thority lie IL cast down from his kinxiy
position, s ,o rsrooSa me sh.rd sns fourth
ties. He has descended 10 the lowest pos
sshie estate. with his recovery at sanity
IN The NTH act there Il q chance also 81
rises In suspense FOR the moment. but he
Is too weak and sinful for restoration. and
Nemesis demands hts death In reparation
upon the king Ills Punishment. his ser
Vile position. hts suffering IN the storm
with Lear constitute his falling action.
s s sr a.q IN mis 'aas q re 9sr .
aets. crosses q In tho storm scene asa
meets u again when Lear u recover.
Ing from s his madnsss Then Ken.
a. his fate Is nnked 90 closely 20
the king his life - forfeit. al.
though hs himssl. = sallilsss q sny
attn him master. bat the stress ~ the
storm - too heavy fer his gsnii4 nature
and he disapfe2fk At ths middle ~ the
third act. TIE arss 20 feel the effects Of a
fssor4sFst worit In the fisarance OF an
ethical atmosphere ~ ktaym ~. lust
may suffer equally With the unjust Ia
.h@ conflict or thu elements car6a!la
Nas riosar % her father than tbs other
aauRhters, and doubtless special favor
as4 been ssawn her. but thr9ugh ser
ssnhh1rn refusal 20 Rek0uwieagn she
xsngs ~hsm ~ the sreaing q he play
sh@ is sttsfiy cas-; DOWN fras the rayal
a5ane. derived 81 estate ara driven
,aress gsth me king ~ FTanEA IN an
alien laid. however. sbA gathers force.
'ay rei0rn-As se Learn from the letter
'sae ~ Kent ~bsn IN TIE siae ks-an1 sHf.
az the iins fns either daughters Arn
stripV1rg from Lear The ikxt vsxfiEea %
authority she becomes tire ralef Axens
Z count relyf she II permitted 10 raees
her f4taer a. the last ans witnesses Ills
AltaaaEh the French forces
sre 8siaAted ths tide ~ Affairs izrna Tor
-orasf& a. tas ias'- ast o u for 4 mo-
8srL and she Aat Lear 80 agwa 70 a
common Death While ere usefrAefK 81 I
Piss Hrawp are EaHeriNE the c0aFe4usnses
"a. III