Anson, John 112
Aphthonius 15–16, 37, 53; Progymnasmata 15
Ariosto, Ludovico 43, 57, 58, 67, 139 n. 12
Aristophanes of Byzantium 31
Aristophanes 31, 37, 39; Old Comedy 31, 39
Aristotle 14–16, 28, 31–32, 50, 51, 126–127, 137 n. 6; Categories 127; Ethics 31; Poetics 28–29; Rhetoric 14–16, 31
Ascensius, Jodocus Badius 50–51; Praenotamenta Ascensiana 139 n. 10
Ascham, Roger 51; Scholemaster 57, 145 n. 13
Auden, W. H. 7
Baldwin, T. W. 30, 50, 55, 133 n. 10, 142 n. 6
Bargagli, Girolamo 69, 72, 75, 142 n. 27
Bargagli, Scipione 142 n. 28
Boccaccio, Giovanni 67, 92; Decameron 118; Gillette of Narbonne 141 n. 27
Borghini, Raffaello 69
Bradbrook, M. C. 118, 134 n. 17
Brooke, Arthur 140 n. 3
Cassirer, Ernst: language and being 126–127
Castelvetro, Lodovico: comedy and politics 67
Castiglione, Baldesar 57; Il corte- giano 60, 66
Cato 68
Chambers, E. W. 113
Character: defined 1–2; contemporary theories 1–2, 20; decorum 51–54; rhetoric of 5, 28, 45, 56, 74–75, 80–81, 102–103, 110–111, 114- 15, 119; Renaissance sources of 14–18, 49–53; intersection with comic plot 19, 20, 28; types 31–32, 51–56, 110, 117, 139 n. 12; in Italian Renaissance comedy—development 61–66, 72–74, inner life 62–65, 74–75; in Menander—development 33–38, inner life 36–38; novelle 92–93
Cicero 16, 46; comedy 51; fiction and law 17–18; De Inventione 17; De Natura Deorum 16; De Parti- tione Oratoria 18; De Senectute 53; types 31, 52–53
Clemen, Wolfgang: soliloquy 3–5
Coleridge, Samuel Taylor 77
Comedy: convention 20–29, 109–111, 119–120; comic types see character types; Italian Renaissance 56–57, 57–76, 87—commedia grave 69, 70, 90, compared to Shakespeare 60–65, 68, 71, 74, 75, 79, 82, 87, 90, Counter-Reformation 69, 141, disguise and mistaken identity 60–61, 72–74, emphasis on sentiment 60, 65–66, influence in England 57–58, social context 66–67; New Comedy 30–41, 43, character in 31–32, compared to Old Comedy 38–39, compared to Shakespeare 32, masks 39; Renaissance commentaries 49–54; Roman comedy—compared to Shakespeare 77–78, 84, Renaissance adaptations 45, 77–78, role- playing 46–48, mistaken identity 44–45, 48–49
Convention: character 1–2, 20–29, 109–120; contract 21; defined 28; validity of 20
Cusanus 43
Davenant, Sir William 132 n. 2
Dialogue: linguistic features 4–5, 131 n. 13; Renaissance rhetorical exercises 15–16, 53–54; in soliloquies 4–5, 8–14, 34, 36–38, 62–65, 74–75, 80–81, 88–89, 101–103, 106–107, 114–115, 122–126
Diphilos 38
Donatus: Terence 37, 43, 49, 55, 117; comedy 50–52
Dujardin, Édouard 131 n. 13
Empson, William 12
Erasmus, Desiderius 15–16, 53; De Conscribendis Epistolis 15; De Copia Rerum 53; De Ratione Studii 53
Estienne, Charles 58
Euripides 16; New Comedy 31, 137 n. 3
Evanthius 50–52, 55; De Fabula 50
Feuillerat, Albert 140 n. 2
Florio, John 70
Gascoigne, George 58
Giraldi Cintio, Giambattista 139 n. 12
Goethe, Johann Wolfgang von 7
Gombrich, E. H. 6
Grazzini, Anton Francesco 56
Greimas, A. J. 2
Hazlitt, William 16
Heidegger, Martin 121
Heliodorus 137 n. 3
Howard, Jean 113
Intronati, The (Sienese academy) 60, 66–67
Jeffere, John 56
Jonson, Ben 40
Kantorowicz, E. H. 17
Lamb, Charles 105
Lenaea, The 33
Levi-Struass, Claude 2, 148 n. 9
Machiavelli, Niccolò 71
Marston, John 133 n. 9, 140 n. 3
Medici, Ferdinand de and Christine of Lorraine 70
Melanchthon, Philipp 51
Mulryne, J. R. 109
Oedipus 28
Pasqualigo Luigi, 58
Peacham, Henry 3
Perceforest 90
Petrarch, Francesco 57
Philemon 38
Piccolomini, Alessandro 69
Pope, Alexander 16
Propertius 30
Propp, Vladimir 2
Psychomachia 131 n. 15
Quintilian 16–17, 31–32, 52–53
Rhetores Latini Minores 17
Rhetoric: consciousness see character, rhetoric of; drama and 49; figures of 11, 15, 37–38, 53–54; law and 17–18; literature or fiction and 16–17; New Comedy 15, 31, 37–38, 53–54
Saintsbury, G. E. B. 15
Salingar, Leo 5, 30, 32, 59–60, 68, 141 n. 25
Saturnalia 30
Schlegel, August Wilhelm 7, 16
Shakespeare: comedies—analogues (Italian) 57–67, 70, analogues (New Comic) 30–31, analogues (Roman) 30–31, 56, 77–78, compared to early Elizabethan romantic comedy 90–93, plots criticizcd 1, 5, providential structure 27, 59, 74–75, substitution 27; character—development 7–14, 27–28, 79–83 (role of women in 24–28, 79–82, 95), inner life portrayed 3–5, 7–14, 59, 77–81, 85–86, 88–89, 92, 101–103, 106–107, 113–116, 122–126, judgment of 1–6, lifelikeness 1–6, 20, 28, 101–103, 109–110, 113–115; disguise 21, 24–28, 60, 95, 102–103; farce 77; losing to find 79, 105, 111; mistaken identity 2–29, 78–80, 99–102, 111–112; soliloquy see soliloquy and dialogue; verbal-visual 104–105; wonder 68–69, 97–99, 105
Sidney, Sir Philip 17, 133 n. 14, 145 n. 13
Socrates 46
Soliloquy: defined 3–5; used to represent inner life in—Italian Renaissance comedy 62–65, 74–75, Menander 33–34, 36–38, Roman comedy 46–48, Shakespeare 3–5, 7–14, 28, 78–83, 88–89, 92, 101–104, 116, 122–126; see also dialogue
Terence, compared to Menander 39–49
Tasso, Torquato 57
Tillyard, E. M. W. 103–104, 109–110
Webster, T. B. L. 39
Weimann, Robert 30, 37–39, 143 n. 11