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We are told that Shakespeare's plays were generally performed in barns and that no great trouble was taken over the production. The constant changes of scene which, incidentally, seem the sign of a decadent art rather than one which is progressing, were shown by placards with the inscription: "A Forest," "A Prison," and so on. Within this conventional setting the onlooker's imagination was free to follow the actions of the various characters who were animated by passions drawn from nature, and that was enough for him. So-called innovations are gratefully seized on as an excuse for poverty of invention and in the same way, the long descriptive passages that so overburden modern novels are a sign of sterility, for it is obviously easier to describe a dress or the outward appearance of an object than to trace the subtle development of a character or portray the emotions of the heart.
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1856-04-09 (p. 313)

 

Eugene Delacroix

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Brian Clevinger

 

If the sign were not related to its object except by the mind thinking of them separately, it would not fulfil the function of a sign at all. Supposing, then, the relation of the sign to its object does not lie in a mental association, there must be a direct dual relation of the sign to its object independent of the mind using the sign. In the second of the three cases just spoken of, this dual relation is not degenerate, and the sign signifies its object solely by virtue of being really connected with it. Of this nature are all natural signs and physical symptoms. I call such a sign an index, a pointing finger being the type of the class.
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