Actors, itinerant, I. 56. ALLEYN, EDWARD, and his com- pany, I. 94.
All's Well that Ends Well, I. 373; when written, 373; its style, 377; its sources, 379; Helena, 384; "Shakespeare's loveliest charac- ter," 389; the Countess, 392: Bertram, 393; Parolles, 396; the Poet's purpose in the play, 397. Antony and Cleopatra, when printed,
II. 388; when written, 388; Knight and Verplanck's view of this question, 389; Malone and Collier, 389; its historical sources, 390; the true history, 391; Oc- tavius and Octavia, 394; the last of Shakespeare's plays to be appreciated, 395; its excellencies, 396; Coleridge's view of the play, 397; its style, 396; its moral quality, 397; the magnificent in- fatuation of the hero and heroine, 399; Heraud's view of them, 399; the author's personal relation to the drama, 399; Enobarbus, 400; Lepidus, 403; Octavius, 404; Oc- tavia, 405; Cleopatra, Shake- speare's masterpiece in female characterization, 407; Mark An- tony, 412; Antony and Cleopatra, 415; Charmian and Iras, 416. ARDEN, MARY. See SHAKESPEARE, MARY.
ARIOSTO, L.: The Supposes, trans- lated by George Gascoigne, I. 92.
As You Like It, I. 330; when written, 330; its sources, 331; the charac- ters, 335; rich and varied, 337; Orlando, 337; the Duke, 340; Touchstone, 341; Jacques, 343; Rosalind, 344; the general drift and temper of the play, 346; its improbabilities, 347; its geogra- phical license, 348; the whole play replete with beauty, 349. BANDELLO borrows and improves the story of Romeo and Juliet, II. 203.
BEAUMONT, FRANCIS, refers to Shake- speare, I. 46. BELLEFOREST, his French version of Romeo and Juliet, II. 203. Blackfriars play-house, I. 121. Blank-verse, the oldest play extant in, I. 92; the second, 92. BRIGHAM, Dr., on Shakespeare's cure for insanity, II. 371. BROOKE, ARTHUR: the earliest Eng- lish version of Romeo and Juliet is his poem The Tragical History of Romeus and Juliet, II. 203. BUCHANAN, GEORGE: History of Scotland, 1582, II. 316. BUCKNILL, Dr.: essay, The Psychol- ogy of Shakespeare, II. 365; on King Lear, 365; on the last scenes of King Lear, 387. BURBADGE and company, I. 29. CHARLES I., King, I. 48. COLERIDGE, S. T., on Shakespeare's Brutus, II. 244; view of Hamlet,
263; his own character, 264; quoted, 265; on the Weird Sisters of Macbeth, 323; again quoted, 330; on Lady Macbeth, 340; on the Porter-scene in Macbeth, 348; on the last scenes of King Lear, 387; estimation of Antony and Cleopatra, 397; on Cassio in Othello, 475; on Othello, 476; on Iago, 489; on Aufidius, 517. COLLIER, Mr., on the time of Julius Caesar's first appearance on the stage, II. 230.
Comedy and Tragedy, I. 84; their beginnings, 85; Heywood's Inter- ludes, 86; the earliest (1533), A Merry Play Between the Pardoner and the Friar, the Curate and Neighbor Pratt, 86; an anony- mous Interlude called Thersites (1537), 87; the oldest known regular English comedy, Ralph Roister Doister (1551), 87; Miso- gonus (1560), 90; fifty-two dramas performed at Court, 1568-1580, 93; parts of Moral-Plays in com- edy and tragedy, 93; A Knack to Know a Knave, 93. CONOLLY, Dr., of England, view of
Hamlet's insanity, II. 272. Contemporaries,Shakespeare's, I.100. Coriolanus, II. 490; when printed, 490; the text, 490; when written,
491; its style and rank, 491; its historical source, 492; the Corio- lanus of Plutarch, 492; the Poet borrows the words and sentences of the translator, 493; adheres to the main outlines of Plutarch's Coriolanus, 497; the practical wisdom of the play, 499; Hazlitt's charge, 499; the Patrician, 499; the People, 500; the Hero, 501; his pride, 502; rendered inflammable and uncontrollable by passion, 503; his dissimulation, 505; his better traits, 507; his modesty, 508;
gloriously proud of his mother, 509; her triumph, 510; Virgilia, 511; Volumnia, 512; imperson- ates the woman's side of the Roman system, 513; Aufidius, 517; Coleridge on him, 517. Curtain, The, play-house, I. 121. Cymbeline, II. 417; when written, 419; Dr. Simon Forman notices it, 419; when acted, 419; its style and imagery, 419; when first printed, 419; its structure, 420; its historical basis, 421; its sources, 422; a comedy or tragedy, 424; how Hazlitt describes it, 424; its anachronisms, 424; how Schlegel regarded it, 425; a fine and varied display of poetry and character, 425; the ground-work a tissue of counter-plottings, 426; one very serious blemish, how it crept into the play, 427; the governing thought, 428; Gervinus upon this drama, 428.
DOWDEN, Prof., of Dublin: note on Julius Caesar, II. 240; view of Hamlet, 264.
DRAKE quoted on the drama of Mac- beth, II. 349.
Drama, The English, I. 53; the ancient, or Classic, 53; the modern, Romantic, or Gothic, 53; origin of the latter in England, 54; three forms of the English drama: the Miracle Plays, 55; the Moral Plays, 71; and Comedy and Tra- gedy; before Shakespeare, 84, 97, 122; Whetstone, George, on its general state, 97; Gosson, Stephen, on, 97; Sidney, Sir Phillip, on, 98; its rapid progress under the hand of Shakespeare, 124; in Shake- speare's time, II. 295. DRAYTON, MICHAEL, Mortimeriados or The Barons' Wars, II. 230. DRYDEN, JOHN, on Shakespeare, I.
English Language, The, at the time | GOETHE on the moral scope and significance of Hamlet, II. 312. GossoN, STEPHEN, on the drama, I. 97.
of Shakespeare, I. 125. Falstaff, Sir John, II. 83; the dra- matic necessity for his character, 83; his character, 84; his good sense, 84; his wit, 84; his re- sources, 85; his tactics, 88; his power over others, 89; what in him attracts the Prince, 90; pur- pose of the first scene with the Chief-Justice, 91; Falstaff's hu- mour, 92; attracts others, 92; Falstaff's sagacity, 93; not a coward, 94; has no sense of hon- our, 94; the greatest triumph of the comic Muse, 95; his practical wisdom, 95; no moral feelings, 96; strikes us as acting a part, 97; his company not harmless to others, 98; his character grows worse to the end of the play, 98; broadly representative, 99.
FLEAY, Mr. F. G., on the authorship of King Henry the Eighth, II. 177; on Julius Caesar, 228. FLETCHER, JOHN, joint-author with Shakespeare of King Henry the Eighth, II. 176; passage quoted from his The Knight of Malta, 182; from his The False One, 183; from The Lover's Progress, 185; his dic- tion and metre, 186. FORMAN, SIMON, M.D., first mentions Macbeth, II. 314; his The Book of Plays and Notes thereof, 314. FROUDE, JAMES ANTHONY, on the drama, I. 122 note. FULLER, Dr. THOMAS, tribute to Shakespeare, I. 46. GASCOIGNE, GEORGE, translator: The Supposes of Ariosto, I. 92. GERVINUS upon Cymbeline, II. 428; the King, 431; the Queen, 432; Cloten, 433; Iachimo, 436; Pisa- nio, 439; Posthumus, 441; Imogen, 446; Belarius and the Princes, 450.
GREENE, ROBERT, I. 30, 104; his character, 104; his prose writings, 104; The History of Orlando Furioso (1591), 105; Alphonsus, King of Arragon, 105; The Scot- tish History of King James, 106; Friar Bacon and Friar Bungay (1591), 107; George a Greene, the Pinner of Wakefield (1599), 108; A Looking-Glass for London and England, 109.
HALL, JOHN and SUSANNA, I. 49. HALLAM, HENRY, view of Juliet, II. 219; estimation of the drama of Macbeth, 349.
HALLIWELL, J. O., Shakespeare's biographer, I. 8.
Hamlet, Prince of Denmark, II. 258; when first printed, 258; the first issue, 258; when first written, 259; source of the plot, 259; sketch of the history, 260; an episode in the tale, 261; an an- achronism, 261; the Hamlet of 1604, 261; the play a tragedy of thought," 262; its resemblance to Classic Tragedy, 262; the character of Hamlet, 262; Cole- ridge's view of him, 263; Prof. Dowden of Dublin, his view of him, 264; other critics, 264; the au- thor's study of Hamlet, 265; Prof. Werder's essay on Hamlet, 266; main fault of the critics, 267; the principal personages of the play, 267; Claudius, 268; the Queen, 269; the Ghost, 269; Hamlet really mad, 269; the reasons for this judgment, 270; experts in mental disease regard his mad- ness as real, 271; critics unwill- ing to admit it, 272; Shake- speare skilled in mental science,
and Neighbor Pratt, 86; A merry Play between John the Husband, Tib the Wife, and Sir John the Priest, 87; The Four Ps, 87; The Play of the Weather, 87. HICKSON, Mr. SAMUEL, on the authorship of King Henry the Eighth, II. 176. Historical Plays, II. 5. HOLINSHED'S Chronicles (1577), II. 316.
HUDSON'S, Mr., study of Hamlet, II. 265.
273; Hamlet's own view of his in- sanity, 274; Shakespeare's mind charmed with certain forms of mental disease, 274; the Poet's method, 275; Hamlet's madness, 275; the task imposed upon him, 276; the change in him, 276; he is not master of his situation, 277; its difficulties, 278; Hamlet's strength of will, 279; the conflict between his feelings and his judg- ment, 280; the nature of his task, 280; his regard for his own rep- utation, 281; his hands tied, 282; | JAMES I., King, I. 47. the cause of his delay, 262; reasons for Hamlet's course, 283; he doubts the honesty of the Ghost, 284; catching the King's conscience, 285; how the revenge is brought about, 287; Hamlet's self-disparagement, 288; his char- acter, 290; pathos of his situa- tion, 291; his sensitive rectitude, 292; the substituted commission, 293; Prof. Werder again, 293; general remarks on Hamlet, 295; Laertes, 295; the King, 297; the Ghost, 297; Horatio, 298; Polon- ius, 299: Ophelia, 302; the Queen, 310; scenic excellencies of the play, 311; combines the greatest strength and diversity of powers, 311; Goethe on its moral scope and significance, 312. HATHAWAY, ANNE. See SHAKE- SPEARE, Mrs. ANNE. HAZLITT, describes Cymbeline, II. 424; on Coriolanus, 409. HENSLOWE'S Diary, I. 120; drama- tists and titles of pieces recorded by him, 120. HERAUD's Inner Life of Shakespeare, II. 399; on Antony and Cleo- patra, 399.
JAMESON, Mrs., view of Juliet, II. 219; of Cordelia, 375. JOHNSON, Dr., on the play of Mac beth, II. 346; estimation of Othello, 459.
JONSON, BEN., tribute to Shake-
HEYWOOD, JOHN, his Interludes, I. 86; A merry Play between the Par- doner and the Friar, the Curate
speare, I. 48; his Masque of Queens, II. 322; quoted, 373. Julius Caesar, II. 228; when first printed, 228; Mr. Fleay's view of the play, 228; whether abridged by Ben Jonson, 228; other plays on the subject, 229; when written, 229; Mr. Collier's view, 230; the style of the drama, 231; histori- cal sources, 233; its Plutarchian matter, form, and order, 233; the name of the play, 234; Brutus its hero, but Cæsar its ruling spirit, 234; the Cæsar of Shake- speare, 234; the policy of the drama, 237; Cæsar as known and as rendered by Shakespeare, 238; how Brutus regards him, 239; how Cassius regards him, 239; the Cæsar of history, 241; Meri- vale's view of him, 244; Leonard Schmitz's view of him, 244; the Brutus of Shakespeare, 245; the Brutus of history, 250; Meri- vale's view of him, 251; Brutus and Cassius, 251; Cassius, 252; Portia, 253; Plutarch's touching
incident respecting her, 254; Mark Antony, 255; the multi- tude, 256; the rank of the play, 257; Dr. Johnson's estimation of it, 257; the scene of Brutus and his boy Lucius, 249, 257. KELLOGG, Dr. A. O., of Utica: view of Hamlet's insanity, II. 272; on Shakespeare's cure of insanity, 371.
KEMPE'S applauded merriments, I. 94.
King Henry the Fourth, II. 63; the two Parts substantially one drama, 63; when written, 63; Sir John Old- Castle, 63; sources of the play, 65; the true history, 65; the historical characters, 68; Prince Henry, 68; Bolingbroke, or the King, 69; Hotspur, 72; Glendower, 75; Lord Bardolph, 77; Vernon, 77; the Archbishop, 77; the Chief-Justice, 77; Northumberland, 78; Prince Henry, the Poet's favourite, 78; his conduct and character, 79; at the battle of Shrewsbury, 80; the Prince's beautiful character, 81; the change in the Prince's charac- ter, 82; Falstaff, 83; Mrs. Quickly, 99; Shallow and Silence, 101; this drama one of the Poet's best, 104.
King Henry the Fifth, II. 105; when
issued, 106; the whole re-written, 108; its sources, 108; the true history, 108; Falstaff, 111; Fal- staff's companions, 113; the Boy, 114; Fluellen, Jamy, and Mac- morris, 115; the King, 117; the most complex and many-sided of all Shakespeare's heroes, except, perhaps, Hamlet, 117; the native harmony and beauty of his char- acter, 118; may almost be said to consist of piety, honesty, and modesty, 122; a discreet and prudent general, 125; his old
frank and child-like playfulness, 125; he craves to be a man among his soldiers, 126; his frolicsome humour, 128; his piety, 129; his civil administration, 131; dra- matic interest of the play, 132; the French caricatured, 133. King Henry the Eighth, II. 170; history of the play, 170; when written, 171; its design, 173; historic basis of the action, 174; its authorship, 175; the joint production of Shakespeare and John Fletcher, 176; `parts written by the former, 177; by the latter, 177; Mr. James Spedding's essay, 176; Mr. Samuel Hickson's views, 176; Mr. F. G. Fleay, 177; ex- tract from Spedding, 178; diction and metre of the play, 181; the structure of the play, 186; Sped- ding on its structure, 187; how the authors stand committed to the Reformation, 188; the social and civil climate of England, as shown in this play, 189; changes in ideas and manners, 190; the King, 191; Buckingham, 192; Queen Catherine, 192; Cardinal Wolsey, 193; Catherine again, 196; the King again, 199; Anne Boleyn, 201; the moral effect of the play, 202.
King John, II. 8; inferior as a his- tory, 8; when written, 9; its sources, 10; it follows a fabulous history, 13; what is the true his- tory, 13; Prince Arthur, 17; Leo- pold of Austria, 18; the people of Angiers, 19; the Pope, 19; the politics of the piece, 21; its degree of excellence, 21; King John, 23; the King's title, 26; Constance, 27; Arthur, 29; Falconbridge, 31. King Lear, II. 349; when acted, 349; when written, 350; when printed, 350; the story and its
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