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origin, 351; its anachronisms,' he is a villain with full conscious-
351; a drama, not a history, 352; ness, 152; his dare-deyil intellec-
Shakespeare's masterpiece, 353 ; tuality, 153; his isolation, 155; his
and the highest specimen of the courage, self-control, and strength
Gothic drama, 353; its style, 353; of will, 157; his tenacity of pur.
its incidents, 354; improbabilities pose, 158 ; his conscience and
of character, 354; the period of smothered remorse, 159; Queen
time, 355; the characters of the Margaret, 160; Hastings and
play, 355; Goneril and Regan, Buckingham, 164; Stanley, 164;
356; Edmund, 359; King Lear, Lady Anne, 165; Elizabeth, 166;
363 ; Dr. Bucknill on Lear, 365; the two Princes, 166; faults of
Cordelia, 366; Lear's madness, the drama, 167; the Poet's power
370; Dr. Kellogg quoted, 371; Dr. yet immature, 168.
Brigham quoted, 371 ; Cordelia, LAMB, CHARLES, on the Weird Sis-
374; Mrs. Jameson on Cordelia, ters in Macbeth, II. 323.
375; impersonates the holiness of Language, The English, at the time
womanhood, 379; the Fool, 380; of Shakespeare, I. 125.
Kent and Edgar, 383; Lear's LILY, John, his dramatic pieces,
speeches amid the tempest, 386 ; . I. 119.
the surpassing power of this LODGE, Thomas, I. 119; The Wounds
of Civil War (1590–94), 120.
King Richard the Second, II. 34; Macbeth, II. 313; when first printed,
when written, 34; its sources, 39; 313; its text, 313; portions not
the history, 40; the opening of the written by Shakespeare, 313 ;
play, 42; the quality of the play, when written, 313; earliest notice
47; its political philosophy, 48; of Macbeth, 314; written probably
the Poet's equipoise of judgment, about the year 1610, 314; Shake-
49; the moral and political-les- | speare in Scotland, 315; the story
sons, 50; the King, 51; Boling of Macbeth, 316; historic basis of
the action of the play, 317; the
King Richard the Third, II. 134; Weird Sisters, 321; Coleridge upon
preceded by other plays on the them, 323; Charles Lamb, 324;
same subject, 134; when pub the old witches of superstition,
323; the fairies of the Greek
135; date of the composition, 137; drama, 323; religion of the Weird
its connection with the Third Part Sisters, 324; the permanent truth
of King Henry the Sixth, 138; | in the matter of, 325; the old
embraces a period of more than system of witchcraft, 325; the
fourteen years, 138; its moral Weird Sisters symbolize the in-
complexion, 139; the character of ward moral history of man, 326;
Richard, 140; his vanity, 144; | their office in the play, 327; Mac-
his consciousness of moral as well beth has thought of murdering
as physical deformities, 145; his Duncan, 327; the Sisters respond
character grows and takes shape, to an inward temptation, 328;
146; his intellectuality, 147; woos | Coleridge quoted, 330; Macbeth
Lady Anne, why, 148; he is irre and Banquo, 331; the former self-
sistible, 149; his malignity, 152;' condemned, 332; the latter resists
the temptation, 333; Macbeth no 276; praised by all critics, 277;
longer hesitates, 333; not a timid, its nioral temper, 278; its leading
cautious villain, 334 ; his con- | incidents, 279; its characteriza-
science makes him irresolute, 334; tion, 280; Antonio, 281; Bassanio,
he is spurred on to further crimes, 282; Gratiano and Salarino, 283;
335; why he kills Banquo, 336 ; || Lorenzo and Jessica, 283; Launce-
his confusion of metaphors, 336; | lot Gobbo, 284; Portia, 285; Shy-
his imagination overwrought, 337; lock, 291; this play distinguished
notes of character, 337; Lady for the beauty of particular scenes
Macbeth, 338; her mind and tem and passages, 295; reconciles and
per, 339; Coleridge on her adroit combines a wide diversity of
boldness, 340; her ferocity as- materials, 296.
sumed, 341; but is a great, bad | MEDWALL, HENRY, author of A
woman, 342; her womanly feel- Goodly Interlude of Nature,
ing, 343; her force of will, 343;1 (1486–1500), I. 76.
her strength of conscience, 344; MERIVALE, CHARLES: History of the
the mystery of her death, 344;| Romans under the Empire, II. 244;
how it affects Macbeth, 345; the his view of Julius Cæsar, 244; his
guilty couple patterns of conjugal view of Brutus, 251.
virtue, 345; Dr. Johnson on the Merry Wives of Windsor, The, I. 297;
play, 346 ; its character, 346; its when written, 297; written at the
style, 346; the banquet scene, instance of Queen Elizabeth, 297;
347; the sleep-walking scene, its sources, 301; as pure comedy,
348 ; the Porter scene, 348); Hal it stands unrivalled, 301; the
lam and Drake on the whole action of the piece, 301; Sir John
drama, 349; its true rank, 349. Falstaff, 299, 303; Prince Hal,
MALONE, EDMUND, Shakespeare's 305; Bardolph and Pistol, 310 ;
biographer, I. 8.
Mistress Quickly, 310; Mine Host
MARLOWE, CHRISTOPHER, I.31, 109; of the Garter, 310; Sir Hugh
Tamburlaine the Great (1588–90), Evans and Doctor Caius, 311;
110; The Jew of Malta, 111; The Slender and Shallow, 311; the
Tragical History of Dr. Faustus Fords and the Pages, 312.
(about 1590), 112; Edward the MIDDLETON, THOMAS, his The Witch,
Second, 115; one of the first and II. 322.
greatest improvers of dramatic Midsummer-Night's Dream, A, I.
poetry, 115 ; Drayton's tribute to 259; the time when written, 259;
him, 117; his character, 118. not very successful on the stage,
Measure for Measure, I. 398 ; when 261; its sources, 261; the fairies,
written, 398; its sources, 401; its 262; Puck, 264; Oberon, 266 ;
style and temper, 404 ; one of the Titania, 270; the human mortals,
least attractive of the Poet's plays, 269; Hermia and Helena, 272;
408; Angelo, 408; Isabella, 413; Demetrius and Lysander, 272 ;
the Duke, 416; Lucio, 419; its Bottom, 273; the play forms a
comic scenes, 419; the issues of class by itself, 275.
the play disappointing, 420. Miracle-Plays. I. 55; the earliest
Merchant of Venice, The, I. 275; instance of, in England, 55; the
when written, 275; its sources, Miracle of St. Catharine, 56; The
Play of the Blessed Sacrament, 57; | Much Ado About Nothing, I. 313;
three sets of Miracle-Plays ex- | when written, 313; its sources,
tant, 58; the Towneley set, 59; L 314; its style and diction, 317;
the Chester and Coventry plays, persons and action, 318; has a
61; Life and Repentance of Mary large variety of interest, 319;
Magdalen, 64; Christ's Tempta- ! Hero and Claudio, 319; Prince
tion. 65: King Darius, 65; The John, 321; Dogberry and Verges,
History of Jacob and Esau, 65; 323; Benedick and Beatrice,
Godly Queen Esther, 66; Herod, 324.
the popular character in Miracle- | NORTH, Sir Thomas, his translation
Plays, 67; Termagant, the sup- of Plutarch, II. 233; his old
posed god of the Saracens, English retained in Julius Caesar,
another, 67; their plays made 233; in Coriolanus, 492.
coarse and irreverent, 68 ; the Norton,Thomas, and Thomas Sack-
Clergy actors in these plays, 69; VILLE, The Tragedy of Gordobuc.
also the parish clerks and the or Of Ferrex and Porrex, 91.
trade guilds, 70; the plays acted Othello, the Moor of Venice, II. 453;
in churches and chapels, and in when published, 453; when
the open air on scaffolds or stages, written, 453; in the Poet's latest
71; the Devil generally a lead style, 454; upon what founded,
ing character, 72; Miracle-Plays 455; the story, 455; the scene of
performed until after the death the drama, 458; its rank, 459;
of Elizabeth, 93.
Johnson's view of it, 459; Iago,
MOORE, THOMAS, on Italian women, 461; Roderigo, 462; Cassio, 474;
Coleridge on Cassio, 475; the
Moral-Plays, I. 71; Iniquity or Moor, 475; Coleridge on, 476 ;
Vice a prominent character, 72; was he a Negro? 478; his charac-
the Devil, also usually retained, ter, 479; Desdemona, 484; Col-
72; Vice commonly a jester and eridge on Iago, 489.
buffoon, 73; Jonson's Staple of PAYNTER, WILLIAM, a prose version
News, 73; the oldest Moral-Play of Romeo and Juliet found in his
known, The Castle of Perseverance, Palace of Pleasure, II. 204.
74; Mind, Will, and Understand- PEELE, GEORGE, I. 100; The Ar-
ing, 75; A Goodly Interlude of raignment of Paris (1584), 101;
Nature, 76; The World and the The Battle of Alcazar (1589–94),
Child, 77; The Necromancer, 77; 101; King Edward the First
Magnificence, 77; Every-man, 78; / (1593), 102; The Old Wives' Tale
Moral-Play, in Latin, at St. (1595), 102; The Love of King
Paul's School, 79; Lusty Juventus, David and Fair Bethseba, 103;
81; The Longer Thou Livest the his contributions to the Drama,
More Fool Thou Art, 82; The 103; his character, 103.
Marriage of Wit and Science, 82; PLUTARCH: The Life of Julius
Like Will to Like, Quoth the Cæsar, the Life of Marcus Brutus,
Devil to the Collier, 83; The Con- and The Life of Marcus Antonius,
flict of Conscience, 83; Tom Tiler II. 233.
and his Wife, 83; Jack Juggler, Porto, LUIGI DA, the original
84; lingered till after 1580, 93. |author of the tale of Romeo and
Juliet, II. 203; his novel, La |SHAKESPEARE, John, I. 8; place of
residence, 8 ; his condition and
QUICKLY, Mrs., II. 99.
estates, 9; business and career, 10;
QUINCY, THOMAS and JUDITH, I. 49. want of education, 11; death, 12;
Ray, Dr. Isaac, view of Hamlet's obtains a coat of arms, 40.
insanity, II. 272.
SHAKESPEARE, JUDITH, the Poet's
REVELS, The, (1568-80), I. 93. youngest daughter, married, I. 49.
Romeo and Juliet, II. 203 ; the SHAKESPEARE, MARY, I. 12; her
story, 203; its sources, 203; character and death, 14; influ-
the original author of the tale, ence upon her son, 14.
Luigi da Porto, 203; borrowed SHAKESPEARE, SUSANNA, the Poet's
and improved by Bandello, 203; | eldest daughter, married, I. 48.
the French version by Belle- SHAKESPEARE, WILLIAM, life, I. 7;
forest, 203; the earliest English biographers, 7; father, 8; mother,
version, a poem by Arthur 12; time and place of birth, 13;
Brooke, 203; a prose version by early life, 15; education, 17; mar-
William Paynter, 204; when the riage, 19; goes upon the stage, 26;
deer-stealing, 26; goes to London,
written, 205; time of writing, 28; his children, 20, 28; enters
206; the incidents of the tragedy,! upon the London stage, 29; success,
206; its character, 207; the in 31 ; appears as a poet, 32; first
discriminate praise it has re dramas, 32; the works of art, as
ceived, 207; its faults, 208; this well as of nature, 34; early friends,
play a tragedy of love, 209; 34; a large owner in the Globe
all its passions excessive, 210; the Theatre, 36; Spencer's tribute to
course of Nature, 211; principle him, 36; Ben Jonson's, 36; ob-
and impulse, 212; reason and tains the good graces of Queen
passion divorced in this drama, Elizabeth, 37; his heart in his
212; the lovers, 213; Romeo, native country, 37; invests his
214; Juliet, 219; the Nurse, 222; spare funds at Stratford, 37; the
Mercutio, 224; Friar Laurence, Poet's thrift, 38; the earliest
225; winding up of the play, 226. printed copies of his plays, 39;
ROWE, NICHOLAS, Shakespeare's his first critic, 39; at the head of
first biographer, 1. 7.
the English drama, 39; helps Ben
SACKVILLE, THOMAS, Thomas NOR Jonson, 40; obtains coat of arms
Ton and. See NORTON, THOMAS, for his father, 40; publishes five
and T. SACKVILLE.
more plays, 41; withdraws from
SCHLEGEL describes Hamlet as “a the stage, 42; what he had ac-
tragedy of thought,” II. 262; complished when he was forty
how he regards Cymbeline, 425. years of age, 43; his acquirement
SCHMITZ, LEONARD, his view of at that time, 43; buys real estate,
43; his income in 1608, 45; a
SHAKESPEARE, ANNE, her birth, member of Sir W. Raleigh's con-
birth-place, and death, I. 20; vivial club, 45; spends much of
character, 22; the Poet's sonnets his time in London, 46; more
to her, 24.
plays brought out, 47; his repu-
- SHAKESPEARE, Joan, I. 13.
tation in 1609, 47; appreciated in
his own times, 48; his latter | his style a just measure of his
years, 48; his daughter Susanna, mind, 236; his style has no im-
48; his daughter Judith, 49; his itators, 237; his moral spirit, 238;
death, 50; his will, 50; his char his rank in the School of Morals
acter, 51 ; his contemporaries, 97; no less high than in the School of
not standing alone, 125; his art, Art, 245; his own moral character
127; his dramas works of art, 149: 1 as a man, 245; he does not put
his dramatic composition, 149; his his individuality into his charac-
characterization, 165; his charac ters, 246; exceptions to the rule,
ters real, 166; idealized, 169; his 247; the Poet throws some-
characters grow and unfold them thing of his own moral soul into
selves under our eye, 173; suited Henry V., 247; prefers to draw
to each other, and to the circum good characters, 247; his divine
stances of the occasion, 175; the gallery of womanhood, 249; the
great master of passion, 177; the virtues of his inen and women not
evenhandedness of his represen the mere result of a happy nature,
tations, 177; the dramatic fitness but self-chosen, 251; he keeps our
of his workmanship, 178; all his moral sympathies in the right
characters developed with equal place without discovering his
perfectness, 180; his genius not own, 252; seems to write without
born full-grown, 181; passes from any moral purpose, 254; and fails
apprentice into master in 1597, to make a just distribution of good
182; he drew largely from the and evil, 255; his justification,
current literature of his time, 183; | 256 ; his fairies, 263 ; his female
his humour, 184; it is widely characters, 289; “Shakespeare's
diversified in its exhibitions, 185; | loveliest character,” 389; “Shake-
his style, 189; is not constant speare's most illustrious pronoun
and uniform, but varied, 190; its of a man," 396; a crisis in the
faults, 191; his plays upon words, Poet's life, 404; the Poet makes
&c., 192; in his earlier plays his | piety and honour go hand in hand
style rather rhetorical than dra with love, 440; the Poet's native
matic, 194; his style in his genius, 454; his views of female
later plays genuine and natural, excellence, 460; his senior contem-
195; his choice of words, 198; poraries, 100. Historical Plays,
use of Saxon and of Latin words, II. 5; what he has done for Eng-
199; Latinisms, 201; sources from lish history, 5; the Poet's vigor-
which he drew his choice and use ous and healthy national spirit,
of words, 201; his arrangement 20; his force of execution, 89;
of words, 203; nothing bookish his men and women habitually
or formal, 205; structure of his spoken of as if they were real
sentences, 207; the Periodic sen persons, 227; quotation from
tence, 208; the Loose sentence, Wordsworth applicable to them,
209; the word suited to the action, 228; the style of Shakespeare's
212; his imagery, 216; his use of plays, 231 ; his exactness in the
the simile, 217; of the metaphor, minutest details of character, 248;
224; his style modified by the skilled in mental disease, 273; his
leading thought or feeling, 235; | mind charmed with certain forms