of it, 274; true to the essential | Tragedy, its beginnings, I. 91 ; the
order and law of all right tragic Tragedy of Gorboduc, or Of Fer-
representation, 283; in Scotland, | rex and Porrex (1562), 91; The
315; his cure for insanity, 372; | Supposes, 92; Tancred and Gis-
how he came to work so near the munda (1568), 92.
soul of Nature, 373; Ben Jonson Tragedy, Comedy and. See Comedy
calls him the “Soul of the Age," | and Tragedy.
373; his conceptions of virtue and Twelfth Night; or, What You Will,
goodness are thoroughly of the I. 351; when written, 351 ; its
Christian type, 383; how we look sources, 353; style and temper of
upon his characters, 399; policy the play, 356 ; its characters, 357;
of authorship, 417; language and Sir Toby, 357; Sir Andrew Ague-
expression, 417; his later work cheek, 358; Malvolio, 359; Maria,
overcharged with life and power, Fabian, and the Clown, 360 ;
Olivia, 362; the Duke, 365 ; Viola,
Shallow and Silence, II. 101.
367 ; Sebastian, 369; the variety
SIDNEY, Sir PHILIP, on the drama, of the characters, 371; its general
scope and plan, 371; replete with
SKELTON, Master, Laureate, author humour and oddities, 372.
of The Necromancer (1504), I. 77, WEEVER's Mirror of Martyrs, II.231.
and of Magnificence, 77.
WERDER, Prof. Karl, essay on
SOUTHAMPTON, HENRY WRIOTHES- Hamlet, II. 266; quoted again,
LEY, 3d Earl of, befriends the 293.
Poet, I. 35.
WHETSTONE, GEORGE, on the drama,
SPEDDING, Mr. James, on the au- I. 97.
thorship of King Henry the Eighth, WHITE, RICHARD GRANT, upon the
II. 176; extract from his essay, Poet's wife, I. 22.
178; another on the structure of Winter's Tale, The, I. 444; its earli-
the play, 187.
est notice, 444; when written,
Tempest, The, I. 421; one of Shake 445; its sources, 446; its style
speare's perfectest works, 421 ; | and execution, 452; its anachron-
its grace and efficacy, 421; when isms, 453; Leontes, 456; female
written, 422; its style, language, excellence with the old poets, 460;
and general cast of thought, 424; Hermione, 461; her last speech
its sources, 425; its scenes, 426 ; at the trial the solidest piece of
the character of the drama, 427; eloquence in the language, 463 ;
its elements incongruous, but Paulina, 465; the last two acts,
sweetly blended, 428; Prospero, 467; in them we have an artful
428; Ariel, 431; Caliban, 434; interchange and blending of ro-
Miranda, 437; Ferdinand, 440; | mantic beauty and comic drollery,
Antonio and Sebastian, 442; Lord 468; the Prince and Princess, 468;
Gonzalo, 442; Trinculo and Ste the King and Camillo, 469; Per-
phano, 443; an atmosphere of dita, 470; Florizel, 471; the old
wonder and mystery pervades the Shepherd and his Son, 473.
whole play, 444.
WORDSWORTH, W., quoted, II. 227.
Theatre, The, play-house, I. 121. UDALL, NICHOLAS, Ralph Rorster
Theatres of London, I. 121. 1 Doister, I. 87.