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Actors, itinerant, I. 56.

Alleyn, Edward, and his com-
pany, 1.94.

Alts 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, Maey. See Shakespeare^

Ariosto, L.: The Supposes, trans-
lated by George Gascoigne, I. 92.

As You Like It, 1.330; 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, 1.121.

Blank-verse, the oldest play extant
in, 1.92; 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, Geoege: 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.

Buebadge 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
Cottar's first appearance on the
stage, II. 230.

Comedy and Tragedy, I. 84; their
beginnings, 85; Hey wood'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.

Conollt, Dr., of England, view of
Hamlet's insanity, II. 272.


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 Ccesar, 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 Barons1 Wars, II. 230.

Dry Den, John, on Shakespeare, I.

English Language, The, at the time

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; Falstaffs hu-
mour, 92; attracts others, 92;
Falstaff8 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
olKing Henry the Eighth, 11.177;
on Julius Ccesar, 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.
Gascoione, George, translator: The

Supposes of Ariosto, I. 92.
Gervinus upon Oymheline, II. 428;
the King, 431; the Queen, 432;
Cloten, 433; Iachimo, 436; Pisa-
nio,439; Posthumus, 441; Imogen,
446; Belarius and the Princes,

Goethe on the moral scope and

significance of Hamlet, II. 312.
Gosson, Stephen, on the drama,

I. 97.

Gjieene, Robert, I. 30, 104; his
character, 104; bis 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, 1.49.

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; theau-
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,
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 himi
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;
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 Oymbeline, 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.

Heywood, John, his Interludes, I.
86; A merry Play between the Par-
doner and the Friar, the Curate

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.

Hudson's, Mr., study of Hamlet, II.


James I., King, I. 47.

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-
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, ana order, 233; the
name of the play, 234; Brutus
its hero, but Caesar its ruling
spirit, 234; the Caesar of Shake-
speare, 234; the policy of the
drama, 237; Caesar as known and
as rendered by Shakespeare, 238;
how Brutus regards him, 239;
how Cassius regards him, 239;
the Caesar 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.
Kelloog, Dr. A. 0., of Utica: view
of Hamlet's insanity, II. 272; on
Shakespeare's cure of insanity,

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,

King Henry the Fifth, II. 105; when
issued, 106; the whole re-written,
108; its sources, 108; the true
history, 108; Falstaff, 111; Fal-
staffs 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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