origin, 351; its anachronisms, 351; a drama, not a history, 352; Shakespeare's masterpiece, 353; and the highest specimen of the Gothic drama, 353; its style, 353; its incidents, 354; improbabilities of character, 354; the period of time, 355; the characters of the play, 355; Goneril and Regan, 356; Edmund, 359; King Lear, 363; Dr. Bucknill on Lear, 365; Cordelia, 366; Lear's madness, 370; Dr. Kellogg quoted, 371; Dr. Brigham quoted, 371; Cordelia, 374; Mrs. Jameson on Cordelia, 375; impersonates the holiness of womanhood, 379; the Fool, 380; Kent and Edgar, 383; Lear's speeches amid the tempest, 386; the surpassing power of this drama, 387.
King Richard the Second, II. 34; when written, 34; its sources, 39; the history, 40; the opening of the play, 42; the quality of the play, 47; its political philosophy, 48; the Poet's equipoise of judgment, 49; the moral and political-les- sons, 50; the King, 51; Boling- broke, 58.
King Richard the Third, II. 134; preceded by other plays on the same subject, 134; when pub- lished, 135; its great popularity, 135; date of the composition, 137; its connection with the Third Part of King Henry the Sixth, 138; embraces a period of more than fourteen years, 138; its moral complexion, 139; the character of Richard, 140; his vanity, 144; his consciousness of moral as well as physical deformities, 145; his character grows and takes shape, 146; his intellectuality, 147; woos Lady Anne, why, 148; he is irre- sistible, 149; his malignity, 152;
he is a villain with full conscious- ness, 152; his dare-devil intellec- tuality, 153; his isolation, 155; his courage, self-control, and strength of will, 157; his tenacity of pur pose, 158; his conscience and smothered remorse, 159; Queen Margaret, 160; Hastings and Buckingham, 164; Stanley, 164; Lady Anne, 165; Elizabeth, 166; the two Princes, 166; faults of the drama, 167; the Poet's power yet immature, 168. LAMB, CHARLES, on the Weird Sis- ters in Macbeth, II. 323. Language, The English, at the time of Shakespeare, I. 125. LILY, JOHN, his dramatic pieces,
LODGE, THOMAS, I. 119; The Wounds of Civil War (1590–94), 120. Macbeth, II. 313; when first printed, 313; its text, 313; portions not written by Shakespeare, 313; when written, 313; earliest notice of Macbeth, 314; written probably about the year 1610, 314; Shake- speare in Scotland, 315; the story of Macbeth, 316; historic basis of the action of the play, 317; the Weird Sisters, 321; Coleridge upon them, 323; Charles Lamb, 324; the old witches of superstition, 323; the fairies of the Greek drama, 323; religion of the Weird Sisters, 324; the permanent truth in the matter of, 325; the old system of witchcraft, 325; the Weird Sisters symbolize the in- ward moral history of man, 326; their office in the play, 327; Mac- beth has thought of murdering Duncan, 327; the Sisters respond to an inward temptation, 328; Coleridge quoted, 330; Macbeth and Banquo, 331; the former self- condemned, 332; the latter resists
the temptation, 333; Macbeth no longer hesitates, 333; not a timid, cautious villain, 334; his con- science makes him irresolute, 334; he is spurred on to further crimes, 335; why he kills Banquo, 336; his confusion of metaphors, 336; his imagination overwrought, 337; notes of character, 337; Lady Macbeth, 338; her mind and tem- per, 339; Coleridge on her adroit boldness, 340; her ferocity as- sumed, 341; but is a great, bad woman, 342; her womanly feel- ing, 343; her force of will, 343; her strength of conscience, 344; the mystery of her death, 344; how it affects Macbeth, 345; the guilty couple patterns of conjugal virtue, 345; Dr. Johnson on the play, 346; its character, 346; its style, 346; the banquet scene, 347; the sleep-walking scene, 348; the Porter scene, 348); Hal- lam and Drake on the whole drama, 349; its true rank, 349. MALONE, EDMUND, Shakespeare's biographer, I. 8.
MARLOWE, CHRISTOPHER, I. 31, 109; Tamburlaine the Great (1588-90), 110; The Jew of Malta, 111; The Tragical History of Dr. Faustus (about 1590), 112; Edward the Second, 115; one of the first and greatest improvers of dramatic poetry, 115; Drayton's tribute to him, 117; his character, 118. Measure for Measure, I. 398; when written, 398; its sources, 401; its style and temper, 404; one of the least attractive of the Poet's plays, 408; Angelo, 408; Isabella, 413; the Duke, 416; Lucio, 419; its comic scenes, 419; the issues of the play disappointing, 420. Merchant of Venice, The, I. 275; when written, 275; its sources,
276; praised by all critics, 277; its moral temper, 278; its leading incidents, 279; its characteriza- tion, 280; Antonio, 281; Bassanio, 282; Gratiano and Salarino, 283; Lorenzo and Jessica, 283; Launce- lot Gobbo, 284; Portia, 285; Shy- lock, 291; this play distinguished for the beauty of particular scenes and passages, 295; reconciles and combines a wide diversity of materials, 296.
MEDWALL, HENRY, author of A Goodly Interlude of Nature, (1486–1500), I. 76.
MERIVALE, CHARLES: History of the Romans under the Empire, II. 244; his view of Julius Cæsar, 244; his view of Brutus, 251.
Merry Wives of Windsor, The, I. 297; when written, 297; written at the instance of Queen Elizabeth, 297; its sources, 301; as pure comedy, it stands unrivalled, 301; the action of the piece, 301; Sir John Falstaff, 299, 303; Prince Hal, 305; Bardolph and Pistol, 310; Mistress Quickly, 310; Mine Host of the Garter, 310; Sir Hugh Evans and Doctor Caius, 311; Slender and Shallow, 311; the Fords and the Pages, 312. MIDDLETON, THOMAS, his The Witch, II. 322. Midsummer-Night's Dream, A, I.
259; the time when written, 259; not very successful on the stage, 261; its sources, 261; the fairies, 262; Puck, 264; Oberon, 266; Titania, 270; the human mortals, 269; Hermia and Helena, 272; Demetrius and Lysander, 272; Bottom, 273; the play forms a class by itself, 275. Miracle-Plays, I. 55; the earliest instance of, in England, 55; the Miracle of St. Catharine, 56; The
Play of the Blessed Sacrament, 57; | Much Ado About Nothing, I. 313;
three sets of Miracle-Plays ex- tant, 58; the Towneley set, 59; the Chester and Coventry plays, 61; Life and Repentance of Mary Magdalen, 64; Christ's Tempta- tion, 65; King Darius, 65; The History of Jacob and Esau, 65; Godly Queen Esther, 66; Herod, the popular character in Miracle- Plays, 67; Termagant, the sup- posed god of the Saracens, another, 67; their plays made coarse and irreverent, 68; the Clergy actors in these plays, 69; also the parish clerks and the trade guilds, 70; the plays acted in churches and chapels, and in the open air on scaffolds or stages, 71; the Devil generally a lead- ing character, 72; Miracle-Plays performed until after the death of Elizabeth, 93.
MOORE, THOMAS, on Italian women, II. 221.
Moral-Plays, I. 71; Iniquity or Vice a prominent character, 72; the Devil, also usually retained, 72; Vice commonly a jester and buffoon, 73; Jonson's Staple of News, 73; the oldest Moral-Play known, The Castle of Perseverance, 74; Mind, Will, and Understand- ing, 75; A Goodly Interlude of Nature, 76; The World and the Child, 77; The Necromancer, 77; Magnificence, 77; Every-man, 78; Moral-Play, in Latin, at St. Paul's School, 79; Lusty Juventus, 81; The Longer Thou Lavest the More Fool Thou Art, 82; The Marriage of Wit and Science, 82; Like Will to Like, Quoth the Devil to the Collier, 83; The Con- fict of Conscience, 83; Tom Tiler and his Wife, 83; Jack Juggler, 84; lingered till after 1580, 93,
when written, 313; its sources, 314; its style and diction, 317; persons and action, 318; has a large variety of interest, 319; Hero and Claudio, 319; Prince John, 321; Dogberry and Verges, 323; Benedick and Beatrice, 324.
NORTH, Sir THOMAS, his translation of Plutarch, II. 233; his old English retained in Julius Cæsar, 233; in Coriolanus, 492. NORTON, THOMAS, and THOMAS SACK-
VILLE, The Tragedy of Gordobuc or Of Ferrex and Porrex, 91. Othello, the Moor of Venice, II. 453;
when published, 453; when written, 453; in the Poet's latest style, 454; upon what founded, 455; the story, 455; the scene of the drama, 458; its rank, 459; Johnson's view of it, 459; Iago, 461; Roderigo, 462; Cassio, 474; Coleridge on Cassio, 475; the Moor, 475; Coleridge on, 476; was he a Negro? 478; his charac- ter, 479; Desdemona, 484; Col- eridge on Iago, 489. PAYNTER, WILLIAM, a prose version of Romeo and Juliet found in his Palace of Pleasure, II. 204. PEELE, GEORGE, I. 100; The Ar- raignment of Paris (1584), 101; The Battle of Alcazar (1589–94), 101; King Edward the First (1593), 102; The Old Wives' Tale (1595), 102; The Love of King David and Fair Bethseba, 103; his contributions to the Drama, 103; his character, 103. PLUTARCH: The Life of Julius
Caesar, the Life of Marcus Brutus, and The Life of Marcus Antonius, II. 233.
PORTO, LUIGI DA, the original author of the tale of Romeo and
Juliet, II. 203; his novel, La | SHAKESPEARE, JOHN, I. 8; place of
Giulietta, 203; QUICKLY, Mrs., II. 99.
QUINCY, THOMAS and JUDITH, I. 49. RAY, Dr. ISAAC, view of Hamlet's
insanity, II. 272. REVELS, The, (1568-80), I. 93. Romeo and Juliet, II. 203; the story, 203; its sources, 203; the original author of the tale, Luigi da Porto, 203; borrowed and improved by Bandello, 203; the French version by Belle- forest, 203; the earliest English version, a poem by Arthur Brooke, 203; a prose version by William Paynter, 204; when the play was first printed, 205; re- written, 205; time of writing, 206; the incidents of the tragedy, 206; its character, 207; the in- discriminate praise it has re- ceived, 207; its faults, 208; this play a tragedy of love, 209; all its passions excessive, 210; the course of Nature, 211; principle and impulse, 212; reason and passion divorced in this drama, 212; the lovers, 213; Romeo, 214; Juliet, 219; the Nurse, 222; Mercutio, 224; Friar Laurence, 225; winding up of the play, 226. ROWE, NICHOLAS, Shakespeare's first biographer, I. 7. SACKVILLE, THOMAS, THOMAS NOR-
TON and. See NORTON, THOMAS, and T. SACKVILLE. SCHLEGEL describes Hamlet as a tragedy of thought," II. 262; how he regards Cymbeline, 425. SCHMITZ, LEONARD, his view of Julius Cæsar.
SHAKESPEARE, ANNE, her birth, birth-place, and death, I. 20; character, 22; the Poet's sonnets to her, 24.
SHAKESPEARE, JOAN, I. 13.
residence, 8; his condition and estates, 9; business and career, 10;
want of education, 11; death, 12; obtains a coat of arms, 40. SHAKESPEARE, JUDITH, the Poet's
youngest daughter, married, I. 49. SHAKESPEARE, MARY, I. 12; her character and death, 14; influ- ence upon her son, 14. SHAKESPEARE, SUSANNA, the Poet's eldest daughter, married, I. 48. SHAKESPEARE, WILLIAM, life, I. 7; biographers, 7; father, 8; mother, 12; time and place of birth, 13; early life, 15; education, 17; mar- riage, 19; goes upon the stage, 26; deer-stealing, 26; goes to London, 28; his children, 20, 28; enters upon the London stage, 29; success, 31; appears as a poet, 32; first dramas, 32; the works of art, as well as of nature, 34; early friends, 34; a large owner in the Globe Theatre, 36; Spencer's tribute to him, 36; Ben Jonson's, 36; ob- tains the good graces of Queen Elizabeth, 37; his heart in his native country, 37; invests his spare funds at Stratford, 37; the Poet's thrift, 38; the earliest printed copies of his plays, 39; his first critic, 39; at the head of the English drama, 39; helps Ben Jonson, 40; obtains coat of arms for his father, 40; publishes five more plays, 41; withdraws from the stage, 42; what he had ac- complished when he was forty years of age, 43; his acquirement at that time, 43; buys real estate, 43; his income in 1608, 45; a member of Sir W. Raleigh's con- vivial club, 45; spends much of his time in London, 46; more plays brought out, 47; his repu- tation in 1609, 47; appreciated in
his own times, 48; his latter years, 48; his daughter Susanna, 48; his daughter Judith, 49; his death, 50; his will, 50; his char- acter, 51; his contemporaries, 97; not standing alone, 125; his art, 127; his dramas works of art, 149; his dramatic composition, 149; his characterization, 165; his charac- ters real, 166; idealized, 169; his characters grow and unfold them- selves under our eye, 173; suited to each other, and to the circum- stances of the occasion, 175; the great master of passion, 177; the evenhandedness of his represen- tations, 177; the dramatic fitness of his workmanship, 178; all his characters developed with equal perfectness, 180; his genius not born full-grown, 181; passes from apprentice into master in 1597, 182; he drew largely from the current literature of his time, 183; his humour, 184; it is widely diversified in its exhibitions, 185; his style, 189; is not constant and uniform, but varied, 190; its faults, 191; his plays upon words, &c., 192; in his earlier plays his style rather rhetorical than dra- matic, 194; his style in his later plays genuine and natural, 195; his choice of words, 198; use of Saxon and of Latin words, 199; Latinisms, 201; sources from which he drew his choice and use of words, 201; his arrangement of words, 203; nothing bookish or formal, 205; structure of his sentences, 207; the Periodic sen- tence, 208; the Loose sentence,
209; the word suited to the action, 212; his imagery, 216; his use of the simile, 217; of the metaphor, 224; his style modified by the leading thought or feeling, 235;
his style a just measure of his mind, 236; his style has no im- itators, 237; his moral spirit, 238; his rank in the School of Morals no less high than in the School of Art, 245; his own moral character as a man, 245; he does not put his individuality into his charac- ters, 246; exceptions to the rule, 247; the Poet throws some- thing of his own moral soul into Henry V., 247; prefers to draw good characters, 247; his divine gallery of womanhood, 249; the virtues of his men and women not the mere result of a happy nature, but self-chosen, 251; he keeps our moral sympathies in the right place without discovering his own, 252; seems to write without any moral purpose, 254; and fails to make a just distribution of good and evil, 255; his justification, 256; his fairies, 263; his female characters, 289; "Shakespeare's loveliest character," 389; "Shake- speare's most illustrious pronoun of a man," 396; a crisis in the Poet's life, 404; the Poet makes piety and honour go hand in hand with love, 440; the Poet's native genius, 454; his views of female excellence, 460; his senior contem- poraries, 100. Historical Plays, II. 5; what he has done for Eng- lish history, 5; the Poet's vigor- ous and healthy national spirit, 20; his force of execution, 89; his men and women habitually spoken of as if they were real persons, 227; quotation from Wordsworth applicable to them, 228; the style of Shakespeare's plays, 231; his exactness in the minutest details of character, 248; skilled in mental disease, 273; his mind charmed with certain forms
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