ABBOTT, on the Quartos of Hamlet, ix
Appian's Civil Wars:

Brutus's speech, 428
Antony's speech over Caesar's dead
body, 432

Cæsar and Alexander compar'd, 435

Banquo, Character of, by Mr Foggo, 200
Bond-Story in Merch, of Venice: the

earliest English Version of, 181

CARTWRIGHT (Pericles and Timon, dates
of), xviii

Cash, Society's Accounts, xxix

CHARLEMONT, Lady, on Lady Macbeth,

194

CRAIG, on Cymbeline, xix

Cursor Mundi englisht, the Bond-Story
in, 188

Faire Em (Simpson), xi, 160-180
FOGGO, on Banquo's character, 200
FORMAN'S Book of Plays, A.D. 1611:

Richard II, 415; Winter's Tale,
416; Cymbeline, 417; Macbeth, 417
FURNESS, on Hamlet's character, xxvii
FURNIVALL:

Animal Metaphors, Hen. VI, 280;
Animal Parallels, Lucrece and Hen.
VI, 312; Banquo's character, 205;
Character of Hamlet, xxvi; Ed-
ward III, xix; Emendation, Pass.
Pilg., xxviii; Lady Macbeth, 198;
Links between Shakspere's plays,
xxii; Old Arthur Man, 284; Ólá
Furnival (Talbot), 284; Parallel
Texts, Hen. VI and Originals,
284; date of Venus and Adonis, 150;
see Scraps.

Quartos, xvi

DELIUS, on the Folio Corrections of

Rich. III, 75; on the Quarto and
Folio of King Lear, 125; on Nar-
ration in Shakspere, 207; previous
ocourrences, episodic element, 208;
Mer. of Ven., 209; M. N. D. and
T. of Shr., 210; As You Like It,
211; Merry Wives, Wint. Tale,
212; Tempest, 213; Cymbeline,
213; Othello, Macbeth, 214; Rom.
and Jul., Lear, 215; Rich. II,
H. V, Coriol., Ant. and Cleop.,
216

Second Paper, 332

1 and 2 Hen. VI, 333; 3 Hen.
VI, Rich. III, 334; K. John,
335; Rich. II, 336; 1 Hen. IV,
337; 2 Hen. IV, 338; Hen. V,
339; Hen. VIII, 340; Coriol. and
Jul. Cæs., 342; Ant. and Cleop.,
343

DOWDEN, on German Shakspere Litera- |
ture, xi

Evening Mass in Romeo and Juliet: R.
Simpson on, 148

Massinger, 314; Herbert, Pem-
broke, Montgomery, The Bondman,
316; Buckingham, 317; Elector
Palatine, Duke of Florence, 319;
Weston, Believe as You List, 320;
Emperor of the East, 326; Hamil-
ton, 329; Maid of Honour, 331
German Shakspere Literature (Prof.

Dowden on), xi; German Shak-
spere Society's Year Book, 1875(Mat-
thew on); Thummel, on Shakspere's
children, 440; Schaafhausen, on
the Kesselstadt Mask, 440; Jon-
son, Ben., by Friessen, 441; Al-
cilia, 440; Succession of Shak-
spere's Plays, König, 442; Shak-
spere and Voltaire, 443; Hamlet in
Spain, Michaelis, 443; Shakspere
Performances, 444

GORDON, Miss Eva, 125, 207
GRANT WHITE on Hen. VI, xxv; the
Time of Merry Wives, 421
Greene, share in 2 and 3 Hen. VI, 236,
252; in Cont. and True Trag., 304;
R. Simpson on his prose works, and
his play of Faire Em, 160-180
HALES, Date of Jul. Cæs., xiii

Hamlet and Ophelia (Dr Todhunter), xx
Hamlet, Growth of (Simpson), xviii
Hamlet, Quartos of: Dr Abbott on, ix;

Mr Furnivall, Mr Simpson, and
Dr Nicholson on, x

1 Henry IV, II. iii. 90, note on, 124
(N.B. A correspondent says he has
searcht for the original in vain.)
Henry V, Quartos (Dr Nicholson), xiv
Henry VI, 2 and 3; the Authors of them

and their originals discusst by Miss
Lee, 219-310; Menagerie-man of,

280

Lear, Delius on the Quarto and Folio
of, 125

LEE (Miss Jane): Authorship of 2 and
3 Hen. VI and their originals, 219;
Authoress's Index to Paper, 219;
Contention and True Tragedy earlier
than Shakspere, 220; Mr Fleay
(220) and Mr Kenny (225) think
not; Anjou and Maine speech,
226; Repeated lines, L. L. Lost,
234; Marlowe, Greene, Chettle,
236; Grant White, 238; Marlowe,
239; Greene's Comedy (252), Cade
(256); Mr Ward (261); Reply to
Director, 289; Sh. and Marlowe in
2 and 3 Hen. VI, 293; Reply to
Littledale (Althea), 303; Marlowe
and Greene in Cont. and True
Tragedy, 304

P.S. to Paper: Characters of Duke

Humphrey and King Henry VI,
307; Ulrici on Marlowe, 307; Order
of Shakspere's Historical Plays,

311
LEGGE, Dr, on the Plica Polonica in
Romeo and Juliet, 191

Macbeth, analysis of the time of the
action of the play, 351

Marlowe, share in 2 and 3 Hen. VI, 236,
239, 293, 307; in Cont. and True
Tragedy, 304

MARSHALL, character of Othello and
Hamlet, xxiii

MARX, Miss Eleanor, 332
Meetings, Notices of, vii
Merchant of Venice on the Bond-Story
in, 181; analysis of the time of the
play, 393

Mucedorus (Simpson on), xi, 157-160

·

6

tle of hay,' 420; 'bouncing,'
420; brabble,' 420; 'brach,' 193;
'brag,' 423; buttons,' 193; 'by'
('by paths"), 423; by holy,'
xxviii; 'cankered,' 198; 'car-
bonado,' 423; 'casual,' 423;
'changeling,' 423; chat,' 199;
clinquant,' 205; 'coil,' 423; col-
lied,' 205; 'conditioned,' 199;
'controlment,' 423; convertible,'
205; convey,' 193; court holy
water' (Lear), 199; drown,'
423; elf' (my hair), 191; 'elf-
locks,' 191; England,' K. J., 193;
excellent,' 424;familiarity,' 424
'fault,' 205; 'fico,' fig,' 205;
'fleer at,' 424; flirt gills,' 206
'fool's paradise,' 206; 'foyne,'
206; fustian,' 424;galled,' 424;
galled,' 206; grain (in g),' 439
'hag,' 191; 'hand (out of h.),'
424; 'hang (go hang),' 424; 'har-
lotry,' 206; 'have with you,'
424; heels,' 198, 424; 'home-
keeping,' 292; 'house and home,'
292; hugger-mugger,' 424; 'im-
pasted,' 424; inn,' 198; inter-
cessor,' 439; 'jack,' 292; ‘jar (at
jar),' 439; jump,' 292; 'kam,' 206;
kecksy,' 292; 'kibe,' 292; 'kick-
shaws,' 439; law (allows it),' 313;
'linger,' 439; 'lone woman,' 313
lubber, lubberly,' 444; lumpish,'
313; 'martlet,' 202; 'meacock,'
313; 'mechanical,' 313; 'minion,'
444; moth,' 313; 'nick (of time),'|
313; nipping,' 444; noll,' 458;
'old,' 346, 458; 'painting' (face),
193; pedant,' 458; pied,' 458;
'preciseness,' 458; prick-song,'
459; qualified,' 459; Sea of
troubles,' xiv; season, xix;
shrewd (turn), 199; slaver,
346; 'sluttish,' 459; spit white,'
346; square,' 459; stake down,'
193; 'sunbright,' 459; 'swabber,'
199; swaggerer,' 199, 206; 'take
(napping), 313; teeth' (despite of
your), 198; tender (years), 346;
thrasonical,' 346; time and tide,'
346; timely,' 459; 'tittle-tattle,'

Shakspere, plays attributed to, 155
Shakspereana, 1874-5, by Franz Thimm,
452

Shylock's Bond: the story of, 181
SIMPSON (the late Mr R.), Growth of
Hamlet, xviii; on Some Plays at-
tributed to Shakspere, on Mucedorus
and Faire Em, xi, 155-180

onEvening Mass' in Rom.
and Jul., 148

SMITH, Miss L. Toulmin, on the Bond-
Story in The Merchant of Venice,
and the earliest English Version of
it in the Cursor Mundi, 181, 457
Sonnets, Dedication of (Dr Ingleby and
Mr Brae), xix

SPEDDING, on the Folio Corrections of

Richard III, 1-74, 190; on Romeo
and Juliet Quartos, xvi
Speech-ending Test (Dr Ingram), xi
STACK, Animals in Hen. VI, 280

THIMM, Shakspereana, 1874-5, 452
TODHUNTER, Dr, on Hamlet and Ophe-
lia, xx

Treasurer's Accounts, King James's
(Sh.'s Plays), 280

Twelfth Night, II. v., 66-7 (Malvolio's
'my some rich jewel '), Dr Nichol-
son on, 154

Ulrici on Marlowe, criticized by Miss
Lee, 307

Venus and Adonis, Dr Nicholson and Mr
Furnivall on the Date of, 150

WHEATLEY, Originals of Sh.'s Plots,
Sh.'s Characters, &c., xv ; on Every
Man in His Humour, xxvii
WILSON, Prof. Jno., Double Time-
Analysis of Macbeth, 351; of
Othello, 358

FIRST PERIOD (? 1588-1594).

a. The Comedy-of-Errors or Mistaken-Identity Group (Tit. Andr. not Shakspere's). Love's Labours Lost (? 1588-9); Errors (1589); Midsum. Night's Dream (? 1590). b. Link-play. Two Gent. of Verona (? 1590-1). c. The Passion Group.

Romeo and Juliet (? 1591-3); Venus and Adonis (? 1593); Lucrece (1593-4); The Passionate Pilgrim (pr. 1599).

d. The Early Histories.

Richard II. ( 1593); 1, 2, 3 Henry VI. (1592-4: 1 Henry VI. perhaps earlier); Richard III. (1594).

SECOND PERIOD (? 1595-1601).

a. The Life-plea Group. King John (? 1595); The Merchant of Venice (? 1596).

b. A Farce: The Taming of the Shrew (?1596-7). c. The 3 Comedies of Falstaff, with the Trilogy of Henry IV., V.

1 Henry IV. (1596-7); 2 Henry IV. (1597-8); The Merry Wives (1598-9); Henry V. (1599).

d. The 3 Sunny- or Sweet-Time Comedies, Much Ado (1599-1600); As you like it (1600); Twelfth Night (1601).

e. The darkening Comedy. All's Well (1601-2). Shakspere's Sonnets (? 1592-1608).

a.

b.

c.

THIRD PERIOD (1601-1608).

The Unfit-Nature or Under-Burden-failing
Group. Julius Cæsar (1601); Hamlet
(1602-3); Measure for Measure (? 1603).
The Tempter-yielding Group.

Othello (? 1604); Macbeth (1605-6).
The 1st Ingratitude and Cursing Play
Lear (1605-6).

d. The Lust or False-Love Group.

Troilus and Cressida (? 1606-7); An tony and Cleopatra (? 1606-7).

e. The 2nd Ingratitude and Cursing Group. Coriolanus (1607-8); Timon (? 1607-8).

FOURTH PERIOD (? 1608-1613). All plays of Re-union, of Reconciliation, and Forgiveness. a. By Men. Pericles (1608-9); The Tempest (? 1609-10).

b.

By Women (mainly). Cymbeline (? 1610);
Winter's Tale (1611); Hen. VIII. (1612-13).

Doubtful Plays: The Two Noble Kinsmen (? 1612-13), part Shakspere's. Edward III. (1594), none of it Shakspere's.

Early History.

2 and 3 Henry VI. (Marlowe's presence).
Richard III. (Marlowe's influence).

3. EARLY COMEDIES.
Errors.

Love's Labours Lost. Two Gentlemen. Midsummer-Night's Dream. 4. EARLY TRAGEDY. Romeo and Juliet. 5. MIDDLE HISTORY. Rich. II. K. John. 6. MIDDLE COMEDY. Merchant of Venice. 7. LATER HISTORY (History and Comedy united). 1 and 2 Henry IV. Henry V. 8. LATER COMEDY.

Group (a.) Rough and boisterous comedy.
Shrew. (No sadness.) Merry Wives.
(b.) Refined, joyous, romantic.
Musical Twelfth-Night.

sadness. Much Ado.

As You like it.

9. MIDDLE TRAGEDY (= Tragedy of reflection). Julius Cæsar. Error and misfortune rather Hamlet. than passion and crime.

10. LATER TRAGEDY (= Tragedy of passion). Jealousy and murder. Othello. Ambition and murder. Macbeth. Ingratitude and parricide. Lear. Voluptuousness. Antony and Cleopatra. Haughtiness (alienation from country). Coriolanus. Misanthropy (alienation from humanity). Timon. (Timon the climax.) * 11. ROMANCES.

Sketch Marina (1st Tempest).
Tempest (Tempest again).
Cymbeline. Winter's Tale.

Comedy: a. b. c.

History: a. b. c.