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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,

I. 119.

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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