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of it, 274; true to the essential | Tragedy, its beginnings, I. 91; the

order and law of all right tragic
representation, 283; in Scotland,
315; his cure for insanity, 372;
how he came to work so near the
soul of Nature, 373; Ben Jonson
calls him the "Soul of the Age,"
373; his conceptions of virtue and
goodness are thoroughly of the
Christian type, 383; how we look
upon his characters, 399; policy
of authorship, 417; language and
expression, 417; his later work
overcharged with life and power,
418.

Shallow and Silence, II. 101.
SIDNEY, Sir PHILIP, on the drama,
I. 98.

SKELTON, Master, Laureate, author
of The Necromancer (1504), I. 77,
and of Magnificence, 77.
SOUTHAMPTON, HENRY WRIOTHES-
LEY, 3d Earl of, befriends the
Poet, I. 35.

SPEDDING, Mr. JAMES, on the au-
thorship of King Henry the Eighth, |
II. 176; extract from his essay,
178; another on the structure of
the play, 187.

Tempest, The, I. 421; one of Shake-

speare's perfectest works, 421;
its grace and efficacy, 421; when
written, 422; its style, language,
and general cast of thought, 424;
its sources, 425; its scenes, 426;
the character of the drama, 427;
its elements incongruous, but
sweetly blended, 428; Prospero,
428; Ariel, 431; Caliban, 434;
Miranda, 437; Ferdinand, 440;
Antonio and Sebastian, 442; Lord
Gonzalo, 442; Trinculo and Ste-
phano, 443; an atmosphere of
wonder and mystery pervades the
whole play, 444.

Theatre, The, play-house, I. 121.
Theatres of London, I. 121.

Tragedy of Gorboduc, or Of Fer-
rex and Porrex (1562), 91; The
Supposes, 92; Tancred and Gis-
munda (1568), 92.

Tragedy, Comedy and. See Comedy
and Tragedy.

Twelfth Night; or, What You Will
I. 351; when written, 351; its
sources, 353; style and temper of
the play, 356; its characters, 357;
Sir Toby, 357; Sir Andrew Ague-
cheek, 358; Malvolio, 359; Maria,
Fabian, and the Clown, 360;
Olivia, 362; the Duke, 365; Viola,
367; Sebastian, 369; the variety
of the characters, 371;
its general
scope and plan, 371; replete with
humour and oddities, 372.
WEEVER'S Mirror of Martyrs, II.231.
WERDER, Prof. KARL, essay on
Hamlet, II. 266; quoted again,

293.
WHETSTONE, GEORGE, on the drama,
I. 97.

WHITE, RICHARD GRANT, upon the
Poet's wife, I. 22.

Winter's Tale, The, I. 444; its earli-
est notice, 444; when written,
445; its sources, 446; its style
and execution, 452; its anachron-
isms, 453; Leontes, 456; female
excellence with the old poets, 460;
Hermione, 461; her last speech
at the trial the solidest piece of
eloquence in the language, 463;
Paulina, 465; the last two acts,
467; in them we have an artful
interchange and blending of ro-
mantic beauty and comic drollery,
468; the Prince and Princess, 468;
the King and Camillo, 469; Per-
dita, 470; Florizel, 471; the old
Shepherd and his Son, 473.
WORDSWORTH, W., quoted, II. 227.
UDALL, NICHOLAS, Ralph Roister
Doister, I. 87.

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