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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