Alcibiades, practical wisdom of,
All's Well that ends Well, date of, 85.
Antony and Cleopatra, contrasted with Julius Cæsar, 307; linked with Coriolanus, 279. Antony, character of, 289; failure of, 309.
As You Like It, characteristics of, 80; and Winter's Tale, date of, 76. Aufidius and Coriolanus, 333. Autolycus, 376.
Bacon and Shakspere compared, 18. Bagehot, W., on Shakspere's politics. 327; on religious teaching of Shakspere, 39.
Beauty, feeling for, in last plays, 414.
Berowne as exponent of Shakspere's mind, 64.
Bolingbroke, causes of success of, 204; strength of, and weakness of Richard II. contrasted, 196. Bottom and Titania, humour and fancy combined in, 361. Broglie, Duc de, on Iago, 238. Brutus, mistakes of, 305. Brutus and Cassius, 302; contrasted, 283; speeches of, apologetic, 301.
Cæsar, character of, 284; weakness of, 285.
Capulet and Montague, strife of,
Chasles, M., criticism of Romeo and Juliet, by, 101. Chronological, arrangement, value of, 379; study of Shakspere, 6; groups of plays, Preface. Clarke, C. C., on notes of time in Romeo and Juliet, 119.
Cleopatra, and Cæsar, 315; death of, 316; feeling of, to Antony, 312. Coleridge, on cause of failure of
Richard II., 200; on Hamlet, 131. Comedy of Errors, source of, 57. Cordelia, Shakspere's fidelity to fact in, 227.
Coriolanus, egoism of, 335; himself central point of play, 328; pride of, twofold, 329.
Culture, Shakspere's idea of, 65.
Denmark, state of, in Hamlet's time, 136.
De Quincey, on the knocking in Macbeth, 372.
Desdemona, love to Othello of, 232; weakness of, 235.
Dickens, Charles, humour of, 341.
Early and later writings of Shak- spere, difference between, 282. Early plays, characteristics of, 59. Edmund, inhumanity of, 266. Edward IV., Shakspere's opinion of, 192.
Elizabethan drama, as remedy for cynicism, 29; ethics and effect of, 27; realistic quality of, 9; vigour of, 25.
Environment, influence on the man of his, 7.
Experiments, dramatic, of Shak- spere, 56.
External nature, treatment of, by Shakspere, 103.
Faerie Queene, object of, self-culture, 15; exponent of Renascence ideas, 14. Falstaff, ethics of, 365; view of life of, 79.
character of, 136. Goethe, criticism of Hamlet of, 128. Goneril and Regan compared, 263. Great minds, belief in supernatural of, 248.
Greatness of Shakspere's heroes, 317.
Grotesque, perception of, useful, 354.
Hamlet, indications of later style in, 125; literature, 160; turning point in career of Shakspere, 222. Hamlet, compared with Romeo, 132; causes of failure of, 156; cause of weakness of, 146; con- duct of, at the play, 155; effect of Ghost on, 143; fatalism of, 157; love of truth of, 151; mad- ness of, 144; mind of, incapable of certitude, 133; position of, at opening of play, 134; Shakspere's own character illustrated by, 160. Hazlitt, W., on love of Desdemona, 233; on Venus and Adonis and Lucrece, 52.
Hebler, on symmetry of some plays, 61.
Helena, Bertram's good, sole aim of, 86; energy of, 86.
Henry V., conduct in war of, 219; double character of, 212; hearty piety of, 215; hero of historical plays, 219; his realization of fact, 212; inner character of, 210; relentlessness of wrath of, 218; Shakspere's ideal of practical character, 74.
Henry VI., authorship of first part, 173; origin of second part and of third part, 180.
Henry VI., as a prisoner, 179; causes of failure of, 174; timid saintliness of, 175; vacillation of, 177.
Henry VIII., authorship of, 413. Hermione, calm justice of, 412. Hogarth, study of laughter by, 338. Hooker, influence of, on Reformation,
Horatio and Hamlet, 153. Hudson, Mr., on Fool in Lear, 273. Humour of Shakspere, influence of, 337; innocence of, 359; two stages of, 355,
Iago, personification of fraudful evil, 237.
Ideal and Real, conflict of, in mind of Shakspere, 36, 47. Imogen, 413.
Impartiality of Shakspere, source of, 345.
Incongruity, tragic and comic, 351. Ingram, Professor, on chronology of Last plays, 380.
Interest of Shakspere in his art diminishing, 404. Interpenetration of humour, pathos, and tragedy, 374. Isabella, energy and will of, 82.
Jameson, Mrs., on Cleopatra, 314. Juliet, state of mind of, when taking the poison, 115.
Julius Cæsar, date of, Preface; dominant power of, 287. Julius Cæsar, apparent inconsistency of character of, 291.
Katharine, love of Henry V. to, 191. King John, substance of, misery and failure, 172
King John, fails from weakness of his wickedness, 169; strength in early scenes not real, 170.
King Lear, creed of leading persons in, 269; ethics of, 268; greatest Teutonic poem, 257; irony of, 258; Shakspere's treatment of history in, 261; significance of secondary plot in, 265; teaching of, 260.
Knowledge of a great mind a great good, 4. Kreyssig, on Shakspere's freedom from party spirit, 324.
Lady Macbeth, appearance of, 251. Lady Percy and Portia contrasted, 298.
Laertes, superficiality of, 137. Last Plays, characteristics of, 403. Laughter, of men of genius, 340; Shakspere's, history of, 357. Leontes and Othello contrasted, 407. Love's Labour's Lost, character and design of, 62. Macbeth, motto of, 244. Macbeth, and the Witches, 249 ; and | Lady M. contrasted, 251; dis- honourable death of, 255; weak- ness of, 250.
Maginn, on Theseus, 69.
Margaret, Queen, an avenging fury, 191.
Marlowe, influence of, on Shak- spere, 97.
Mental progress, style a sign of, 61. Mercutio, character of, 117. Merry Wives of Windsor, criticism of, 369.
Middle Ages, ethics and idealism of, 10.
Morality of Shakspere's writings, 396.
Morgann M., criticism of Falstaff, 364.
Mysteries of Life, Shakspere's treat- ment of, 226.
Ophelia, compared with Juliet, 139. Othello, aim of, to contrast Iago and Othello, 242.
Othello, forcefulness of, 234; strength and weakness of, 230.
Prospero, conduct of, to his enemies, 411; Shakspere's ideal character, 76; Shakspere seen in, 417. Queen Katharine, chief interest to Shakspere in Henry VIII., 414.
Reconciliation, characteristic of last plays, 406.
Reformation in England, charac teristics of, 20.
Renascence, ethics of, 11; posi. tivism characteristic of, 23. Richard II., aims at effect without definite end, 194; and Jacques compared, 203; boyishness of, 193; unreality of, discussed, 201. Richard III., uniqueness of, and re- semblance to Marlowe's work, 180.
Richard III., cynicism and dev.lry of, 184; energy of, best seen in battle, 186; Shakspere's teaching from character of, 189; sources of power of, 182.
Roman Plays, measure of greatness in, 280; Shakspere's and Jonson's contrasted, 276; significance of date of, 278.
Romeo and Juliet, feeling evoked by last scene of, 123; Shakspere's variation from original, 119. Romeo, contrasted with Mercutio, 116; development of character of, 117; love of, for Rosaline and Juliet, 106.
Rosencrantz and Guildenstern, 149. Rushton on Euphuism of Shakspere, 141.
Ruskin on Iago, 237.
Runnawayes Eyes, note on, 124. Satire, late and early, of Shakspere contrasted, 374. Secondary plots, function of, 389.
Periods, four, in art-life of Shak- Second period, characteristics of,
spere, 357, 362, 371.
Polonius, morality of, 141. Portia, strength of, 299.
Portia and Brutus, noble relations of, 296.
Shakspere, as a poet of feudalism, 319; caution of, in trying styles, 99; character of, 164; character illustrated by life, 31; develop- ment of nature of. 44; enormous receptivity of, 43, ideal of prac tical strength of, 221; incapable
Posthumus, reconciliation of, with Imogen, 499.
Progress of Shakspere, cautious, 53. ¦
of despair, 228; influence of writ- | ings of, on student, 428; mode of studying, 2; on communism, 326; political views of, 322; practical and ideal sides of char acter illustrated, 33; relation of his life to his art, 162; religion of, 37; sympathy of, with ideal, 392; two existences of, 35. Slender, the comic in, 349. Sonnets, Shakspere's life at time of writing the, 398; spirit of, 400; teaching of, 395; theories of in- terpretation of, 394.
Spenser, positive character of, 17.
Tempest, allegorical interpretation of, 423; freedom and forgiveness in, 419.
Theseus, example of Shakspere's impartiality, 71; man of action, 68. Timon, a study of self-control, 384; as an illustration of Shakspere's mind, 382; conjectures on origin of, 381; contrasts in, 389. Timon, fails from ignorance of life, 385; misanthropy of, 388. Titus Andronicus, pre-Shaksperian in tone, 54
Tragedies, deal with deepest pas- sions, 224; engrossed whole na- ture of Shakspere, 224; first, influence of external events on actors in, 130; first, gradual development of, 57, 95; influence of, on spiritual progress of Shak- spere, 229; of Shakspere and Restoration contrasted, 347. Tragedy, first and second trasted, 100.
Tragic and comic defined, 349. Troylus and Cressida, difficulties in, 94; significance of, Preface. Two Gentlemen of Verona, author- ship of, 57.
Venus and Adonis and Lucrece, exhaustiveness, of, 49.
Victor Hugo on King Lear, 274.
West, E. D., on realism of Shak- spere, 37.
White, R. Grant, on authorship of Romeo and Juliet, 95.
Witches of Macbeth, interpretation of, 245.
Women of Shakspere contrasted with the men, 110.
TURNBULL AND SPEARS, PRINTERS, EDINBURGH.
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