either tragedy or comedy; but that the whole problem is one of the publisher and the printer has been pretty well established. See especially, on this matter, ADAMS, J. Q.: Timon of Athens and the Irregularities in the First Folio," Journal of English and Germanic Philology, vii, 53 (1908).

(Page 304.) On the problem of the authorship of Timon of Athens, see WRIGHT, E. H.: The Authorship of "Timon of Athens,” New York, 1910.

(Page 306.) There is some evidence for the view that the nonShakespearean portion of Pericles was the work of George Wilkins, who published a novel with the same plot in 1608; see BAKER, H. T.: "The Relation of Shakespeare's Pericles to George Wilkins's Novel," Publ. of the Modern Language Association, xxiii, 100 (1908). For the earlier history of the story, see SMYTH, A. H.: Shakespeare's Pericles and Apollonius of Tyre, Philadelphia, 1898.

(Page 309.) For evidence of mixed authorship of Cymbeline, drawn from inconsistencies and imperfections in the text, see FURNESS, H. H., in his introduction to the play in the New Variorum Shakespeare.

(Page 316.) For a discussion of the hypothetical original version of The Tempest, see GRAY, H. D.: "Some Indications that The Tempest was Revised," Studies in Philology, xviii, 129 (1921). (Page 317.) The suspected sources of The Tempest in narratives of Virginia colonists are discussed with special thoroughness in GAYLEY'S book on Shakespeare and the Founders of Liberty, cited under Chapter I. A different theory, to the effect that the storm scene was based on passages in a dialogue of Erasmus's, the Naufragium (translated by Burton, 1606), has been lately proposed by REA, J. D.: "A Source for the Storm in The Tempest," Modern Philolgy, xvii, 279 (1919). On the supposed connection of Caliban with the importation of savages into England, see LEE: "The American Indian in Elizabethan England," Scribner's Magazine, xlii, 313 (1907), and "Caliban's Visits to England," Cornhill Magazine, n. s. xxxiv, 333 (1913). The Italian scenarios which seem to furnish sources for the principal plot of The Tempest are found in NERI: Scenari delle Maschere in Arcadia, Città di Castello, 1913, and are described by GRAY, H. D.: "The Sources of The Tempest," Modern Language Notes, xxxv, 321 (1920).

(Page 321.) For the more subjective explanation of Shakespeare's interest in the dramatic romances, see DOWDEN: Shakspere, His Mind and Art, cited under Chapter II; for the more objective explanation, THORNDIKE: The Influence of Beaumont and Fletcher on Shakespere, Worcester, 1901. The theory of indebtedness to Beaumont and Fletcher is opposed by SCHELLING, in Elizabethan Drama, cited under Chapter 1, and by GAYLEY, in Beaumont the Dramatist, New York, 1914.

CHAPTER VIII (Shakespeare).

On the general subject of Shakespeare's work as a dramatist, viewed in the light of modern criticism, see (in addition to the works cited under Chapter II):

MATTHEWS, B.: Shakespeare as a Playwright. New York, 1913.

QUILLER-COUCH, A.: Notes on Shakespeare's Workmanship. New York, 1917.

THORNDIKE, A. H.: "Shakspere as a Debtor," in Shaksperian Studies, Columbia University, 1916.

On his personality:

BRADLEY, A. C.: "Shakespeare the Man," in Oxford Lectures on Poetry, London, 1909.

BREWSTER, W. T.: "The Restoration of Shakspere's Personality," Shaksperian Studies, Columbia University, 1916.

33

(Page 329.) On the questionable method of interpreting Shakespeare's characters independently of their place in his dramas, see STOLL, E. E.: "Anachronism in Shakespeare Criticism, Modern Philology, vii, 557 (1910), and other articles by the same writer cited under Chapters V and VI.

(Page 332.) On the moral ideas of Shakespeare's dramas, interesting but by no means wholly convincing discussions will be found in MOULTON, R. G.: Shakespeare as a Dramatic Thinker, New York, 1907 (published 1903 with the title The Moral System of Shakespeare); and SHARP, F. S.: Shakespeare's Portrayal of the Moral Life, New York, 1902.

(Page 340.) On Shakespeare's political and social attitude, see, for the view that he was anti-democratic, TOLSTOY: On Shakespeare and the Drama, 1906, and CROSBY, E.: Shakspere's Attitude to the Working Classes, London, 1907; for the view that he was a liberal, GAYLEY: Shakespeare and the Founders of Liberty, cited under Chapter I. The whole matter is reviewed by TOLMAN, A. H.: "Is Shakespeare Aristocratic?" Publ. of the Modern Language Association, xxix, 277 (1914). For evidence that Shakespeare's representation of the populace was largely traditional, see TUPPER, F.: "The Shaksperean Mob," ibid., xxvii, 486 (1912). (Page 342.) On the Platonic and other alleged sources of the political passages in Henry the Fifth and Troilus and Cressida, see the appendix to GAYLEY'S work, just cited, and HANFORD, J. H.: "A Platonic Passage in Shakespeare's Troilus and Cressida," Studies in Philology, xiii, 100 (1916).

(Page 355.) For unfavorable criticism of Shakespeare's work as a whole, in dissent from the usual view of his supremacy in dramatic art, see TOLSTOY'S essay on Shakespeare, cited above; BERNARD SHAW's Dramatic Opinions and Essays, New York, 1906; and PELLISSIER, G.: Shakespeare et la Superstition Shakespearienne, Paris, 1914.

INDEX

accident in tragedy, 245, 271.
actor, profession of, 84.
A King and No King, 45.
Alchemist, The, 95.
Alleyn, E., 66.

All's Well that Ends Well, 301-
03, 305, 320, 332, 343-44.
Amoretti, 123, 137.
Anti-Machiavel, 16.
anti-Petrarchan sonnets, 133-34.
Antony and Cleopatra, 251, 279-
86, 334.

Apollonius of Tyre, 306.
Apology for Actors, 148.
Apology for Poetry, 12-13, 47.
Arcadia, 13, 64, 222-23,
Arden family, 73.

269.

Arden of Feversham, 66, 100.
Ariosto, 9, 201, 327.
Aristophanes, 327.

Art of English Poesy, 11.
Arundel, Earl of, 24.
Ascham, R., 5, 27.

astrology, 36.
Astrophet, 107.

Astrophel and Stella, 64, 123,
126.

As You Like It, 13, 83, 222-26.
Aubrey, J., 61.

Augustine, St., 342.

Bandello, 9.

Barnfield, R., 94.

Basse, W., 96.

Beaumont, F., 88, 96.

Beaumont and Fletcher, 45-46,
322-23.

beauty, sonnets on, 131-37.

Bellott, S., 85.

Bensley, R., 229.

Bevis of Hampton, 62.

Bible: Authorized Version,

4;

Bishops', 62; Geneva,
62; Great, 62.

18,

371

Blackfriars Theatre, 77.
Blount, E., 13, 100.
Blundevill, T., 113.
Boccaccio, 20, 301-02, 309.
Boëthius, 342.

Book of Martyrs, 18.
Bower of Delights, 64.
boy actors, 211, 283-84.
Briggs, W. D., 341.
Brooke, A., 243.
Brooke, C., 95.
brothel scenes, 308.
Browning, 353-54.

Bruno, Giordano, 27-28.
Burbage, J., 43, 72.

Burbage, R., 72-73, 79, 86, 94.

Cæsarism, 251.

Calvin, J., 18.

Calvinism, 278, 332-33.

canon of Shakespeare's plays,
100, 104.

Casa, della, 9.

Castiglione, 9, 40.
Caxton, 62.

Cervantes, 327.

Chapman, G., 45, 89-90, 117.
characterization:

172-73,

conventional,

197-98, 220, 226;
relation to plot, 152-53, 192,
206, 209, 220, 234, 304, 307-
08, 310, 320.

5.

Chaucer, 62, 109, 204, 294, 344,
353.
Cheke, J.,
Chester, R., 117.
Chettle, H., 68-69, 83, 98.
children's companies, 80.
chorus-prologue, 183-84, 307.
Christianity, Shakespeare's

re-

lation to, 340, 347, 350-52.
chronicle-histories, 52, 147-89.
chronology of the plays, 101-04.
Cinthio, G., 9, 262, 265, 298.

Cymbeline, 100, 309-12, 320, 322, Every Man in his Humor, 74,

Defence of Poetry (see Apology Famous Victories of Henry the

democracy, Shakespeare's atti- fancy, 230-31, 345.

INDEX

373

feudalism,
Field, R., 64, 69.

Fletcher, J., 92, 188-89, 290-91.
(See also Beaumont and
Fletcher.)

folio, the first, 4, 84, 96, 99-100,
290, 306, 309.

Ford, J.,

46.

forgiveness, theme of, 202, 320-
21, 347.

Fortune, 36-37, 43, 242, 245.

Fortune Theatre, 81.

Foxe, J., 18.

Hamlet, 80, 82, 83, 253-62, 271,
292, 332-33, 336-38, 351-52,
354.

Harrison, W., 29.
59-60.
Hathaway, Anne,
Hecatommithi, 9, 262, 298.
99.
Hemings, J., 85, 86,
Henry the Fourth, 114, 174-79,
186-87, 217.

Henry the Fifth, 82, 101, 151,
180-88, 307, 332, 337, 341.
Henry the Sixth, 68, 72, 100, 149,
153-59.

Henry the Eighth, 92, 100, 188-
89.

Henslowe, P., 43, 148.

heredity, 333-35.

Friar Bacon and Friar Bungay, Hero and Leander, 106-08.

190.

Fuller, T.,

87-88.

Furness, H. H., 262, 285.

Gower, J., 62, 109, 306.
Greene, R., 45, 64, 67, 68, 107,
148-49, 190, 200-01, 312.
Greville, F., 24, 27, 32-33, 90-91.
Guevara, 12.

Guy of Warwick, 62.

Hakluyt, R., 64.

Hall, J., 89.
Hallam, H., 144.

Hamlet (Kyd's), 66, 254-56.

Heywood, T., 45, 53, 109, 148,

293-94.

Hoby, T., 9, 14.

Holinshed, 63, 147, 163, 167, 181,
249-50, 273-74, 309, 338.

Homer, 342, 356.

Hooker, R., 33-34, 342, 347.

Hymns in Honor of Love and
Beauty, 15.

Ibsen, H., 292, 324, 326.
insanity, dramatic treatment of,
238-39.

Iron Age, 293.

Italian fashions, 27.

Italian Renaissance, 9-17.

Jack Straw, Life and Death of,
148.

Jaggard, W., 77, 100.

James the First, 4, 35, 82, 316.
James the Fourth, 149.
Jew, Elizabethan attitude toward
the, 211-13.

Jew of Malta, 16-17, 160, 214,
236, 240.

Johnson, S., 332, 335, 355.
Jonson, B., 38, 45, 47, 74-75, 80,
83, 86-90, 95-98, 194, 302,
303, 326, 331.

Julius Caesar, 249-53, 260,
80, 286, 334.

279-