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Bowman, John, actor, 69; at

Stratford-on-Avon, 76.
Boys in women's parts in Eliza-

bethan theatres, 19, 41; aban.
donment of the practice,
43; superseded by women, 88,

89.
Buchanan, George, his plays, 204.
Burbage, Richard, Shakespeare's

friend and fellow actor, 33.
Burns, Mr. John, 131.
Burns, Robert, French study of,

201; monument to, 233, 237.
Byron, Lord, on Petrarch at Ar-

qua, 225; statue of, 237.

Davenant, Robert, Sir William's

brother, 70.
D'Avenant, Sir William, theatri-

cal manager, 67; his youth at
Oxford, 69; relations in boyhood
with Shakespeare, 70; elegy on
Shakespeare, 71; champion of
Shakespeare's fame, 71; his
story of Shakespeare and South-
ampton, 72; his influence on
Betterton, 72; manager of the
Duke's company, 87 n.; as dram-
atist, 98; his adaptations of
Shakespeare, 103-05, 106 n.,

108.
Deschamps, Eustace, on Chauoer,

199.
Desportes, Philippe, and Eliza-

bethan poetry, 199.
D'Israeli, Isaac, on Steevens's for.

Calderon, 136, monument to, 233.
Calvert, Charles A., his Shake-

spearean productions at Man-

chester, 12, 3 n.
Camoens, monument to, 233.
Capital and the literary drama,

124_28.
Carlyle, Thomas, statue of, 237.
Catiline's Conspiraoy, by Ben Jon-

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son, 31.

esca-

Ceremony, Shakespeare on, 157,

158.
Chantrey, Sir Francis, and com-

memoration of Shakespeare, 215.
Charlecote, Shakespeare's

pade at, 76.
Chaucer, Geoffrey, French influ-

ence on, 199.
Clarendon, Lord, on Shakespeare,

79.
Cockpit," Drury Lane, 65, 88;

Whitehall, 87 and n.
Coleman, John, on the subsidised

theatre, 132.
Coleridge, S. T., and commemora-

tion of Shakespeare, 215.
Congreve, William, 91.
Coriolanus and the patriotic in-

stinct, 178, 179.
Cromwell, Oliver, statue

of,
237.

Dress, Shakespeare on extrava-

gant, 185.
Drunkenness, Shakespeare on, 185.
Dryden, John, on William Bee-

ston, 66; as dramatist, 91; his
share in the adaptation of The

Tempest, 105.
DuBellay, Joachim, and Eliza-

bethan poetry, 199.
Ducis, Jean François, his trans-

lation of Shakespeare, 207,

208.
Dugdale, Sir William, 74.
Dumas père, on Shakespeare, 206;

his translation of Hamlet, 209–

11.
Dyce, Alexander, on Steevens's for-

gery, 196, 197.

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Elizabeth, Queen, summons Shake-

speare to Greenwich, 31.
Elizabethan stage society, 13 n.

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England, Shakespeare on history

of, 180.
Ennius on poetic fame, 232.
Etherege, Sir George, 91.
Eton College, debate about Shake-

speare at, 78.
Euripides, statue of, 233.
Evelyn, John, on Hamlet, 90.

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Farquhar, George, 91.
Faulconbridge (in King John),

patriotism of, 174.
Fletcher, John, his Custom of the

Country, 92, 93; its obscenity,

93.
Folio, The First [of Shakespeare's

Plays), actors' cooperation in,

59; list of actors in, 61.
Folio, The Third [of Shakespeare's

Plays], purchased by Pepys, 94.
Folio, The Fourth [of Shake-

speare's Plays), in Pepysian Li.

brary, 94.
France, subsidised theatres in,

131, 134; Shakespeare in, 198

seq.; English actors in, 203.
Freedom of the will, Shakespeare

Hales, John, of Eton, 78.
Hall, Bp. Joseph, French transla-

tion of works by, 199.
Hart, Charles, actor and Shake-

speare's grand nephew, 59, 68.
Hauptmann, 135.
Henry V. on kingly ceremony, 157;

patriotism of, 175, 182.
Heywood, Thomas, projected Lives

of the Poets, 54 n.; his affection
for Shakespeare, 65; his Apol-

ogy for Actors, 65.
History plays of Shakespeare,

character of, 180.
Hobbes, Thomas, in France, 200.
Howe, Josias, on a Shakespeare

tradition, 77.
Hugo, Victor, on Shakespeare,

206.

on, 166.

Imagination in the audience, 22,

47, 48.
Ingres, Jean, his painting of

Shakespeare, 206.
Irving, Sir Henry, experience of

Shakespearean spectacle, 10;
and the literary drama, 123;
and the municipal theatre, 132;

and French drama, 200.
Irving, Washington, and commem-

oration of Shakespeare, 215.

Fuller, Thomas, his Worthies of

England, 52; notice of Shake-

speare, 52.

Garrick, David, his stage costume,

19.
Gentleman's Magazine of 1801,

195.
George IV, and commemoration of

Shakespeare, 215.
German drama, 129, 135, 136.
Germany, subsidised theatres in,

131, 134.
Goethe, 138; monument to, 233.
Greene, Robert, French transla.

tion of romance by, 199.
Grendon, tradition of Shakespeare

at, 77.

James I., his alleged letter to

Shakespeare, 72.
James II., statue of, 237.
John of Gaunt (in Richard II.),

dying speech of, 115–16, 181.
Johnson, Dr., on false patriots,

171.
Jonson, Ben, testimony to Shake-

speare's popularity, 29; his
classical tragedies compared
with Shakespeare's, 30; his
elegy on Shakespeare, 50, 232;

London County Council and the

theatre, 130, 131; and subsi.
dised enlightenment, 133; and

Shakespeare monument, 219.
London Trades Council and the

theatre, 132.
Lowin, John, original actor in

Shakespeare's plays, 61; coached
by Shakespeare in part of Ham-

let, 63, 71, 73.
Lycurgus, Attic orator, 233.

a

monu-

Macready, W. C., his criticism of

spectacle, 14.
Marlowe, Christopher, Shake-

peare's senior by two months,

37, 193.
Massinger, Philip, his Bondman,

92, 93.
Mathews, Charles, on

his dialectical powers contrasted
with Shakespeare's, 53; on the
players' praise of Shakespeare,
60; his son Shakespeare's god.
son, 61; Beeston's talk of, 67;
popularity of his plays at the

Restoration, 91, 92.
Jusserand, M. Jules, on English

literature, 202; his Shakespeare
in France, 203.

Kean, Charles, experience of

Shakespearean spectacle, 9; Ma-

cready's criticism of, 14.
Kemp, William, Elizabethan come-

dian, 33.
Killigrew, Tom, manager of the

King's company, 87 n.
Kingship, Shakespeare on, 155-

60, 180–82.
Kirkman, Francis, his account of

William Beeston the second, 66.

ance

Lacy, John, actor, 67; acquaint-

with Ben Jonson, 68;
adaptation of The Taming of

the Shrew, 108.
Lawrence, Sir Thomas, and com-

memoration of Shakespeare,

215.
Lessing, 136.
Lincoln's Inn Fields (Portugal

Row), Theatre of, 86, 87 and n.
Literary drama on the modern

stage, 123; antagonism of cap-

ital to, 126–28.
Lives of the Poets of the seven-

teenth century, 54 and n.
Locke, John, in France, 200.
Locke, Matthew Shakespearean

music of, 105, 108.
Logic, Shakespeare on, 146.
London, Shakespeare's association

with, 226 seq.; statues in, 236,
237; proposed sites for Shake-
speare monument, 239.

ment of Shakespeare, 214.
Metaphysics, Shakespeare on, 146_

48.
Mill, John Stuart, statue of, 237.
Milton, his elegy on Shakespeare,

51, 231.
Molière, accepted methods of pro-

ducing his plays, 16.
Montaigne, Michel de, and An-

thony Bacon, 203; his essays in

English, 204.
Moore, Thomas, and commemora-

tion of Shakespeare, 215.
More, Sir Thomas, his Utopia in

France, 204.
Municipal theatre, its justifica-

tion, 122; in Europe, 134.
Musset, Alfred de, on Shakespeare,

206.

Nash, John, and commemoration

of Shakespeare, 215.
Nash, Thomas, 64.
Nodier, Charles, his Persées de

Shakespeare, 211-13.
Norwegian drama, 129.

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Obedience, the duty of, 161.
Oldys, William, antiquary, 68, 69.
Opera in England, 131.
Oxford, the Crown Inn at, 69;

Shakespeare at, 70; visitors
from, to Stratford, 75–77.

Patriotism, Shakespeare on, 170

seg.
Peele, George, alleged letter of,

189 seq.

on

on

Pepys, Samuel, his playgoing ex-

periences, 82–87; Eliza-
bethan and Jacobean drama,
91-93; on Shakespeare, 94 seq.;
his attitude to poetic drama, 95,
96; his musical setting of “To

be or not to be," 100.
Petrarch, his tomb at Arqua, 225.
Phelps, Samuel, at Sadler's Wells,

11; his mode of producing
Shakespeare, 12;

a state
theatre in London, 120; on pub-

Rousseau, J. J., and English lit-

erature, 200.
Rowe, Nicholas, Shakespeare's

first formal biographer, 54; his
acknowledgment to Betterton,
73; his biography of Shake-

speare, 79, 80.
Royal ceremony, irony of, 158.
Russell, Lord John, on patriotism,

172.

lic control of theatres, 140, 141.
Philosophy, Shakespeare's atti-

tude to, 142 seq.
Pindar, on poetic fame, 232.
Platter, Thomas, journal of his

London visit (1599), 38.
Playhouses in London, “Black-

friars," 227; Drury Lane, 86,
87, and n.; the “ Globe," 227;
the “Red Bull,” 86; Sadler's
Wells, 11; Salisbury Court,
Whitefriars, 66,

“ The
Theatre " at Shoreditch, 37, 227.
Pope, Alexander, and French lit-

erature, 199; on the Shake-
speare cenotaph, 216.

Sadler's Wells Theatre, 11.
Sand, George, on Shakespeare, 206.
Sardou, M. Victorien, work of, 200.
Scenery, its purpose, 5; useless-

ness of realism, 23.
Schiller, on the German stage, 136;

monument to, 233.
Scott, Sir Walter, and commemo-

ration of Shakespeare, 215, 232;

Edinburgh monument of, 238.
Sedley, Sir Charles, 91.
Seneca, on mercy, 153 n.
Shadwell, Thomas, 87; adaptation

of The Tempest, 106 n.
Shakespeare, Gilbert, actor, 68.
Shakespeare, William, his creation

of the ghost in Hamlet, 27; con-
temporary popularity of, 29;
at Court, 31; early London
career, 32; advice to the actor,
45; his modest estimate of the
actor's powers, 47; elegies on
death of, 49; Fuller's notice of,
52; early biographies of, 54;
oral tradition of, in seventeenth
century, 55; similarity of expe-
rience with that of contempo-
rary dramatists and actors, 57;
Elizabethan players' commenda-
tion of, 60; resentment with a
publisher, 65; William Bee-
ston's reminiscences of, 67;
Stratford gossip about, 74-76;
present state of biographical
knowledge, 81; his attitude to
philosophy, 142 seq.; his intui-

86;

Richardson Samuel, in France,

200.
Robinson, Richard, actor, 68.
Ronsard, Pierre de, and Eliza-

bethan poetry, 199; in England,
203.

168;

on

tion, 149, 150; concealment of
his personality, 150; his private
sentiments, 151; on mercy, 152,
153; on rulers of states, 154; on
divine right of kings, 159; on
obedience, 161; on social order,
162, 163; on freedom of the will,
166; on women's will, his
humour and optimism, 169;
on patriotism, 170 seq.; on Eng.
lish history, 180; social
foibles, 184-86; commemoration
of, in London, 214 seq.; por-

traits of, 240.
Shakespearean drama, attitude of

students and actors to, 1; cost-
liness of modern production, 2;
the simple method and the pub-
lic, 8; Charles Kean's spectacu-
lar method, 9; Irving's method,
10; plays produced by Phelps,
11; reliance on the actor, 13;
in Vienna, 17; advantage of its
performance constantly and in
variety, 24; importance of minor
rôles of, 115; its ethical signifi-
cance, 164, 165; in France, 198

seq.; and British prestige, 229.
SEPARATE PLAY8:
Antony

and Cleopatra at
Vienna, 17.
Coriolanus, political significance

of, 164, and patriotism, 178.
Cymbeline, III, i, 16–22, quoted

on patriotism, 178.
Hamlet, Shakespeare's perform-

ance of the ghost, 27; early
popularity of the play, 29;
Pepys's criticism of, 95, 99–
101; the stage abridgment
contrasted with the full text,

117-19.
Henry IV. (Part I), Pepys's

criticism of, 97.
Henry V., meaning of first

chorus, 19.
Julius Cæsar preferred to con-

SEPARATE PLAYS-Contd.

temporary playgoers to Jon-
son's Catiline, 31; political

significance of, 164.
Lear, King, performed at Eliza-

beth's Court, 36; quarto of,

36.
Love's Labour's Lost performed

at Court, 34; title-page of the

quarto, 35.
Macbeth, Pepys's criticism of,

104_5.
Measure for Measure, ethics of,

164.
Merry Wives of Windsor, The,

title-page of the quarto, 36;

Pepys's criticism of, 97.
Midsummer Night's Dream, A,

Pepys's criticism of, 96.
Othello, Pepys's criticism of, 95,

98, 99.
Richard II., purport of John of

Gaunt's dying speech, 115–16.
Romeo and Juliet, Pepys's criti-

cism of, 96.
Tempest, The, Pepys's criticism

of, 105–8; spectacular produc-

tion of, at Restoration, 107.
Troilus and Cressida, II, ii, 166,

on Aristotle, 144, 145; 1, iii,
101-24, on social equilibrium,

163.
Twelfth Night, Pepys's criticism

of, 96.
Sheffield, John, Earl of Mulgrave

and Duke of Buckinghamshire,

72.
Shoreditch, The Theatre in, 227.
Sidney, Sir Philip, French transla-

tions of Arcadia, 199, 204.
Somerset, the “proud” Duke of,

on Shakespeare, 79.
Sophocles, statue of, 233.
Southampton, Earl of, and Shake

9

speare, 72.

Southwark, the Globe Theatre at,

227.

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