Obedience, the duty of, 161. Oldys, William, antiquary, 68, 69. Opera in England, 131.
Oxford, the Crown Inn at, 69; visitors
Shakespeare at, 70; from, to Stratford, 75-77.
Patriotism, Shakespeare on, 170 seq.
Peele, George, alleged letter of,
Pepys, Samuel, his playgoing ex- periences, 82-87; on 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 Arquà, 225. Phelps, Samuel, at Sadler's Wells,
11; his mode of producing Shakespeare, 12; on a state theatre in London, 120; on pub- lic control of theatres, 140, 141. Philosophy, Shakespeare's
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, 86; "The Theatre" at Shoreditch, 37, 227. Pope, Alexander, and French lit- erature, 199; on the speare cenotaph, 216.
Richardson Samuel, in France, 200.
Robinson, Richard, actor, 68. Ronsard, Pierre de, and Eliza- bethan poetry, 199; in England, 203.
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.
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, 67; 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-
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, 168; his humour and optimism, 169; on patriotism, 170 seq.; on Eng- lish history, 180; on 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 PLAYS:
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-Cont'd.
temporary playgoers to Jon- son's Catiline, 31; political significance of, 164. Lear, King, performed at Eliza- beth's Court, 36; quarto of,
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; I, 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- speare, 72.
Southwark, the Globe Theatre at, 227.
Tate, Nahum, his adaptations of Shakespeare, 103, 104. Taylor, Joseph, original actor in Shakespeare's plays, 62; coached by Shakespeare in part of Henry VIII, 63, 71, 72.
Theatres in Elizabethan London,
36; seating arrangements, 39; prices of admission, 39; the scenery on the stage, 40; the costumes, 41; contrast between their methods of production and those of later date, 44; at Restoration, 86; characteristics of, 87-90. See also Playhouses. Theatrical Review of 1763, 190.
spearean drama, effect of ex- cess, 3; its want of logic, 4; its costliness, 7; at the Restoration, 89, 108; at the present day, 109. Thomson, James, French study of, 201.
Tuke, Sir Samuel, his Adventures of Five Hours, 98, 99.
Vanbrugh, Sir John, 91. Veronese, Paolo, statue of, 233. Victoria, Queen, and Stratford-on- Avon, 222; statues of, 237. Vienna, production of Antony and Cleopatra at the Burg-Theater, 17; types of subsidised theatres at, 136, 138; conservatoire of actors at, 139.
Voltaire, on Shakespeare, 205, 206.
War, popular view of, 177. Ward, John, vicar of Stratford-on- Avon, 74; his Diary, 74. Warner, Mrs., at Sadler's Wells, 11.
Wellington, Duke of, monument to, 238.
Westminster Abbey, Shakespeare's exclusion from, 50; his ceno- taph in, 215-16.
Will, freedom of, 166.
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