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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