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, 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, ▲, 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.
Spenser, Edmund, Beeston's gossip of, 67. Steevens, George, character of, 191; a forged letter by, 192, 193. Sterne, Laurence, in France, 200. Stevenson, R. L., his imaginary discovery of lost works by Shakespeare, 25. Stratford-on-Avon,
tomb at, 50; Betterton at, 73; visitors from Oxford to, 75, 76, 77; Shakespeare tradition at, 75, 76; Shakespeare memorials at, 218; destruction of New Place, 221; the Monumental Committee of, 221; sale of Shakespeare's Birthplace, 222; purchase of New Place site, 223; the Birthplace Trust, 223, 224.
Suckling, Sir John, his love for Shakespeare, 71. Sudermann, 135.
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.
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