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.
|
