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Hebler, on symmetry of some plays,
Helena, Bertram's good, sole aim of,
86; energy of, 86.
Henry V., conduct in war of, 219;
double character of, 212; hearty
piety of, 215; hero of historical
plays, 219; his realization of fact,
212; inner character of, 210;
relentlessness of wrath of, 218;
Shakspere's ideal of practical
Henry VI., authorship of first part,
173; origin of second part and of
third part, 180.
Henry VI., as a prisoner, 179;
causes of failure of, 174; timid
saintliness of, 175; vacillation of,
Henry VIII., authorship of, 413.
Hermione, calm justice of, 412.
Hogarth, study of laughter by, 338.
Hooker, influence of, on Reformation,
Horatio and Hamlet, 153.
Hudson, Mr., on Fool in Lear, 273.
Humour of Shakspere, influence of,
337; innocence of, 359; two
stages of, 355.
Iago, personification of fraudful evil,
Ideal and Real, conflict of, in min‹
of Shakspere, 36, 47.
Impartiality of Shakspere, source
Incongruity, tragic and comic, 351.
Ingram, Professor, on chronology of
last plays, 380.
Interest of Shakspere in his art
Interpenetration of humour, pathos,
and tragedy, 374.
Isabella, energy and will of, 82.
Jameson, Mrs., on Cleopatra, 314.
Juliet, state of mind of, when taking
the poison, 115.
Julius Cæsar, date of, Preface;
dominant power of, 287.
Julius Cæsar, apparent inconsistency
of character of, 291.
Katharine, love of Henry V. to, 191.
King John, substance of, misery and
King John, fails from weakness of
his wickedness, 169; strength in
early scenes not real, 170.
King Lear, creed of leading persons
in, 269; ethics of, 268; greatest
Teutonic poem, 257; irony of,
258; Shakspere's treatment of
history in, 261; significance of
secondary plot in, 265; teaching
Knowledge of a great mind a great
Kreyssig, on Shakspere's freedom
from party spirit, 324.
Lady Macbeth, appearance of, 251.
Lady Percy and Portia contrasted,
Laertes, superficiality of, 137.
Last Plays, characteristics of, 403.
Laughter, of men of genius, 340;
Shakspere's, history of, 357.
Leontes and Othello contrasted, 407.
Love's Labour's Lost, character
and design of, 62.
Macbeth, motto of, 244.
Macbeth, and the Witches, 249; and
Lady M. contrasted, 251; dis-
honourable death of, 255; weak-
ness of, 250.
Maginn, on Theseus, 69.
Margaret, Queen, an avenging fury,
Marlowe, influence of, on Shak-
Mental progress, style a sign of, 61.
Mercutio, character of, 117.
Merry Wives of Windsor, criticism
Middle Ages, ethics and idealism
Morality of Shakspere's writings,!
Morgann M., criticism of Falstaff,
Mysteries of Life, Shakspere's treat-
ment of, 226.
Ophelia, compared with Juliet, 139.
Othello, aim of, to contrast lago and
Othello, forcefulness of, 234;
strength and weakness of, 230.
Prospero, conduct of, to his enemies,
411; Shakspere's ideal character.
76; Shakspere seen in, 417.
Queen Katharine, chief interest to
Shakspere in Henry VIII., 414.
Posthumus, reconciliation of, with
Progress of Shakspere, cautious, 53.
Reconciliation, characteristic of last.
Reformation in England, charac-
teristics of, 20.
Renascence, ethics of, 11; posi.
tivism characteristic of, 23.
Richard II., aims at effect without
definite end, 194; and Jacques
compared, 203; boyishness of,
193; unreality of, discussed, 201.
Richard III., uniqueness of, and re-
semblance to Marlowe's work,
Richard III., cynicism and devilry
of, 184; energy of, best seen in
battle, 186; Shakspere's teaching
from character of, 189; sources
of power of, 182.
Roman Plays, measure of greatness
in, 280; Shakspere's and Jonson's
contrasted, 276; significance of
date of, 278.
Satire, late and early, of Shakspere
Secondary plots, function of, 389.
Periods, four, in art-life of Shak- Second period, characteristics of,
spere, 357, 362, 371.
Polonius, morality of, 141.
Portia, strength of, 299.
Portia and Brutus, noble relations
Shakspere, as a poet of feudalism,
319; caution of, in trying styles,
99; character of, 164; character
illustrated by life, 31; develop-
ment of nature of. 44; enormous
receptivity of, 43, ideal of prac-
tical strength of, 221; incapable
of despair, 228; influence of writ-
ings of, on student, 428; mode of
studying, 2; on communism,
326; political views of, 322;
practical and ideal sides of char-
acter illustrated, 33; relation of
his life to his art, 162; ligion
of, 37; sympathy of, with ideal,
392; two existences of, 35.
Slender, the comic in, 349.
Sonnets, Shakspere's life at time of
writing the, 398; spirit of, 400;
teaching of, 395; theories of in-
terpretation of, 394.
Spenser, positive character of, 17.
Tempest, allegorical interpretation
of, 423; freedom and forgiveness
Theseus, example of Shakspere's
impartiality, 71; man of action, 68.
Timon, a study of self-control, 384;
as an illustration of Shakspere's
mind, 382; conjectures on origin
of, 381; contrasts in, 389.
Timon, fails from ignorance of life,
385; misanthropy of, 388.
Titus Andronicus, pre-Shaksperian
in tone, 54.
TURNBULL AND SPEARS, PRINTERS.