Alcibiades, practical wisdom of,
390.

All's Well that ends Well, date of,
85.

Antony and Cleopatra, contrasted
with Julius Cæsar, 307; linked
with Coriolanus, 279.
Antony, character of, 289; failure
of, 309.

As You Like It, characteristics of,
80; and Winter's Tale, date of, 76.
Aufidius and Coriolanus, 333.
Autolycus, 376.

Bacon and Shakspere compared, 18.
Bagehot, W., on Shakspere's politics,
327; on religious teaching of
Shakspere, 39.

Beauty, feeling for, in last plays,
414.

Berowne as exponent of Shakspere's
mind, 64.

Bolingbroke, causes of success of,
204; strength of, and weakness
of Richard II. contrasted, 196.
Bottom and Titania, humour and
fancy combined in, 361.
Broglie, Duc de, on Iago, 238.
Brutus, mistakes of, 305.
Brutus and Cassius, 302; contrasted,
283; speeches of, apologetic, 301.

Cæsar, character of, 284; weakness
of, 285.

Capulet and Montague, strife of,
105.

Chasles, M., criticism of Romeo and
Juliet, by, 101.
Chronological, arrangement, value
of, 379; study of Shakspere, 6;
groups of plays, Preface.
Clarke, C. C., on notes of time in
Romeo and Juliet, 119.

Cleopatra, and Cæsar, 315; death
of, 316; feeling of, to Antony,
312.
Coleridge, on cause of failure of

Richard II., 200; on Hamlet, 131.
Comedy of Errors, source of, 57.
Cordelia, Shakspere's fidelity to fact
in, 227.

Coriolanus, egoism of, 335; himself
central point of play, 328; pride
of, twofold, 329.

Culture, Shakspere's idea of, 65.

Denmark, state of, in Hamlet's time,
136.

De Quincey, on the knocking in
Macbeth, 372.

Desdemona, love to Othello of, 232;
weakness of, 235.

Dickens, Charles, humour of, 341.

Early and later writings of Shak-

spere, difference between, 282.
Early plays, characteristics of, 59.
Edmund, inhumanity of, 266.
Edward IV., Shakspere's opinion of,
192.

Elizabethan drama, as remedy for
cynicism, 29; ethics and effect of,
27; realistic quality of, 9; vigour
of, 25.

Environment, influence on the man
of his, 7.

Experiments, dramatic, of Shak-
spere, 56.

External nature, treatment of, by
Shakspere, 103.

Faerie Queene, object of, self-culture,
15; exponent of Renascence ideas,
14.
Falstaff, ethics of, 365; view of
life of, 79.

Knowledge of a great mind a great
good, 4.
Kreyssig, on Shakspere's freedom
from party spirit, 324.

Lady Macbeth, appearance of, 251.
Lady Percy and Portia contrasted,

298.

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,
191.

Marlowe, influence of, on Shak-
spere, 97.

Mental progress, style a sign of, 61.
Mercutio, character of, 117.

Merry Wives of Windsor, criticism
of, 369.

Middle Ages, ethics and idealism
of, 10.

Morality of Shakspere's writings,

396.

Morgann M., criticism of Falstaff,
364.

Mysteries of Life, Shakspere's treat-
ment of, 226.

Ophelia, compared with Juliet, 139.
Othello, aim of, to contrast Iago and
Othello, 242.

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.

Reconciliation, characteristic of last
plays, 406.

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,
180.

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.

Romeo and Juliet, feeling evoked
by last scene of, 123; Shakspere's
variation from original, 119.
Romeo, contrasted with Mercutio,
116; development of character of,
117; love of, for Rosaline and
Juliet, 106.

Rosencrantz and Guildenstern, 149.
Rushton on Euphuism of Shakspere,
141.

Ruskin on Iago, 237.

Runnawayes Eyes, note on, 124.

Satire, late and early, of Shakspere

contrasted, 374.

Secondary plots, function of, 389.

spere, 357, 362, 371.

Polonius, morality of, 141.
Portia, strength of, 299.

Portia and Brutus, noble relations
of, 296.

Posthumus, reconciliation of, with
Imogen, 409.

Progress of Shakspere, cautious, 53.

368.

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; religion
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
in, 419.

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.

Tragedies, deal with deepest pas-
sions, 224; engrossed whole na-
ture of Shakspere, 224; first,
influence of external events on
actors in, 130; first, gradual
development of, 57, 95; influence
of, on spiritual progress of Shak-
spere, 229; of Shakspere and
Restoration contrasted, 347.
Tragedy, first and second con-
trasted, 100.

Tragic and comic defined, 349.
Troylus and Cressida, difficulties in,
94; significance of, Preface.
Two Gentlemen of Verona, author-
ship of, 57.

Venus and Adonis and Lucrece,
exhaustiveness, of, 49.

Victor Hugo on King Lear, 274.

West, E. D., on realism of Shak-
spere, 37.

White, R. Grant, on authorship of
Romeo and Juliet, 95.
Witches of Macbeth, interpretation
of, 245.

Women of Shakspere contrasted
with the men, 110.