ing them with some knowledge of what others have written about them. But such an independent reading is impossible, for now no one can take them up without a conscious and subconscious knowledge of how they are regarded. It is the spirit in which criticism is assimilated that counts, and the more we understand the intimate constitution of the tragedies, the higher our estimate and the more refined our pleasure. We may admire in a general way a range of mountains: the verdure of the slopes, the shadows of the ravines, the suggested eternity of the bare heights. It is true that a microscopic study of the rocks may not make the range appear more beautiful, in fact, may divert attention from its magnitude and strength; but when we learn that it is the mother range, an Archæan uplift, the result of cosmic forces working in the depths of the planet, we regard it with a new interest that approaches very close to reverence. The heights are not merely beautiful, they are from central depths. The great tragedies are greater when we find that they are grounded in the primal passions of humanity, that at the bottom they are simple and elemental and related to the constitution of things. Nor are their superficial beauties lessened, and even the scars on the surface come to have their significance, when we know that the plays are not merely Elizabethan literature, but an expression of humanity. Criticism, from Coleridge to Bradley, has established for us the literal truth of Ben Jonson's line
He was not of an age, but for all time.
Adaptation of Plays, 72.
Addison, 70.
Eschylus, 47.
Esthetic Criticism, 19.
Aldis and Wright, 9.
Amner, 130.
Anna Karenina, 285.
Annual Register, 132.
Arcturus, 362 (note).
Aristotle, 46, 47, 82; his rules, 26; on
unity, 48-50; on Greek plays, 51,
52; on dignity of heroes, 55.
Art in the eighteenth century, 151.
Ashe, 169, 176.
Attention must be relieved, 375.
Audience of the seventeenth cen-
tury, 376-377.
Average man, 347.
Baker, G. P., 342; on Shakespeare's
development, 344; on the theatre,
Betterton, 67, 82.
Biographia Literaria, 132, 169.
Biron, 156.
Bradley, A. C., 321, 316 (note); on
construction, 325, 232; on the dra-
matic conflict, 326; extracts, 268;
on faults of S., 327; on Hamlet,
329-333; on Claudius, 334; on Iago,
336; on Ophelia, 334; on Othello,
335; on Lear, 337; on Macbeth, 338;
on time-scheme of Othello, 339.
Brandeis, 74.
Browne, Sir Thomas, 377.
Brutus, 264.
Burbage, 38, 148.
Buridon's Ass, 147.
Burke, on Steevens, 131.
Burney, Dr., 125.
Cambridge Edition, 9, 140.
Canons of Criticism, Edwards, 109-
112.
Capell, Edward, 126; his industry,
128; style, 128; publications, 128.
Carlyle, 267.
Carlyle's Essay, 303.
Cartwright, 38.
Cato, Addison's, 70.
Central idea, 219.
Centurie of Prayse, 36.
Cervantes, 263.
Chance, 322.
Character interest, 348.
Charles II, 57.
Chatterton, 137.
Chettle, 23.
Cibber, 72, 98.
Cid, The, 56.
Clark, George, 140.
Claudius, 81.
Cleopatra, 298.
Coleridge, H. N., 176, 181.
Coleridge, Mr. Justice, 176.
Coleridge, S. T., vii, viii, xi, 18, 36,
164; his father, 166; conversation,
168; parallelisms with Schlegel,
179-184; criticism, 168-183; lectures,
170-183; plagiarism, 180, 183; avoids
Schlegel's mistakes, 184.
Collaboration, 22.
Collier, 134, 139, 169; his folio, 139.
Comedy and tragedy united, 175.
Comedy vs. tragedy, 53.
Congreve, 377.
Corbin, comic scenes in Hamlet, 313.
Cordelia, 251.
Corneille, 46, 144.
Cowper, 166.
Criticism, by contemporaries, 26;
Phillips, 41; Dryden, 60; Rymer, 67;
Dennis, 70; Gildon, 73; Rowe, 78;
Pope, 87; Theobald, 96; Haumer,
104; Warburton, 105; Johnson, 113;
Capell, 128; Steevens, 129; Malone,
133; Richardson, 145; Morgann,
157; Coleridge, 168; Lamb, 188; Haz-
litt, 190; foreign, 209; Schlegel, 214;
Ulrici, 219; Gervinus, 223; French,
236; Anatole France, 238; Taine,
240; White, 252; Swinburne, 262;
Dowden, 270; Tolstoy, 276; Wen-
dell, 289; Fleay, 300; Carlyle, 303;
Emerson, 305; Lowell, 307; Miles,
311; Corbin, 312; Stoll, 315; Brad-
ley, 321; Lewis, 351; Raleigh, 361.
Cruxes, 8.
Danish court, 363 (note).
Davenant, 72.
Defoe, 98.
Dennis, John, criticism, 70; criti-
cised Pope's Homer, 71; rewrote
Coriolanus, 72; on Shakespeare's
learning, 153.
Departments of Criticism, 1.
De Quincey, 40, 168, 269.
Desdemona, 249, 298.
Warburton, 106; Johnson, 114;
Reed, 125; Capell, 128; Steevens,
130; Malone, 134; Boswell, 135;
Staunton, 139; Cambridge, 140;
Riverside, 141; Verplanck, 141;
Furness' Variorum, 141; White,
141; Knight, 200; Collier, 205;
Singer, 206; Dyce, 207.
Edwards, on Warburton's Emenda-
tions, 110.
Eighteenth-century manners, 94.
Eikonoklastes, 40.
Eleven-syllable lines, 13.
Elsinore, time of sunrise, 361 (note);
an island, 362 (note); stars not
visible in summer, 362 (note).
Elsmere, Robert, 285.
Emerson, 264.
Emerson's Essay, 303, 305.
Encyclopaedia Metropolitana, 169.
Determination of dates of plays, 13. End-stopt verse, 11.
Development of Drama, 21.
Diamond Necklace, 267, 269.
Digges, verse, 31, 38.
D'Israeli, 132.
Divided authorship, 22.
Dogberry, 3 (note).
Donne, John, 413.
Double plot, 51.
Doubtful plays, 22.
Dowden, 16, 20, 270; on Ophelia, 273;
on Hamlet, 274; on Shakespeare's
democracy, 275.
Drake, Nathan, 303.
Dramatic construction, 226, 325.
Dramatic literature, Schlegel, 180,
181, 182.
Dramatic notes, Lessing, 211.
Dramatic vs. literary qualities, 188.
Drayton, 43.
Dropped line, 8.
Drummond, 39.
Dryden, John, imitates French dra-
ma, 58; plays, 58, 59; criticism, 60;
on the unities, 63; on tragic ex-
pression, 63; on characterization,
64; Essay on Dramatic Poesy, 59.
Dun, a fencer, 341 (note).
Dunciad, 7.
Dyce, Alexander, 139, 207.
Editors and Editions of plays:
Globe, 9; Rowe, 78; Pope, 81; Theo-
bald, 98; Hanmer, 104; Oxford, 105;
English Men of Letters, 362.
English Traits, 265.
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Halliwell's Outlines, 25.
Halliwell-Phillipps, 16.
Hamilton, Sir William, 179.
Hamlet, extract, 5; dropped line in,
8; genesis of, 31; Lowell on, 309;
review of, Miles, 311; time-scheme,
340; fencing bout, 340-341; without
Hamlet, 349; supposed play by
Kyd, 351; Genesis of, 351; German
version, 351; survival of features
of old play in, 352; extract, 355;
original element in, 357; revenge
motive in, 358; time-scheme in,
360-362 (note); king in, 370.
Hamlet, analysis, Richardson, 146-
48; Coleridge, 173; Anatole France,
238; White, 259; Swinburne, 260;
Dowden, 274; insanity, 309; Lowell,
309; Miles, 311; Bradley, 329-333;
his physical strength, 341; his
complexity, 348; Lewis, 352; a
type, 353; character inexplicable,
354; possible motive of, 357; reason
for inaction, 327, 359; not insane,
360; explanation of conduct, 363
(note); his college friends, 363
(note); not executive, 364 (note);
courage, 364 (note); nervous ten-
sion, 364 (note).
Hanmer, Sir Thomas, 104.
Hazlitt, William, vii, 168, 190; on
Shakespeare's kings, 192; on Por-
tia, on Coleridge, 195; on Scott, 195;
on Midsummer Night's Dream,
197; on The Tempest, 197; on Lear,
198; his schoolboy, 201 (note); on
Mrs. Siddons, 202.
Heminge, 8, 346.
Henry V, 324.
Henry VIII, extract, 4.
Heroes and Hero Worship, 303.
Horatio's oversight, 341.
Hugo, François, 239.
Hugo, Victor, 239.
Hunter, Joseph, 206.
Hurd, quotation, 212.
Hystorie of Hamblet, 351.
I. M. S., verses, 33.
Iambic pentameter, 11.
Ibsen, 230.
Imitation, 50 (note).
Imogen, 11, 149, 248.
Ireland, 137.
Isabella, 259.
Jackson, 3, 137.
James, verses, 33.
James, William, 350.
Jameson, Mrs., 242, on Desdemona,
250; see Shakespeare, women of.
Johnson, Dr. Samuel, viii, 1, 4, 49;
on criticism, 113; on unity, 120;
on narration, 121; on change of
place, 122; emendations, 123; edi-
tion, 144; on Mrs. Montagu, 144;
on Shakespeare's learning, 154.
Jonson, Ben, verses, 28, 39.
Juliet, 244.
Jusserand, 239.
Kabale und Liebe, 226.
Keats, 44; extract.
Kemp, 38, 3 (note).
Kendrick, 125, 135.
Kid, 17.
Kingsley, 264.
Kipling, 37, 52.
Knight's Cabinet Edition, x, 204.
Kyd, 351; invented ghost in Hamlet,
356.
Laertes, his treachery, 340, 341.
Lamb, vii, 168, 185; on acting, 188;
on Lear, 187; on Mrs. Siddons, 189.
Landor, 264.
Latin, regard for, 25.
Lee, Sidney, 17, 21, 83, 131, 152.
Lemcke, 234.
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