ACTIVITY gives strength to life, CESAR, character of, 719
Descriptive poems, 36
Desdemona, 514
HAMLET, origin of, 548
- subject of, 551
idea of, 560
- moral teaching of, 571
- character of, 561
- type of Germany, 575
treatment of Ophelia reproachable,
579
Helena, character of, 177
Henry IV., 298
effect produced by, 899
subject of, 301
character of, 302
moral centre of, 307
Henry Percy, character of, 307
Henry, Prince, character of, 313
Henry IV., second part of, 331
Henry V., date of, 339
change of, as King, 340
- religious characteristic of, 347
central point of, 348
characters in, 350
Psychological tendency of Shakespeare,
869
REAL and ideal combined in Shake-
speare's poetry, 876
Realistic element in Shakespeare, 866
Reflections upon truth and seeming,
338
Revival of ancient art, 59
Richard II., 279
connection with Henry IV. and V.,
280
character of, 282
- lesson to be drawn from, 288
characters in, 296
Richard III., connection with Henry VI.,
character of, 262
task for actor, 270
contrast to Henry V., 270
female characters in, 271
opposite characters in, 275
Romeo and Juliet, 152, 155, 204
lyric poetry in, 206
garden scene in, 221
- Garrick's version of, 228
pervading idea of, 232, 235
Romeo's character, 216
Rosalind, 395
Rosaline, 166
Rowe's, Nicholas, edition, 10
SCENE shifting, 91
Schlegel, A. W., dramatic lectures
of, 15
Second period of Shakespeare's poetry,
Seven plays at the outset of Shake-
speare's career, 144
Shakespeare-Tardy notoriety, 8, 10.
Different treatment in Germany and
England, 12. Works explained only
by representation, 21. Early his-
tory, 23. Education, 25. Family diffi-
culties, 27. Deer stealing, 28, 29.
Wild habits, 30. Marriage, 31.
Anecdotes of love adventures, 33.
Heroine of sonnets, 33. Descriptive
poems, 36. Trojan tendency, 40. Left
Stratford, 45. Mixture of various
elements in his plays, 56. Acquaint-
ance with Latin writers, 66. Devia-
tion from predecessors in tragedy,
comedy, and history, 73. Sources
from which he drew, 83. State of
things when he began to act in Lon.
don, 99. First dramatic attempts,
100. Talent in development of char-
acter as shown in Henry VI, 126.
Superiority in appropriating foreign
works, 130. Display of learning,
146. Advantage possessed in foreign
models, 147. Treatment of love dif
ferent to that of Goethe and Schiller,
152. His wit, 170. Delineation of
fairy world, 196. Various interpre
tations of his works, 232. Two-
sided nature, 249. Mode of using
his sources, 252. Reflections upon
truth and seeming, 338. No moral
free-thinker, 346. Touches of national
narrow-mindedness, 350. His rever-
ential feeling, 354. His view as to
man's moral nature, 373. His two-
sidedness of mind exhibited in Jaques
character, 393. Significance given by
him to fools, 402. His treatment of
humorous characters, 420. Type of
female character in his second period,
420. His worldly prosperity, 465.
Renovation of character, 466. Rise of
position, 467. Retirement from stage,
468. Portrayal in Prince Henry, 469.
Long delay in the appreciation of his
works, 473. Analogy with Prince
Henry, 473. Dramas of his third
period, 478. Tragic events in his
life, 478. Saxon character of his
later writings, 482. His death, 484.
His interest in moral truth evidenced
in Othello, 506. Considered with re-
gard to his age, 574. His age not
barbarous, 613. His interval of care-
lessness, 725. His aristocratic in-
clinations, 748. His anachronisms,
768. His position by the side of
Homer, 678. His Trojan sympathies,
681. Universality of his genius,
786. Close of poetic career, 829.
Highest honours as poet, 830. His
sense of beauty, 831. His faults of
taste, 835. His use of metaphorical
images, 836. His alleged inattention
to rules, 839. His works the result
of conscious intellect, 856. His ideal
of art, 861. His psychological ten-
dency, 869. His medium position
betweeen ancient and modern art, 872.
His age, 879. His contemporary,
Bacon, 884. His indirect teaching of
morality, 889. His self-command,
892. Impression produced by his
dramas, 893. His admiration of
poetic justice, 905. His moral view,
910. His freedom from prejudice,
920. His political liberality, 924.
His character as shown in his works,
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