Translated from the French by H. Van Laun
One of the Masters at the Edinburgh Academy

VOLUME II.

Philadelphia

HENRY ALTEMUS

1898

L

BOOK II. THE RENAISSANCE.

CHAPTER III.

Ben Jonson.

The masters of the school, in the school and in their
age-Jonson-His mood-Character-Educa-
tion-First efforts-Struggles-Poverty-Sick-
ress-Death

II. Learning-Classical tastes-Didactic characters-

Good management of his plots-Freedom and

precision of his style-Vigour of his will and

passion

III. Dramas-Catiline and Sejanus-How he was able
to depict the personages and the passions of the
Roman decadence .

.

IV. Comedies-His reformation and theory of the theatre

V.

comedies are serious and warlike-How they

depict the passions of the Renaissance-His

farces-The Silent Woman-Why these comedies

are energetic and rude-How they conform with

the tastes of the Renaissance

Limits of his talent-Wherein he is inferior to

Molière-Want of higher philosophy and comic

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gaiety-His imagination and Fancy-The Staple

of News and Cynthia's Revels-How he treats the

comedy of society, and lyrical comedy-His

smaller poems-His masques-Theatrical and

picturesque manners of the court The Sad

Shepherd-How Jonson remains a poet to his

-

VI. General idea of Shakspeare-The fundamental idea

in Shakspeare-Conditions of human reason—

Shakspeare's master faculty-Conditions of exact

representation

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I.

CHAPTER IV.

Shakspeare.

Life and character of Shakspeare-Family-Youth

-Marriage He becomes an actor-Adonis-

Sonnets Loves- Humour- Conversation

-

-

-

Melancholy-The constitution of the productive

and sympathetic character-Prudence-Fortune

-Retirement

II. Style-Images-Excesses-Incongruities-Copious-

ness Difference between the creative and

analytic conception

-

III. Manners—Familiar intercourse-Violent bearing-

Harsh language-Conversation and action-

Agreement of manners and style

IV. The dramatis persona-All of the same family-Brutes

and idiots-Caliban, Ajax, Cloten, Polonius, the

Nurse-How the mechanical imagination can

precede or survive reason

V.

Men of wit-Difference between the wit of reasoners

and of artists-Mercutio, Beatrice, Rosalind,

Benedict, the clowns-Falstaff

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VI. Women-Desdemona, Virginia, Juliet, Miranda,

Imogen, Cordelia, Ophelia, Volumnia-How

Shakspeare represents love-Why he bases virtue

on instinct or passion

VII. Villains-Iago, Richard III.-How excessive lusts

and the lack of conscience are the natural pro-

vince of the impassioned imagination

VIII. Principal characters-Excess and disease of the

imagination-Lear, Othello, Cleopatra, Corio-

lanus, Macbeth, Hamlet-Comparison of Shak-

speare's psychology with that of the French

tragic authors

IX. Fancy-Agreement of imagination with observation

in Shakspeare-Interesting nature of sentimental

and romantic comedy-As you like it-Idea of

existence-Midsummer Night's Dream-Idea of

love-Harmony of all parts of the work-

Harmony between the artist and his work

I.

CHAPTER V.

The Christian Renaissance.

II. The Reformation-Aptitude of the Germanic races,

and suitability of Northern climates-Albert

Durer's bodies and souls-His martyrdoms and

last judgments-Luther-His idea of justice-

Construction of Protestantism-Crisis of the

conscience-Renewal of heart-Suppression of

ceremonies-Transformation of the clergy

IL Reformation in England-Tyranny of the ecclesias-
tical courts-Disorders of the clergy-Irritation
of the people-The interior of a diocese-Perse-

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