INDEX
Acheson, Mr. Arthur, on “Troilus and Cressida,” [100]
Act-drop, the, [119]
Acting and stage illusion, [7];
rapid delivery, [17];
Heywood on, [19];
as a business, [217];
character acting, [219 et seq.]
Actors: Elizabethan, [8], [9], [20], [21];
prosperity and position of, [22];
apprentices, [24];
qualities of, [24];
in double parts, [25];
relations between authors and, [44];
hired players, [45];
Elizabethan, and the construction of Shakespeare’s plays, [51], [53];
elocution of, [56]
Actors, English: and English tragedy, [177];
personality of, [219]
Agincourt, representation of, [48]
“All is True,” [87]
Alleyne, Edward, [79]
Apprentices, actors’, [24]
Archer, Mr. William, and popular taste in drama, [193 et seq.]
Bacon and the writing of drama, [39]
Bacon-Shakespeare controversy, [38]
Badger, Mr. Richard, [229]
Barker, Mr. Granville, [194], [202]
Barrie, Mr. J. M., [195]
Bell’s edition of Shakespeare, [51], [58]
Blackfriars Theatre, [45], [68], [115], [208]
Boy actors in women’s parts, [9]
Boyle, Robert, and “Henry VIII.,” [93]
Brandram, Samuel, [166]
Brontë, Charlotte: and a high forehead, [137];
and English tragedy, [176]
Brooke, Arthur, [133], [151]
Browning, Robert, on “Henry VIII.,” [93]
Brydges, Mary, [110]
Burbage, Richard, as actor, [20], [86], [166]
Busino’s visit to the Fortune Playhouse, [13]
Capell, Edward, as Shakespeare editor, [37], [44]
“Castle Spectre, The,” [196]
“Cesario,” [39]
Chapel Royal, children of the, [45]
Chapman, George: and “Troilus and Cressida,” [100 et seq.];
opponent of Shakespeare, [102]
Character-acting, [219 et seq.]
Chorus, the, [12]
Christians, Marlowe’s, and Shakespeare’s Jew, [69 et seq.]
Claretie, M., [198]
Clowns, [21]
Coleridge, S. T., on “Henry VIII.,” [89]
Collier, J. P., on the effect of theatrical absence of scenery on dramatic poetry, [8]
Comédie Française, the, visit to London, [198]
“Comedy of Errors,” [31], [42]
Congreve, William, [196]
Craig, Mr. Gordon: sketches, [222];
inappropriateness of his scenery for Shakespeare, [222];
comparison with Turner, [223];
criticism of his art, [223];
designs for “Macbeth,” [224-227];
his “Acis and Galatea,” [224]
“Curtain” in theatres, [120]
Curtain Theatre, [7], [111], [115]
“Cynthia’s Revels,” [21]
Davenant, Sir William, [144]
Dekker, Thomas: as player, [103];
“Gul’s Horn-Booke,” [208]
Diderot’s “Père de Famille,” [197]
Digges, Leonard, on a Shakespeare performance, [13]
Dolby’s “British Theatre,” [53]
Dowden, Edward, [145], [147], [153]
Drake, Dr., on “Henry VIII.,” [88]
Dramatists and the public, [194 et seq.]
Dramatists: the Elizabethan, and the contemporary theatre, [5], [10];
topical plays, [15];
moral aim, [16];
and the printing of plays, [18];
supervision of acting, [25];
Puritans and, [26];
relations between, and actors, [44]
Duncan (in “Macbeth”), [62]
Earl’s Court: Shakespeare at, [208];
staging at, [209];
“The Tricking of Malvolio,” [209];
star actor, [209];
“Twelfth Night,” [210];
performances misleading, [215];
“Enchantment of Titania,” [216];
“The Merchant of Venice,” [216];
a travesty of Shakesperian drama, [216]
Edwards, Thomas, [91]
Elizabeth, Queen, [62], [63];
Lord Essex and, [108-112]
Elizabeth’s, Queen, Chapel, boys for, [10]
Elizabethan Stage Society, the, [203];
its origin, [204];
“Measure for Measure,” [205];
“Twelfth Night,” [205];
list of plays performed (1893-1913), [206-207]
Elocution: of Elizabethan actors, [19], [56];
modern, in Shakespeare acting, [57], [58], [59]
Elze, Dr. Karl, on “Henry VIII.,” [91]
Emerson, R. W. on “Henry VIII.,” [91]
Emphasis, faulty, in rendering Shakespeare, [59]
English Opera House (now Palace Music Hall), [235]
Essex, Earl of, [101];
in “Troilus and Cressida,” [108-112]
Euripides, [195]
“Everyman,” [206]
Falstaff: Sir John Oldcastle as, [112];
effect of character of, on Shakespeare’s position, [115]
Faustus legend, [68]
Field, Nathan, [21];
anecdote of, [23]
Filippi’s, Miss Rosina, project for a students’ theatre, [216]
Flecknoe, Richard, on the drama after Shakespeare’s death, [16]
Fletcher, John, and authorship of “Henry VIII.,” [92]
Fleury, M., [79]
Folk-songs, Elizabethan, [44]
Ford, John, [180]
Fortune Theatre, [11], [12], [13], [40], [205], [208]
Frohman’s, Mr., Repertory Theatre, [193], [199]
Fry’s, Mr. Roger, appreciation of Mr. Gordon Craig, [224]
Furnivall, Dr. F. J., [38], [229]
Garrick, David: as exponent of Shakespeare, [5];
version of “Romeo and Juliet,” [140]
“George Barnwell,” [196]
Gervinus, G. G.: on “Henry VIII.,” [90];
on “Troilus and Cressida,” [107]
Globe players’ rights in “Troilus and Cressida,” [116]
Globe Playhouse, memorial in form of, [228], [231]
Globe Theatre, [7], [11], [45], [48], [54], [57], [58], [68], [86], [98], [102], [104], [115], [116], [180]
Globe Theatre at Earl’s Court, [208]
Goethe, [194]
Gonzalo dialogue in “The Tempest,” [55]
“Gorbuduc,” [40]
Gosson, Stephen, [21]
Gray’s Inn, [42]
Green, J. R., on Queen Elizabeth and Mary Stuart, [63]
Greene, Robert, “Friar Bacon and Friar Bungay,” [79]
Greenwich Palace, [40]
Halliwell-Phillipps, J. O., on the Shakespearian theatre, [7], [11]
“Hamlet”: clown referred to, [22];
early quartos, [31], [47];
breaks in, [42];
stage directions in first quarto, [50], [53], [54];
alterations, [54], [160];
acting edition and Globe edition, [156];
omissions, [156], [157], [161-175];
Fortinbras, [157];
French’s acting edition and Globe edition compared, [158 et seq.];
stage directions, [159];
entrance of Hamlet, [159];
Cumberland’s version, [160], [163], [164], [168], [171];
the period of the play, [163];
Oxberry’s edition, [164];
the Dumb Show, [166];
the exit of the King, [167];
changes suggested, [170];
Ophelia and flowers, [172];
her burial, [173];
the poison cups, [174];
the conclusion, [175];
suggestions for an authoritative acting version, [175];
performance of first quarto, [204]
Hart, H. C., [112]
Heine, Heinrich, on Shylock, [69]
Heminge and Condell: and the first folio, [32];
and divisions in the plays, [41];
and “Henry VIII.,” [87];
and “Troilus and Cressida,” [99]
“Henry IV.,” [115];
epilogue to Part II., [101]
“Henry V.”: choruses, [7], [40];
the early quarto, [48];
produced, [115]
“Henry VIII.”: the authorship of, [85 et seq.];
earliest mention of, [86];
criticisms, [88 et seq.];
stage directions, [94];
summary of the arguments as to its genuineness, [96]
Henslowe’s “Diary,” [15]
Hertzberg, Professor, on “Henry VIII.,” [90]
Heywood, Thomas: on the English stage, [13];
in defence of acting, [19];
of plays, [27];
reply to the Puritans, [107]
Historical dramas disapproved, [45]
Homer, Chapman and Shakespeare renderings, [100]
Hugo, Victor, on “Henry VIII.,” [89]
Impersonation in acting, [219]
Ireland in Elizabethan drama, [16]
Irving, Sir Henry: as Shylock, [71];
on acting, [219]
Jew: Shakespeare’s, [70];
Christian ideas of, [73].
See also [Shylock]
“Jew of Malta, The,” Marlowe’s, [72], [80]
“John Bull’s Other Island,” [200]
Johnson, Dr.: on Shakespeare, [36], [38];
and continuous performance, [43];
on “Henry VIII.,” [88];
and “She Stoops to Conquer,” [197]
Jones, Inigo, [18], [96], [141]
Jonson, Ben: and double story in plays, [14];
and simplicity of representation, [17];
and a good tragedy, [19];
a “poet with principle,” [23];
and Latin comedy, [40];
and “Sejanus,” [41], [102];
“Poetaster,” allusion to Shakespeare in, [100 et seq.];
relations with Shakespeare, [102];
“Every Man Out of His Humour,” [112];
and Inigo Jones’s scenery, [141]
“Julius Cæsar,” [13]
Kean, Edmund: delivery of, [58];
and Hamlet, [164]
Kemp the clown, [21], [22], [24]
“King John,” [39]
“King Lear”: breaks in, [41];
Steevens’s comment on dialogue, [56];
Rossi’s rendering, [177];
its period, [178];
its modern production, [179];
anachronisms and costumes, [179];
excisions, [181], [184];
Edmund’s speech, [181];
the putting out of Gloucester’s eyes, [182];
sympathy with poor, [183];
its modern dramatic presentation, [185-189];
misrepresentation of Lear, [186];
and of Edmund, [188]
“King’s Company, The,” [9], [27]
Knight, Charles, [94]
Lady Macduff, [61]
Lamb, Charles, [196]
Lee, Sir Sidney, [205]
“Leicester’s, Lord, Servants,” [9]
Lessing, G. E., [155], [194]
Lewis, L. D., [196]
Lillo, George, [196]
London Corporation and theatres, [25]
London County Council and Shakespeare Memorial, [228], [229]
London life in Elizabethan drama, [15]
London Shakespeare Commemoration League, [229]
London theatres, seventeenth century, [13]
Lord Chamberlain’s company, [9], [12]
Lorkin, Thomas, [86]
“Love’s Labour’s Lost,” [42]
Lucas, Mr. Seymour, R.A., [232]
“Lucrece,” [113]
Lyceum Theatre, [71]
“Macbeth”: perfect in design, [13];
breaks in, [41];
Bell’s criticism of, [52];
Garrick’s version of, [52];
when written, [68];
Mr. Gordon Craig’s designs for, [224-227]
Macbeth, Lady: the character of, [61 et seq.];
Mrs. Siddons as, [61];
her femininity, [65];
the character misunderstood, [68];
part overacted, [69]
Macready, W. C., and the ladder, [43];
Charlotte Brontë on his acting, [176]
“Madras House, The,” [201]
Maeterlinck, M., [202]
Malone, Edmund, as Shakespeare editor, [37]
Marlowe, Christopher: “Barabas,” [72], [80], [84];
Jews and Christians in “Rich Jew of Malta” and “Merchant of Venice,” [78];
“Faustus,” [80];
and Christianity, [79-81]
“Marrying of Ann Leete, The,” [202]
Marston, John, [103]
Mary Stuart, [62], [63]
Massinger, Philip, [93]
Maugham, W. S., [195]
“Measure for Measure,” revival of, [205]
“Merchant of Venice”: breaks in, [42], [43];
the early quarto, [47];
story of the play, [123-133];
the Prince of Morocco, [126];
the Prince of Arragon, [128];
the trial scene as now acted, [131].
See also [Shylock]
“Misalliance,” Shaw’s, [199]
Moneylenders in plays, [75]
Mozart, W. A., [194], [200]
Munich, Court Theatre, [177]
Music in the Elizabethan theatre, [11]
Nash, Thomas, “The Isle of Dogs,” [112]
National theatre, a, [198]
New Shakespeare Society, [94]
Noblemen and the maintenance of actors, [9]
Oldcastle, Sir John, [112]
Opinion, change of, effect on plays, [70]
Ordish, Mr. T. Fairman, [228]
“Othello,” [13]
Othello, Nathan Field as, [21]
Painter, William, [133]
Perfall, Baron, [18]
“Pericles,” [31]
Personality in acting, [219]
Playgoers, intolerant, [196]
Plays, Elizabethan: not divided into acts, [11];
lost, [15]
Pollard, Mr. A. W., [98]
Pope, Alexander: as Shakespeare editor, [33];
and “The Tempest,” [55]
Popular taste in drama, [194]
Portia, [81]
Portland Place for Shakespeare Memorial, [231], [232]
“Prattle,” [57]
Prompters, [24]
Puritans, the: and actors, [21];
and theatres, [25]
Raleigh, Sir Walter, [112]
Reformation, the, [68], [69]
Renaissance, the, [69]
Repertory theatre, the, [193];
and a national theatre, [198]
Restoration, the, drama, [196]
“Richard II.,” political significance of, [112]
Robinson, Dick, [21]
Roderick, Richard, on “Henry VIII.,” [91]
“Romeo and Juliet”: second edition of, [31];
breaks in, [41];
early quarto, [47], [49];
Garrick’s version, [53];
earliest acting version, [53];
Shakespeare’s prologue and change in the motive, [134];
stage representation, [135];
story of the play, [135-155];
hostilities between the two houses, [135], [156];
Rosaline’s character, [137];
Irving acting version, [137], [141], [146], [147], [151], [153], [155];
Mercutio, [138];
Capulet’s character, [139];
Garrick’s version, [140];
“balcony scene,” [140];
Shakespeare as Benvolio, [144];
the Friar, [146];
Juliet as wife, [147];
her part overdone on stage, [148];
scenes omitted, [149];
“potion scene,” [150];
the catastrophe, [153];
Cumberland version, [155];
mixed nature of the play, [155]
Rose Theatre, [40], [112]
Rossi, Signor, as King Lear, [177], [187]
Rowe’s, Nicholas, edition of Shakespeare, [33]
Royalty Theatre, Soho, [205]
Ruskin, John, on poets and their courage, [5]
Salvini as Othello, [127], [185]
Sand, George, on popular taste, [194]
Scenery: disadvantages of, [7];
Mr. Gordon Craig’s designs, [222-227]
Schiller, J. C. F. von, [194]
Schlegel on “Henry VIII.,” [88]
“Sejanus,” [41], [102]
Shakespeare: and contemporary representation, [3];
effect of absence of theatrical scenery, [8];
avoids interruptions in his plays, [12];
and double story in plays, [14];
interludes, [15];
representations of to-day, [18];
and acting, [20];
and extemporization, [22];
opinion of his comedies, [26];
dramas to-day and discrepancies, [31];
mistakes of editors, [31];
plays published in his lifetime, [31];
the early quartos, [31];
the first folio, [32];
divisions in the plays, [32], [41-44];
Rowe’s edition, [33];
Pope’s edition, [34];
Steevens’s edition, [36];
Capell’s edition, [37];
Malone’s edition, [37];
Shakespeare as dramatic writer, [39];
arrangement of characters, [41];
plays without intervals, [43];
need of re-editing without divisions, [44];
his income, [45], [96];
dramas ahead of his day, [46];
interpretation of his plays, [46];
acting versions (the quartos), [47];
Bell’s edition of 1773, [51];
interference with his dramatic intentions, [53];
shortening of plays, [54];
faulty elocution in modern rendering, [57];
causes of present-day want of appreciation, [59];
need to edit the early quartos for acting, [60];
actors interpret to suit change of opinions, [71];
writes of plays and not of masques, [96];
satire, [107];
his affinities as reflected in his plays, [107];
political allusions, [112];
innovations of the stage, [119];
how modern representations are produced, [120];
contrast between Shakespeare and modern drama, [122];
and prologues, [134];
his tact, [145];
the star actor and mutilation of the plays, [154];
acting editions and the author’s intentions, [175];
authoritative acting versions suggested, [175];
should be produced as written, [180];
Shakespeare and democracy, [183];
as revised at Earl’s Court, [208-216];
as rendered to-day, [214].
See also under the names of the separate plays
Shakespeare Memorial Scheme: raising of funds, [227], [228];
history of the movement, [228-233];
the executive’s report, [233-240]
Shakespeare statue, projected, [231]
“Shakespeare Temple,” [229]
Shaw, Mr. G. Bernard, 194; his “Misalliance,” [199];
“John Bull’s Other Island,” [200]
Sheridan’s “The Rivals,” [197]
Shore, Emily, on “Henry VIII.,” [89]
“Shylock”: controversy, [48];
Heine on, [69];
the character of, [70 et seq.];
as usurer, [72], [75];
paraphrase of the character, [73];
as an old man, [125];
the worsting of, [132]
Siddons, Mrs.: and Lady Macbeth, [46], [61];
and rendering of Shakespeare, [58]
Sidney, Sir Philip, and scenery of plays, [6]
“Silas Marner,” George Eliot’s, [125]
Simpson, Richard, [108], [114]
Spedding, James, on “Henry VIII.,” [92]
Stage: the Elizabethan, and its contemporary dramatists, [3];
ignorance concerning the relations between the theatre and the dramatists, [14];
quality of the performances, [5];
colour, [6];
scenes, [6];
disadvantages of scenery, [7];
construction of theatres, [10];
quality of the plays, [13];
performance continuous, [14], [43];
Flecknoe on changes after Shakespeare, [16];
length of performance, [17];
opposition, [25];
educational value, [27];
“business” on, [50];
movement on, [95].
See also [Theatre]
Stage: the modern, and Shakespeare, [119];
how plays are now produced, [120]
“Stage Player’s Complaint,” [57]
Stationers’ Register, the, [15], [98]
Steevens, George: as Shakespeare editor, [36];
comment on “King Lear,” [56]
Stevenson, Robert Louis, [18]
“Stranger, The,” [196]
Students’ theatre, a, [216]
Swinburne, A. C., on “Henry VIII.,” [93]
Symonds, J. A., on the Elizabethan theatre, [7], [9]
“Tempest, The,” [41];
the Gonzalo dialogue, [55]
Tennyson, Lord, on the authorship of “Henry VIII.,” [92]
Theatre, National: as Shakespeare Memorial, [230], [232-240];
its proposed management, [235-240]
Theatre, the repertory, [193];
and a national theatre, [198];
a students’ theatre, [216]
Theatres: Elizabethan, construction and small size of, [10];
musical interludes, [11], [40];
length of performance, [17];
the City Corporation and, [25];
the Puritans and, [25].
See also [Stage]
Theatres, English and Continental, [217]
Tragedy, English, and the English stage, [176], [177]
Tree Sir Herbert, [214], [231]
“Troilus and Cressida”: early quarto, [47];
the mystery of, [98], [115], [116];
in the first folio, [99];
Jonson and, [100 et seq.];
Chapman and, [100 et seq.];
dislike of the play, [106];
its satire, [107];
and the Earl of Essex, [108-112];
when written, [113], [114];
Troy story in, [113];
the word used in, [114];
Globe players’ rights in, [115]
Troy story in “Troilus and Cressida,” and in “Lucrece,” [113]
“Twelfth Night”: constructive art in, [39];
revival of, [205];
mistakes in, at Earl’s Court, [210-213];
traditional errors, [214]
“Two Gentlemen of Verona,” [40]
Ulrici on “Henry VIII.,” [90]
Valentine, [39]
Venetian theatre in 1605, [12]
Viola, [39]
“Voysey Inheritance, The,” [201]
Ward, Dr. A. W., [73], [106]
Webster, John, [11]
Women players, effect of their introduction, [61]
Women’s parts, boy actors for, [9]
Wotton, Sir Henry, [86]
Wycherley, William, [196]
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Footnotes:
[1] Part of a paper read before the Elizabethan Literary Society, November 1, 1893.
[2] The National Review, August, 1890.
[3] See “The Topical Side of the Elizabethan Drama” in the Transactions of the New Shakspere Society, 1887.
[4] The first three articles of this chapter appeared in The Nation, March, 1912.
[5] Sir Sidney Lee, “Dictionary of National Biography.”
[7] The Westminster Review, January, 1909.
[8] The New Age, September 15, 1910.
[9] The New Age, November 28, 1912.
[10] Part of a paper read before the New Shakspere Society in June, 1887.
[11] Read at the meeting of the New Shakspere Society, Friday, April 12, 1889.
[12] Read before the New Shakspere Society, June 10, 1881; published in the Era, July 2, 1881.
[13] The New Age, September, 1909.
[14] The New Age, November, 1910.
[15] Fortnightly Review, October, 1910, “The Theatrical Situation,” by William Archer.
[16] “The Paradox of Acting,” translated by Walter Herries Pollock.
[17] The New Age, August 22, 1912.
[18] The Nation, August, 1912.
[19] The New Age, June, 1911.
Transcriber’s Notes:
Punctuation has been corrected without note.
Other than the corrections noted by hover information, inconsistencies in spelling and hyphenation have been retained from the original.