Shakespeare at the Globe, 1599-1609

by Bernard Beckerman

INDEX TO THE GLOBE PLAYS

A Larum for London, dating of, [xiii];
dramaturgic practice in, [30], [35], [43-44];
properties in, [224], [225];
stage, use of, [93];
staging in, [188];
theme, [60-61]
All’s Well That Ends Well, [15], [136], [229];
character types in, [148];
dating of, [xi];
dramaturgic practice in, [30], [36-37], [143];
localization, [67], [220];
narrative pattern in, [51];
properties in, [75], [77], [221], [222];
stage, use of, [211-212];
staging, [172], [173], [179], [187], [196], [204], [205], [208-209], [211]
Antony and Cleopatra, [15], [134], [229];
character types in, [149], [152], [153];
dating of, [xi];
dramaturgic practice in, [26], [32-33], [38], [42], [47], [59], [143], [154];
localization, [66-67], [220];
narrative pattern in, [53];
opening action, [34];
properties in, [75-76], [78-79], [221], [222];
stage, use of, [92];
staging, [166-167], [170-171], [173], [184], [195], [205], [206], [208], [212];
staging of IV, [xv], [230-231]
As You Like It, [229];
character types in, [148], [150], [152];
dating of, [xi-xii];
dramaturgic practice in, [37-39], [54], [59], [137];
exit lines, [107];
localization, [67], [73], [220];
narrative pattern in, [53];
opening action, [34];
properties in, [75], [221], [222];
stage, use of, [94], [211-212];
staging, [159-160], [167], [171-172], [180], [184], [195], [198], [208-212], [226]
Burbage’s roles in, [1], [134], [136]
Character types, [148-154]
Coriolanus, [229];
character types in, [148], [149], [152];
dating of, [xi];
dramaturgic practice in, [37], [42], [207];
localization, [64], [66], [220];
narrative pattern in, [49-50];
properties in, [77], [221];
staging, [169], [182], [204], [205], [206], [226]
Cromwell, Thomas Lord. See [Thomas Lord Cromwell].
Dating of the plays, [x-xiv]
Devil’s Charter, The, dating of, [xiii];
dramaturgic practice in, [35];
properties in, [77], [79], [81], [95], [223], [224], [225];
stage, use of, [82-85], [88], [90], [92-93], [185];
staging, [164-165], [185], [188], [195], [200-201], [204], [227];
theme, [61]
Dramaturgic practice: causation in, [32-33], [111], [143], [154];
climactic plateau (climax) in, [39-44], [55];
contrast in, [59-60];
distancing of action, [147];
finale in, form of (see also [staging of finale]), [35-39];
in group scenes, [137];
liaison between scenes, [45-47];
narrative development in, [30], [34-35], [38-39];
scene structure in, [54-57];
split structure in, [43-44];
temporal illusion in, [157-158]
Every Man Out of His Humour, chorus, use of, [25-26];
dating of, [xiii];
dramaturgic practice in, [30], [35-36], [147];
localization, [68];
“mirror image,” [28];
properties in, [223], [224];
stage, use of, [87];
staging, [172-173];
theme, [61]
Exit lines, [107]
Fair Maid of Bristow, character type in, [152];
dating of, [xiii];
dramaturgic practice in, [35-37], [59];
narrative pattern in, [51-53];
properties in, [79-80], [223], [224], [230];
staging, [188], [198], [227-228]
Formal scenes, [229]
Hamlet, [xii], [1], [58], [118], [121], [132], [135], [136], [145], [156], [229];
character types in, [148-150], [154];
dating of, [x];
dramatic history of, [18];
dramaturgic practice in, [38], [40-42], [46-47], [54], [55], [59], [137];
entrance pattern, [73];
localization, [64-67], [220];
narrative pattern in, [39], [49-50];
opening action, [34];
properties in, [75], [78], [79], [221], [222];
stage, use of, [88], [92-93], [194-195], [201-202];
staging, [171], [181], [183-185], [187], [192], [193-195], [200-203], [205], [208-209], [212]
Julius Caesar, [229];
character types in, [148], [153];
dating of, [x];
dramaturgic practice in, [33], [38], [42], [54], [57], [59], [158], [207];
localization, [64], [66], [220];
narrative pattern in, [50];
opening action, [34];
properties in, [74], [79], [221], [222];
spatial illusion, [164];
stage, use of, [92];
staging, [163-164], [169], [172], [175], [178], [180], [185], [186-187], [203-204], [205-206], [208-210], [212], [227];
staging of, [viii], [230]
Larum for London, A. See [A Larum for London]
Lear, King, [1], [15], [135], [136], [229];
character types in, [148-151], [153];
dating of, [xi];
dramaturgic practice in, [30], [32-35], [38-39], [41-43], [55], [56], [60], [137], [157-158];
localization, [73], [220];
narrative pattern in, [51], [53];
opening action, [34];
properties in, [77], [78], [221], [222];
stage, use of, [85], [87], [227];
staging, [159], [170], [180-181], [198], [200], [205], [208], [210-211]
Localization of action, [64-67], [73], [220];
through chorus, [68];
through identification of stage doors with place, [72-73]
London Prodigal, The, [1];
character type in, [152];
dating of, [xiii];
dramaturgic practice in, [36], [44];
property in, [223];
staging in, [175], [199], [227]
Macbeth, [229];
dating of, [xi];
dramaturgic practice in, [32], [38-39], [42], [57], [59];
localization, [64-65], [220];
narrative pattern in, [49];
opening action, [34];
premiere of, [23];
properties in, [76], [77], [78], [221], [222];
stage, use of, [70], [93];
staging, [170], [183-185], [187], [192], [203], [206], [209];
theme, [61]
Malcontent, The, [96], [223];
dating of, [xiv];
disguise in, [226]
Measure for Measure, [15], [136], [229];
character types in, [148], [150], [153];
dating of, [xi];
dramaturgic practice in, [32], [36-37], [39], [111], [154], [207];
localization, [220];
properties in, [78], [221];
staging, [170], [175], [179], [184], [187], [194-195], [198], [208], [210-212], [226]
Merry Devil of Edmonton, The, character types in, [150];
dating of, [xiii];
dramaturgic practice in, [37];
properties in, [74], [223], [224];
stage, use of, [71];
staging, [188], [227]
Merry Wives of Windsor, The, [135], [136], [229];
character types in, [150];
dating of, [xii];
dramaturgic practice in, [38], [45-46], [147];
localization, [72], [220];
narrative pattern in, [51];
premiere of, [23];
property in, [222];
stage, use of, [89];
staging, [171], [186], [190], [208], [210], [212], [227]
Miseries of Enforced Marriage, dating of, [xiii];
dramaturgic practice in, [37];
properties in, [223], [224];
stage, use of, [90-92], [94];
staging in, [163-164], [166], [175], [227]
Narrative patterns in, episodic form, [48-51];
“mirror” form, [51-53];
“river” form, [50-51]
Opening action in, [34]
Othello, [136], [229];
character types in, [149];
dating of, [xi];
dramaturgic practice in, [32-33], [37-39], [42], [46], [111], [143], [157];
localization, [66-67], [73], [220];
properties in, [77], [210], [221];
spatial illusion in, [161-162];
stage, use of, [85-88], [196];
staging, [171], [178], [180], [186], [187], [189], [196], [208], [210], [227]
Pericles, [15], [229];
character types in, [153];
dating of, [xi];
dramaturgic practice in, [38];
localization, [68], [220];
properties in, [75], [81], [221], [222];
spatial illusion, [160-162];
stage, use of, [70], [85-88], [94];
staging, [172], [184], [190], [204], [205], [226-227]
Premieres of, [23]
Properties in, complete list of, [221-225];
introduction of, [75-76];
types: bed, [78-79], [82-83], [86];
chair, [78], [83];
chair for invalid, [77];
miscellaneous, [74-75];
scaffold, [79-80];
sedan chair, [77];
state, [78];
stools, [77-78], [82-83];
table, [76-77];
tent, [81], [95];
tomb, [70], [81]
Revenger’s Tragedy, The, [58];
dating of, [xiii];
disguise in, [198], [228];
dramaturgic practice in, [44], [56-57];
narrative pattern in, [51];
properties in, [223], [224], [225]
Satiromastix, [223];
dating of, [xiii];
properties in, [74]
Sejanus, [58];
dating of, [xiii];
dramaturgic practice in, [37], [44];
narrative pattern in, [49];
properties in, [223], [224]
Simultaneous setting, [159-160]
Spatial illusion in, [160-162], [164]
Stage, use of: above, [89-92], [230-231];
doors, [70-71];
enclosure, [82-88], [185], [194-196], [211-212];
heavens, [94];
stage posts, [94];
trap, [92-93], [201-202]
Staging, of asides, [162], [183], [186-192];
continuity, [163-164], [175];
of disguises, [198-200], [226-228];
of entrances, [178-182];
of farewell scenes, [204-205];
of finales, [208-212];
of focus, [172-173];
of ghost scenes, [200-204];
of greeting scenes, [204];
of group scenes, [169-173];
of messenger scenes, [205-206];
of observation scenes, [183], [193-196];
of processions, [172];
of soliloquies, [183-186];
symmetry, [165-168]
Theme in, [60-61]
Thomas Lord Cromwell, dating of, [xiii];
dramaturgic practice in, [37], [44];
narrative pattern in, [48];
properties in, [223], [224];
stage, use of, [185];
staging, [185], [227]
Timon of Athens, [229];
dating of, [xi];
dramaturgic practice in, [37], [39];
localization, [64], [220];
opening action, [34];
properties in, [81], [221], [222];
stage, use of, [85], [87];
staging, [184], [189], [196], [204], [205], [209], [212]
Troilus and Cressida, [15], [229];
character types in, [150];
dating of, [xi];
dramaturgic practice in, [35], [37], [42];
localization in, [66-67], [72-73], [220];
narrative pattern in, [53];
premiere of, [23];
properties in, [79], [81], [222], [230];
staging, [170], [172], [175], [184], [190-192], [204], [206], [208]
Twelfth Night, [viii], [14], [229];
character types in, [149-150];
dating of, [x];
dramaturgic practice in, [36-37], [39], [42], [45], [54-55], [137], [154];
exit lines, [107];
localization, [72], [220];
narrative pattern in, [50-51];
premiere of, [23];
property in, [222];
spatial illusion, [164];
stage, use of, [196], [212];
staging, [168-169], [173], [196], [198-200], [208], [210-212], [226]
Volpone, [135];
dating of, [xiii];
disguise in, [228];
dramaturgic practice in, [37];
properties in, [77], [80], [223], [224], [230];
stage, use of, [84], [87]
Yorkshire Tragedy, A, [1];
character type in, [152];
dating of, [xiii];
property in, [77], [223];
stage, use of, [86], [89-90]

GENERAL INDEX

Above, the, [89-92], [106], [230-231]
Acting, effect of sightlines on, [128-129];
style of, [214]
Adams, John C., The Globe Playhouse, [22], [65], [69], [71], [89-90], [92],
[94], [101-102], [159], [202], [214], [230]
Admiral’s men, Lord, [3-6], [9-10], [12-13], [15-18], [20], [95]
Admiral-Prince’s men, [4]
Aeschylus, [47]
Albright, V. E., The Shakesperian Stage, [65], [214]
Alexander, Peter, Shakespeare’s Life and Art, [xii]
Alleyn, Edward, [vii], [x], [9], [12], [131]
Annals of the English Drama (Harbage), [xi], [xii]
Antigone (Sophocles), [31], [59]
Arcadian Rhetorike, The (Fraunce), [114-117], [119]
Archer, William, [65]
Aristotle, Poetics, [29], [31-32], [39], [49], [58]
Armin, Robert, [123], [133], [134]
Art of Rhetorique, The (T. Wilson), [114-115], [117], [119]
Arte of English Poesie, The (Puttenham), [28-29]
As Merry As May Be, [20]
Asides, staging of, [162], [183], [186-192]
Bacon, Sir Francis, [120], [140-143], [146]
Baldwin, Thomas W., The Organization and Personnel of the
Shakespearean Company, [22], [128], [133-136];
Shakespeare’s Five-Act Structure, [26], [29], [40]
Barnardo and Fiametta, [7], [11]
Barnes, Barnabe, [xiii], [82], [164].
See also [The Devil’s Charter]
Battle of Alcazar, The (Peele), [147], [176-177], [179]
Beaumont, Francis, [ix]
Beds, use of, [78-79], [82-83], [86], [210]
Bentley, Gerald E., [ix], [14]
Black Book (T. M.’s), [xiii]
Blackfriars Theatre, [vii], [ix], [x], [xii], [13-14], [21], [24], [71], [94], [133], [210]
Blind Beggar of Alexandria, [11]
Boas, F. S., [xiv]
Booth, Edwin, [132]
Bourgeois Gentilhomme, Le, [112]
Boy actors, [134]
Bradbrook, Muriel C., Themes and Conventions of Elizabethan Tragedy, [26], [30-31], [51], [58]
Bright, Timothy, A Treatise of Melancholie, [139], [143-144]
Brown, John R., [111]
Brute, [10]
Bryan, George, [124]
Bulwer, John, Chirologia and Chironomia, [114]
Burbage, James, [vii-viii], [105], [122]
Burbage, Richard, [x], [1], [4], [18], [96], [123], [133-134], [136]
Cambises, [121], [125], [127]
Campbell, Lily B., Shakespeare’s Tragic Heroes, [139], [141]
Campbell, Oscar J., [xii]
Castiglione, Baldassare, The Courtier, [117]
Catastrophe, [26], [39]
Cecil, Sir Robert, [18]
Certain Small Workes (Daniel), [xi]
Chairs, use of, [77-78], [83]
Chamberlain-King’s men, [vii], [xiii], [4], [22].
See also [Chamberlain’s men], [Globe company], and [King’s men]
Chamberlain’s men, Lord, [viii], [xi], [xiii], [3-5], [13-14], [18-19], [93],
[95], [113], [124], [130].
See also [Chamberlain-King’s men], [Globe company], and [King’s men]
Chambers, E. K., [65];
The Elizabethan Stage, [xiii], [9], [12], [133], [158], [174], [219];
William Shakespeare, [x-xii]
Chapman, George, [25]
Character Problems in Shakespeare’s Plays (Schücking), [45], [47]
Character types, [148-154]
Charles I, King, [21]
Charlton House, [167]
Charron, Pierre, [143]
Children of Paul’s, [xiii]
Children of the Queen’s Revels, [ix], [xiv], [3], [96], [133]
Chinon of England, [11]
Chirologia and Chironomia (Bulwer), [114]
Chronicle History of the London Stage, A (F. G. Fleay), [13]
Cicero, [25]
Cleopatra (Daniel), [xi]
Climactic plateau (climax), [39-44], [55]
Coeffeteau, F. N., A Table of Humane Passions, [143]
Commedia dell’arte, [112-113], [129], [148], [215]
Condell, Henry, [96], [123], [133]
Cooke, Alexander, [123], [133]
Cope, Sir Walter, [18-19]
Cornwallis, Sir William, [143]
Court, performances at, [xi], [xiii], [3-4], [15], [19-21], [23], [218-219]
Courtier, The (Castiglione), [117]
Cowley, Robert, [123], [133-134]
Crack Me This Nutte, [7], [11]
Craig, Hardin, [30];
The Enchanted Glass, [138-139], [145]
Curtain, the, [viii], [ix]
Cymbeline, [xii], [94]
Cyprian Conqueror, The, [117]
Damon and Pithias (R. Edwardes), [139]
Daniel, Samuel, Cleopatra, [xi]
Davenant, William, The Witts, [21]
Day, John, [20]
Defence of Poesie, The (Sidney), [24], [58], [66]
Dekker, Thomas, [9];
Fortunatus, [17], [19-20];
The Gull’s Hornbook, [vii], [97];
The Honest Whore I, [145].
See also [Satiromastix]
Derby’s company, [3]
DeWitt, John, [94], [99-101], [169]
Diary (Henslowe), [3-5], [8-10], [12-17], [19-22], [217]
Directions for Speech and Style (Hoskins), [118]
Disguise, staging of, [197-200], [226-228]
Disguises, The, [6], [11]
Doran, Madeleine, Endeavors of Art, [27-28], [30]
Downer, Alan, [124]
Downton, Thomas, [9]
Dramatic Records of Sir Henry Herbert, The, [13], [21]
Dramatic theory, Elizabethan, [24-25]
Draper, John W., The Humors and Shakespeare’s Characters, [139], [154]
Dutton, John, [122]
Edmans, John, [134]
Edward I (Peele), [6]
Edwardes, Richard, Damon and Pithias, [139]
Electra (Sophocles), [59]
Elizabeth, Queen, [xii], [18-20], [22], [104]
Elizabethan Acting (Joseph), [113-114], [132]
Elizabethan Stage, The (E. K. Chambers), [xiii], [9], [12], [133], [158],
[174], [219]
Elizabethan World Picture, The (Tillyard), [139]
Elizabeth’s Servants, Lady, [14]
Elyot, Sir Thomas, The Governour, [116], [119], [141]
Enchanted Glass, The (H. Craig), [138-139], [145]
Enclosure, the, [74], [82-88], [94], [106], [175], [179], [185], [194-196], [211-212]
Endeavors of Art (Doran), [27-28], [30]
Episodic pattern, [48-51]
Epitasis, [26], [40]
Essex, Earl of, [xii], [130]
Every Man in His Humour (Jonson), [93]
Excellent Actor, An, [129]
Fair Em, [147]
Farewell scenes, staging of, [204-205]
Faustus, Doctor (Marlowe), [14], [17]
Fergusson, Francis, The Idea of a Theater, [29]
First Night of Twelfth Night, The (Hotson), [x], [23]
Fleay, F. G., A Chronicle History of the London Stage, [13]
Fleetwood, William, [139]
Fletcher, John, [ix]
Fletcher, Laurence, [123], [133]
Foakes, R. A., [111], [138], [145]
Forest, Louise, [138], [144]
Forman, Simon, [xii]
Fortunatus (Dekker), [17], [19-20]
Fortune, the, [vii], [x], [4], [14], [20], [69], [94], [101-102]
Four PP. (J. Heywood), [124]
Fraunce, Abraham, The Arcadian Rhetorike, [114-117], [119]
Friar Bacon & Friar Bungay (R. Greene), [18], [20]
From Art to Theatre (Kernodle), [102-105], [158], [216]
Fuller, Thomas, [122]
Gallery over the stage, [95], [98]
Garden of Eloquence, The (Peacham), [118-119]
Ghost scenes, staging of, [200-204]
Gilburne, Samuel, [133-134]
Globe company, [viii], [xii], [14], [16], [23], [35], [134];
acting style of, [146], [156], [214];
actors of, [122];
finances of, [22];
organization of, [132], [135];
repertory of, [15];
role distribution in, [136];
shares in, [4].
See also [Chamberlain-King’s men]
Globe playhouse, [vii], [ix], [xii], [xiii], [4-5], [13-14], [22-24], [100-101];
construction of, [viii-ix], [2];
design of, [vii], [102], [106], [108];
opening date of, [ix], [x], [xii], [133];
stage of, [xiv], [95], [210];
sitting on stage of, [96]
Globe Playhouse, The (J. C. Adams), [22], [65], [69], [71], [89-90], [92],
[94], [101-102], [159], [202], [214], [230]
Globe Restored, The (Hodges), [69], [94], [101-102], [158], [230-231]
Godfrey, Walter, [101]
Goffe, Robert, [123]
Gorki, Maxim, Yegor Bulichev and Others, [61]
Gosson, Stephen, Playes Confuted in Five Actions, [122]
Governour, The (Elyot), [116], [119], [141]
Granville-Barker, Harley, [65], [106];
Prefaces to Shakespeare, [41]
Gray, H. D., [x]
Greeting scenes, staging of, [204-205]
Greg, W. W., [9], [13], [131], [217]
Grosse, Samuel, [133-134]
Gull’s Hornbook, The (Dekker), [vii], [97]
Haines, C. M., [176]
Harbage, Alfred, [109], [117];
Annals of the English Drama, [xi], [xii];
Shakespeare and the Rival Traditions, [ix];
Shakespeare’s Audience, [22]
Hardwick Hall, [167-168]
Harper, Sir William, [105]
Harvey, Gabriel, [x]
Hatfield House, [167]
Hathway, Richard, [20]
Heavens, machinery in the, [93-94], [106]
Hedda Gabler (Ibsen), [40], [60]
Heminges, John, [x], [4], [123], [133]
Heminges vs. Witter & Ostler, [4]
Henry IV, Part I, King, [14], [129]
Henry V, King (Shakespeare), [viii], [xi], [xii], [68]
Henry V (Anonymous), [11]
Henry VIII, [104], [165]
Henslowe, Philip, [vii], [x];
Diary, [3-5], [8-10], [12-17], [19-22], [217];
Papers, [75], [79], [94-95], [125], [217]
Herbert, Sir Henry, The Dramatic Records of, [13], [21]
Hertford’s men, [4]
Heywood, John, [124]
Heywood, Thomas, [9], [10]
Hilliard, Nicholas, [165]
Histrio-mastix, [121], [123]
Hoby, Thomas, [117]
Hodges, C. Walter, The Globe Restored, [69], [94], [101-102], [158], [230-231]
Honest Whore I, The (Dekker and Middleton), [145]
Hope, the, [94], [102]
Horestes, [121]
Hoskins, John, Directions for Speech and Style, [118]
Hosley, Richard, [73], [82], [84], [89], [92], [99]
Hotson, Leslie, [xi];
The First Night of Twelfth Night, [x], [23];
Shakespeare’s Motley, [125];
Shakespeare vs. Shallow, [xii];
Shakespeare’s Wooden O, [95-97]
Humors and Shakespeare’s Characters, The (Draper), [139], [154],

[241], [242]
Hunter, Sir Mark, [176]
Idea of a Theater, The (Fergusson), [29]
Income of players, [21-22]
Ion (Euripides), [32]
Isle of Dogs, The, [3], [5]
James I, King, [x], [15], [20], [22], [104], [133]
Jeronimo, The First Part of, [xiv], [96], [204]
Jew of Malta, The, [8], [14]
John, King, [168]
Johnson, Samuel, [26], [47]
Jones, Inigo, [103]
Jonson, Ben, [xiii], [3], [9], [17], [21], [25-26], [28], [44], [49], [58], [61], [68-69], [87],
[120], [151], [172];
Every Man In His Humour, [93];
The New Inn, [26].
See also [Every Man Out of His Humour], Sejanus, and Volpone
Joseph, Bertram, Elizabethan Acting, [113-114], [132]
Judge-figure in finale, [36-38], [208]
Katherens, Gilbert, [105]
Keen, Frances, [23]
Kemp, Will, [viii], [xii], [135-136]
Kernodle, George R., From Art to Theatre, [102-105], [158], [216]
King’s men, [ix], [x], [xiii], [xiv], [13-14], [21], [24], [94], [133-134].
See also [Chamberlain-King’s men], [Chamberlain’s men], and [Globe company]
Kittredge, G. L., [xi], [xii], [195], [230]
Knack to Know an Honest Man, A, [147]
Knight, G. Wilson, Principles of Shakespearean Production, [39-40];
Wheel of Fire, [58], [61]
Kreider, Paul, Repetition in Shakespeare’s Plays, [197]
Kyd, Thomas, [15], [48], [92]
“Law of reentry,” [176]
Lawrence, W. J., [40], [71], [201]
Leicester’s company, [122]
Leir, King, [151]
Localization of action, [64-68], [72-73], [220]
Longshank, [6], [11]
Lord Mayor’s Show, [103-105]
Love’s Labour’s Lost, [18]
Love’s Labour’s Won, [xi]
Lowin, J., [96-97], [123], [133], [134-135]
Lucas, F. L., [45]
McManaway, J. G., [xii]
Malone, Edmond, [13], [21], [75]
Manly, John M., [30]
Mansions, use of, [95]
Marivaux, Pierre, [112-113]
Marlowe, Christopher, [15], [92], [124];
Doctor Faustus, [14], [17];
The Jew of Malta, [8], [14];
Tamberlaine, [6], [7], [14]
Marston, John, [xiv], [96].
See also [The Malcontent]
Merchant Tailors Company, [105]
Meres, Francis, Palladis Tamia, [x], [xi], [xii]
Messalina title page, [98-99]
Messenger scenes, staging of, [205-206]
Middleton, Thomas, [20];
The Honest Whore I, [145]
Midsummer Night’s Dream, A, [130]
Mildmay, Sir Humphrey, [21]
Mirror, image of art as a, [27-29], [59]
Mirror pattern, [51-53]
Molière, [21], [112], [136]
Moscow Art Theatre, [112], [132]
Moulton, R. G., Shakespeare as a Dramatic Artist, [40], [41]
Much Ado About Nothing, [xi-xii], [136], [150], [153]
Nagler, Alois, Shakespeare’s Stage, [96], [99]
Nashe, Thomas, [3]
Newington Butts, [5], [13], [18]
New Inn, The (Jonson), [26]
New plays, introduction of, [9], [11-13]
New World’s Tragedy, A, [11]
Northern Lass, The, [21]
Observation scenes, staging of, [183], [193-197]
Oedipus (Sophocles), [31]
On Producing Shakespeare (Watkins), [163-164], [175], [214]
Oresteia (Aeschylus), [47]
Organization and Personnel of the Shakespearean Company, The
(Baldwin), [22], [128], [133-136]
Orlando Furioso (Greene), [131-132], [147]
Orsino, Virginio, Duke of Bracciano, [23], [96]
Ostler, William, [133]
Palladis Tamia (F. Meres), [x-xii]
Palsgrave’s company, [14]
Papers (Henslowe), [75], [79], [94-95], [125], [217]
Peacham, Henry, Garden of Eloquence, The, [118], [119]
Peele, George, The Battle of Alcazar, [147], [176], [179];
Edward I, [6]
Pembroke’s men, [3]
Peripeteia, [32]
Phaethon, [18], [20], [79]
Phillips, Augustine, [4], [123], [130], [133]
Philoctetes (Sophocles), [31]
Platter, Thomas, [x], [14], [97]
Plautus, [25], [48]
Playes Confuted in Five Actions (Gosson), [122]
Plays and Masques at Court (Steele), [219]
Plutarch, [74], [214]
Poel, William, [214]
Poetaster (Jonson), [xiii]
Poetics (Aristotle), [29], [31-32], [39], [49], [58]
Polyphemus, [10]
Pope, Thomas, [4], [123-124], [133]
Prefaces to Shakespeare (Granville-Barker), [41]
Prince’s men, [14]
Principles of Art History (Wölfflin), [27]
Principles of Shakespearean Production (Knight), [39-40]
Privy Council, [3], [5], [19]
Promos and Cassandra (Whetstone), [139]
Properties, stage, [74-82], [158-174] passim, [221-225]
Puttenham, George, The Arte of English Poesie, [28-29]
Pythagoras, [11]
Queen of Bohemia’s company, [14]
Queen’s men, [121], [122]
Ramus, P., [114], [119]
Ranking-figure, [38], [210], [212]
Red Bull, the, [4], [92], [95], [158]
Repetition in Shakespeare’s Plays (Kreider), [197]
Resolving figure, [211-212]
Return from Parnassus, II, The, [136]
Revivals, system of, [8], [17-18]
Reynolds, George F., [63], [65], [72-73], [175], [214], [216];
The Staging of Elizabethan Plays at the Red Bull, [92], [95], [158], [174]
Rich, John, [134]
Richard II, King, [14], [130]
Richard III, King, [61], [136], [158], [165], [168]
River pattern, [48], [50-51]
Romeo and Juliet, [viii]
Rose, the, [5-7], [22]
Roxana title page, [97-99], [180]
Royal entries, [103-104]
Sands, James, [134]
Scaffolds on stage, [79-80], [82]
Schücking, L. L., Character Problems in Shakespeare’s Plays, [45], [47]
Seleo and Olempo, [7]
Selimus, [126], [147]
Seneca, [48]
Seven Days of the Week, [6], [11]
Seven Deadly Sins, [123],133
Shakespeare (?), Ned, [134]
Shakespeare and the Audience (Sprague), [186]
Shakespeare and the Nature of Man (Spencer), [139]
Shakespeare and the Rival Traditions (Harbage), [ix]
Shakespeare as a Dramatic Artist (Moulton), [40], [41]
Shakespeare’s Audience (Harbage), [22]
Shakespeare’s Five-Act Structure (Baldwin), [26], [29], [40]
Shakespeare’s Life and Art (Alexander), [xii]
Shakespeare’s Motley (Hotson), [125]
Shakespeare’s Stage (Nagler), [96], [99]
Shakespeare Studies (Stoll), [58]
Shakespeare’s Theater (Thorndike), [66], [175]
Shakespeare’s Tragic Heroes (L. B. Campbell), [139], [141]
Shakespeare’s Wooden O (Hotson), [95-97]
Shakespeare vs. Shallow (Hotson), [xii]
Shakesperian Stage, The (Albright), [65], [214]
Sidney, Sir Philip, The Defence of Poesie, [24], [58], [66]
Simultaneous setting, [158-160], [164]
Sir Clyomon and Sir Clamydes, [121], [125-126]
Sir Thomas More, [121]
Sly, William, [96-97], [123], [133], [135]
Smith, Irwin, [73]
Smith, Warren, [79-80], [186], [230]
Smith, Wentworth, [20]
Soliloquies, staging of, [183-186]
Southern, Richard, [84], [101]
Spanish Tragedy, The (Kyd), [14], [17]
Spencer, Theodore, Shakespeare and the Nature of Man, [139]
Sprague, A. C., Shakespeare and the Audience, [186]
Stage doors, use of, [70-71]
Staging of Elizabethan Plays at the Red Bull, The (Reynolds), [92], [95], [158], [174]
Stanislavsky, C., [215]
Steele, Mary S., Plays and Masques at Court, [219]
Stoll, Elmer E., Shakespeare Studies, [58]
Stools, use of, [77-78]
Strange News Out of Poland, [9]
Strange’s men, [17]
Streetcar Named Desire, A (Williams), [60], [149]
Streete, Peter, [ix], [x], [105]
Swan drawing, [72], [94], [97-102], [169]
Symbolism in staging, [216]
Tableaux vivants, [102-103]
Table of Humane Passions, A (Coeffeteau), [143]
Tables, use of, [76-77], [82-83]
Talaeus, Audomarus, [119]
Tambercame II, [18]
Tamberlaine, I & II (Marlowe), [6-7], [14]
Tarleton, Richard, [122], [123]
Tents, use of, [81]
Terence, [26], [40], [48]
Theatre, the, [vii-ix], [71], [128]
Théâtre-Libre, the, [112]
Themes and Conventions of Elizabethan Tragedy (Bradbrook), [26],
[30-31], [51], [58]
Thome Strowd, II, [10]
Thorndike, Ashley, Shakespeare’s Theater, [66], [175]
Three Ladies of London (R. Wilson), [147]
Three Lords and Three Ladies of London, The (R. Wilson), [147]
Tillyard, E. M. W., The Elizabethan World Picture, [139]
Titus Andronicus, [viii]
Tooley, Nicholas, [123], [133]
Tourneur, Cyril, [xiii]
Toy to Please Chaste Ladies, A, [6-8], [11]
Traps, use of, [92-93], [106], [201-202]
Treatise of Melancholie, A (Bright), [139], [143-144]
Troublesome Reign of King John, The, [147]
True Tragedy of King Richard III, The, [126]
Two Angry Women of Abington, II (Porter), [10]
Underwood, John, [133]
Van Buchell, Arend, [100]
Walker, Albert, [125], [153-154]
Warning for Fair Women, A, [81], [94], [147], [200], [203]
Watkins, Ronald, On Producing Shakespeare, [163-164], [175], [214]
Watson, C. B., [37]
Weather, The (J. Heywood), [124]
Webster, John, [xiv], [45], [96].
See also [The Malcontent]
Wheel of Fire (Knight), [58], [61]
Whetstone, George, Promos and Cassandra, [139]
Whitehall Palace, [x], [96]
Wilkins, George, [xiii].
See also [Miseries of Enforced Marriage]
William Shakespeare (E. K. Chambers), [x-xii]
Wilson, J. Dover, [x]
Wilson, Jack, [134]
Wilson, Robert, [122], [123];
Three Ladies of London and The Three Lords and Three
Ladies of London, [147]
Wilson, Thomas, The Art of Rhetorique, [114-115], [117], [119]
Winter’s Tale, The, [15]
Wits, The, [98], [180]
Witts, The (Davenant), [21]
Wölfflin, Heinrich, Principles of Art History, [27]
Wollaton Hall, [167-168]
Woman Killed with Kindness, A (T. Heywood), [10]
Woman of Andros (Terence), [26]
Wonder of a Woman, [7], [11]
Worcester-Queen’s men, [4]
Worcester’s men, [3-4], [10], [12-13], [16], [133]
Worde, Wynken de, [104]
Yegor Bulichev and Others (Gorki), [61]

TRANSCRIBER’S NOTE

The table at the start of [Appendix C] was very wide in the original book. It has been modified by splitting each row into two rows, each one less than 75 characters wide.