Shakespeare and the Modern Stage; with Other Essays - Sir Sidney Lee

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[Preface]	vii

[I.]	The Perils of the Spectacular Method of Production	[1]
[II.]	The Need for Simplifying Scenic Appliances	[4]
[III.]	Consequences of Simplification. The Attitude of the Shakespearean Student	[7]
[IV.]	The Pecuniary Experiences of Charles Kean and Sir Henry Irving	[9]
[V.]	The Experiment of Samuel Phelps	[11]
[VI.]	The Rightful Supremacy of the Actor	[12]
[VII.]	The Example of the French and German Stage	[16]
[VIII.]	Shakespeare's Reliance on the "Imaginary Forces" of the Audience	[18]
[IX.]	The Patriotic Argument for the Production of Shakespeare's Plays constantly and in their variety on the English Stage	[23]

[I.]	An Imaginary Discovery of Shakespeare's Journal	[25]
[II.]	Shakespeare in the rôle of the Ghost on the First Production of Hamlet in 1602	[27]
[III.]	Shakespeare's Popularity in the Elizabethan Theatre	[29]
[IV.]	At Court in 1594	[31]
[V.]	The Theatre an Innovation in Elizabethan England	[36]
[VI.]	Elizabethan Methods of Production	[38]
[VII.]	The Contrast between the Elizabethan and the Modern Methods	[43]
[VIII.]	The Fitness of the Audience an Essential Element in the Success of Shakespeare on the Stage	[46]

[I.]	The Reception of the News of Shakespeare's Death	[49]
[II.]	The Evolution in England of Formal Biography	[51]
[III.]	Oral Tradition concerning Shakespeare in Theatrical Circles	[57]
[IV.]	The Testimonies of Seventeenth-century Actors	[61]
[V.]	Sir William D'Avenant's Devotion to Shakespeare's Memory	[69]
[VI.]	Early Oral Tradition at Stratford-on-Avon	[73]
[VII.]	Shakespeare's Fame among Seventeenth-century Scholars and Statesmen	[78]
[VIII.]	Nicholas Rowe's Place among Shakespeare's Biographers. The Present State of Knowledge respecting Shakespeare's Life	[79]