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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