CONTENTS (continued 5)

German criticism, 19.

Gifford, on Dekker and Jonson, 69, 70, 90;

on Marston, 122, 276.

Gil Blas, 210.

Giocondo, 110.

"Gloriana" (Lee), 82.

Glover, 38.

God, as term in literature, 286.

Goethe, on Marlowe, 2, 3.

"Golden Age, The" (Heywood), 216.

Goldsmith, Dekker compared with, 106.

Greene, Robert, 50, 73, 101.

Grenville, Richard, 18.

"Grim the Collier of Croydon," 84.

Grosart,

Barnfield

, 51;

on Dekker, 91, 99;

on Marston, 126.

"Gull's Hornbook, The" (Dekker), 97.

Hall, 125.

Hallam on Heywood, 3, 199, 232.

"Hamlet," 144, 176, 179;

influence on Tourneur, 276, 282, 284.

Haughton, 73, 87.

Hazlitt, on Dekker, 78, 79, 181, 190;

on Heywood, 201.

Hebrew Bible, influence of, 281.

"Heliogabalus," 231.

Henry IV., reign of, 258.

Henry, Prince of Wales, 256.

"Hero and Leander" (Marlowe), 13, 136, 256.

Heroine, orthodox ideal of, 247;

cf. also 157 note.

Hesiod, 256.

Heywood, Thomas (200-254), realism, 65, 215;

"The Royal King," etc., 193;

characters from life, 201;

love of country, 202;

of London, 202;

pathos and humor, 204;

patriotism, 210;

imitator of Theocritus, 214;

William Morris compared with, 215;

power of condensation, 217;

character as poet, 224, 225;

influence of civic services, 226;

compared with Fletcher, 232;

best play, 233, 234;

national quality in, 236, 254;

dramatic force, 245;

disciple of Jonson, 251;

prose, 253;

story-telling, 253.

"Hierarchie of the Blessed Angels, The" (Heywood), 212.

"Hippolytus," 37.

History, treatment on stage, 18, 19.

"Histriomatrix," 126, 139, 140. [Transcriber's note: in the text, "Histriomastix"]

Hogarth, 158.

Homer, 220;

Chapman on, 255-261.

"Honest Whore, The," Webster's part in, 21;

Dekker's, 74, 75;

Middleton's and Rowley's, 183.

Hood, 138.

Horace, 143.

Horne, 152.

"How to Choose a Good Wife from a Bad" (Heywood), 247.

Hugo, Victor, son of, 4; 33, 38;

Dekker compared with, 74.

Hunt, Leigh, on Dekker, 78;

on Middleton, 154.

"Hymns" (Homer), 256.

"If you know not me," 206.

"Iliad," Chapman's translation, 255.

"Inner-Temple Masque, The," 179.

"Insatiate Countess, The" (Marston), 135.

"Iron Age, The," 216, 220.

Italian influence, 73, 103, 119, 148, 247.

"Jack Drum's Entertainment," 126, 142.

Jeronimo, 167.

"Jerusalem" (Blake), 279.

"Jests to make you merry" (Dekker), 99.

"Jew of Malta" (Marlowe), 5;

compared with "Dr. Faustus," 6;

with "King Richard II.," 11, 189.

"Jocondo and Astolfo" (Dekker), 110.

Johnson, Dr., 162, 237.

Jones, Inigo, 256.

Jonson, Ben, compared with Shakespeare, 65;

"Poetaster," 68;

compared with Dekker, 69, 70, 111;

collaboration with Dekker, 71;

court characters, 85;

influence on Marston, 122;

"Catiline," 144;

character invention, 158;

compared with Middleton, 165, 172;

treatment of couplet, 205;

model for other poets of the age, 222, 237;

friend of Chapman, 256;

model for Heywood, 251;

Chapman's feeling toward, 260;

ridicules Marston, 276.

Juvenal, Tourneur akin to, 281.

Keats, 223;

on Chapman, 258.

Killigrew, 267.

King Brute, 213.

"King Edward III.," 12.

"King Edward IV.," 203, 230.

"King Henry VI.," Marlowe's part in, 9.

"King Henry VIII.," Fletcher's part in, 174.

King James, 129;

demonology, 161, 213, 256.

"King Lear," 16, 31, 176.

"King Richard II.," 6, 208.

Kingsley, on Webster, 42;

on Dekker, 89, 90.

"Knight's Conjuring, A," 95.

Knox, John, 267.

La Fontaine, 110.

Lamb, Charles, 21, 151, 190;

on Dekker, 63, 66, 78, 162;

on Marston, 122, 123;

on Webster, 140;

on Heywood, 152, 200, 202, 205, 211, 214, 219, 225, 226, 237;

on Middleton, 153, 165, 167, 177;

on Rowley, 187, 197-199, 202;

on Chapman, 258, 259;

on Tourneur, 284.

Landor, Walter Savage, 120, 166;

on Marston, 137;

Rowley compared with, 199.

"Lantern and Candle-light" (Dekker), 101.

"La Reine d'Espagne," 232.

Latin comedy, 133.

"

Latter-day Pamphlets

," 93.

Latouche, Henri de, 232.

"Laugh and Lie Down," 278.

Lee, "Gloriana," 82.

"Life of Merlin, surnamed Ambrosius" (Heywood), 112.

Lillo, 239.

"Lingua," 170.

Little Dorrit

, 100.

London, 11, 203, 214, 245.

"London's Tempe," 84.

Longfellow, 38.

"Love's Mistress," 222.

Lowndes, 278.

"Loyal Subject, The" (Fletcher), 232.

Lucrezia Borgia, 209.

"Lust's Dominion," 85, 152.

"Lycidas," 157.

Lyly, parody on "Antonio and Mellida," 147.

Lyric poetry before Shakespeare, 242.

Macaulay, on Milton, 104.

"Macbeth," relation to "The Witch," 172, 252.

Machiavelli, 84.

"Mad World, My Masters, A" (Middleton), 160.

"Maid's Tragedy, The," 30.

"Maidenhead Well Lost, A," 231.

"Malcontent, The" (Marston), 22, 116;

Webster's part in, 124, 129.

Mallory, 229.

"Manfred," 3.

Mantalini, 24.

Marlowe, Christopher (1-14),

influence on Shelley, 1, 13;

on Milton, 5;

on Nathaniel Lee, 7;

compared with Shakespeare, 7, 194, 208;

comic spirit, 10, 11;

translations of Ovid and Lucan, 12;

lyric quality, 13;

place in literature, 14;

compared with Webster, 33, 58, 59;

impostures of, 85;

Bullen's edition, 151;

Middleton compared with, 172;

model for others, 178;

first great poet of England, 189;

treatment of couplet, 205, 260.

Marmion, 222.

Marston, John, (112-149),

tragic spirit compared with Webster's, 17, 30, 59;

collaboration with Webster, 22;

relations with Jonson, 112, 113, 127;

tragic style compared with Webster, Tourneur, Shakespeare, 114;

characters, 115, 116;

compared with Sophocles, Tacitus, Dante, 117, 119;

influenced by Jonson, 122,

collaboration with, 140, 141;

place among poets, 144;

compared, with Jonson, 146;

satirist, 179;

compared with Tourneur, 276, 277, 281;

ridiculed by Jonson, 276.

Mary Tudor, 207.

"Massacre at Paris" (Marlowe), 7, 10.

Massinger, 30, 87, 90, 194, 237.

"Match at Midnight, A" (Rowley), 192.

"Match Me in London" (Dekker), 84.

"Mayor of Queenborough, The," 167.

"Medea," the, 37.

Meltun Society, 157

note

.

"Menaechmi, The," 217.

"Michaelmas Term" (Middleton), 158.

"Microcynicon," 179.

Middleton, Thomas (150-187),

place as tragic poet, 30;

associated with Dekker, 75-77, 87;

poet of city, 85;

comic style, 158;

associated with Rowley and Dekker, 161;

"The Widow," 165;

allegory compared with Dekker's, 168;

obligations to Shakespeare, 172;

compared with Chaucer, 177;

a second poet by same name (?), 180;

collaboration with Rowley, 182;

comedy, 190;

cf. "Meddletun," 237.

"Midsummer Night's Dream," compared with "Old Fortunatus," 65.

Millais, 203.

Milton, indebted to Marlowe, 5, 38, 50, 95, 150;

indebted to Middleton, 157, 170, 236, 199;

indebted to Heywood, 217.

Minto, on Chapman, 260.

"Miseries of Enforced Marriage, The," 246.

"Misery of a Prison and a Prisoner, The" (Dekker), 99.

Molière, Dekker compared with, 107:

Marston, 132, 133, 211;

Heywood, 211, 216, 222.

"Monsieur d'Olive" (Chapman), 259.

Morality plays. 156.

"More Dissemblers Besides Women" (Middleton), 164.

Morris, William, 215, 223.

"Mountebank's Masque," 138.

Musaeus, 256.

"Myrrha" (Barkstead), 136.

Nash, Thomas, 8, 100, 180, 188.

National characteristics on Heywood, Sidney, etc., 254.

Nelson, 254.

Newman, J.H., 89, 90.

"News from Hell," 95.

"New Wonder, A, etc." (Rowley), 191.

"Northward Ho!", 20.

"No Wit, No Help Like a Woman's" (Middleton), 165.

"Odyssey," Chapman's translation, 256.

"Old Fortunatus" (Webster), 21, 30;

"Midsummer Night's Dream" compared with, 65.

"Old Law, The" (Rowley), 167.

Old Plays

, Dilke's. 154, 195.

One-part plays, 237.

"Othello," 16, 31.

Ovid, Marlowe's translations, 12;

source for Heywood, 218;

Dryden's translations, 221.

Oxford, 255.

Painter, William, 58.

"Palace of Pleasure, The" (Painter). 58.

"Paradise Regained," 157.

"Parasitaster, The" (Marston), 133, 146.

"Parliament of Bees, The," 85.

"Passionate Shepherd, The" (Marlowe), 13.

"Patient Grissel," 72.

Patient Grizel, type of heroine, 247.

Patriotism in Dante, Coleridge, Shakespeare, Virgil, 202;

in Heywood, 243, 245.

Peele, George, 69, 205.

Percy Society, 188.

"Persae," the, 81.

Persius, Tourneur akin to, 281.

"Phoenix and Turtle, The," 138, 156.

Pickwick Papers

, 100.

Plautus, imitated by Dryden, Molière, Rotrou, 216;

model for Heywood, 231, 240.

Plymouth, 243.

"Poetaster, The" (Jonson), 68, 133, 138.

Ponsard, 38.

Pope, 82, 228.

"Prince Nicander's vein," 223

Protestant animosity in drama, 207.

Prynne, William, 207.

Psyche, subject of English poetry, 222, 223, 251.

"Puritan, The," 181.

Puritanism, 241, 278, 281, 286

note

.

"Pygmalion's Image," 136.

Queen Elizabeth, 69, 105, 168, 211-213, 256.

"Queen of Corinth, The," 178.

Quevedo, 95.

Rabelais, 95; Rowley compared with, 190.

Raleigh, Sir Walter, 69.

Rand

, verb, 189.

"Rape of Lucrece, The," 223.

"Raven's Almanack, The" (Dekker), 103.

Realism, in dialogue, 194;

of Heywood and Fletcher, 214, 247;

differentiated from romanticism, 234.

"Rehearsal, The," 226.

Renascence, 281.

Restoration, the, 157

note

, 259, 278.

"Return from Parnassus, The," 141.

"Revenger's Tragedy, The" (Tourneur), 176, 268, 273, 287.

"Roaring Girl, The," 161.

"Robert, Earl of Huntington," 73.

Rochester, Lord, 157.

"Rod for Runaways, A" (Dekker), 103.

"Romeo and Juliet," 69, 179, 247.

Rotrou, 216.

Rowley, William (187-199), genius in comedy and tragedy, 24, 166-168;

collaboration with Middleton, 161, 179, 181-183;

compared with Dekker and Nash, 188;

akin to Rabelais, 190;

comic style compared with Dekker, Middleton, Heywood, 191;

theory of verse, 194;

best as tragic poet, 196, 197;

compared with Heywood, 244.

"Royal King and Loyal Subject, The," 193, 232.

St. George's Day, 190.

"St. Patrick for Ireland" (Shirley), 194.

"Samson Agonistes," 157.

Sancho Panza, 229.

"Sardanapalus," 267.

"Satiromastix" (Dekker), 69, 127, 128.

Scott, Sir Walter, 84;

on Middleton, 153.

"Seaman, The," 96.

"Search for Money, A," 188.

"Second Maiden's Tragedy, The," 174.

"Sejanus," 144.

Selden, 163.

Settle, Elkanah, 157

note

.

"Seven Deadly Sins of London, The," 93.

Shadwell, 251, 267.

Shakespeare, Marlowe compared with, 2, 10, 14;

translated by Hugo, 4;

indebted to Marlowe, 5, 14, 36;

Webster compared with, 15-17, 29, 30, 33, 38, 44-46, 52, 54, 57, 58;

collaboration with Rowley, 24;

doctrine compared with Aeschylus, 31;

lyric quality, 50;

greatest contemporary of, 55;

light comedy, 64;

Webster on, 65;

Dekker compared with, 67, 71,

in humor, 108;

burlesqued by Dekker, 68, 81;

admonitory style in dialogue, 98;

"Venus and Adonis," 136;

obscurity like Marston's, 137, 144;

above Milton, Coleridge, and Shelley, 150;

Middleton compared with, 154, 155,

in humor, 158;

characters, 166, 182, 184;

obligations to Middleton, 172;

tragic invention, 176;

method of work, 178;

compared with Rowley, verse quality, 191, 194;

patriotism, 202;

treatment of couplet, 205;

on chronicle plays, 206, 209;

"Richard II.," 208;

Heywood compared with, blank verse, 224;

national qualities in, 236;

Dr. Johnson on, 237;

humanity, 243;

use of foreign words, 246;

quoted in Heywood's plays, 249;

reference to Chapman, 260;

Tourneur compared with, in dramatic dialogue, 263;

verse music, 270;

tragic hero, 274;

poetic style, 276.

Shakespeare Society, 19.

Shelley, Marlowe's influence on, 1, 16, 38;

Dekker compared with, 72;

Marston, 137, 141, 177, 258.

Shirley, 30, 38, 163, 194, 221.

"Shadow of Night, The" (Chapman), 255.

"Shoemaker, a Gentleman, A" (Rowley), 193.

Sidney, Sir Philip, 18, 66, 68, 224, 254, 258.

Sigurd, 214.

"Silver Age, The," 216.

"Sir Giles Goosecap," 128.

"Sir Peter Harpdon's End," 215.

"Sir Thomas More," 19.

"Sir Thomas Wyatt, The Famous History of," 19, 22.

"Sir Tristrem," 153.

Slang, Rowley's, 195.

Socrates, 169.

Somerset, Earl of, 256.

Sophocles, Webster compared with, 35-37, 52, 218, 221.

"Sophonisba" (Marston), 116.

Southey, on Rowley, 199.

Sovereign of modern poets, 35.

Spain in drama, 168, 194, 210, 234.

"Spanish Gipsy, The," 177, 179.

"Spanish Moor's Tragedy, The," 85.

Spenser, 1.

Stanihurst's Virgil, 280.

Sterne, Dekker's style compared to, 107;

morbidity, 121.

"Strange Horse-race, A" (Dekker), 102.

Strozzi, Ercole, 209.

Study of Shakespeare, A

, 11.

Suckling, Sir John, 157.

Sue, Eugène, 33.

Swift, Jonathan, prose, 8, 17, 121, 220;

Tourneur compared to, 264.

Tacitus, Marston's dialogue compared with, 119.

"Tamburlaine," 2, 4, 11.

"Taming of the Shrew, The," Marlowe's part in, 11.

Tennyson, Webster's verse compared with, 20, 38, 208;

Heywood compared with, 236, 278.

Thackeray, Dekker's humor compared with, 106, 108.

Thames, the, 190.

Theocritus, imitated by Heywood, 214.

"Thomas of Reading, etc.," 91.

"Three Hours After Marriage," 82.

"Titus Andronicus," 12.

Tourneur, Cyril (262-289), cynicism compared with Webster, 17, 60;

verse compared with Middleton, 172, 176;

poetic passion, 182;

allegory, 180;

reflective quality, 263;

dialogue compared with Shakespeare, Webster, 263;

shows influence of age, 268;

verse quality, 269, 270;

dramatic quality, 271, 272;

revenge as theme, 273;

master-work, 273;

comparable only with Shakespeare, 276, 277, 280, 281, 282, 288;

sublimity, 280;

akin to Juvenal, Persius, 281;

tragic style, 285;

moral passion, 289.

"Transformed Metamorphosis, The" (Tourneur), 180, 279.

Travel, motive for drama, 242.

"Travels of Three English Brothers, The," 242.

"Trial of Chivalry, The" (Heywood), 228, 229, 235.

"Traitor, The," 30.

"Trick to Catch the Old One, A" (Middleton), 158, 160.

"Troilus and Cressida," 220, 223, 277.

"Troja Britannica" (Heywood), 212.

Troy "Histories" of, 213.

Tupper, Martin, 228.

Turner, 285.

Twain, Mark, 228.

"Two Foscari, The," 267.

"Two Gentlemen of Verona," 155.

"Two Noble Kinsmen, The," Shakespeare's part in, 20.

"Tyrannic Love," 226.

Vanini, Tourneur successor of, 266.

Vere, Sir Francis, Tourneur's elegy on, 277.

"Venus and Adonis," 238.

Villon, François, Dekker compared with, 61.

Vindice, 60.

Virgil, source for "Dido, Queen of Carthage," 8;

love of country, 202.

"Virgin Martyr, The" (Dekker), 88, 194.

"Volpone," 144.

Voltaire, 199.

Watson, 141.

Webster, John (15-67), tragic imagination compared with Shakespeare,

15, 29, 30, 58, 59, 176, 190;

collaboration with Dekker, 19;

with Rowley, 23, 24;

independent of other poets, 32;

tragic quality, 46;

lyric quality, 51;

metrical faults, 53, 54;

compared with Marlowe, 58;

with Marston, 59;

with Middleton, 172, 182;

foreign words, 246;

compared with Tourneur, dialogue, 263;

verse, 270;

style, 276, 280;

tragic heroes, 281.

"Westward Ho!", 20.

"What you Will" (Marston), 127, 128, 146.

"White Devil, The" (Webster), 16, 32, 37, 40, 270.

"Whore of Babylon, The," 168.

"Widow, The" (Middleton), 164.

"Widow's Tears, The" (Chapman), 259.

Wilkins, George, 244.

"William Eps his death" (Dekker), 95.

"Wisdom of Solomon, The," 180.

"Wise Woman of Hogsdon, The" (Heywood), 245.

"Witch, The" (Middleton), relation to Macbeth, 171, 172.

Witchcraft, 251.

"Witches of Lancashire, The," 250, 251.

Wither, 50.

"Woman Killed with Kindness, A" (Heywood), 212, 238, 240, 249.

"Women Beware Women" (Middleton), 175, 177.

"Wonder of a Kingdom, The" (Dekker), 84.

"Wonder of Women, The" (Marston), 116, 122.

"Wonderful Year, The," 93.

Wood, Anthony, on Chapman, 255.

Wordsworth, love of country, 202;

Heywood compared with, 236.

"Work for Armourers" (Dekker), 102.

"Works and Days," Chapman's translation, 256.

"World Tost at Tennis, The," 179.

"Your Five Gallants" (Middleton), 160.

Zola, Émile, 33.

THE END