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