AUTHORITIES, ETC.

THE standard text is that of the Cambridge Shakespeare, This is virtually reproduced in the single-volume Globe Shakespeare, to which all the references in this book are made. The type of the Globe edition, however, is too small for general reading. For such purposes as are considered in this book not concerned with textual criticisin any well-printed edition will serve.

purposes

The photographic reproductions of the quartos are convenient. Furness's Variorum Shakespeare is beyond criticism, as far as it has gone.

Rolfe's notes are convenient and compendious; so are those of the Henry Irving Shakespeare.

Schmidt's Shakespeare Lexicon is the standard dictionary. Mr. John Bartlett's forthcoming Concordance will doubtless supplant all others.

The commentaries directly used in composing this book are referred to in the notes.

To present anything like an adequate bibliography of Shaks. pere would require a large volume. Whoever wishes to study the subject in detail will find an admirable guide in the printed catalogues of the Barton Collection in the Boston Public Library. These may conveniently be supplemented by the exhaustive bibliographies published from time to time in the Shakspere Jahrbuch. Taken together, these authorities will direct attention to almost all books on Shakspere and his times which are accessible to the general public.

INDEX.

In this Index no attempt has been made to analyze the regular discussions
of the separate works of Shakspere, to which any one desiring knowledge
of them would naturally turn. All mentions of these works, and of charac-
ters therein, which do not occur in the regular discussions, have been
noted.

The works of Shakspere are entered alphabetically under the head of
Shakspere; and the characters are entered alphabetically under the heads
of the plays in which they occur.

When works of other authors are mentioned, they are similarly entered
alphabetically under the heads of their writers.

The term seq. is used to indicate that the matter in question is mentioned
on more than two consecutive pages.

Art, Shakspere's mastery of. 106.
112, 187, 236, 253 seq., 299, 308,
338, 396, 397.

ACTIVITY of intellect, abnormal in | Armada, 75.
Shakspere, 257, 262, 268, 269, 283, Armin, 414.
293, 301, 310, 324, 331, 334, 339,
340, 342, 418. Cf. Insanity.
Actors in Shakspere's time, 33, 35,
40 seq., 113, 367, 382, 413.
Eneid, Surrey's translation of, 26,
53.

Alliteration in Elizabethan litera-
ture, 55, 68. Cf. Euphuism; Ver-
bal ingenuity.

Aphorism in Elizabethan literature,
28, 55, 201, 203, 399. See Phi-
losophy.

Archais evident in Shakspere's
plays, 77, 122, 129, 134, 136, 137,
142, 156, 165, 167, 295, 308, 416.
Ariosto, 190.

Artistic impulse, chiefly as revealed
by Shakspere, 104, 109, 115, 190,
215, 219, 303, 324, 334, 338, 341,
342, 349, 416, 417.
Artistic individuality, 48.
Artistic purpose, growth of Shaks-

pere's, 100, 103, 191, 220, 256.
Artistic significance of Hamlet, 256
Ascham, Roger, 26, 27, 403.
Atmosphere in plays, 86, 90, 94, 107
seq., 113, 126, 146, 181, 200, 202,
207, 235, 322, 350, 363, 369, 383,
386 See Description.

Aristocracy set forth by Shakspere, Audiences in Shakspere's time, 33,

329 seq.

154, 274, 295, 309.

BACON, FRANCIS, 98, 218, 343, 393, | Chronology of Shakspere's works,

4 seq., 97, 101, 175, 210 seq., 335,
349, 355, 388, 392, 421.

Cinthio's Hecatommithi, 263, 278.
Clarendon, 344.

Clowns in Shakspere's plays, 85, 87,
94, 107, 109, 111, 148, 203, 383.

Knight of the Burning Pestle, Coke on Littleton, 400.

Blank verse, 26, 35, 76, 122, 186, 320, Comedy, 45, 75, 88, 143, 144, 153,

Brooke, Arthur, 116, 118, 119. 120, Concreteness of Shakspere's imagi-