Race-prejudice, Shakespeare's
irony against, in Merchant
of Venice, 86ff.
Raleigh, Sir Walter (the
Elizabethan), 121, 274, 285
Raleigh, Sir Walter (the
other chap), 183, 186, 190,
205; his Shakespeare
quoted, 212

and

Religious experience, 247-8
Reformation, good and bad
effects of, 8, 10
Renaissance, the, and its
effects on thought
knowledge, 8; 286
Republic, Plato's, 177
Richard III, 284
Robertson, J. M., 55
Romeo and Juliet, 24, 42, 54,
69-74; its vogue, 69;
sources, ibid.; Shake-
speare's innovations, 70;
development of power
shown in, 71; "household
words" from, 73
Rosalind, 97

Rosencrantz and Guilden-
stern, 108f., 128, 138f., 146
Ross, 175

Satan, Milton's, compared

with Macbeth, 171-2
Saxo Grammaticus, 102, 119
Scapegoats, 195

Sebastian and Antonio (Tem-
pest), 254, 269
Self-deception and self-re-
spect, 98

Setebos, 252, 257f.
Shakespeare, John, 46
Shakespeare as a Dramatic
Artist, Moulton's, 77
Shakespeare: His Life and
Work, Smeaton's, 68 note,
113f.
Shakespeare, Raleigh's, 212
Shakespeare, His Mind and

Art, Dowden's, 213
Shakespeare, William: our
knowledge of him, 22; its
limitations, 23; his educa-
tion, ibid., 27, 46; his know-
ledge of law, etc., 25; of
history, ibid.; of human
character, 27; his average
literary output, 29; his re-
deeming ignorance, 32ff.;
radical difference between
him and Bacon, 36; facts
of his life, 44ff.; his mar-
ried life, 47; his income
after 1597, 48f.; his will,
49; his death, 50; his satire
on law and lawyers, 86ff.;
his moral originality, 83ff.,
94; his conception of the
moral order of the uni-
verse, 149–50, 164ff., 180f.,
193-6; unity of his work,
180; neither optimist nor
pessimist, 180; strain of his
tragic work, 200ff.; his
"gentleness," 207; character-
istics of his "final period,"
210ff.; as a thinker, 232ff.;
does he depict himself in
Prospero? 241ff.; an out-

burst of British chauvin-

ism over him (for which
the author hereby apolo-
gizes, but which he refuses
to withdraw), 244-5; in
what sense (if any) are the
plays autobiographical?
247f., 270f.; his victorious
humanism, 266; his funda-
mental ideas, 278ff.; guesses
at his religion, 280; his
universal sympathy, 280f.;
his contempt for cocksure-
ness and egoism, 281; his
attitude to kings, etc., 283;
his respect for greatness,
284; his patriotism, ibid.
Shakespearean Tragedy, Lec-
tures on, Bradley's, 112 and
note.

Shallow, Justice, 45
Shaw, George Bernard, 205,
233, 275, 279
Shepherd, the (Winter's
Tale), 219ff.

Short View of the Immor-
ality, etc., of the English
Stage, Jeremy Collier's, 20

note
Shorthand, use of in procur-
ing text of plays, 52
Shylock, 21, 75, 78, 8off.; his
'conversion to Chris-
tianity, 91-2

Sidney, Sir Philip, 121; his
Arcadia, 186

Sleep-Walking scene in Mac-
beth, 151, 172, 176
Smeaton, Oliphant, 54, 68
note; on Hamlet, 113f.
Socrates, 94, 177
Solinus, Duke, 66
Somers, Sir George, 252
Songs, Ariel's, 260
Sonnet-form in Love's La-
bour's Lost, 61

Sonnets, the, 178, 205; xxix

quoted, 266; 270-78; delu-
sive semblance of self-reve-
lation in, 271ff.; "Dark
Lady" of, 272; sonneteer-
ing craze of the 1590's,
ibid.; the themes all stock
ones, and the manner de-
liberately imitative, 274ff.;
not arranged or published
by Shakespeare, 276f.
Southampton (Henry Wri-
othesly, Earl of), 3, 48,
273f.; Sonnet (cvii) to,
276f.

Spain and England, 11f.
Spanish Armada, 12, 14
Spedding, James, on Bacon's
ignorance of Shakespeare,
39-40 note

Spenser, 12, 25, 184, 274, 285
Stareleigh, Mr. Justice, 88,
130

Stephano, 114, 253, 267
Stratford Grammar School,
46
Street-urchin's point of view
to be considered in Shake-
spearean criticism, Intro.
xif.

Sublimity, definition of, 13;
manifestation of in Mar-
lowe, ibid.

Swift, 206

Swinburne, 206

Sylva Poetarum, 237

Tamburlaine the Great, Mar-
lowe's, 14ff.

Taming of the Shrew, The,
3, 45, 99
Tasso, 205
Tempest, The, 5, 33, 42, 206,
209, 213, 236, chap. ix (239–
269); date, 239; "tragi-
comedy," 245-6; the sunset
calm of the last period,

246ff.; contrast with Mid-
summer Night's Dream,
249f.; sources, 251ff.;
Shakespeare's last play a
new type, 269
Tennyson, 250, 278
Theatrical conditions, discus-
sion of in Hamlet, 108-9
Thompson, Francis, 206
Thorpe, Thomas, 273, 277
Three Ladies of London, The,
by R. Wilson, 76
Thurio, 62

53;

Timon of Athens, 180
Titus Andronicus, probably
non- Shakespearean,
possible Shakespearean
touches, 54; Ravenscroft
on, 55; J. M. Robertson's
book on, 56; its early popu-
larity, ibid.; 140, 182
Touchstone, 238
Trinculo, 267

Troilus and Cressida, 33, 180
Tubal, 84

Twelfth Night, 78

Two Gentlemen of Verona,
The, 33, 42, 62-3; date of,
62; 211

Two Noble Kinsmen, The,
240
Tybalt, 72

Upshot of Hamlet, The,
anonymous pamphlet, cited,
129, 144

Valentine, 62

Venus and Adonis, 3, 47, 56f.,
274

Visions, subjective, 142, 166
Voltaire, 3 note

Vorlesungen über Shake-
speare's Hamlet, Werder's,
147

"W. H., Mr.," 273
Warwickshire dialect and
local allusions, 45f.
Webster, John, 25
Werder, Karl, on Hamlet,
147

White, R. G., on Hamlet,

IIIf., 116, 132; on Macbeth,
157; on Winter's Tale, 217
Willobie, his Avisa, 277f.
Winter's Tale, The, 5, 28, 33,
36, 42, 180, 206, chap. viii
(209-238); date of, 209;
Jonson's allusion to, 210;
characteristics of latest
period, 210ff.; kindred

source, ibid.; Shakespeare's
treatment of Pardosto,
215f.; R. G. White on, 217;
style of, ibid.; plot of, out-
lined, 218-22; anachro-
nisms in, 234, 236; the Pas-
toral scenes in, 235ff.; 246
note, 250f.

Witches in Macbeth, the, 151,

152, 159, 163f.; are they
subjective apparitions?
165f., 167

Women characters in Shake-
speare's plays, 20