_Antony and Cleopatra_ in Vienna, 17
_Coriolanus_, political significance of, 164;
and patriotism, 178
_Cymbeline_ (III. i., 16-22), on patriotism, 183
_Hamlet_, Shakespeare's performance of the Ghost, 27;
early popularity of the play, 29;
Pepys's criticism of, 95, 99-101;
the stage abridgment contrasted with the full text, 117-119
_Henry IV._ (Part I.), Pepys's criticism of, 97, 98
_Henry V._, meaning of first chorus, 19, 46;
quoted, 157, 158, 162
_Julius Cæsar_, preferred by contemporary playgoers to Jonson's
_Cataline_, 31;
political significance of, 164
_Lear, King_, performed at Elizabeth's Court, 36;
quarto of, 36
_Love's Labour's Lost_, performed at Court, 34;
title-page of the quarto, 35
_Macbeth_, Pepys's criticism of, 104-105;
quoted, 156
_Measure for Measure_, ethics of, 164
_Merry Wives of Windsor, The_, title-page of the quarto, 36;
Pepys's criticism of, 97
_Midsummer Night's Dream, A_, Pepys's criticism of, 96
_Othello_, Pepys's criticism of, 95, 98, 99
_Richard II._, purport of John of Gaunt's dying speech, 115-116,
181
_Romeo and Juliet_, Pepys's criticism of, 96
_Tempest, The_, Pepys's criticism of, 105-108;
spectacular production of, at Restoration, 107
_Troilus and Cressida_ (II. ii., 166), on Aristotle, 144, 145;
(I. iii., 101-124), on social equilibrium, 163
_Twelfth Night_, Pepys's criticism of, 96
Sheffield, John, Earl of Mulgrave and Duke of Buckinghamshire, 72
Shoreditch, the theatre in, 227
Sidney, Sir Philip, French translations of _Arcadia_, 199, 204
Somerset, the "proud" Duke of, on Shakespeare, 79
Sophocles, statue of, 233
Southampton, Earl of, and Shakespeare, 72
Southwark, the Globe Theatre at, 227
Spenser, Edmund, Beeston's gossip about, 67
Steevens, George, character of, 191;
a forged letter by, 192, 193
Sterne, Laurence, in France, 200
Stevenson, R.L., his imaginary discovery of lost works by Shakespeare,
25
Stratford-on-Avon, Shakespeare's tomb at, 50;
Betterton at, 73;
visitors from Oxford to, 75, 76, 77;
Shakespeare tradition at, 75, 76;
Shakespeare memorials at, 218;
destruction of New Place, 221;
the monumental committee of, 221;
sale of Shakespeare's birthplace, 222;
purchase of New Place site, 223;
the Birthplace Trust, 223, 224
Suckling, Sir John, his love for Shakespeare, 71
Sudermann, Hermann, 135
Tate, Nahum, his adaptations of Shakespeare, 103, 104
Theatres in Elizabethan London, 36;
seating arrangements, 39;
prices of admission, 39;
the scenery, 40;
the costumes, 41;
contrast between their methods of production and those of later
date, 44
Theatres, at Restoration, 86;
characteristics of, 87-90.
(See also Playhouses.)
_Theatrical Review_ of 1763, 190
Theatrical spectacle in Shakespearean drama, effect of excess, 3;
its want of logic, 4;
its costliness, 7;
at the Restoration, 89, 109;
at the present day, 110
Thomson, James, French study of, 201
Tuke, Sir Samuel, his _Adventures of Five Hours_, 98-99
Taylor, Joseph, original actor in Shakespeare's plays, 61;
coached by Shakespeare in part of Henry VIII., 63, 71, 72
Vanbrugh, Sir John, 91
Veronese, Paolo, statue of, 233
Victoria, Queen, and Stratford-on-Avon, 222;
statues of, 237
Vienna, production of _Antony and Cleopatra_ at the Burg-Theater,
17;
types of subsidised theatres at, 136, 138;
conservatoire of actors at, 139
Voltaire on Shakespeare, 205, 206
War, popular view of, 177
Ward, John, vicar of Stratford-on-Avon, 74;
his _Diary_, 74
Warner, Mrs, at Sadler's Wells, 11
Wellington, Duke of, monument to, 238
Westminster Abbey, Shakespeare's exclusion from, 50;
his cenotaph in, 215-216
Will, freedom of, 166
Women, Shakespeare's views on, 168
Wordsworth, William, French study of, 201
Wycherley, William, 91
Young, Edward, French study of, 201