CONCLUSION
The questions with which the first chapter began should now have found
their answers. The plays considered in our historical sketch have many
common characteristics, they do separate themselves from other plays of
their periods, they are connected from one period to another in a
continuous development. English tragedies constitute a dramatic type, a
literary form. This type has, to be sure, permitted many
variations,--revenge tragedy, chronicle play, tragicomedy, domestic
tragedy, sentimental tragedy, heroic play, or the closet tragedy of the
romanticists--but every one of these species has had its connections with
others, and in every period the tragedies of varying kinds have been
related not only to one another but to those that have gone before. With
changing theatrical conditions, with new literary impulses, with new views
of the old traditions, with new influences from Spain or France or Germany,
the type has taken new characteristics or made new alliances, but has never
lost its integrity. At any time during the three centuries it would have
been possible to frame a definition of tragedy that would include over nine
tenths of the tragedies of the period, and the other tenth would offer only
definable variations. However strong the foreign influences, tragedy has
maintained the national tradition; however great the innovations, it has
never broken with the past. From Marlowe to Shelley there has been an
unbroken continuity in themes, stories, types of persons, nature of
emotional appeal, structure, and even in the blank verse.
So marked is the integrity and continuity of the type that tragedy lends
itself, better perhaps than most other forms, to the biological analogy.
The processes which we have been tracing are evolutionary. Whether we
consider the main type or its varying forms, we are reminded constantly of
the laws governing the origin and development of natural species. The
history of the Elizabethan drama in particular affords an example of the
origin, development, culmination, and degeneration of a literary species,
which might be analyzed closely as Brunetiere has analyzed French tragedy
of the seventeenth century. Created from a cross-fertilization of Seneca on
the medieval drama, it appears in dubious forms of morality and chronicle,
springs into full integrity in Marlowe, reaches its culmination in
Shakespeare, and degenerates under the changed environment of the social
and theatrical conditions that followed the death of Elizabeth. But the
analogy is not less applicable to the whole history of tragedy. The slow
development of variations and new species under changing environment is
found in every period, as in the formation and growth of the revenge play
or in the development of the sentimental tragedy of the eighteenth century.
The quick formation of species by mutation also has its parallels, as in
the sudden appearance of Marlowe or of the heroic tragedy bred from the
Beaumont-Fletcher play and French romance. In the persistence of the stage
villain through all forms and periods, we might even discover one of
Mendel's unit characters. The reversion to an earlier form appears in the
return of Lee or of the Romanticists to the Elizabethans. And the tendency
of individual plays to regress to the main type has been a constant and on
the whole perhaps the most potent force of the development.
We may find the nature of the literary species determined by constant
principles corresponding to environment and heredity in the evolution of
natural species. Environment as a factor in literature has long been
recognized by criticism, and has been apparent in every play that we have
examined. Each period has been distinguished by theatrical, social, and
literary conditions peculiar to itself and constituting the
change-producing environment of the drama. Tragedy has at every stage
responded to these changing conditions. And the law of heredity is also
paralleled. No play has been without its inheritance. The most original, as
Shakespeare's "Hamlet," Otway's "Orphan," Lillo's "Barnwell," and Shelley's
"Cenci," have shown their indebtedness no less clearly, if less slavishly,
than the more commonplace individuals. The classical tradition transformed
the English breed as the Arabian stock has the racing-horse; the French
influence changed the very anatomy of the species. Our study must surely
have called attention to the extraordinary force that imitation has
exercised in the creation of tragedy. It seems, indeed, the generating
power. Men are forever imitating, but they cannot imitate without change.
In these changes, the variations due to environment--personal, theatrical,
literary, social--arise the individual peculiarities, the beginnings of new
species, the element of growth. The great mass of tragedies, however,
differentiate themselves only feebly or slightly from the type. They are
imitations that preserve all the essential characteristics of their
originals. Some ideas, some plays, some traditions, have an astonishing
fecundity; other stocks, procreative for a while, soon turn barren. But,
destroy the faculty of imitation, and the generation of literary forms
would seem wellnigh impossible.
Thus far, perhaps, the biological analogy may be pressed, if we remember
that it is only an analogy. The evolution of a wagon or a battleship might
offer an equally suggestive and an equally unsafe comparison. No one should
be deceived by the analogy into thinking that what we call environment and
heredity in literary species correspond in fact with their namesakes in the
physical world. One play does not create another. It, along with countless
other things, suggests ideas and impressions which are made into a play by
the author. Each tragedy is the child of a mind, whose creative processes
have little real resemblance to physical generation. To call the influence
of "Hamlet" heredity, and the influence of the author's newspaper reading,
or of his family, or his political beliefs, environment, is merely to
assign arbitrary names. Again, art, unlike nature, is careless of the type
and careful of the individual. A single play may live longer and have
greater generating power than a whole species. "Othello" during the
eighteenth and nineteenth centuries has, perhaps, had more influence upon
English tragedy than all non-Shakespearean tragedies together. Sophocles is
still germinating. It is as if we now had the venerable chief of the
mastodons, surviving many of the species he had originated, and still
creating his offspring to confuse the evolutions of the many other species
he had already aided in forming. In literature we are attempting to trace
the development of species, of which individuals live forever; to
discriminate the agents in a complex creative process which we do not at
all understand; to call one play the child of another when it is more truly
the kaleidoscopic aggregate of much reading, much observation, much
experience shaken into a new form by the author's creative imagination.
Literary criticism may borrow from the natural sciences the evolutionary
conception and some of its accompaniments; in particular, the demarcation
of literary forms by the persistence of certain characteristics through
changing conditions of nation or period, and the recognition of imitation
as an important element in the creative process. It would seem, however,
that further progress in the classification and explanation of literary
phenomena is not to be gained by searching for additional analogies, but in
the study and analysis of the phenomena themselves in the effort to
discover the principles and laws of the mental processes peculiar to
literature.
We may put the case, then, without further reliance on the evolution of
physical species. For three hundred years Englishmen have been writing
tragedies, all much alike, all related in origin, nature, and purpose. In
our study of their relationships, the influences governing their creation
have been grouped in two main classes: first, that of the theatre itself,
and second, that which has been called the literary tradition. In the
theatre has been included the influence of actors and audience and all
pertaining to the theatrical presentation. Changes in the mere stage and
its appurtenances have been factors determining the very nature of tragedy.
The scenery and women actors of the Restoration compelled important
modifications in the drama; the large theatres of Kemble's day drove
tragedy from the stage and encouraged a pantomime hybrid. The influence of
theatrical fashions and traditions, always in part changing and transitory,
has been felt in every variation, advance, or retrogression of the acted
drama. Yet it is the influence of the theatre that has maintained the
integrity of form and has thus been the main force in preserving the
species. The literary tradition, even more complex in its elements than
that of the theatre, altering and cumulative, composed of classical or
French as well as English masterpieces, drawn from the novel or other forms
as well as the drama, affected by all social movements, passing through
such transformations as those of the classical and the romantic periods,
has nevertheless, on the whole, conserved the form and content of tragedy.
During the periods that we have examined, blank verse, illustrious persons,
the pomp of courts, the great passions of revenge, ambition, jealousy,
lust, love, and hate, hideous crimes, and the conflict of potent wills have
been the usual accompaniments of the actions of suffering and ruin. There
has been only occasional departure from the Shakespearean conception of
tragedy as representation of great personalities engaged in disastrous
conflict. Shakespeare, in fact, at least since Dryden's "All for Love," has
been a constant and often the dominating element in this complex and
variable literary tradition. The two classes of influence, theatrical and
literary, have thus proved both variable and conserving. The theatre, while
crying for novelty, holds tenaciously to its traditions. Literature, while
enforcing rules, precedents, prejudices, while clinging to its models and
demanding imitation, yet incites to rivalry and originality, to new
endeavor, variation, and excellence.
These two main classes of influence have rarely if ever run parallel. At
times the theatre has attracted literature, as in the Elizabethan era, at
times it has repelled literature, as in the early nineteenth century.
Usually, what the stage of the day desires and what the literature of the
past encourages have been quite different and often irreconcilable. In our
study we have consequently had to keep in mind not only two main lines of
influence, but two points of view and two standards of judgment. It is the
purpose of dramatic art to bring about their reconciliation, to harmonize
the technic of the theatre, the necessities of the drama, and the standards
of literary excellence. Our history records no attainment of such an ideal;
rather the two antinomies seem farther from final unity in the time of
Byron than in that of Shakespeare. Yet, through the discarding of temporary
fashions, the growing knowledge of structure, and the multiplication of
theatrical means, the material and experience necessary for further
progress have at least been accumulating. Perhaps a survey of the drama of
the last century on the continent would result in a more sanguine view of
the development of the principles of dramatic art freed from the
temporalities of theatrical fashion. There is probability in Professor
Brander Matthews's suggestion that in our growing cosmopolitanism national
divergencies in content will exist with a growing agreement in form. We may
hope that this will be merely an agreement in making quick trial of new
ideas, from whatever theatre derived, and that the principles of art
established will not, as so often in the past, prove pedantic and
hampering. This much seems fairly certain,--literary genius and theatrical
experience must unite in order to produce great tragedy. From the theatre
the writer must learn dramatic art, the first rule of which is to win his
audience; from literature he must learn the elements that will give his
work lasting value. Only after an experience with the theatre can he
venture on innovations likely to be permanent. Only if he have literary
genius will he depart in triumph from literary traditions. The double
mastery comes to one only rarely, and then only after a double service.
The relationships of tragedy, however, are not confined to the theatre or
to literature. That tragedy, like other forms of literature, is an
imitation of life, is a platitude whose meaning sometimes fails to impress
us. But its truth has a witness in every writer of tragedy. However
insignificant or thoughtless, he has been trying to put into his play
something of life as he knows it, trying to find some relationships in the
world of fact that will carry meaning and interest to his fellows. Whether
he has been writing mainly to meet the desires of actors and audience, or
has been voyaging alone toward some discovery of beauty and grandeur of
human passion, whether he has been building his house of intrigue according
to well-conned rules of dramatic structure, or has been copying some tangle
of fact, he has been studying the ways and means of human actions.
Trivially or greatly, as the case may be, he has been seeking to interpret
life. Classicist, romanticist, and realist have been by different processes
seeking the same end, the discovery of meaning in the facts of existence.
They have all viewed the Art that they have so differently formulated, as a
means of approach to Nature, the deity whom they all profess. Neither high
seriousness, nor sublime theme, nor a complete philosophy is a necessary
accompaniment of Matthew Arnold's definition. Whether the poet write of
"the tangles of Neaera's hair" or of that disobedience that first "brought
death into the world," he is attempting a criticism of life. This
definition does not state the primary aim of literature, for it must first
of all interest us, or its sole function, for it seeks beauty as well as
truth and cannot always unite them; but it does indicate the most permanent
and vitalizing element in the creation of literature, the most organic
relationship that connects its many manifestations.
The greatness of tragedy depends upon its allegiance to this meaning of
literature. The dramatic form gives opportunity for a close approach to the
semblance of actuality. The very subjects of tragedy, suffering and
disaster, discourage the seeking of mere amusement or a contentment with
mere beauty of expression. They require, if not high seriousness or a
teleology, at least a concern with the most interesting, inescapable, and
dreadful of human facts. This baleful portion of human existence is the
field of tragedy's research, where it may find grandeur and violence,
malevolence and magnanimity, optimism or pessimism, harmony or anarchy, but
where it can only with difficulty escape a serious attempt at the study of
character and deed. No other literary form has so nobly responded to this
great mission as that adopted by Sophocles, Shakespeare, Calderon,
Corneille, and Ibsen. It has constrained drama and literature to their duty
of research, interpretation, discovery in the almost impenetrable maze of
human fact, by the very nature of its chosen field, by the preeminence of
its great examples, and even by the continued endeavor of its humblest
servants. As one reads through these forgotten tragedies, as when one
scans closely any large field of human effort, the main impression is one
of futility. Beauty is not attained, life is not revealed, everything is
imitative, feeble, and absurd. Yet, even among those hundreds of eighteenth
century tragedies, with their rhyming tags that neatly sum up their
authors' generalizations on life, one may find reason for sympathy and
interest. They record what had meaning for their day, the heroisms,
sentiments, and morals that somehow stirred men's hearts and elevated their
resolves. They represent some degree of temporary success in giving
relations and significance to their world. The lastingly significant
representation of life is found not in the many but in the few, but the
mediocrities and the failures continue the effort and maintain the form
that make possible the few masterpieces. The very greatest set no
impassable bound, for the ever-widening expanse of tragic fact continually
invites new explorers. Progress can come not by resting admiringly on the
greatness of the past, but only through a free opportunity for new pioneers
and discoverers. Were the achievement of English tragedy far less than it
has been, the very expenditure of effort should give it some interest for
study. Its history, however, includes in Shakespeare's tragedies a few of
the unapproached achievements of the human mind, many other plays that for
a while greatly interested and persuaded men, not a few that still have
searching meaning for us, and hundreds more that have maintained an
unselfish, a social, a moral inquiry into life, and that, while perishing
themselves, have aided others to live. In such a history, even he who runs
may read a record of human endeavor not alien to his interest.
Tragedy takes an abiding place among the great courses of continuous human
activity dedicated to an inquiry into the meanings of life. Its imaginative
and intellectual study of suffering and ruin must continue, however its
form may alter, if the theatre is to be a social force of importance, if
literature is to offer an intelligent, serious, and comprehensive view of
life, if the two are to unite in something better than a trivial and
selfish entertainment. Its methods may not commend themselves in an age of
physical and mechanical sciences, its aim may not commend itself at a time
when splendid discoveries in the physical world blur the importance of an
interpretation of moral and social relations. But tragedy has survived many
ages and creeds, and seems likely to survive as long as men try to
understand other men, to sympathize with their troubles, and to relate
these somehow to their own beliefs and ideals. In the future as in the
past, when a nation or community is at a period of culminating advance,
when society is most mindful of its greatness and its obligations, tragedy
should find its most helpful encouragement and its greatest opportunity.
INDEX
The Index contains the titles of works, the names of authors, and the names
of a few actors referred to in the text or footnotes. The Bibliographical
Notes are not indexed. Alterations of plays are not indexed separately
unless they have separate titles. References of importance are indicated by
heavy-faced figures.
_Abraham_, 56.
_Absalon_, 39.
Addison, Joseph, 250, 289-291, 302, 307.
_Adriana_, 127.
AEschylus, 13, 354.
_Agamemnon_ (by Thomson), 299, 300.
_Agamemnon and Ulysses_, 70 n.
_Ajax and Ulysses_, 70 n.
_Ajax Flagellifer_, 58.
_Alcazar, The Battle of_, 108, 111, 115, 221.
_Alcibiades_, 269.
Alexander, W., 142.
_Alfred the Great_, 346.
Alleyn, Edward, 98.
_All for Love_, 25, 260, 261, 263, 264, 277, 282, 293, 372.
_All's Lost by Lust_, 218.
_Almida_, 295 n.
_Alphonsus of Aragon_, 107.
_Alzira_, 295 n., 304.
_Alzuma_, 295 n.
_Ambitious Stepmother, The_, 283.
_Amboyna_, 259.
_Amelia_, 321.
Andrews, P. M., 332.
_Andromaque_, 290.
_Antigone_, 195.
_Antonio_, 343.
_Antony and Cleopatra_, ~175-177~, 178, 184, 185, 189, 195, 261,
293, 297 n.
_Antonio and Mellida_ (see _Antonio's Revenge_), 139, 146.
_Antonio's Revenge_, 146, ~147-149.~
_Apology for Poetry_, 44, 72.
_Appius and Virginia_, 51, 62 n., ~63~, ~64~, 66, 69, 71.
Archer, Wm., 203 n., 335 n.
_Archipropheta_, 39.
_Arden of Feversham_, 109, 110, 113, 140;
(adaptation by Lillo), 315, 316.
_Argalus and Parthenia_, 234.
_Ariodante and Genevra_, 70 n.
Aristotle, 2, 6, 7, 8, 9, 10, 11, 16, 25, 43, 44, 165, 248.
Arnold, Matthew, 361, 374.
_Ars Poetica_, 34, 43.
Ascham, Roger, 32, 39.
Asinari, Frederigo, 56.
_Atheist's Tragedy, The_, 151, ~153~, ~154~, 201, 202.
_Athelwold_, 304.
_Athenian Captive, The_, 346.
_Auchindrane_, 349 n., 350.
_Aureng Zebe_, 260, 282, 297 n.
Bacon, Lord, 79.
Baillie, Joanna, ~339-341~, 343, 357.
Bale, John, 39, 40, 41.
Banks, John, 273, 277, 282, 308 n.
_Baptistes_, 37.
_Barbarossa_, 308 n.
_Barnavelt, Tragedy of Sir John van Olden_, 214.
_Bartholomew Fair_, 144.
_Bashful Lover, The_, 222.
_Basil_, 339.
_Battle of Hexham, The_, 332, 333.
Beaumont and Fletcher (see, also, Beaumont, Francis, and Fletcher, John), 136,
179, 197, 199, 202, ~203-211~, 229, 232, 238, 240, 249, 251, 255, 257,
262, 265, 270, 277, 282, 322, 346, 368.
Beaumont, Francis (see Beaumont and Fletcher), 198, 204, 211.
Beddoes, T. L., 348, 356, 357, 362.
Behn, Mrs. Afra, 266, 274.
_Believe as You List_, 221, 224.
Belleforest, 104.
_Berenice_, 269.
_Bertram_, 344, 357.
Betterton, T., 245, 252, 266.
Beza, T. de, 56.
_Blacksmith's Daughter, The_, 71.
_Bloody Brother, The, or Rollo, Duke of Normandy_, ~214-216~, 252,
282.
_Blot on the 'Scutcheon, The_, 346, 363, 364.
Boaden, J., 332.
Boccaccio, 32, 55, 56, 239.
_Bondman, The_, 322 n.
_Bonduca_, ~213~, 252, 282, 322 n.
_Borderers, The_, 341.
_Bothwell_, 14.
_Braganza_, 322.
Brandl, Alois, 55 n.
_Bridal, The_, 346.
_Bride's Tragedy, The_, 348.
_Broken Heart, The_, 227, ~228~.
Brooke, Arthur, 127, 129, 133.
Brooke, H., 295.
_Brothers, The_, 298.
Brown, Charles, 349.
Brown, John, 306, 308 n.
Browning, Robert, 14, 129, 182, 222, 346, 354, 355, 361, 363, 364.
Brunetiere, Ferdinand, 6, 367.
_Brutus_, 295 n.;
(by John Howard Payne), 344.
_Brutus of Alba_, 246.
Buchanan, George, 37, 56.
Bulwer-Lytton, 345, 346, 361.
Burgoyne, Gen., 318 n.
_Burning of Sodom, The_, 40.
Burns, Robert, 324.
_Busiris_, 297 n., 298.
_Bussy D'Ambois, The Death of_, 144, 252;
_The Revenge of_, 144.
Byron, Lord, 182, 338, 345, 347, ~350-353~, 354, 356-358, 363, 373.
_Byron, The Conspiracy and Tragedy of_, 144.
_Caelia, or the Perjured Lover_, 318.
_Caesar and Pompey_, 70 n.
_Caesar Borgia_, 267.
_Cain_, 339, 352, 354, 356, 360.
_Caius Gracchus_, 344.
_Caius Marius, History and Fall of_, 269, 292.
Calderon, 13, 354, 375.
_Caleb Williams_, 333.
_Caligula_, 266.
Calprenede, 247.
_Cambyses_, 52, 62, ~66~, ~67~, 69, 74, ~172~, 237.
Campbell, Thomas, 341.
Canfield, Dorothea, 290 n.
Capell, Edward, 293.
_Caractacus_, 297.
_Cardenio_, 211.
_Cardinal, The_, 233, 252.
_Careless Husband, The_, 317.
Carey, H., 314 n.
Carlell, L., 235.
Carlyle, T., 360.
_Carmelite, The_, 323.
_Castle of Otranto, The_, 322, 330.
_Castle Spectre, The_, 323, 329.
_Catiline_, ~141-144~, 297 n.
_Catilin's Conspiracy_, 71.
_Cato_, ~290~, ~291~, 297 n.
_Cenci, The_, 353, ~354~, 356, ~361~, ~368~.
Centlivre, Mrs., 266.
Cervantes, 212.
Chambers, E. K., 38.
_Changeling, The_, ~219~.
Chapman, George, 6, 137, 139, ~144-146~, 184, 185, 187, 198, 202, 214,
252.
Chaucer, Geoffrey, 31, 32.
Cheke, Sir John, 32.
Chettle, Henry, 139, 151, ~152~, ~153~, 156.
_Christian Hero, The_, 315.
Christopherson, J., 39.
_Christus Redivivus_, 39.
_Christus Triumphans_, 39.
_Chrononhotonthologos_, 314 n.
Churchill, George B., 58 n.
Cibber, Colley, 292, 307, 317.
Cicero, 142.
_Cid, The_, 247.
Cinthio, Giraldi, 56, 86.
_City Madam, The_, 220, 322 n.
_City of the Plague, The_, 347.
_Clarissa Harlowe_, 275, 321.
_Cleomenes_, 262, 273.
_Cleopatre Captive_, 38.
_Cloridon and Radimanta_, 70 n.
Coleridge, S. T., 213 n., 337, 338, ~341~, ~342~, 343, 357, 359,
362.
Collier, Jeremy, 281, 316.
Colman, George, 322 n.
Colman, George (the younger), ~332-334~, 337.
_Complaint of Buckingham, The_, 52.
_Condemnation of John Huss, The_, 40.
_Confidant, The_, 343.
Congreve, Wm., 3, 273, ~275~, 277, 282.
_Conquest of Granada_, 259, 282.
_Conscious Lovers, The_, 317.
_Constantine_, 267.
_Coriolanus_, 175, ~177~, ~178~, 265, 292;
(by Thomson), 299, 301, 302.
Corneille, Pierre, 245, 248, 294, 300, 316, 375.
Corneille, Thomas, 298.
_Cornelia_ (translation of Garnier's), 100 n.
_Countess of Salisbury, The_, 308 n.
_Count Julian_, 348, 349.
_Count of Narbonne, The_ (adaptation of Castle of Otranto), 322.
Crabbe, George, 324, 343.
Cradock, J., 295 n.
Creizenach, W., 56, 69.
_Critic, The_, 314 n.
Crowne, John, 250, 253, 266, 269.
_Cruelty of a Stepmother, The_, 71.
Cumberland, Richard, 285, 306, 319, 320, 323, 344.
_Cupid's Revenge_, 203.
_Curfew, The_, 335, 343.
Cushman, Miss Charlotte, 344.
_Cymbeline_, 179, 265, 292, 297 n.
_Cyrus_, 295 n., 296.
_Cyrus the Great, or the Tragedy of Love_, 273.
_Dalida, La_, see _Roxana_.
_Damon and Pythias_, 51, 58, 62, ~63~.
Daniel, Samuel, 142.
Dante, 31.
Davenant, Sir Wm., 235, 244, 251, 252, 277, 292.
Davenport, R., 235.
_David and Bethsabe_, 110, 111.
_Death's Jest Book_, 348.
_De Casibus Illustrium Virorum et Feminarum_, 32.
Defoe, Daniel, 317.
_Deformed Transformed, The_, 357.
Dekker, Thomas, 198, 224, 227, 240.
_Delivery of Susannah, The_, 40.
_De Montfort_, 339, 340, 343.
Dennis, John, 250, 290, 301.
_Deserted Daughter, The_, 320.
Dibdin, T., 332, 338.
Dickens, Charles, 312.
Dictys Cretensis, 65.
Diderot, D., 317, 318.
_Dido_ (by Dolce), 56;
(by Gager), 59;
(by Ritwyse), 39;
(by unknown), 58.
_Dido, Tragedy of_ (by Marlowe and Nash), 89.
_Distressed Mother, The_, 290, 291, 294.
_Divine Comedy, The_, 31.
Dolce, Lodovico, 54, 56.
_Doll's House, The_, 10.
_Don Carlos_, 269.
_Don Juan_, 354.
Donne, John, 137, 229.
_Don Quixote_, 333.
_Don Sebastian_, 262, 263, 278, 335.
_Doom of Devorgoil, The_, 349.
_Dorval, or the Test of Virtue_ (translated from Le Fils Naturel), 318 n.
_Double Marriage, The_, 214.
_Douglas_, 305.
_Downfall and Death of Robert, Earl of Huntington, The_, 139.
Downman, H., 344.
Drayton, M., 99.
Dryden, John, 145, 208, 248-251, 253, ~259-263~, 264, 266, 271-274, 277,
278, 281, 282, 293, 328, 331, 335, 372.
_Duchess de la Valiere_, 346.
_Duchess of Malfi, The_, ~199~, 200, 202.
_Duke of Guise, The_, 262, 267.
_Duke of Milan, The_, 71 n., 222, 224, 322 n.
_Duke's Mistress, The_, 233.
_Duplicity_, 319, 320.
D'Urfe, Honore, 239.
D'Urfey, T., 266.
Dyce, Alexander, 215.
_Earl of Essex, The_ (adaptation of the Unhappy Favorite, q. v.), 282.
_Earl of Essex, The_ (by Jones), 308 n.
_Earl of Warwick, The_, 308 n.
_Eccerinis_, 36.
_Edward I_, 85, 111.
_Edward II_, 89, 90, ~92~, ~93~, 94, 95, 97, 108, 109, 113,
114, 132.
_Edward III_, 108, 109, 112, 114.
_Edward and Eleonora_, 299.
Edwards, Richard, 58, 62.
_Effigenia_ (Iphigenia), 71 n., 111.
_Elfrid_, 304.
_Elfrida_, 297.
_Elmerick_, 315.
_Emilia Galotti_, 323.
_English Traveller, The_, 141.
Erasmus, 23.
_Essay of Heroic Plays_, 259.
_Essay on Dramatic Poetry_, 248, 250.
Euripides, 32, 33, 37, 54, 72, 111, 297.
_Evadne_, 344.
_Everyman_, 29.
_Every Man in His Humour_, 137.
_Ezechias_, 58.
Fabyan, R., 70.
_Fair Penitent, The_, ~284-287~, ~297 n.~, 317, 328.
_Fair Quarrel, The_, 219.
_Faithful Shepherdess, The_, 206.
Falkland, Lord, 236.
_Fall of Jerusalem, The_, 358.
_Fall of Robespierre, The_, 341 n.
_Falls of Princes, The_, 32.
_False One, The_, 214.
_Family Picture, A_, 318 n.
_Famous Victories of Henry V, The_, 85.
_Fashionable Lover, The_, 320.
_Fatal Curiosity, The_, 315, 317.
_Fatal Dowry, The_, 224, 285-287, 304, 344.
_Fatal Extravagance_, 318.
_Fatal Falsehood, The_, 306, 311.
_Fatal Marriage, The_, ~274~, 278, 282.
_Fatal Vision, or Fall of Siam, The_, 303, 304.
_Fate of Capua, The_, 274.
_Fate of Villany, The_, 309.
_Faulkner_, 343.
_Faust_, 357.
_Faustus_, 89, 90, ~92~, ~98~.
_Fazio_, 344, 358.
Fenton, E., 308 n.
_Ferrex and Porrex._ See _Gorboduc_.
Field, Nathaniel, 224, 285.
Fielding, Henry, 129, 273, 314 n.
_Fils Naturel, Le_, 318.
Fleay, F. G., 58 n., 63, 118, 155.
Fletcher, John (see, also, Beaumont and Fletcher), 6, 177, 198, 199, ~211-216~,
219-221, 224-226, 229, 230-232, 234, 238, 246, 255, 256, 261, 262,
270, 274, 284.
Foote, S., 314 n.
Ford, John, 199, 225, ~226-229~, 234, 237, 240, 256, 348.
_Four Plays in One_, 203.
_Four Sons of Fabius_, 71 n.
Foxe, John, 39.
Francklin, T., 308 n.
Fuller, Harold De W., 114 n., 127 n.
_Funeral, The_, 297 n.
Gager, Wm., 59, 111.
_Gamester, The_, 318, 321, 324.
_Gammer Gurton's Needle_, 39.
Gardiner, Bishop, 39.
Garrick, David, 292, 293.
Gascoigne, George, 54.
Gay, John, 307, 314 n.
Genest, J., 335 n.
_George Barnwell, or the London Merchant_, ~314-318~, 321, 324, 368.
_Ghosts_, 18, 195.
Gifford, Wm., 285.
_Gil Blas_, 300.
Gildon, Charles, 250.
_Giocasta_, 54.
_Gismund of Salerne._ See _Tancred and Gismunda._
Glapthorne, Henry, 234, 237, 251.
_Glencoe_, 346.
_Gloriana_, 266.
Glover R., 306.
_God's Promises_, 41.
Godwin, Wm., 341, 343.
Goethe, 327, 349 n., 361.
_Goetz von Berlichingen_, 349.
Goffe, Thomas, 236.
_Gorboduc_, 22, 26, 38, ~40-42~, ~48~, ~51~, ~52-54~,
55 n., 57, 68, 73.
Gosson, S., 71, 72, 113, 145.
Grafton, Richard, 70.
Granville, Earl of, 277.
Gray, Thomas, 297.
_Grecian Daughter, The_, 308 n.
Greene, Robert, 86, 107, 108, 111, 115, 130, 133.
Greville, Fulke, 142.
Grimald, Nicholas, 39.
Groto, Luigi, 59, 127.
_Grounds of Criticism in Tragedy, The_, 261.
Guarini, G. B., 206.
_Halidon Hill_, 349 n., 350.
Hall, Bishop, 137.
_Hamblet, Historie of_, 104.
_Hamlet_ (the early), 100 n., ~104~, ~105~, 147, 148, 152, 156.
_Hamlet_, 100, 102, 105, 124, 144, 148, 150, 151, 154, ~155-162~,
163-165, 169, 171, 173, 175, 184-186, 195, 199, 239, 265, 282, 297 n., 358,
368, 369.
_Hamlet, Revenge of_, 150.
Harding, Samuel, 236.
Hartson, H., 308 n.
_Haunted Tower, The_, 329 n.
Hauptmann, G., 12.
Hazlitt, Wm., 340, 345.
_Hecatommithi_, 86.
_Hedda Gabler_, 12.
Hegel, G. W. F., ~9.~
_Heiress, The_, 318 n.
Heming, Wm., 235.
_Henry IV_, 265.
_Henry V_ (by Aaron Hill), 304;
(by Shakespeare), 137, 364;
(by the Earl of Orrery), 253, 257.
_Henry VI_, 89, 108, 114, ~115~, ~116~, 118, 297 n.
_Henry VIII_, 211, 282.
_Hercules Furens_, 119 n.
Herford, C. H., 352 n.
_Hernani_, 346.
_Herodes_, 59.
_Heroine of the Cave, The_, 310.
Heywood, Jasper, 42.
Heywood, Thomas, 139, ~140~, ~141~, 142, 198, 272, 289.
Hill, Aaron, 295, 298, ~303-305~, 318.
_Hoffman_, 151, ~152~, ~153~, 199, 200, 201.
Holcroft, T., 318 n.; 319, 320, 334.
Holinshed, R., 70, 109, 123, 171, 173, 184.
Home, John, 305, 306.
Homer, 192.
Hooker, Richard, 79.
Hoole, J., 295 n., 296, 306.
_Horace_, 294.
_Horestes_, 52, ~64~, 65, 66, 68, 69, ~71~, ~100~.
_House of Aspen, The_, 349.
Howard, Sir Robert, 253, 282.
Hughes, Thomas, 57, 297 n., 308 n.
Hugo, Victor, 337, 346, 363.
_Hunchback, The_, 345.
Ibsen, Henrik, 6, 11, 313, 364, 375.
_Imaginary Conversation, The_, 348.
_Imposter, The_, 295 n.
Inchbald, Mrs., 319.
_Indian Emperor, The_, ~253~, 259, 282, 328.
_Indian Queen, The_, 253, 282, 305.
_Innocent Adultery, The_, 297 n.
_Insolvent, The_, 304.
_Ion_, 346.
_Iron Chest, The_, 332, 333.
_Isabella_, 282.
_Island Princess, The_, 246.
_Island Queens, The_ (by Banks), 273.
_Jack Straw_, 85.
_James IV, Scottish Historie of_, 87.
_Jane Shore_, 283, ~287-289~, 328.
Jephson, Robert, 322.
_Jephthes_ (by Buchanan), ~37~;
(by Christopherson), 39, 56.
_Jeronimo, First Part of_, 100 n.
_Jew, The_ (by Cumberland), 320;
(by Unknown), 71.
_Jew of Aragon, The_, 345.
_Jew of Malta, The_, 89, 90, ~92~, 95, 98, 101, 250, 344.
_Jocasta_, 51, ~54~, 55 n.
Jodelle, E., 38.
_John the Baptist_, 41.
_John Woodvil_, 343.
Johnson, Charles, 318.
Johnson, Samuel, 2, 59, 276, 284, 307, 308.
Jones, Henry, 308 n.
Jonson, Ben, 6, 79, 100, 115, 137, 139, ~141-144~, 146, ~151~,
~152~, 153, 156, 184, 185, 203, 215, 217, 233, 252.
_Joseph and his Brethren_, 339, 347.
_Julia_, 322.
_Julian_, 347.
_Julius Caesar_, 136, 142, ~154~, ~155~, 161, 163, 173, 175,
177, 186, 282, 292, 297 n., 304.
Kean, Edmund, 299, 331, 332, 334, 349, 363.
Keats, John, 338, 347, 348, ~349~, 356, 357.
Keller, Wolfgang, 58 n.
Kemble, Charles, 393.
Kemble, John P., 291-293, 299, 331, 333, 340, 343, 349, 363, 371.
Kemble, Miss Fanny, 308 n.
Kempe, Wm., 171 n.
Killigrew, T., 235.
_King and No King, A_, ~203-205~, 252, 262, 282, 322 n.
_King John_, 114, ~116~, ~117~, 136;
(by Bale), 41. See _Troublesome Reign._
_King of Scots, The_, 71.
Kinwelmarsh, F., 54.
Kirchmayer, 37.
_Knight of Malta, The_, 322 n.
_Knight of the Burning Bush_, 71 n.
Knowles, Sheridan, 344-346, 356.
Kotzebue, A. F. F. von, 321, 323, ~327~, ~328~, 332, 337.
Kyd, Thomas, his plays, 99-106;
their influence, 106-110, 112-115, 127, 128, 138, 142, 144;
on revenge plays and Shakespeare, 147-155, 156, 158, 165, 184;
on later revenge tragedy, 196, 199, 200, 201, 223, 239;
resemblance to in later plays, 256, 310.
_Lady Jane Grey_, 283, 287.
_Lady of Lyons, The_, 346.
Lamb, Charles, 93, 141, ~343~, 345, 360.
Landor, Walter Savage, 14, 338, ~348~, ~349~, 361.
La Place, Pierre de, 297 n.
_Laws of Candy, The_, 220.
_Lear, King_, 18, 87, 124, 131, 164, ~166-171~, 172, 176, 185, 189,
190, 195, 202, 226, 282, 292, 312, 358.
Lee, Harriet, 352.
Lee, Nathaniel, 246, 250, 251, 253, 261, 262, ~266-269~, 275, 277, 278,
282, 284, 290, 309, 344, 368.
Legge, Thomas, 59, 60, 118.
_Leir, King_, 85, 166.
Lessing, G. E., 318, 327.
Lewis, Matthew, 323, ~328~, ~329~, 342, 343, 357, 359.
Lillo, George, 306, ~314-318~, 319, 321, 368.
Lindsay, Sir David, 41.
Livy, 71.
_Locrine_, 107, 111, 115, 119 n., 152.
Lope de Vega, 239.
Lounsbury, Prof. T., 295 n.
Lovati, Lovato di, 36.
_Love for Love_, 297 n.
_Love's Cruelty_, 232, 233.
_Love's Frailties_, 318 n.
_Love's Sacrifice_, 227.
_Love the Cause and Cure of Grief_, 318.
_Love Triumphant_, 262.
Lowell, James Russell, 118.
_Loyal Brother, The_, 274.
_Loyal Subject, The_, 282.
_Lucius Junius Brutus_, 267, 358.
_Lucrece_, 142.
Lydgate, John, 32.
Lyly, John, 75, 79.
_Lyrical Ballads, The_, 339, 355.
Lyttleton, Lord, 298, 299, 359.
_Macbeth_, 3, 87, 119, 124, 131, ~171-175~, 184-186, 190, 202, 264,
282, 292, 297 n., 312, 358.
_Macduff's Cross_, 349 n., 350.
Machiavelli, 95, 165, 190, 236, 267, 310, 311.
Macready, Wm., 290, 331, 332, 335, ~345~, ~346~, 360, 363, 364.
_Mahomet_, 295 n.
_Maid of Honor, The_, 221, ~222~, ~223~, 224, 225, 322 n.
_Maid's Revenge, The_, 232.
_Maid's Tragedy, The_, 203, 204, ~205-210~, 252, 282, 297 n., 346.
_Malcontent, The_, 146, 199.
Mallet, D., 303.
_Manfred_, 352, 357.
Manley, Mrs., 266.
_Marcella_, 322 n.
_Marcellus and Hannibal_, ~14.~
_Mariamne_, 308 n.
_Marino Faliero_, 345, 351.
Marlowe, Christopher, 6, 42, 48, 55 n., 61, 73, 74, 75;
his relations to his times, 77-84; his tragedies, 88-99;
his influence on his contemporaries, 106-113;
on Shakespeare, 113-126, 132, 133, 138;
on Chapman, 144-146;
on Shakespeare's later tragedy, 154, 155, 165, 166, 169, 172, 184, 185, 187;
on later Elizabethan tragedy, 196, 214, 234, 239;
his plays not acted during Restoration, 252;
survival of his type of villain, 310, 311;
revival of his influence on the Romanticists, 347, 353;
his importance in the development of the species, 367, 368.
_Marriage Night, The_, 236.
Marston, John, 105, 137, 139, 144, ~146-150~, 151, 153, 154, 156, 184,
185, 199, 200, 201, 202, 218, 235.
_Mary Stuart_, 357.
Mason, Wm., 297.
_Massacre of Paris, The_ (by Lee), 267;
(by Marlowe), 89, 144.
Massinger, Philip, 177, 199, 211, 214, 215, ~219-226~, 230, 231, 233-235,
237, 240, 251, 252, 255, 285, 293, 322.
Matthews, Brander, 373.
Maturin, C. R., 344.
May, Thomas, 235.
_Measure for Measure_, 61 n., 169, 235, 264.
_Meleager_, 59.
_Meliboeus_, 40.
_Merchant of Venice, The_, 71.
_Merope_, 295 n., 296, 304.
_Merry Wives of Windsor_, 258, 297 n.
Middleton, Thomas, 3, 137, 199, 215, ~217-219~, 229, 240.
Miller, James, 295.
Milman, H. H., 344, 346, 356, 358.
Milton, John, 14, 260, 264.
_Mirandola_, 345, 358.
_Mirror for Magistrates, The_, 32, 52, 70, 90.
_Mirza_, 236.
_Misfortunes of Arthur, The_, 51, 52, ~57~, ~58~.
_Miss Sara Sampson_, 318.
Mitford, Miss, 345, 347, 358, 361.
_Mithridates_, 267, ~268~, ~269~.
_Monk's Tale, The_, 31, 32.
Moore, Edward, 306, 318.
More, Miss Hannah, 306, 311.
More, Sir Thomas, 118, 119.
Morel, L., 300 n., 302 n.
_Morte D'Arthur, The_, 57.
Morton, T., 335, 338.
_Mountaineers, The_, 332, 333.
_Mourning Bride, The_, 3, ~275~, ~276~, 297 n., 351.
_Much Ado about Nothing_, 162.
_Murderous Michael_, 71.
Murphy, Arthur, 295, 306, 308 n.
Mussato, Albertino, 36.
_Mutius Scaevola_, 71 n.
_My Last Duchess_, 362.
_Mysteries of Udolpho_, 330.
_Mysterious Husband, The_, 319.
_Mysterious Mother, The_, 322, 354.
Nash, Thomas, 61, 100 n., 103, 111.
_Nero_ (by Lee), 266, 267.
_Nero, Tragedy of_ (Anon.), 234.
_New Way to Pay Old Debts, A_, 220.
_Nice Wanton, The_, 29.
_Nightwalker, The_, 274.
_Nine Days Wonder, The_, 171 n.
North, Christopher. See Wilson, John.
Norton, Thomas, 52.
_Novellas Exemplares_, 212.
_Octavia_, 33.
_Oedipus_ (by Dryden and Lee), 261, 267;
(by Gager), 59;
(by Sophocles), 18.
_Old Fortunatus_, 139.
O'Neil, Miss, 344.
_Orbecche_, 56.
_Orestes_ (adaptation from ~Voltaire~), 295 n.;
(by Dryden), 263.
_Oroonoko_, 274, 282, 335.
_Orphan, The_, 270, ~271~, 274, ~282~, ~368~.
_Orphan of China, The_, 295 n.
Orrery, Earl of, 253, 257, ~277~.
_Osorio_, 342.
_Othello_, ~162-166~, 169, 170, 171, 185, 194, 226, 265, 282, 292,
297 n., 299, 309, 312, 358, 370.
_Otho the Great_, 349.
Otway, Thomas, 250, 251, 253, ~269-272~, 274, 275, 278, 279, 282, 284,
289, 290, 292, 294, 316, 323, 331, 351, 364, 368.
_Painter's Palace of Pleasure_, 55, 70.
_Palamon and Arcyte_, 58.
_Pamela_, 317.
_Pammachius_, 37, 39, 41.
_Paradise Lost_, 260.
_Paris and Vienna_, 71 n.
_Patient Griselda_, 40, 345.
Payne, John Howard, 344.
Peele, George, 75, 79, 84, ~107~ n., ~108~, ~110-112~, 132,
133, 146.
Pembroke, Countess of, 142.
_Percy_, 306.
_Pere de Famille, Le_, 318.
_Perfidus Hetruscus_, 60 n.
_Perkin Warbeck_, 227.
_Pericles_ (adaptation by Lillo), ~315.~
_Persee et Demetrius_, 298.
_Perseus and Andromeda_, 71 n.
Petrarch, 78.
_Phaedra_(by Seneca), 56.
_Phaedra and Hippolitus_ (Smith's adaptation of Racine), 289, 290.
_Phedre_, 195.
_Philaster_, 203, 204, 282, 322 n.
Philips, Ambrose, 290.
_Philotas_, 142.
_Phoenissae_, 54.
Pickering, John, 64.
_Picture, The_, 322 n.
_Pilgrim, The_, 322 n.
Pix, Mrs., 266.
Pixerecourt, Rene de, 337.
_Pizarro_, 327, 328, 335.
Plautus, 21, 36, 39, 63.
_Plays Confuted_, 72.
_Plays on the Passions_, 339.
_Pledge, The_, 346.
Plutarch, 106, 108, 142, 154, 162, 175.
_Poetics of Aristotle, The_, 8, 31, 43.
_Political Justice_, 341.
_Politician, The_, 232, 233.
Pope, Alexander, 273.
_Pope Joan, or the Female Prelate_, 266.
Preston, Thomas, 66.
_Pride of Life, The_, 29.
_Princess of Cleve, The_, 267.
Procter, B., 345, 356.
_Progne_, 58.
_Prometheus Unbound_, 14, 298, 353, 355.
_Promus and Cassandra_, 52, ~61~ n., ~62~ n., 69, 72.
_Prophetess, The_, 214, 246.
_Ptolemy_, 71.
Puttenham, George, 44, 45.
Pye, H. J., 307.
_Queen of Corinth, The_, 214, 220.
_Quellen des Weltlichen Dramas_, 55 n.
Quinault, P., 245.
_Quintus Fabius_, 71 n.
Racine, 2, 7, 8, 13, 247, 248, 251, 256, 268, 269, 272, 278, 287, 294, 297,
298, 300, 359.
Radcliffe, Mrs., 356.
Radcliffe, Ralph, 40.
_Ralph Roister Doister_, 39.
_Rape_, 309.
Ravenscroft, Edward, 266.
Rawlins, Thomas, 236.
_Red Knight, The_, 71 n.
_Rebellion, The_, 236.
_Rehearsal, The_, 259.
_Remorse_, ~342~, ~343~, 344, 360.
_Renegado, The_, 221.
_Revenge_, 298.
_Revenge of Bussy D'Ambois, The_ (see _Bussy D'Ambois_), 144.
_Revenge of Hamlet_, 150.
_Revenger's Tragedy, The_, 199, 202.
Reynolds, F., 332, 335, 338.
_Richard II_, 109, 114, 117, ~123-125~, 126, 136;
anonymous play on, see _Woodstock_.
_Richard III_ (by Shakespeare), 114, ~117-123~, 125, 172, 282, 292,
297 n., 311, 312.
_Richard III, True Tragedy of_, ~108~, ~109~, 112, 118, 119.
_Richard Duke of York, True Tragedy of_, 115 n., 116.
Richardson, Samuel, 275, 284.
_Richardus Tertius_, 59.
_Richelieu_, 345, ~346~, 358.
_Rienzi_, 345, 358.
_Ring and Book, The_, 14, 362.
Ristori, Madame, 344.
Ritwyse, John, 39.
_Rival Ladies, The_, 251, 253.
_Rival Queens, The_, 266, 282.
_Rivals, The_, 319.
_Road to Ruin, The_, 320.
_Robbers, The_, 330, 342, 357.
_Rob Roy_, 335.
Rochester, Earl of, 258.
_Rollo._ See _Bloody Brother_.
_Roman Actor, The_, 224.
_Roman Father, The_, 294.
_Roman Revenge, The_, 304.
_Romeo and Juliet_, 12, 114, ~126-134~, 136, 146, 185, 226, 236,
270, 292.
_Romeus and Juliet_, 127.
Rossetti, D. G., 347.
Rowe, Nicholas, ~283-289~, 291, 294, 307, 316, 323.
Rowley, William, ~218~, ~219~, 227, 229.
_Royal Convert, The_, 283.
_Royal Master, The_, 232.
_Roxana_, 59.
Rymer, T., 250, 260.
Sackville, Thomas, 52.
_Samson Agonistes_, 14, 264, 298.
Santayana, George, 192 n.
_Sardanapalus_, 345, ~351~, 358.
_Sarpedon_, 71 n.
Schelling, F. W. J. von, 359.
Schiller, F. von, 327, 341, 357, ~359~, 363.
_Scipio, Africanus_, 71 n.
_Scornful Lady, The_, 322 n.
Scott, Sir Walter, 129, 262, 285, 312, 335, 339, 341, ~349~, ~350~,
357, 361.
Scudery, G. de, 247.
_Second Maiden's Tragedy, The_, 199, 201, 221.
_Secret Love_, 259.
_Sejanus_, ~141-144~, 172.
_Selimus_, 108, 164.
_Semiramis_, 295 n.
Seneca, characteristics of his tragedies, 33-36;
their revival on the continent, 36-38;
in England, 38-46;
English imitations of, 51-58;
Latin imitations of at the English universities, 58-61;
influence of on popular plays, 62-69, 73-75;
his models rejected by Marlowe, 89-90;
adapted by Kyd and others, 100-108, 113;
his influence on _Richard III_, 118, 119;
on Ben Jonson, 143;
on Chapman, 144;
on Marston and revenge tragedies, 146-154 _passim_;
on _Hamlet_, 159, 160;
and traceable elsewhere in Shakespeare, 183-185;
in later drama, 196, 215.
Settle, Elkanah, 253, 266.
Sheil, R. L., 344.
Shakespeare, his conception of tragedy, 8, 9;
his relations to Kyd, 100, 104, 105;
to other predecessors, 107-111;
his early tragedies and histories, 113-116;
_King John_, 116, 117;
_Richard III_, 117-123;
_Richard II_, 123-126;
_Romeo and Juliet_, 126-133;
his relations to his contemporaries, 136-147 _passim_;
to the revenge tragedies, 147-154;
_Julius Caesar_, 154;
_Hamlet_, 155-162;
_Othello_, 162-166;
_Lear_, 166-175;
_Antony and Cleopatra_ and _Coriolanus_, 175-179;
summary of his work in tragedy, 181-195;
his influence on Elizabethan successors, 196-241 _passim_;
Restoration criticisms and alterations of his tragedies, 248-252, 260-262,
264-266, 269, 270, 277-279;
his plays in the eighteenth century, 282, 292-294;
Rowe's indebtedness to, 288, 289;
Thomson's indebtedness, 301, 302;
Hill's, 304, 305;
influence of _Othello_, 309;
his plays in the patent theatres, 331, 332;
his influence on the romanticists, 339;
on Wordsworth, 341;
on Coleridge, 342;
on Lamb, 343;
his influence dominant in nineteenth century tragedy, 355-363 _passim_;
and through the whole course of English tragedy, 370, 372, 376.
Shelley, Percy Bysshe, 14, 182, 338, 347, 348, ~353-355~, 356-359, 367,
368.
Sheridan, R. B., 327.
Sheridan, Thomas, 299.
_She Stoops to Conquer_, 319.
Shirley, James, 199, ~229-234~, 235, 237, 238, 240, 251, 252, 255, 256,
282, 344.
_Sicily and Naples_, 236.
Siddons, Mrs. Sarah, 275, 290, 293, 308 n., 340.
Sidney, Sir Philip, 6, 44, 53, 72, 73.
_Siege of Damascus, The_, 297 n., 308 n.
_Siege of Rhodes, The_, 244, 252.
_Slave, The_, 335, 336.
Small, R. A., 162 n.
Smith, Edmund, 289.
Soane, G., 338.
_Soliman and Perseda_, 100 n., ~105~, ~106~, 127, 128.
_Solitary Knight, The_, 71 n.
_Solymannidae_, 59.
Sophocles, 7, 9, 32, 37, 58, 187, 298, 370, 375.
_Sophonisba_ (by Lee), 266;
(by Marston), 147;
(by Thomson), 299, 300;
(by Trissino), 38.
Southerne, Thomas, ~273-275~, 277, 279, 282, 284, 294, 316, 321, 323.
Southey, Robert, 337, 341.
_Spanish Friar, The_, 262, 263.
_Spanish Tragedy, The_, ~100-105~, 110, 113, 115, 147, 148, 151.
_Spartan Dame, The_, 274.
Spenser, Edmund, 78, 79, 107.
Steele, Sir Richard, 297 n., 317.
Stoll, Elmer, E., 151 n.
Stowe, John, 70.
_Strafford_, 346, 363.
_Stranger, The_, 327, 328.
Suckling, Sir John, 234.
_Surrender of Calais, The_, 332, 333.
Surrey, Earl of, 53.
Swinburne, A., 14, 339, 347, 361, 364.
_Tale of Mystery, The_, 334.
Talfourd, Sir Thomas N., 346.
_Tamburlaine_, 58, 74, ~87-97~ _passim_, 100, 104, 107, 119 n.
_Tamerlane_, ~283~, ~284~, 291, 297 n.
_Tancred and Gismunda_, 51, ~55-57~, 61 n., 68, 69, 127, 128.
_Tancred and Sigismunda_, 299, 300, 302.
_Tancrede_, 295 n.
Tasso, 78.
Tate, Nahum, 246, 266, 292, 301.
Taylor, Sir Henry, 361.
_Telemo_, 71 n.
_Tempest, The_, 179, 259, 264.
_Temptation of Our Lord, The_, 41.
_Tender Husband, The_, 317.
Tennyson, Alfred, 182, 355, 364.
Terence, 23, 37, 39.
Terry, Daniel, 338, 350.
_Thebias_, 53.
Theobald, Lewis, 293.
_Theodosius_, 246, 267.
_Thierry and Theodoret_, 203.
Thomson, James, 292, ~299-302~, 307.
_Three Estates, The_, 41.
_Three Laws, The_, 41.
_Thyestes_ (by Crowne), 263, 266;
(by Seneca), 56.
_Timoclea at the Siege of Thebes_, 71 n.
_Timon of Athens_, 178, 265, 282, 297 n.
_'Tis Pity She's a Whore_, 227, 228.
_Titus Andronicus_, 108, ~114~, ~115~, 120, 136, 164, 237, 282.
_Titus and Berenice_, 269.
_Titus and Gisippus_, 40.
Tobin, John, 343.
_Tom Jones_, 321.
_Tom Thumb_, 314 n.
_Tonumbeius_, 59.
Tourneur, Cyril, 139, 151, ~153~, ~154~, 156, 199, 202, 217, 234,
267, 348.
_Tragedy a la Mode_, 314 n.
_Tragedies of the Last Age_, 260.
_Traitor, The_, 233, 252, 282, 344.
Treveth, Nicholas, 36.
_Trial, The_, 339.
Trissino, G. G., 38.
_Triumph of Honor, The_, 322 n.
_Troades_, 42.
_Troilus and Cressida_, 162 n., 261, 265.
_Troublesome Reign of King John, The_, 85, ~87~, ~88~.
Tupper, J. W., 255 n.
_Twelve Labors of Hercules, The_, 71 n.
_Two Foscari, The_, 346, 351.
_Two Lamentable Tragedies, The_, 140.
_Two Noble Kinsmen, The_, 211.
_Tyrannic Love_, 259.
Udall, Nicholas, 58.
_Ulysses_, 283.
_Ulysses Redux_, 59.
_Unhappy Favorite, The_, 273, 282.
_Unnatural Combat, The_, 224.
_Valentinian_, ~213~, 217, 252, 282.
_Valiant Scot, The_, 236.
_Venice Preserved_, ~270~, ~271~, 278, 282, 297 n., 351.
Victor, B., 318.
Virgil, Polydore, 119.
_Virginius_, 344, ~345~, 358.
_Virgin Martyr, The_, 221, 224, 252.
_Virtue Betrayed, or Anne Bullen_, 273.
_Volpone_, 233.
Voltaire, 247, 276, 290, ~294-297~, 299, 302, 304, 305, 324.
Wade, Thomas, 345, 347.
_Wallenstein_ (by Glapthorne), 235;
(by Schiller), 357.
Walpole, Horace, 322, 354.
Ward, A. W., 111, 270 n., 287.
_Warning for Fair Women, A_, 140, ~147~, 316.
_Wars of Cyrus, The_, 106, 108.
Watson, Thomas, 39.
_Wat Tyler_, 341 n.
_Weavers, The_, 12.
Webbe, William, 57.
Webster, John, 153, 169, 198, 199, ~202~, ~203~, 217-219, 226, 230,
234, 237, 239, 240, 252, 256, 262, 348.
Wells, Charles, 339, 347.
_Werner_, 345, ~351~, 357.
_Werter_, 323.
_What d'ye Call It_, 314 n.
_What Mischief Worketh in the Mind of Man_, 71.
_Wheel of Fortune, The_, 320.
Whetstone, George, 61 n., 62 n., 72.
_White Devil, The_, 198, 199, 202, 252.
Whitehead, William, 294, ~307~.
_Wife's Trial, The_, 343.
_Wild Gallant, The_, 251.
_William Tell_, 344.
Wilmot, Robert, 55, 56.
Wilson, John, 163, 347.
_Winter's Tale, A_, 179, 342.
_Witch, The_, 3, 218.
_Witch of Edmonton, The_, 227.
_Woodstock_, ~109~, 112, 114.
_Woman Killed with Kindness, A_, ~140~, ~141~, 272, 289, 318,
328.
_Woman's Love_, 345.
_Women Beware Women_, 218.
_Women Pleased_, 322 n.
Wordsworth, William, 337, 338, ~341~, 343, 357.
_Wounds of Civil War, The_, 108, 142.
Wycherley, William, 258.
Xenophon, 106.
_Yorkshire Tragedy, The_, 140, 318.
Young, Edward, ~298~, ~299~, 307.
_Zapolya_, 342.
_Zara_, 295 n., 299, 304, 305.
_Zenobia_, 308 n., 351.
_Zobeide_, 295 n.