ACTORS, their practice of soliciting the
patronage of the lord of the manor, 133;
their disadvantages, 111, 127.
Adam, the old retainer, 232, 251; Cole-
ridge's apostrophe to the actor who
bore him, 256; Adam and Jaques con-
trasted, 253.
BALZAC, 201, 402, 408, 416, 417, 433;
Coleridge's remarks on Shakspeare's
characters applied to, 91, 92.
Bandello, his story, the origin of Much
Ado about Nothing, 181.
Baptista, 136; Petruchio's first interview
with, 143, 144.
Ague-cheek, Sir Andrew, 294, 297, 298; Bassanio, 340, 347.
Charles Lamb on, 297, 298.
American exiled loyalists, 415.
American rich men, 345.
"Amours in Quatorzains," Michael Dray-
Anglo-Saxon Saints' legends, 93, 94.
Antonio, the merchant of Venice, 339,
340, 343, 344, 347, 367, 375.
Antonio, the sea-captain, 305, 330, 331.
"Apollonius and Silla," the origin of
Arcady, As You Like It, à tale of, 231.
Arden, Shakspeare's mother's maiden
name, 247; forest of, 247.
Ardennes, the Enchanted Forest in the
"Orlando Furioso," 247.
Beatrice, 189, 190, 191, 197, 198, 226, 227;
"Monthly Packet" on, 181; Lady
Martin on, 182, 183, 189, 190, 226, 227;
contrasted with Katharine, 183.
Belch, Sir Toby, Maria, and Sir Andrew
Ague-cheek, 294, 295, 296, 297.
Benedick, 184; moved by the sarcasms of
Beatrice, 194; Lady Martin on the last
encounter of wits between him and
Beatrice, 226, 227.
Bermudas, Strachey's narrative of the ship-
wreck of Sir Thomas Gates, on the, 57.
Betrothals of Florizel and Perdita, 37; of
Olivia and Sebastian, 275; possibly of
Rosalind and Orlando, 275.
Bianca. 150.
Ariel, 57, 58, 64, 82; Coleridge on, 64; Biondello, mistrusts Tranio, 171.
Hazlitt on, 82.
Ariosto, Shakspeare's acquaintance with
the writings of, 64, 131, 181, 247.
Armada, allusion to the wreck of, 419, 420.
Arviragus, his poetical temperament, 422.
Astrologers in Shakspeare's day, 84, 85.
As You Like It, a tale of Arcady, 231;
its origin, 231; its supposed moral, 231;
Victor Hugo's idea of, 287.
Boatswain and sailors, 59.
Boccaccio, origin of Cymbeline in the "De-
camerone," 394.
Borachio, the bravo, 199.
Bottom, 101; Maginn on, 111, 120, 121, 127.
Bug, i. e. bugbear, early version of the
Bible, 23.
CAIN and his thornbush, 110.
Autolycus, 28, 29; contents of his basket, Cakes and ale on Saints' days, 309.
Ayrer, Jacob, author of "Die Schöne
Sidea," 56; plot of his story, 56.
Caliban, 57, 58, 64, 72, 82; the mob in-
carnate, 56; Coleridge on, 64; Hazlitt
on, 72, 82; Schlegel on, 72.
Campbell, Thomas, on Viola, 385.
Changes of scenery on Shakspeare's stage,
58, 306.
Characters in Shakspeare and Balzac, 91,
92; those that are wholly Shakspeare's
in Much Ado about Nothing, 181, and
As You Like It, 231; in the Merchant
of Venice all have flaws but Portia, 340.
Chaucer originated Theseus and Hip-
polyta, 95; also originated Lodge's
Rosalynde, 231.
Claudio, 183, 184, 194, 209, 220, 221.
Cloten, 410, 411, 425, 429.
Cobwebs, 111.
Coleridge, S. T., on jealousy, 5, 6; on
Perdita, 39 on Ariel and Caliban, 64;
on Miranda, 60, 76, 77; on Prospero's
narrative, 61; on conspiracy scenes in
Tempest, 74; on drunken scene in
Tempest, 80; on Shakspeare's modesty
and morality, 76, 77, 82; on the sense
of maternity and ancestry in good wo-
men, 64; his remarks on Shakspeare's
characters applied to Balzac, 91, 92; on
Puck's song, 127; on Shakspeare's sce-
nery, 250; on Adam, 256; apostrophe
to the actor who bore Adam, 256.
Collins, author of the dirge commonly
sung over Imogen, 431.
Dreams, sleep, and moonlight in Midsum
mer Night's Dream, 91, 96, 103, 109,
123; Posthumus' dream, part of the
musical attractions of Cymbeline, 434.
Drunken scene in Tempest, Coleridge on,
Complaints of servants in Shakspeare's Fidelity, 408.
Floods in England in 1595, 105.
Confidants, Shakspeare's compared with Fools, 238, 299, 318, 319, 395; receive
those of French tragedy, 17.
Conspiracy scenes in Tempest, 71, 80.
Cymbeline, Hazlitt on, 393; not a tragedy,
though almost one, 394, 429, 438; why
never a popular acting-play, 394; on
what founded, 394; its scenery, date, and
semi-paganism, 394; passage suggested
by the fate of the Armada, 419, 420.
DANCES, modern application of jig, meas-
ure, and cinque-pace, 192.
Demetrius, no gentleman, 106.
Disadvantages of actors, 111, 127.
GENTLEMEN messengers, 185, 186.
Germanisms in Shylock's English, 381.
"Geruntius, the Jew of Venice," ballad
of, 340.
Gervinus on fairies, 103, 104; on Portia,
377; his hatred of the Jews, 356.
"Gesta Romanorum," 340.
Goethe on Shakspeare's metaphors, 293.
Greene, Richard, author of a story that
originated the Winter's Tale, 3.
Gratiano, 347, 372, 390.
Dogberry, 209; as a country justice, 217. Grumio, 157, 158.
Don John, 188.
Don Pedro, 187.
Drayton, Michael, his Poly-Olbion, 95,
152; his ballad of Agincourt, 152; his
"Amours in Quatorzains," 152.
Guiderius, his princely disposition, 421,
248, 343; compared with Coleridge, | Jealousy, Coleridge on, 5, 6.
248; with Antonio, 343.
Hazlitt on seeing Bannister, Mrs. Siddons,
and Mrs. Jordan act Winter's Tale, 30;
on Caliban, 72, 82; on Ariel, 82; on
Tempest, 56, 102; on Shakspeare's
songs, 85; on Midsummer Night's
Dream, 102; on Twelfth Night, 291,
335; on Cymbeline, 393.
Hermia, 118, 119.
Hermione, 26; Mrs. Jameson on, 6, 7;
why she remained sixteen years se-
cluded from her husband, 27.
Helena, 118, 119; her want of modesty,
106.
Holinshed, parts of Cymbeline suggested
by, 395.
Hortensio's widow, 172; her impertinence
to Katharine, 173.
Hugo, Victor, on Jaques, 247; his idea of
As You Like It, 287.
Humility, Bishop Griswold on, 101.
Jessica, 361, 362; Stuart Newton's pic-
tures of, 363.
Jews, their past and present status in the
world a standing miracle, 356, 357;
great statesmen and great writers above
the prejudices of the ignorant, 358.
Joking, perpetual, a dangerous sport, 225.
Jonson, Ben, and Shakspeare, 190.
KATHARINE, the shrew, 139, 140, 145,
151; Monthly Packet on, 140, 143,
170, 176, 179; her submission, 167, 168,
169, 170, 174, 175, 176, 177.
LADY in Proverbs reflects honor on her
husband, 176.
Lamb, Charles, on Sir Andrew Ague-
cheek, 297, 298.
Law of marriage in England, 169; law
concerning the murder of a social supe-
rior, 437; law punishing adultery, 419.
Leonato, 190, 212.
Hunters, their life contrasted with that of Leontes, 9, 10, 11, 12, 24, 25, 43, 46.
Arden, 395, 422.
Linen bleaching on hedges, 29.
Lodge, author of "Rosalynde," 231.
IACHIMO compared to Balzac's De Marsay, Love at first sight in As You Like It, 273.
402, 408, 416, 417, 433.
Imogen, 393, 396, 413, 414, 415, 423, 424,
425, 426, 427, 428, 431, 432; Mrs.
Jameson on, 393, 400; Lady Martin on,
406, 407; her farewell compared to those
of Juliet and Cressida, 400; why she
desired a private interview with Cymbe-
line, 434.
Induction to Taming of the Shrew, 131;
the lord, 133; the actors probably im-
provised their parts, 177.
In memoriam, 362.
Irish rats berhymed, 264.
Ivy fatal to sheep, 26.
JAMESON, MRS. ANNA, "Characteristics
of Women," on Hermione, 6, 7; on the
last scene in the Winter's Tale, 48, 49,
50; on Paulina, 17; on Perdita, 32, 39;
on Miranda, 60, 61; on Ferdinand, 76;
on Prospero, 84; on Rosalind, 236, 237;
on Portia, 341, 342; on Olivia, 324: on
Imogen, 393, 400.
Jaques, Victor Hugo on, 277; Maginn
on, 247; of the same type as Hamlet
and Coleridge, 248.
MADRIGAL CLUB in London, 102.
Maginn on Bottom, 111, 120, 121, 127;
on Jaques, 286, 287; on the seven ages
of man, 261.
Malvolio, 292, 311; a Puritan, 311; on
Darwinism, 329-
Maria, 294, 298, 299; her position com-
pared with Nerissa's, 311.
Martin, Lady, on Beatrice, 182, 189, 190;
on the last encounter of wits between
Beatrice and Benedick, 226, 227; on
Rosalind, 236, 243, 266, 274; on the
trial scene in the Merchant of Venice,
380; on Pisanio, 405; on Imogen, 406,
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