3.

Claude Lorraine's landscapes, 229,
333.
Coleridge, 414-416.

Collins, 355-358; quoted, 225.
Comedy, Twelfth Night perhaps too
good-natured for, 157; different
kinds of, 158.

Comedy of Errors, 202-204.
Contrast, principle of, 15.
Cooke, as Richard III., 141.
Coriolanus, 42-51; compared with
Julius Caesar, 21.
Country, love of the, 335-340.
Cowley, 316.

Cowper, 324-329.
Crabbe, 329-333.

Cumberland's benevolent Jew, 165.
Cymbeline, 1-9.

Dante, characteristics of his poetry,
237 sq.; compared with Milton,
294 sq.

Deer, in Cymbeline and As You

Like It, 8.

Defoe's Robinson Crusoe, comes as

near to poetry as possible, 233.
Denham, 316.

Dryden, 310-314; his Maiden

Queen, 20; his renderings of
Boccaccio, 179 sq., 314; that
of Tancred compared with Pope's
Eloise, 307.

Elegant, use of the word, 194.
Elizabeth, Q., laughing at Shake-
speare's worst jokes, 283.
England and France, 126 sq.
Excitement, the love of, the
groundwork of tragic poetry,

224.

Fame, 320, 387-89.

Family aggrandisement, desire of,
in barbarous nations, 14.
Fashion, the commonplace affecta-
tion of what is refined, 73.
Fielding's Lawyer Dowling com-
pared to Chaucer's Serjeant,
245.

Fletcher's King and no King, 20.
Flower and the Leaf (wrongly attri-

buted to Chaucer), quoted, 249.
Folly, as often owing to a want of
proper sentiments as to a want
of understanding, 6.

France, English invasions of,
126 sq.

French Revolution, effect of on
Lake School of Poetry, 408 sq.

Garrick, as Richard III., 140; as
Benedick, 183.

Gay, 344-347; his Beggars Opera,
why less popular now, 19, 228;
contrasted with Crabbe, 332.
Genius and Fame, 387-89.
German critics, their love of
mysticism, 293.

German influence in poetry, 410,

414.

Donne, 314.

204-211.

'Good old times,' spirit of the, 129.

Macbeth, 17.

Gray, 358 sq.

Greek Mythology, 338.
Greek statues, 229.

Jewish race, Shylock the depositary

of the vengeance of, 166.
Johnson, Dr., his criticism of
Shakespeare combatted, xxii.; as
to the plots, 2; as to a happy
ending to Lear, 108; as to Q.
Katherine, 147; as to the superi-
ority of Shakespeare's comedies
to his tragedies, 159; excluded
Chaucer and Spenser from the
Lives of the Poets, 270; his con-
demnation of Milton's blank
verse, 289; praise of Thomson,
317 sq.; his own style 'not
English,' 342, cp. 353; on
Gulliver's Travels, 348.
Jonson, Ben, as

licenser, 155; 210.

Shakespeare's.

Jordan, Mrs., in the Wedding-day,
173; as Beatrice, 183.
Julius Caesar, 20-26.

Juvenal, comparison of Timon with,
38.

Kean, as Hamlet, 70; suggestion
that he should play the part of
Bottom, 81; as Romeo, 92; as
Richard III., 140 sq.; as Shy-
lock, 170; references to his
other striking parts, 142.
Kemble, as Hamlet, 70; as Richard
III., 141; as Leontes, 173.
King, actor, his farewell to the
stage, 173.
King John, 150-157.

Kings, in the abstract very dis-
agreeable characters, 149.
Knowledge and refinement, effect
of progress of on poetry, 227.

Lake School of Poetry, 408-412.

124.

Icehouses, Shakespeare's poems
compared to, 212.
Imagination, 220.

Middleton's witches with those
of Macbeth, quoted, 19 sq.; on
the acting of Lear, quoted, 108
sqq.; would have defended
Burns better than Wordsworth

did, 374; Mrs. Leicester's
school praised, 391.
Language of poetry, 43, 226; in
Spenser, 267; in Shakespeare,
281.

Lear, 94-110; compared with
Macbeth, 10; with Othello, 27;
with Hamlet, 65; illustrations
from, 221 sq., 225; Edmund
compared with Iago, 38; Regan
and Goneril contrasted with
Lady Macbeth, 12.
Lillo's murders, 19, cp. 224.
Liston, in the part of Bottom, 82;
as Tony Lumpkin, 360.
Logic of the imagination and the
passions, 3, 46, 96.
Love, the very religion of, 5.
Love's Labour Lost, 180-183.

Macbeth, 10-20; illustrations from,

273; compared with Othello, 27;
only tolerated for the sake of the
music, 228.

Man, a poor forked creature, 124;
a poetical animal, 218.
Manners, progress of, its influence
on the stage, 19, cp. 227 sq.
Marvell, 315.

Mason,' (mistake for Whately),
on Macbeth and Richard III.,
xviii.

Measure for Measure, 195-200;
Barnardine, a philosophical
counterpart to Caliban, 74.
Menander and Nature, 6.
Merchant of Venice, 165-171.
Merry Wives of Windsor, 200-202.
Middleton, Lamb's comparison of

his witches with those of Mac-
beth, quoted, 19 sq.
Midsummer Night's Dream, 78-83;
compared with the Tempest, 76.
Might and Right, 129.
Milkmaid, the character of, quoted
from Walton's Angler, 334-
Milton, 283-297; compared with
Chaucer, Spenser, and Shake-

Ossian, characteristics of his poetry,
235, 237.
Othello, 26-38; compared with
Macbeth, 10; the third act one
of Shakespeare's two masterpieces
in the logic of passion, 96;
illustrations from, 222; Desde-
mona compared with Imogen, 3.
Overbury, Sir Thomas, his char-
acter of a fair and happy milk-
maid, quoted, 335.

Painting and Poetry, 228 sq., 240.
Parnell, 340.

Passion, Chaucer, Spenser, Shake-
speare, and Milton, compared as
to, 277 sq.; dramatic exhibition
of, 223; near connection with
music, 231; nothing so logical
as, 3; Othello, the supreme ex-
pression of, in combination with
knowledge of character, 29, 96;
Poetry, the highest expression
of, 225; want of, in Measure for
Measure, 196.

Pastoral Poetry, English literature
poor in, 333.
Pericles of Tyre, 211.
Platonism, Wordsworth's mystical
vision of, 85.

Plautus, the Comedy of Errors no im-

provement on his Menaechmi, 202.

Plutarch, Shakespeare's use of,
47 sqq.
Poetical Justice, 46.

Poetry, On Poetry in general, 217-
239; hindrances to in modern
times, 330 sq.; language of, 43,
110; modern school of too
subjective, 279; Poetry of
Poetry of
nature and of art compared,
299; principle of, anti-level-
ling, 43; study of part of a
well-grounded education, 27,
cp. 110, 217 sq.; why it does
not progress,' 268.
Political Characters, Shakespeare's
portrayal of, 24.

Politics of Henry V., 126 sq.
Pope, 298-310; his Pastorals, 333;
on Milton, 291; on Shake-
speare's originality, quoted, xvii. ;
on Two Gentlemen of Verona,
163 sq.; doubts the genuine-
ness of the Winter's Tale, 171;
his couplet on the Lord Mayor's
Show, 225, 307.

Power, the love of, another name for
the love of mischief, 34, 126
natural, 44.

Prior, 343.

Puritan, The, or the Widow of
Watling Street, 210.

Quixote, Don, his misfortunes
compared with Falstaff's, 200.

Rabble, Shakespeare s delineation of
the, 21, 43.

Rabelais, compared with Swift and
Voltaire, 350-353.
Raphael's cartoons, 229.
Religious and poetical enthusiasm,
similar history, 227.
Rembrandt's picture of Jacob's
Dream, 228.

Reynolds, J. H., sonnet by, quoted,
386 sq.
Rhyme, 232.

Richard II., 110-116; illustrations
from, 279; contrast between
Richard and Henry VI., 135 sqq.
Richard III., 140-146; the King
compared with Macbeth, 17 sqq.
Richardson's romances, not poetry,
because not romance, 234-
Robin Hood Ballads, 386 sq.
Rochester, Earl of, 315.
Rogers, Samuel, 393 sq.
Romeo and Juliet, 83-94.
Rousseau, quoted, 335, 339.
Rubens, his allegorical pictures
akin to Spenser, 265.

Sannazarius's Piscatory Eclogues,
333.

Schlegel, his general account of
Shakespeare quoted, xviii. sqq.;
on Caliban, 73; on Romeo and
Juliet, 89; on a happy ending
to Lear, 108; on Lucio, etc.
in Measure for Measure, 197; on
the Doubtful Plays of Shake-
speare, quoted, 204 sqq.; pro-
bably not well acquainted with
Shakespeare's dramatic contem-
poraries, 210.

Science, by itself hard and me-
chanical, 27.

Scott, Walter, 401 sq.

Sense, the words used as a shib-
boleth in Pope's day, 305.
Shakespeare, 1-215, 271-283; com-
pared with Chaucer, Spenser, and
Milton, 270 sq., 276, 278;
Dryden's character of, 313
n.; his comic genius, 157; not
better in comedy than in tragedy,
159, cp. 283; his fullness, even
to overflowing, 52 (cp. the
heedless magnanimity of his
wit, 155, also 282); his
Heroines, 2; most in earnest in
Lear, 94-in Timon, Macbeth,
and Lear, 282; not a classical
scholar, 203; openings of his
plays, 11; his pencil like the

dyer's hand, subdued to what
it works in,' 72; phrases of,
which have become proverbial,
189; his plots, 1, 2; Poems
and Sonnets, inferiority of to
his plays, 211 sqq.; his rivalry
with nature, 6, 10, 59, 85,
124 sq., 135, 300; his songs,
75, 161; subtle distinction of
similar characters, 135; his
women, 32.
Shenstone, 359.
Sheridan, on Beauties of Shake-

speare,' 94.

Siddons, Mrs., as Lady Macbeth,

14; as Hermione, 173.
Sidney's Arcadia, a lasting monu-

ment of perverted power, 333.
Sophocles, his Philoctetes, the most

beautiful of all the Greek
tragedies, 233.
Sound and rhythm, adapted to
subject, 230.

Southey, 412 sqq.; on Spenser,
263.
Spenser, 257-268; compared with
Chaucer, Shakespeare, and Mil-
ton, 270 sq., 276, 278.
Sterne's plagiarisms, 340 sq.
Stoic philosophers, kinship of
Apemantus with, 38.
Suckling, Sir John, 315.
Swift, 347-351.

Taming of the Shrew, 191-195.
Tempest, 71-77; illustrations from,
272 sq.; Ariel compared with
Puck, 79; Caliban, 272-com-
pared with Barnardine, 196 sq.
Thomson, 317-324; compared
with Bloomfield, 330.
Timon of Athens, 38-42.
Titian's portraits, 229.

Titus Andronicus, as unlike Shake-

402.

Willow-leaves, Shakespeare's de-

scription of, 69, 275.
Winter's Tale, 171-176.
Wither, George, 316.
Women, in Shakespeare, 3.
Wordsworth, 403-412; his mystical
vision of Platonism, 85 sq.;
found Gray's Elegy unintelligible,
358; his Leech-Gatherer quoted,
363; his defence of Burns, 370-
373; compared with Burns,
374.

Yorkshire Tragedy, in the manner
of Heywood, 209.
Young, 354-355.
Youth, 84 sqq.

Zanga, a vulgar caricature of Iago,
38.

Zimmermann 'On Solitude,' 189.