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
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,
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,
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,
German plays, where they do things by contraries,' 84 Glow-worm, illustration from, 227.
Doubtful Plays of Shakespeare, Goldsmith, 359-361.
"Good old times,' spirit of the, 129.
Gothic outline, of character of Jacob's Dream, 226, 236.
Macbeth, 17.
Gray, 358 sq.
Greek Mythology, 338. Greek statues, 229.
Halifax, Earl of, his choice of plays for representation in 1707,
Hamlet, 63-70; illustrations from,
273 sq.; compared with Mac- beth, 10; with Othello, 27. Hamlet's pretended madness would make a very good real madness in any other author, 135 n. Heavens, gone farther off and grown astronomical, 227. Hebraism, Shylock's phrase, 'a
wilderness of monkies,' a fine hebraism, 168.
Henry IV., 117-125; comic parts of Henry V. inferior to, 132 sq. Henry V., 125-133. Henry VI., 133-140. Henry VIII., 146-149. Hero, definition of a royal, 127. Herring, Archbishop, quotation from, 384.
Historical Plays, objections to, 150.
History, compared with poetry,
Homer, characteristics of his poe- try, 235 sq.; Milton, compared with, 295.
Honey-Moon, The, called 'an ele- gant Katherine and Petruchio,' 194.
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 Shakespeare's licenser, 155; 210.
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.
Human life, what a little thing, Lamb, Charles, his comparison of
Icehouses, Shakespeare's compared to, 212.
Shakespeare's poems
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
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-
speare, 270 sq., 276, 278; his praise of Shakespeare, 165. Mischief, love of, love of power synonymous with, 34, cp. 126. Moore, Tom, 396-399. More, Hannah, wrote a great deal which Hazlitt never read, 392.
Much Ado about Nothing, 183-187. Music, near connection of with passion, 231.
Nature, love of, 335-340. Noble persons, criticism of, 113 sq. North's Plutarch, 47.
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 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.
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); 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-
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-
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.
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