_;
portraits of, 239
Shakespearean drama, attitude of students and actors to, 1;
costliness of modern production, 2;
the simple method and the public, 8;
Charles Kean's spectacular method, 9;
Irving's method, 10;
plays produced by Phelps, 11;
reliance on the actor, 13;
in Vienna, 17;
advantage of its performance constantly and in variety, 23;
importance of minor roles of, 115;
its ethical significance, 164, 165;
in France, 198 _seq._;
and British prestige, 229
----, (separate plays):--
_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 Caesar_, 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.
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