HISTORY I

THIS Work is published in Copenhagen in Three Volumes, represented by the Three Books of this translation. The First Book and half of the Second are translated by Mr. WILLIAM ARCHER; the last half of the Second Book by Mr. ARCHER, assisted by Miss MARY MORISON; the Third Book by Miss DIANA WHITE, also with the assistance of Miss MORISON. The proofs of the whole Work have been revised by Dr. BRANDES himself.

First Edition, 2 Vols. 1898.
New Edition, 1 Vol. 1899.

Reprinted, 1 Vol. 1902.

Reprinted Vol. 1902. August 1905.

BO VIMU

II. STRATFORD-PARENTAGE-BOYHOOD

III. MARRIAGE-SIR THOMAS LUCY-DEPARTURE FROM STRATFORD

IV. LONDON-BUILDINGS, COSTUMES, MANNERS

V. POLITICAL AND RELIGIOUS CONDITIONS-ENGLAND'S GROW-

ING GREATNESS

16

VI. SHAKESPEARE AS ACTOR AND RETOUCHER OF OLD PLAYS-

IX. SHAKESPEARE'S CONCEPTION OF THE RELATIONS OF THE

SEXES HIS MARRIAGE VIEWED IN THIS LIGHT-LOVE'S

LABOUR'S LOST-ITS MATTER AND STYLE-JOHN LYLY

AND EUPHUISM-THE PERSONAL ELEMENT

X. LOVE'S LABOUR'S WON THE FIRST SKETCH OF ALL'S WELL

THAT ENDS WELL-THE COMEDY OF ERRORS-THE TWO

XI. VENUS AND ADONIS: DESCRIPTIONS OF NATURE—THE RAPE

OF LUCRECE: RELATION TO PAINTING ·

34

47

55

XII. A MIDSUMMER NIGHT'S DREAM-ITS HISTORICAL CIRCUM-.

STANCES-ITS ARISTOCRATIC, POPULAR, COMIC, AND

SUPERNATURAL ELEMENTS

63

1. ROMEO AND JULIET-THE TWO QUARTOS-ITS ROMANESQUE

STRUCTURE-THE USE OF OLD MOTIVES-THE CONCEP-

TION OF LOVE

72

373393

く

CHAP.

XIV. LATTER-DAY ATTACKS UPON SHAKESPEARE-THE BACONIAN

THEORY-SHAKESPEARE'S KNOWLEDGE, PHYSICAL AND

XV. THE THEATRES-THEIR SITUATION AND ARRANGEMENTS-

THE PLAYERS-THE POETS-POPULAR AUDIENCES-THE

ARISTOCRATIC PUBLIC SHAKESPEARE'S ARISTOCRATIC

----

XVI. THE THEATRES CLOSED ON ACCOUNT OF THE PLAGUE-DID

SHAKESPEARE VISIT ITALY?—PASSAGES WHICH FAVOUR

87

XVII. SHAKESPEARE TURNS TO HISTORIC DRAMA-HIS RICHARD II.

AND MARLOWE'S EDWARD II.-LACK OF HUMOUR AND OF

CONSISTENCY OF STYLE-ENGLISH NATIONAL PRIDE

119

SHAKE-

SPEARE'S POWER OF SELF-TRANSFORMATION-CONTEMPT

SCENES-THE CLASSIC

FOR

WOMEN-THE

PRINCIPAL

TENDENCY OF THE TRAGEDY

XIX. SHAKESPEARE LOSES HIS SON-TRACES OF HIS GRIEF IN

KING JOHN-THE OLD PLAY OF THE SAME NAME-

DISPLACEMENT OF ITS CENTRE OF GRAVITY-ELIMINA-

POLEMICS-RETENTION OF THE

TION OF RELIGIOUS

126

140

PROSPERITY- -HIS ADMISSION TO THE RANKS OF THE

"GENTRY"-HIS PURCHASE OF HOUSES AND LAND-

MONEY TRANSACTIONS AND LAWSUITS

XXI. THE MERCHANT OF VENICE- ITS SOURCES - ITS CHAR-

ACTERS, ANTONIO, PORTIA, SHYLOCK-MOONLIGHT AN

MUSIC-SHAKESPEARE'S RELATION TO MUSIC

XXII. EDWARD III." AND ARDEN OF FEVERSHAM"-SHA

SPEARE'S DICTION-THE FIRST PART OF "HENRY I

FIRST INTRODUCTION

OF HIS OWN EXPERIENCE

XII

150

XXIII. HENRY PERCY-THE MASTERY OF THE CHARACTER DRAW-

ING-HOTSPUR AND ACHILLES

XXIV. PRINCE HENRY-THE POINT OF DEPARTURE FOR SHAKE-

SPEARE'S IMAGINATION-A TYPICAL ENGLISH NATIONAL

HERO- -THE

FRESHNESS AND PERFECTION OF THE

XXV. "KING HENRY IV.," SECOND PART-OLD AND NEW CHAR-

XXVII. SHAKESPEARE'S MOST BRILLIANT PERIOD-THE FEMININE

TYPES BELONGING TO IT-WITTY AND HIGHBORN YOUNG

WOMEN-MUCH ADO ABOUT NOTHING-SLAVISH FAITH-

INTERVAL OF SERENITY

-

FULNESS TO HIS SOURCES-BENEDICK AND BEATRICE-

SPIRITUAL DEVELOPMENT-THE LOW-COMEDY FIGURES.

AS YOU LIKE IT THE

LONGING FOR NATURE-JAQUES

AND SHAKESPEARE-THE PLAY A FEAST OF WIT

XXVIII. THE

ROVING SPIRIT-THE

XXIX. CONSUMMATE

SPIRITUAL

HARMONY-TWELFTH NIGHT

JIBES AT PURITANISM-THE LANGUISHING CHARACTERS

-VIOLA'S INSINUATING GRACE-FAREWELL TO MIRTH

XXX. THE REVOLUTION IN SHAKESPEARE'S SOUL-THE GROWING

MELANCHOLY OF THE FOLLOWING PERIOD-PESSIMISM,

MISANTHROPY

b

213 t

221

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239