INDEX
Action, relation to character, 245.
Adventure, subject for drama, 242.
Aeschylus, Shakespeare compared with, 31;
Webster compared with, 52.
Allegory, 102, 168, 170, 179, 180.
Alleyn, 189.
"All Fools" (Chapman), 259.
"All's Lost by Lust," 196.
Amadis, 214.
"Amboyna" (Dryden), 82.
"Amphitruo," the, 217.
"Antipodes, The," 252.
Antiquary, The
(Scott), 84.
"Antonio and Mellida" (Marston), 30, 116, 117, 122, 124, 145, 148.
"Antonio's Revenge" (Marston), 122.
"Anything for a Quiet Life" (Middleton), 163.
"Appius and Virginia" (Webster), 198.
Arbuthnot, 228.
Ariosto, 110.
Aristophanes, Middleton compared with, 169;
caricaturist, 206.
Armada, 168, 206.
Arnold, Matthew, on Chapman, 107.
Asdrubal, speech of (Marston), 118.
"Asolani," 209.
"Astraea Redux," authorship, 157.
Astrophel and Stella, 66.
"Atheist's Tragedy, The" (Tourneur), 265;
reflects the age, 268, 273.
Athens, 169.
Audience in Shakespeare's age, 170, 245.
"Bachelor's Banquet, The" (Dekker), 97.
Bacon, Francis, 68, 256.
Balzac, Shakespeare and Marlowe compared with, 33;
Dekker compared with, 108.
Barkstead, William, 136.
Barnfield, 50.
"Bartholomew Fair" (Marston), 122.
Beaumont, 172;
and Fletcher, 182, 225.
"Beggars' Bush" (Fletcher), 178.
"Bellman of London, The," (Dekker), 101.
Bembo, Pietro, 209.
Bible, Hebrew, influence of, 281.
Biographer's Manual
, 278.
Biographical Chronicle of the English Drama
(Fleay), 205.
Bishop Hall, 163.
Blake, William, Dekker compared to, 72;
"Jerusalem," 279.
Blank verse, 1, 2, 224.
"Blind Beggar of Alexandria, The" (Chapman), 193.
Boccaccio, Dekker compared with, 108.
Boswell, 162.
"Brazen Age, The," 218.
"Britannia's Honor," 84.
British Museum, 193.
Brome, 252.
Brontë, Charlotte, 40.
Browning, Heywood compared with, 236.
Bullen, on Marston, 135;
on Elizabethan songs, 137;
on Marlowe, 151;
on Middleton, 154, 163, 165, 168, 172, 179, 181;
on Heywood, 228, 230, 235.
Burbage, 189.
"Bussy d'Ambois" (Chapman), 259.
"Butcher's Story, The," 160.
Butler, parody Cat and Puss, 226.
Byron, 3, 38;
Jonson compared with, 71, 201, 267;
Tourneur compared with, 264.
Cade, Jack, 11.
"Caesar and Pompey," 259.
Campbell, Thomas, on Webster, 37.
"Canaan's Calamity," 92.
"Captives, The," 230.
Caricature, motive in drama, 206.
Carlyle, 93;
definition of genius, 109, 207;
Tourneur compared with, 264.
Carr, Robert, 256.
Cat and Puss (Butler), 226.
Catholic formula, 191.
"Catiline his Conspiracy" (Jonson), 144.
Caxton, 213, 214, 219.
"Cenci" (Shelley), 16.
Cent Nouvelles Nouvelles
, 93.
"Challenge for Beauty, The" (Heywood), 212, 231, 234, 235.
Chalmers on Queen Elizabeth, 69.
"Changeling, The" (Middleton), 30, 186.
Chapman, George (255-261), Matthew Arnold on, 107;
part in "Eastward Ho!", 129, 130;
plays unedited, 152;
"Blind Beggar," 193;
in Germany, 255;
translation of Juvenal, 256;
faults of style, 257;
Homer, 258;
Keats on, 258;
sources from French history, 258;
Shelley on, 258;
tragedy and comedy, 259;
contact with Shakespeare, 260;
feeling toward other poets, 260.
"Chaste Maid at Cheapside, A," Middleton and Shirley (?), 163.
Chaucer, 1, 72;
Middleton compared with, 177, 247.
Chester, Sir Robert, 137, 138.
Chettle, 72, 87, 205.
"Childe Harold's Pilgrimage," 264.
"Chronicle History of Thomas Lord Cromwell," 19.
"Chronographicall History of all the Kings" (Heywood), 211.
"Christmas Carol, A," 229
Chronicle plays, 203, 206, 207, 208.
Clown, the, 230, 236.
Coleridge, on Beaumont and Fletcher, 29;
on Dekker, 88, 150;
love of country, 202, 254;
on Chapman, 258.
Collier, on Marlowe, 7.
Collingwood, 254.
Colman, George, 231.
Comedy, French and Latin, 133;
early specimens, 156, 157;
in Dekker, Jonson, Shakespeare, and Middleton, 158.
"Conquest of Granada, The," 226.
"Contention between the two Famous Houses, etc.," 9.
"Contes Drolatiques," 161.
"Coriolanus," 270.
Corneille, treatment of Psyche, 222.
Couplet, in dramatic verse, 204;
treatment by Jonson, Marlowe, Shakespeare, 205.
Critics, incompetence, 37, 38.
"Cure for a Cuckold, A," 24.
Daniel, "Defence of Rhyme," 107.
Dante, Webster compared with, 33, 52;
Marston compared with, 119;
love of country, 202.
Day, 87, 205.
"Dead Term, The" (Dekker), 102.
Decameron
, 93.
"Defence of Rhyme," 107.
Dekker, Thomas (61-112);
collab. with Webster, 19;
part in "Westward Ho!", 20;
comic style, 21, 158;
collab. with Marston and Middleton, 30;
François Villon compared with, 61, 62;
tenderness like Shakespeare, 62;
compared with Jonson, 69-71;
with Blake and Shelley, 72;
moral force, 73;
satirist, 75;
Hunt and Hazlitt on, 78;
compared with Webster, Ford, and Middleton, 81;
with Massinger, 87;
Coleridge on, 88;
Kingsley on, 89, 90;
compared with Dickens, 102, 107;
modern writers compared with, 106-108;
humorist, 106;
style compared with Dryden, 107;
likened to Boccaccio, 108;
as man and poet, 112;
plays unedited, 152;
collab. with Middleton, 161;
allegory compared with Middleton, 168;
Rowley compared with, 191, 193;
faults, 194;
imitated by Rowley, 195;
use of foreign words, 247.
Deloney, Thomas, 91, 92.
Demonology, 161.
Desdemona, type of heroine, 57.
Devereux, Robert, 256.
"Devil's Answer to Pierce Penniless, The" (Dekker), 95.
"Devil's Law-case, The" (Webster), 25, 27, 30, 32, 49, 53.
"Dick of Devonshire," 235.
Dickens, Dekker compared with, 102, 107, 160;
Middleton compared with, 163.
Diderot, 266.
"Dido, Queen of Carthage" (Marlowe), 8.
Dilke,
Old Plays
, 154.
"Dr. Faustus" (Marlowe), 2, 4, 6, 11.
Dodsley's
Old Plays
, 195.
Don Juan, 214.
Donne, John, 126, 257.
Don Quixote, 229.
"Double PP, The, etc.," 97.
Drake, Sir Francis, 18.
Dramatic poetry, evolution of, 216.
"Dream, The" (Dekker), 100.
Drue, Thomas, 207.
Dryden, 82;
Dekker compared with, 107, 157, 221, 226.
"Duchess of Malfy, The" (Webster), 16, 32, 37, 53, 55, 270.
"Duchess of Suffolk, The," 207.
"Duke of Milan, The," 30.
"Dutch Courtesan, The" (Marston), 122, 130-133, 146.
Dyce, 11, 22, 23, 76, 151, 153, 180;
on Webster, 40;
on Middleton, 154, 157, 172;
on Heywood, 232.
"Earthly Paradise, The," 215.
"Eastward Ho!", 129, 130.
"École des Maris," 134.
"Edward II." (Marlowe), 6, 208.
Elegies
, Ovid's, 12;
Tourneur's, 277;
Tennyson's, 278.
"Englishmen for My Money," 85.
English language, dignity, 228.
"English Traveller, The," 240.
"Entertainment" (Marston), 136.
Essex, Earl of, 256.
Euphuism, 147.
Euripides, 37, 169.
"Fair Maid of the Exchange, The," 237.
"Fair Maid of the Inn, The" (Fletcher), 26.
"Fair Maid of the West, The" (Heywood), 212, 241, 243.
"Fair Quarrel, A" (Middleton), 165, 167.
Falstaff, 179.
"Family of Love, The" (Middleton), 159, 181.
"Famous History of Sir Thomas Wyatt, The," 19.
"Fatal Curiosity" (Heywood), 239.
First great English poet, 1, 189.
Flamineo, 48, 52.
Fleay,
Biographical Chronicle
, 205;
on Heywood, 228, 246, 249.
Fletcher, "Fair Maid of the Inn, The," 26;
Webster compared with, 26;
tragic poet, 30;
compared with Shakespeare, 65;
comic style, 165;
metrical beauty, 172, 174;
Middleton compared with, 172, 174, 178;
collab. with Beaumont, 182;
realism, 214;
Heywood compared with, 232;
faults, 234;
"Flitcher," 237;
Chapman's feeling toward, 260.
Ford, 81, 172, 177.
Foreign words, abuse of, 246.
"Fortune by Land and Sea," 243, 244.
"Four Brides of Noah's Ark," 106.
"Four Prentices of London, The," 193, 225, 228.
Francis I., 258.
Franklin, 254.
French comedy, 133.
French history, source for Chapman, 258.
Froissart, 229.
"Game at Chess, A," 157, 171.
Gautier, 231.
"Gentle Craft, The" (Dekker), 64.
"Gentleman Usher, The" (Chapman), 259.
German criticism, 19.
Gifford, on Dekker and Jonson, 69, 70, 90;
on Marston, 122, 276.
Gil Blas, 210.
Giocondo, 110.
"Gloriana" (Lee), 82.
Glover, 38.
God, as term in literature, 286.
Goethe, on Marlowe, 2, 3.
"Golden Age, The" (Heywood), 216.
Goldsmith, Dekker compared with, 106.
Greene, Robert, 50, 73, 101.
Grenville, Richard, 18.
"Grim the Collier of Croydon," 84.
Grosart,
Barnfield
, 51;
on Dekker, 91, 99;
on Marston, 126.
"Gull's Hornbook, The" (Dekker), 97.
Hall, 125.
Hallam on Heywood, 3, 199, 232.
"Hamlet," 144, 176, 179;
influence on Tourneur, 276, 282, 284.
Haughton, 73, 87.
Hazlitt, on Dekker, 78, 79, 181, 190;
on Heywood, 201.
Hebrew Bible, influence of, 281.
"Heliogabalus," 231.
Henry IV., reign of, 258.
Henry, Prince of Wales, 256.
"Hero and Leander" (Marlowe), 13, 136, 256.
Heroine, orthodox ideal of, 247;
cf. also 157 note.
Hesiod, 256.
Heywood, Thomas (200-254), realism, 65, 215;
"The Royal King," etc., 193;
characters from life, 201;
love of country, 202;
of London, 202;
pathos and humor, 204;
patriotism, 210;
imitator of Theocritus, 214;
William Morris compared with, 215;
power of condensation, 217;
character as poet, 224, 225;
influence of civic services, 226;
compared with Fletcher, 232;
best play, 233, 234;
national quality in, 236, 254;
dramatic force, 245;
disciple of Jonson, 251;
prose, 253;
story-telling, 253.
"Hierarchie of the Blessed Angels, The" (Heywood), 212.
"Hippolytus," 37.
History, treatment on stage, 18, 19.
"Histriomatrix," 126, 139, 140. [Transcriber's note: in the text, "Histriomastix"]
Hogarth, 158.
Homer, 220;
Chapman on, 255-261.
"Honest Whore, The," Webster's part in, 21;
Dekker's, 74, 75;
Middleton's and Rowley's, 183.
Hood, 138.
Horace, 143.
Horne, 152.
"How to Choose a Good Wife from a Bad" (Heywood), 247.
Hugo, Victor, son of, 4; 33, 38;
Dekker compared with, 74.
Hunt, Leigh, on Dekker, 78;
on Middleton, 154.
"Hymns" (Homer), 256.
"If you know not me," 206.
"Iliad," Chapman's translation, 255.
"Inner-Temple Masque, The," 179.
"Insatiate Countess, The" (Marston), 135.
"Iron Age, The," 216, 220.
Italian influence, 73, 103, 119, 148, 247.
"Jack Drum's Entertainment," 126, 142.
Jeronimo, 167.
"Jerusalem" (Blake), 279.
"Jests to make you merry" (Dekker), 99.
"Jew of Malta" (Marlowe), 5;
compared with "Dr. Faustus," 6;
with "King Richard II.," 11, 189.
"Jocondo and Astolfo" (Dekker), 110.
Johnson, Dr., 162, 237.
Jones, Inigo, 256.
Jonson, Ben, compared with Shakespeare, 65;
"Poetaster," 68;
compared with Dekker, 69, 70, 111;
collaboration with Dekker, 71;
court characters, 85;
influence on Marston, 122;
"Catiline," 144;
character invention, 158;
compared with Middleton, 165, 172;
treatment of couplet, 205;
model for other poets of the age, 222, 237;
friend of Chapman, 256;
model for Heywood, 251;
Chapman's feeling toward, 260;
ridicules Marston, 276.
Juvenal, Tourneur akin to, 281.
Keats, 223;
on Chapman, 258.
Killigrew, 267.
King Brute, 213.
"King Edward III.," 12.
"King Edward IV.," 203, 230.
"King Henry VI.," Marlowe's part in, 9.
"King Henry VIII.," Fletcher's part in, 174.
King James, 129;
demonology, 161, 213, 256.
"King Lear," 16, 31, 176.
"King Richard II.," 6, 208.
Kingsley, on Webster, 42;
on Dekker, 89, 90.
"Knight's Conjuring, A," 95.
Knox, John, 267.
La Fontaine, 110.
Lamb, Charles, 21, 151, 190;
on Dekker, 63, 66, 78, 162;
on Marston, 122, 123;
on Webster, 140;
on Heywood, 152, 200, 202, 205, 211, 214, 219, 225, 226, 237;
on Middleton, 153, 165, 167, 177;
on Rowley, 187, 197-199, 202;
on Chapman, 258, 259;
on Tourneur, 284.
Landor, Walter Savage, 120, 166;
on Marston, 137;
Rowley compared with, 199.
"Lantern and Candle-light" (Dekker), 101.
"La Reine d'Espagne," 232.
Latin comedy, 133.
"
Latter-day Pamphlets
," 93.
Latouche, Henri de, 232.
"Laugh and Lie Down," 278.
Lee, "Gloriana," 82.
"Life of Merlin, surnamed Ambrosius" (Heywood), 112.
Lillo, 239.
"Lingua," 170.
Little Dorrit
, 100.
London, 11, 203, 214, 245.
"London's Tempe," 84.
Longfellow, 38.
"Love's Mistress," 222.
Lowndes, 278.
"Loyal Subject, The" (Fletcher), 232.
Lucrezia Borgia, 209.
"Lust's Dominion," 85, 152.
"Lycidas," 157.
Lyly, parody on "Antonio and Mellida," 147.
Lyric poetry before Shakespeare, 242.
Macaulay, on Milton, 104.
"Macbeth," relation to "The Witch," 172, 252.
Machiavelli, 84.
"Mad World, My Masters, A" (Middleton), 160.
"Maid's Tragedy, The," 30.
"Maidenhead Well Lost, A," 231.
"Malcontent, The" (Marston), 22, 116;
Webster's part in, 124, 129.
Mallory, 229.
"Manfred," 3.
Mantalini, 24.
Marlowe, Christopher (1-14),
influence on Shelley, 1, 13;
on Milton, 5;
on Nathaniel Lee, 7;
compared with Shakespeare, 7, 194, 208;
comic spirit, 10, 11;
translations of Ovid and Lucan, 12;
lyric quality, 13;
place in literature, 14;
compared with Webster, 33, 58, 59;
impostures of, 85;
Bullen's edition, 151;
Middleton compared with, 172;
model for others, 178;
first great poet of England, 189;
treatment of couplet, 205, 260.
Marmion, 222.
Marston, John, (112-149),
tragic spirit compared with Webster's, 17, 30, 59;
collaboration with Webster, 22;
relations with Jonson, 112, 113, 127;
tragic style compared with Webster, Tourneur, Shakespeare, 114;
characters, 115, 116;
compared with Sophocles, Tacitus, Dante, 117, 119;
influenced by Jonson, 122,
collaboration with, 140, 141;
place among poets, 144;
compared, with Jonson, 146;
satirist, 179;
compared with Tourneur, 276, 277, 281;
ridiculed by Jonson, 276.
Mary Tudor, 207.
"Massacre at Paris" (Marlowe), 7, 10.
Massinger, 30, 87, 90, 194, 237.
"Match at Midnight, A" (Rowley), 192.
"Match Me in London" (Dekker), 84.
"Mayor of Queenborough, The," 167.
"Medea," the, 37.
Meltun Society, 157
note
.
"Menaechmi, The," 217.
"Michaelmas Term" (Middleton), 158.
"Microcynicon," 179.
Middleton, Thomas (150-187),
place as tragic poet, 30;
associated with Dekker, 75-77, 87;
poet of city, 85;
comic style, 158;
associated with Rowley and Dekker, 161;
"The Widow," 165;
allegory compared with Dekker's, 168;
obligations to Shakespeare, 172;
compared with Chaucer, 177;
a second poet by same name (?), 180;
collaboration with Rowley, 182;
comedy, 190;
cf. "Meddletun," 237.
"Midsummer Night's Dream," compared with "Old Fortunatus," 65.
Millais, 203.
Milton, indebted to Marlowe, 5, 38, 50, 95, 150;
indebted to Middleton, 157, 170, 236, 199;
indebted to Heywood, 217.
Minto, on Chapman, 260.
"Miseries of Enforced Marriage, The," 246.
"Misery of a Prison and a Prisoner, The" (Dekker), 99.
Molière, Dekker compared with, 107:
Marston, 132, 133, 211;
Heywood, 211, 216, 222.
"Monsieur d'Olive" (Chapman), 259.
Morality plays. 156.
"More Dissemblers Besides Women" (Middleton), 164.
Morris, William, 215, 223.
"Mountebank's Masque," 138.
Musaeus, 256.
"Myrrha" (Barkstead), 136.
Nash, Thomas, 8, 100, 180, 188.
National characteristics on Heywood, Sidney, etc., 254.
Nelson, 254.
Newman, J.H., 89, 90.
"News from Hell," 95.
"New Wonder, A, etc." (Rowley), 191.
"Northward Ho!", 20.
"No Wit, No Help Like a Woman's" (Middleton), 165.
"Odyssey," Chapman's translation, 256.
"Old Fortunatus" (Webster), 21, 30;
"Midsummer Night's Dream" compared with, 65.
"Old Law, The" (Rowley), 167.
Old Plays
, Dilke's. 154, 195.
One-part plays, 237.
"Othello," 16, 31.
Ovid, Marlowe's translations, 12;
source for Heywood, 218;
Dryden's translations, 221.
Oxford, 255.
Painter, William, 58.
"Palace of Pleasure, The" (Painter). 58.
"Paradise Regained," 157.
"Parasitaster, The" (Marston), 133, 146.
"Parliament of Bees, The," 85.
"Passionate Shepherd, The" (Marlowe), 13.
"Patient Grissel," 72.
Patient Grizel, type of heroine, 247.
Patriotism in Dante, Coleridge, Shakespeare, Virgil, 202;
in Heywood, 243, 245.
Peele, George, 69, 205.
Percy Society, 188.
"Persae," the, 81.
Persius, Tourneur akin to, 281.
"Phoenix and Turtle, The," 138, 156.
Pickwick Papers
, 100.
Plautus, imitated by Dryden, Molière, Rotrou, 216;
model for Heywood, 231, 240.
Plymouth, 243.
"Poetaster, The" (Jonson), 68, 133, 138.
Ponsard, 38.
Pope, 82, 228.
"Prince Nicander's vein," 223
Protestant animosity in drama, 207.
Prynne, William, 207.
Psyche, subject of English poetry, 222, 223, 251.
"Puritan, The," 181.
Puritanism, 241, 278, 281, 286
note
.
"Pygmalion's Image," 136.
Queen Elizabeth, 69, 105, 168, 211-213, 256.
"Queen of Corinth, The," 178.
Quevedo, 95.
Rabelais, 95; Rowley compared with, 190.
Raleigh, Sir Walter, 69.
Rand
, verb, 189.
"Rape of Lucrece, The," 223.
"Raven's Almanack, The" (Dekker), 103.
Realism, in dialogue, 194;
of Heywood and Fletcher, 214, 247;
differentiated from romanticism, 234.
"Rehearsal, The," 226.
Renascence, 281.
Restoration, the, 157
note
, 259, 278.
"Return from Parnassus, The," 141.
"Revenger's Tragedy, The" (Tourneur), 176, 268, 273, 287.
"Roaring Girl, The," 161.
"Robert, Earl of Huntington," 73.
Rochester, Lord, 157.
"Rod for Runaways, A" (Dekker), 103.
"Romeo and Juliet," 69, 179, 247.
Rotrou, 216.
Rowley, William (187-199), genius in comedy and tragedy, 24, 166-168;
collaboration with Middleton, 161, 179, 181-183;
compared with Dekker and Nash, 188;
akin to Rabelais, 190;
comic style compared with Dekker, Middleton, Heywood, 191;
theory of verse, 194;
best as tragic poet, 196, 197;
compared with Heywood, 244.
"Royal King and Loyal Subject, The," 193, 232.
St. George's Day, 190.
"St. Patrick for Ireland" (Shirley), 194.
"Samson Agonistes," 157.
Sancho Panza, 229.
"Sardanapalus," 267.
"Satiromastix" (Dekker), 69, 127, 128.
Scott, Sir Walter, 84;
on Middleton, 153.
"Seaman, The," 96.
"Search for Money, A," 188.
"Second Maiden's Tragedy, The," 174.
"Sejanus," 144.
Selden, 163.
Settle, Elkanah, 157
note
.
"Seven Deadly Sins of London, The," 93.
Shadwell, 251, 267.
Shakespeare, Marlowe compared with, 2, 10, 14;
translated by Hugo, 4;
indebted to Marlowe, 5, 14, 36;
Webster compared with, 15-17, 29, 30, 33, 38, 44-46, 52, 54, 57, 58;
collaboration with Rowley, 24;
doctrine compared with Aeschylus, 31;
lyric quality, 50;
greatest contemporary of, 55;
light comedy, 64;
Webster on, 65;
Dekker compared with, 67, 71,
in humor, 108;
burlesqued by Dekker, 68, 81;
admonitory style in dialogue, 98;
"Venus and Adonis," 136;
obscurity like Marston's, 137, 144;
above Milton, Coleridge, and Shelley, 150;
Middleton compared with, 154, 155,
in humor, 158;
characters, 166, 182, 184;
obligations to Middleton, 172;
tragic invention, 176;
method of work, 178;
compared with Rowley, verse quality, 191, 194;
patriotism, 202;
treatment of couplet, 205;
on chronicle plays, 206, 209;
"Richard II.," 208;
Heywood compared with, blank verse, 224;
national qualities in, 236;
Dr. Johnson on, 237;
humanity, 243;
use of foreign words, 246;
quoted in Heywood's plays, 249;
reference to Chapman, 260;
Tourneur compared with, in dramatic dialogue, 263;
verse music, 270;
tragic hero, 274;
poetic style, 276.
Shakespeare Society, 19.
Shelley, Marlowe's influence on, 1, 16, 38;
Dekker compared with, 72;
Marston, 137, 141, 177, 258.
Shirley, 30, 38, 163, 194, 221.
"Shadow of Night, The" (Chapman), 255.
"Shoemaker, a Gentleman, A" (Rowley), 193.
Sidney, Sir Philip, 18, 66, 68, 224, 254, 258.
Sigurd, 214.
"Silver Age, The," 216.
"Sir Giles Goosecap," 128.
"Sir Peter Harpdon's End," 215.
"Sir Thomas More," 19.
"Sir Thomas Wyatt, The Famous History of," 19, 22.
"Sir Tristrem," 153.
Slang, Rowley's, 195.
Socrates, 169.
Somerset, Earl of, 256.
Sophocles, Webster compared with, 35-37, 52, 218, 221.
"Sophonisba" (Marston), 116.
Southey, on Rowley, 199.
Sovereign of modern poets, 35.
Spain in drama, 168, 194, 210, 234.
"Spanish Gipsy, The," 177, 179.
"Spanish Moor's Tragedy, The," 85.
Spenser, 1.
Stanihurst's Virgil, 280.
Sterne, Dekker's style compared to, 107;
morbidity, 121.
"Strange Horse-race, A" (Dekker), 102.
Strozzi, Ercole, 209.
Study of Shakespeare, A
, 11.
Suckling, Sir John, 157.
Sue, Eugène, 33.
Swift, Jonathan, prose, 8, 17, 121, 220;
Tourneur compared to, 264.
Tacitus, Marston's dialogue compared with, 119.
"Tamburlaine," 2, 4, 11.
"Taming of the Shrew, The," Marlowe's part in, 11.
Tennyson, Webster's verse compared with, 20, 38, 208;
Heywood compared with, 236, 278.
Thackeray, Dekker's humor compared with, 106, 108.
Thames, the, 190.
Theocritus, imitated by Heywood, 214.
"Thomas of Reading, etc.," 91.
"Three Hours After Marriage," 82.
"Titus Andronicus," 12.
Tourneur, Cyril (262-289), cynicism compared with Webster, 17, 60;
verse compared with Middleton, 172, 176;
poetic passion, 182;
allegory, 180;
reflective quality, 263;
dialogue compared with Shakespeare, Webster, 263;
shows influence of age, 268;
verse quality, 269, 270;
dramatic quality, 271, 272;
revenge as theme, 273;
master-work, 273;
comparable only with Shakespeare, 276, 277, 280, 281, 282, 288;
sublimity, 280;
akin to Juvenal, Persius, 281;
tragic style, 285;
moral passion, 289.
"Transformed Metamorphosis, The" (Tourneur), 180, 279.
Travel, motive for drama, 242.
"Travels of Three English Brothers, The," 242.
"Trial of Chivalry, The" (Heywood), 228, 229, 235.
"Traitor, The," 30.
"Trick to Catch the Old One, A" (Middleton), 158, 160.
"Troilus and Cressida," 220, 223, 277.
"Troja Britannica" (Heywood), 212.
Troy "Histories" of, 213.
Tupper, Martin, 228.
Turner, 285.
Twain, Mark, 228.
"Two Foscari, The," 267.
"Two Gentlemen of Verona," 155.
"Two Noble Kinsmen, The," Shakespeare's part in, 20.
"Tyrannic Love," 226.
Vanini, Tourneur successor of, 266.
Vere, Sir Francis, Tourneur's elegy on, 277.
"Venus and Adonis," 238.
Villon, François, Dekker compared with, 61.
Vindice, 60.
Virgil, source for "Dido, Queen of Carthage," 8;
love of country, 202.
"Virgin Martyr, The" (Dekker), 88, 194.
"Volpone," 144.
Voltaire, 199.
Watson, 141.
Webster, John (15-67), tragic imagination compared with Shakespeare,
15, 29, 30, 58, 59, 176, 190;
collaboration with Dekker, 19;
with Rowley, 23, 24;
independent of other poets, 32;
tragic quality, 46;
lyric quality, 51;
metrical faults, 53, 54;
compared with Marlowe, 58;
with Marston, 59;
with Middleton, 172, 182;
foreign words, 246;
compared with Tourneur, dialogue, 263;
verse, 270;
style, 276, 280;
tragic heroes, 281.
"Westward Ho!", 20.
"What you Will" (Marston), 127, 128, 146.
"White Devil, The" (Webster), 16, 32, 37, 40, 270.
"Whore of Babylon, The," 168.
"Widow, The" (Middleton), 164.
"Widow's Tears, The" (Chapman), 259.
Wilkins, George, 244.
"William Eps his death" (Dekker), 95.
"Wisdom of Solomon, The," 180.
"Wise Woman of Hogsdon, The" (Heywood), 245.
"Witch, The" (Middleton), relation to Macbeth, 171, 172.
Witchcraft, 251.
"Witches of Lancashire, The," 250, 251.
Wither, 50.
"Woman Killed with Kindness, A" (Heywood), 212, 238, 240, 249.
"Women Beware Women" (Middleton), 175, 177.
"Wonder of a Kingdom, The" (Dekker), 84.
"Wonder of Women, The" (Marston), 116, 122.
"Wonderful Year, The," 93.
Wood, Anthony, on Chapman, 255.
Wordsworth, love of country, 202;
Heywood compared with, 236.
"Work for Armourers" (Dekker), 102.
"Works and Days," Chapman's translation, 256.
"World Tost at Tennis, The," 179.
"Your Five Gallants" (Middleton), 160.
Zola, Émile, 33.
THE END
