Albyon Knight, 143.
Apologie for Poetrie, the, by Sir
Philip Sidney, 81-85.
Appius and Virginia, 146.
Art, the beginnings of, 56; Elizabethan,
113; decline of, 133.
Ascham, Roger, his Toxophilus, 45;
on educating the young, 46; quotes
Lady Jane Grey, 47; on severity
in training a child, 48; necessity
for discipline, 49-51; the English-
man Italianated, 51; ready way of
learning Latin, 52, 53.
BACON, Francis, 6; the Device, 329;
diplomatic talent, 330; great object
in life, 333; friendship for Essex,
333; cases of bribery, 336; his
Essays, 337; hatred of the Church
of Rome, 339; Advancement of
Learning, 344; the Novum Or-
ganum, 350; Art of Experiments,
352.
Bale's King John, 144.
Barnfield, 117.
Beaumont and Fletcher, 258; their
dramatic partnership, 260; Thierry
and Theodoret, 273; Philaster,
274; the Maid's Tragedy, 276;
Knight of the Burning Pestle, 280.
Boccaccio, 6.
Brooke, Lord, his tragedy of Mustapha,
132; Human Learning, 133.
Browne, Sir Thomas, 366.
Browne, William, 355; his Britannia's
Pastorals, 361.
Burton's Anatomy of Melancholy, 366.
CHAPMAN, George, 129; his Cæsar
and Pompey, 290; Bussy d'Ambois,
291; Revenge of Bussy d'Ambois,
293; Biron's Conspiracy, 294.
Chaucer, 56, 57.
Chettle's tragedy of Hoffmann, 169;
on Shakspere's acting, 198.
Colet, John, 12; influence of Savona-
rola's teaching, 13; efforts for reli-
gious reform, 17; and ecclesiastical
custom, 19; founds St. Paul's
School, 41; his Introduction to
Lilly's Grammar, 42.
Company of Courtly Makers, the, 57;
honour and devotion to women, 58;
imitation of Petrarch, 59.
Constable, 68.
Craik, Mr., on the dramatic power of
Beaumont and Fletcher, 282.
Crashaw, Richard, 363; lines on St.
Theresa, 365.
DANIEL'S Sonnets to Delia, 121; His-
tory of the Civil Wars, 129.
Davies, Sir John, his Nosce Teipsum,
133.
Dekker, Thomas, 300; his Fortu-
natus, 301.
Dowden, Prof., on Titus Andronicus,
204; the character of Julia, 207;
definition of comedy and tragedy,
216.
Drama, the, rise of, 135; the three
requisites of, 136; mystery plays,
137; stage - externals, 138; the
Globe Theatre, 139; masques and
pageants, 140; literary allegory, | Gammar Gurton's Needle, 150.
Gascoigne, George, 69.
141; the moralities, 142; influence
of Italian models, 143, 147; of
Seneca, 146; national themes, 148;
development of comedy, 148; de-
cline of the, 284.
Drayton, Michael, 128.
Drummond's sonnets, 121, 122.
Dryden's opinion of Shakspere's writ-
ings, 201.
Dyer, Sir Edward, 132.
EDWARDES' Damon and Pythias, 145,
147.
Elizabethan Thought in Religion, 312;
in Science, 327; Poetry, decline of,
354.
England's Helicon, 117.
Erasmus, 6; a prominent disciple of
the New Learning, 19; his Adagia,
20; the Enchiridion and Praise of
Folly, 20; on Pope Julius II., 22;
The Christian Prince, 23; on the
system of flogging in schools, 42;
the qualifications of a schoolmaster,
43.
Gorboduc, or Porrex and Ferrex, 146.
Gorgeous Gallery of Gallant Invention,
117.
Gosse's criticism of Lodge's writings,
118, 119.
Gosson, Stephen, his Schoole of Abuse,
82.
Gower's chivalry, 59.
Greene's lyric poetry, 119; on con-
tent, 132; his miserable death, 158,
Looking-Glass for London and Eng-
land, 166; Orlando Furioso, 168;
Alphonsus, King of Aragon, George-
à-Greene, and Friar Bacon and
Friar Bungay, 168; attack on
Shakspere in the Groatsworth of
Wit, 197.
Greville, Fulke, 132. See Lord Brooke.
Grey, Lady Jane, her education, 47.
Grimald, 65.
HABINGTON, William, 363, 364.
Hagenbach on the drama, 137.
Handful of Pleasant Delights, A, 117.
Essex, Earl of, his friendship for Bacon, Harrington, Sir John, on Puttenham
333; trial, 334.
Euphuism, 70.
FAUST, legend of, 1.
Ficino, Marsilio, 12.
Fletcher, Giles, his religious poems,
363.
John, his musical lyrics,
120; dedication to the Faithful
Shepherdess, 145; partnership with
Beaumont, 262; Wild Goose Chase,
262, 269; compared with Shelley,
263; Nice Valour, 265; The Loyal
Subject, 265; the Elder Brother,
266; The Custom of the Country,
266; Bonduca, 266; The Spanish
Curate, 268; The Pilgrim, 268;
The Faithful Shepherdess, 269-273.
Phineas, his Purple Island,
362.
Flogging, the system of, in schools,
42.
Ford's Broken Heart, 307; Perkin
Warbeck, 308.
Fuller, Thomas, his Worthies of Eng-
land, 366.
and Sir Philip Sidney, 81.
Harvey, Gabriel, 66; influence of his
friendship on Edmund Spenser, 88-
90.
Herbert, George, 363.
Herrick, Robert, 356; his pastorals,
359; Hesperides, 360; the Daffo
dils, 361; Litany, 364.
Heywood, John, his Four P's, 148.
Thomas, 295; the Brazen,
Golden, and Silver Age, 296; The
Challenge for Beauty, 297; The
Woman killed with Kindness, 297.
Hooker, Richard, 312; importance of
his work, 313; Ecclesiastical Polity,
314-326.
Howard, Henry, Earl of Surrey, his
sonnets, 61; his poem on the death
of Sir Thomas Wyatt, 63.
Hughes, T., his Misfortunes of Arthur,
148.
INGELEND, Thomas, his comedy of the
Disobedient Child, 149.
Italy, Renaissance in, 3-5; influence
on England, 7.
JAMES I. forbids the profane use of
sacred names on the stage, 288.
Jameson, Mrs., on Shakspere's char-
acter of Cleopatra, 228.
Jonson, Ben, 232; his personality and
powers, 233; education, 234; mar-
riage, 234; devotion to the Court,
235; Ode to Himself, 236; admir-
ing criticism of Shakspere, 237 ; his
great ideal, 238; the symbolism
of his masks, 239; Sejanus, 240-
243; Catiline, 243; Every Man
in his Humour, 244; Every Man
out of his Humour, 245; The Case
is Altered, 246; Cynthia's Revels,
247; The Poetaster, 248; comedies,
250; The Alchemist, 250; Volpone,
251; Epicone, 251; Bartholomew
Fair, 251; The New Inn, Mag-
netic Lady, and The Tale of a Tub,
252; The Sad Shepherd, 253-
255.
187; Dr. Faustus, 187-191; his
services to dramatic literature, 191;
compared with Shakspere, 192-
194.
Marston, John, 301.
Massinger, Philip, his Virgin Martyr,
307.
Meres, his Palladis Tamia, 169.
Middle Ages, the, 2, 3.
Middleton's Game of Chess, 288, 298;
his witches compared with Shak-
spere's, 298.
Milton's prose style, 367.
More, Sir Thomas, 25; early promise,
25; member of Parliament, 26; his
asceticism, 26; marriage, 27; em-
bassy to the Netherlands, 28;
Utopia, 29; martyrdom, 29.
Munday, 169.
NASH, Thomas, his dramas, 169.
Naunton, Sir Robert, his Fragmenta
Regalia, 72.
KIRKE, Edward, his preface to the New Learning, the School of, 10; its
Shepherd's Calendar, 88, 98.
Kyd, Thomas, his Spanish Tragedy,
160-163.
work in religion, 11; in Social and
Political Criticism, 25; in Educa-
tion, 41-45.
Newe Custom, 142.
LATIMER'S Sermon of the Ploughers, Norton, Thomas, 146.
Lessing on the method of criticism, Paradise of Dainty Devices, 117.
202.
Passionate Pilgrim, The, 117.
Lodge's Rosalynde, 118; The Wounds Peele, George, 127; his Arraignment
of Civil War, 169.
Lovelace, Richard, 357.
Luther, 11.
Lyly, John, 75; his Euphues, 77;
second book of Euphues, 80; his
lyric in Alexander and Campaspe,
118; classical knowledge, 153;
Woman in the Moon, 154; Midas,
154; Endymion, 154, 155; Sapho
and Phao, 155; Campaspe, 156,
166.
Lyrics, writers of, 117.
Marlowe's contribution to Hero and
Leander, 116, 173; his lyrical
power, 119; Tamburlaine, 174-176;
The Jew of Malta, 177-181;
Edward II., 181-187; Massacre of
Paris, 187; Dido of Carthage,
of Paris, 163; Sir Clyomen and
Sir Clamydes, 164; Battle of
Alcazar, 164; David and Bethsabe,
165.
Pepys' criticism on Shakspere, 201.
Perverse Doctrine, 142.
Petrarch, 5; his 300 sonnets to Laura,
60.
Poetical Rhapsody, A, 118.
Prynne's Histrio-Mastix, 286.
Puttenham's Art of English Poetrie,
81.
RALEIGH, Sir Walter, his friendship
for Spenser, 94; reply to Marlowe's
pastoral song, 130; The Lie, 131.
Renaissance, History of, 1; in Italy,
3; Petrarch its grandest repre-
sentative, 5; second great period
6; third age, 6.
SACKVILLE, Thomas, Lord Buckhurst,
68; his Mirror for Magistrates,
69.
Savonarola, 12; his influence, 13.
Shakspere's love poems, Venus and
Adonis, 114; Lucrece, 115; his
sonnets, 122-126; theories regard-
ing his early life, 196; in London,
197; his acting, 198; returns to
Stratford, 199; popular estimate
of his genius, 201; his character-
isation, 203; Titus Andronicus,
203; first part of Henry VI., 204;
Richard II., 205, 213, 215; Love's
Labour Lost, 205; As You Like
It, 205; Comedy of Errors, 206;
Two Gentlemen of Verona, 206;
Richard III., 209; Henry V., 210-
212; Falstaff, 212; his comedies,
216; female characters, 218;
Romeo and Juliet, 219; Julius
Caesar, 221-224; Macbeth, 224-
226; Hamlet, 226, 227; Coriola-
Munster, 93; writes his Faery
Queen, 94; returns to England, 94;
marriage, 95; death, 96; his works,
97; The Shepherd's Calendar, 98-
101; Muiopotmos, 101; The Ruines
of Time, 102; Tears of the Muses,
103; Mother Hubbard's Tale, 103;
Colin Clout's Come Home Againe,
104; the Epithalamion, 104; the
Faery Queen, 105; object and plan
of the book, 106; its allegory and
political allusions, 109.
Still, John, 150.
Suckling, Sir John, 358.
TAINE on the Drama, 140; on Shak-
spere's female characters, 218.
Taylor, Jeremy, 368.
Tom Tiler and his Wife, 143.
Tottel's Miscellany, 59.
Tourneur, Cyril, his Atheist's Tragedy,
309.
nus, 227; Antony and Cleopatra, | UDALL's Ralph Roister Doister, 149.
228; Othello, 228; King Lear, Utopia, More's, first book, 30-33;
228; The Tempest, 229.
second book, 33-41.
Shirley, James, 310.
Sidney, Sir Philip, 66; sonnets to
Stella, 67, 68; embassy to Ger-
many, 72; Arcadia, 73; Apologie
for Poetrie, 81-85; dramatic criti-
cism, 85, 140.
Sismondi on the Sonnet, 61.
Skelton's Magnificence, 142.
Sonnet, the, 61; development of, in
England, 121.
Spenser, Edmund, 82; influence of
his poetry, 86; education, 88;
attempts in the dramatic line, 90;
influence of Rosalind, 90; friend-
ship for Sidney, 91; goes to Ire-
land, 92; clerk to the Council of
VAUGHAN, Henry, 363, 364.
Vaux, 65.
WARNER's Albion's England, 127.
Watson, 68.
Webbe's Discourse on English Poetrie,
81.
Webster, John, 303; his White Devil
of Italy, 304; The Duchess of
Malfy, 305, 363.
Whetstone, George, his Promos and
Cassandra, 147.
Wither, George, 358, 361.
Wotton, Sir Henry, 132.
Wyatt, Sir Thomas, 63, 64.
Printed by R. & R. CLARK, Edinburgh.
|