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WILLIAM SHAKESPEARE

A CRITICAL STUDY

BY

GEORGE BRANDES

CONTENTS WILLIAM SHAKESPEARE BOOK FIRST

I A BIOGRAPHY OF SHAKESPEARE DIFFICULT BUT NOT IMPOSSIBLE II STRATFORD—PARENTAGE—BOYHOOD III MARRIAGE—SIR THOMAS LUCY—DEPARTURE FROM STRATFORD IV LONDON—BUILDINGS, COSTUMES, MANNERS V POLITICAL AND RELIGIOUS CONDITIONS—ENGLAND'S GROWING GREATNESS VI SHAKESPEARE AS ACTOR AND RETOUCHER OF OLD PLAYS—GREENE'S ATTACK VII THE "HENRY VI." TRILOGY VIII CHRISTOPHER MARLOWE AND HIS LIFE-WORK—TITUS ANDRONICUS IX SHAKESPEARE'S CONCEPTION OF THE RELATIONS OF THE SEXES—HIS MARRIAGE VIEWED IN THIS LIGHT—LOVES 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 GENTLEMEN OF VERONA XI VENUS AND ADONIS: DESCRIPTIONS OF NATURE—THE RAPE OF LUCRECE: RELATION TO PAINTING XII A MIDSUMMER NIGHTS DREAM—ITS HISTORICAL CIRCUMSTANCES—ITS ARISTOCRATIC, POPULAR, COMIC, AND SUPERNATURAL ELEMENTS XIII ROMEO AND JULIET—THE TWO QUARTOS—ITS ROMANESQUE STRUCTURE—THE USE OF OLD MOTIVES—THE CONCEPTION OF LOVE XIV LATTER-DAY ATTACKS UPON SHAKESPEARE—THE BACONIAN THEORY—SHAKESPEARE'S KNOWLEDGE, PHYSICAL AND PHILOSOPHICAL XV THE THEATRES—THEIR SITUATION AND ARRANGEMENTS—THE PLAYERS—THE POETS—POPULAR AUDIENCES—THE ARISTOCRATIC PUBLIC—SHAKESPEARE'S ARISTOCRATIC PRINCIPLES XVI THE THEATRES CLOSED ON ACCOUNT OF THE PLAGUE—DID SHAKESPEARE VISIT ITALY?—PASSAGES WHICH FAVOUR THIS CONJECTURE 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 XVIII RICHARD III. PSYCHOLOGY AND MONOLOGUES—SHAKESPEARE'S POWER OF SELF-TRANSFORMATION—CONTEMPT FOR WOMEN—THE PRINCIPAL SCENES—THE CLASSIC 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—ELIMINATION OF RELIGIOUS POLEMICS—RETENTION OF THE NATIONAL BASIS—PATRIOTIC SPIRIT—SHAKESPEARE KNOWS NOTHING OF THE DISTINCTION BETWEEN NORMANS AND ANGLO-SAXONS, AND IGNORES THE MAGNA CHARTA XX "THE TAMING OF THE SHREW" AND "THE MERCHANT OF VENICE"—SHAKESPEARE'S PREOCCUPATION WITH THOUGHTS OF PROPERTY AND GAIN—HIS GROWING 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 CHARACTERS, ANTONIO, PORTIA, SHYLOCK—MOONLIGHT AND MUSIC—SHAKESPEARE'S RELATION TO MUSIC XXII "EDWARD III." AND "ARDEN OF FEVERSHAM"—SHAKESPEARE'S DICTION—THE FIRST PART OF "HENRY IV."—FIRST INTRODUCTION OF HIS OWN EXPERIENCES OF LIFE IN THE HISTORIC DRAMA—WHY THE SUBJECT APPEALED TO HIM—TAVERN LIFE—SHAKESPEARE'S CIRCLE—SIR JOHN FALSTAFF—FALSTAFF AND THE GRACIOSO OF THE SPANISH DRAMA—RABELAIS AND SHAKESPEARE—PANURGE AND FALSTAFF XXIII HENRY PERCY—THE MASTERY OF THE CHARACTER-DRAWING—HOTSPUR AND ACHILLES XXIV PRINCE HENRY—THE POINT OF DEPARTURE FOR SHAKESPEARE'S IMAGINATION—A TYPICAL ENGLISH NATIONAL HERO—THE FRESHNESS AND PERFECTION OF THE PLAY XXV "KING HENRY IV.," SECOND PART—OLD AND NEW CHARACTERS IN IT—DETAILS—"HENRY V.," A NATIONAL DRAMA—PATRIOTISM AND CHAUVINISM—THE VISION OF A GREATER ENGLAND XXVI ELIZABETH AND FALSTAFF—THE MERRY WIVES OF WINDSOR—THE PROSAIC AND BOURGEOIS TONE OF THE PIECE—THE FAIRY SCENES XXVII SHAKESPEARE'S MOST BRILLIANT PERIOD—THE FEMININE TYPES BELONGING TO IT—WITTY AND HIGHBORN YOUNG WOMEN—MUCH ADO ABOUT NOTHING—SLAVISH FAITHFULNESS TO HIS SOURCES—BENEDICK AND BEATRICE—SPIRITUAL DEVELOPMENT—THE LOW-COMEDY FIGURES XXVIII THE INTERVAL OF SERENITY—AS YOU LIKE IT—THE ROVING SPIRIT—THE LONGING FOR NATURE—JAQUES AND SHAKESPEARE—THE PLAY A FEAST OF WIT 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

BOOK SECOND

I INTRODUCTION—THE ENGLAND OF ELIZABETH IN SHAKESPEARE'S YOUTH II ELIZABETH'S OLD AGE III ELIZABETH, ESSEX, AND BACON IV THE FATE OF ESSEX AND SOUTHAMPTON V THE DEDICATION OF THE SONNETS VI THE "DARK LADY" OF THE SONNETS—MARY FITTON VII PLATONISM—SHAKESPEARE'S AND MICHAEL ANGELO'S SONNETS—THE TECHNIQUE OF THE SONNETS VIII JULIUS CÆSAR—ITS FUNDAMENTAL DEFECT IX JULIUS CÆSAR—THE MERITS OF THE DRAMA—BRUTUS X BEN JONSON AND HIS ROMAN PLAYS XI HAMLET: ITS ANTECEDENTS IN FICTION, HISTORY, AND DRAMA XII "HAMLET"—MONTAIGNE AND GIORDANO BRUNO—ANTECEDENTS IN ETHNOGRAPHY XIII THE PERSONAL ELEMENT IN HAMLET XIV THE PSYCHOLOGY OF HAMLET XV HAMLET AS A DRAMA XVI HAMLET AND OPHELIA XVII HAMLET'S INFLUENCE ON LATER TIMES XVIII HAMLET AS A CRITIC XIX ALL'S WELL THAT ENDS WELL—ATTACKS ON PURITANISM XX MEASURE FOR MEASURE—ANGELO AND TARTUFFE XXI ACCESSION OF JAMES AND ANNE—RALEIGH'S FATE— SHAKESPEARE'S COMPANY BECOME HIS MAJESTY'S SERVANTS—SCOTCH INFLUENCE. XXII MACBETH—MACBETH AND HAMLET—DIFFICULTIES ARISING FROM THE STATE OF THE TEXT XXIII OTHELLO—THE CHARACTER AND SIGNIFICANCE OF IAGO XXIV OTHELLO—THE THEME AND ITS TREATMENT—A MONOGRAPH IN THE GREAT STYLE XXV KING LEAR—THE FEELING UNDERLYING IT—THE CHRONICLE—SIDNEY'S ARCADIA AND THE OLD PLAY XXVI KING LEAR—THE TRAGEDY OF A WORLD-CATASTROPHE XXVII ANTONY AND CLEOPATRA—WHAT ATTRACTED SHAKESPEARE TO THE SUBJECT XXVIII THE DARK LADY AS A MODEL—THE FALL OF THE REPUBLIC A WORLD-CATASTROPHE

BOOK THIRD

I DISCORD AND SCORN II THE COURT—THE KING'S FAVOURITES AND RALEIGH III THE KING'S THEOLOGY AND IMPECUNIOSITY—HIS DISPUTES WITH THE HOUSE OF COMMONS IV THE CUSTOMS OF THE COURT V ARABELLA STUART AND WILLIAM SEYMOUR VI ROCHESTER AND LADY ESSEX VII CONTEMPT OF WOMEN—TROILUS AND CRESSIDA VIII TROILUS AND CRESSIDA—THE HISTORICAL MATERIAL. IX SHAKESPEARE AND CHAPMAN—SHAKESPEARE AND HOMER X SCORN OF WOMAN'S GUILE AND PUBLIC STUPIDITY XI DEATH OF SHAKESPEARE'S MOTHER—CORIOLANUS—HATRED OF THE MASSES XII CORIOLANUS AS A DRAMA XIII TIMON OF ATHENS—HATRED OF MANKIND XIV CONVALESCENCE—TRANSFORMATION—THE NEW TYPE XV PERICLES—COLLABORATION WITH WILKINS AND ROWLEY—SHAKESPEARE AND CORNEILLE XVI FRANCIS BEAUMONT AND JOHN FLETCHER XVII SHAKESPEARE AND FLETCHER—THE TWO NOBLE KINSMEN AND HENRY VIII. XVIII CYMBELINE—THE THEME—THE POINT OF DEPARTURE—THE MORAL—THE IDYLL —IMOGEN—SHAKESPEARE AND GOETHE—SHAKESPEARE AND CALDERON XIX WINTER'S TALE—AN EPIC TURN—CHILDLIKE FORMS—THE PLAY AS A MUSICAL STUDY—SHAKESPEARE'S ÆSTHETIC CONFESSION OF FAITH XX THE TEMPEST—WRITTEN FOR THE PRINCESS ELIZABETH'S WEDDING XXI SOURCES OF THE TEMPEST XXII THE TEMPEST AS A PLAY—SHAKESPEARE AND PROSPERO—FAREWELL TO ART XXIII THE RIDE TO STRATFORD XXIV STRATFORD-UPON-AVON XXV THE LAST YEARS OF SHAKESPEARE'S LIFE XXVI SHAKESPEARE'S DEATH XXVII CONCLUSION THE END THE END

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