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Георг Брандес. William Shakespeare: A Critical Study
William Shakespeare: A Critical Study
Table of Contents
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
