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CHAPTER IL

External corroborations-Shakspere's outer life from 1594 to 1601 —

An independent man, and therefore a free artist—The Ideal in the

Real seen by him-Refinement and elegance—The Inward Vision-

The light of an Idea—Revelation-Taste, its outward action some-

times injurious—Shakspere his own model–His liberty and men-

tal quiet secured, an upward flight possible–Shakspere in 1598 an

acknowledged poet-Data and proofs—"Sir John Oldcastle," by

Munday, Drayton, Wilson, and Hathaway, attributed to him-

Robert Chester's “Love's Martyr”—The death of John Shakspere

(1601)—The relation of morals and manners in Shaksperian co-

medy, and the predominance of the Ideal-Genius and nature

Intuition and experience

P. 253

PART IV.

EPIC AND IMAGINATIVE PERIOD-1601-1613.

CHAPTER I.

Simple construction --General recapitulation-"Othello" eminently

a love-tragedy—“Measure for Measure"—its mythological mean-

ing-Poetic insight

P. 263

CHAPTER II.

Complex Structure. (a) Conventional-Shakspere's choice of epio

subjects, such as "Lear," and his introduction of episodes into the
nal, August 1849

ground-plan—" Troilus and Cressida"-— These dramas not written for the sake of popularity, but for his own satisfaction as an artist

— They are transcendental in their character; but they are also conservative as against the reactionists of his age, and intended to reëstablish conventions, disturbed by revolution, but designed to be better secured by the Reformation—The reconstruction of order and authority henceforth his aim-Differences between Shakspere and Homer- Analogies between him and Bacon—"Cymbeline"This play also in favour of marital conventions— Treats of a period more civilised than the two former plays — Mulmutius Dunwallo, the legendary founder of our laws-Shakespere's knowledge and art—Dr. Johnson's incompetency as a dramatic critic-Shakspere's testimony in favour of woman and of marriage—“A Winter's Tale”

-Ballad literature—Second marriages. () Universal—Ideal and purely Poetic–Imagination—"Macbeth”—

-Superstition Pertains to the age as well as to the hero — The weird-sisters used as exponents of his mental state-Correction of some mistakes usually made as to the relative positions of Macbeth and his wife—The symbolic nature of this tragedy, and its treatment- The English equally superstitious with the Scotch at the period of the action - The relative nexus of religion and superstition--Political motives, with the superstitious, dominate rightLady Macduff—The cluster of Roman plays — “Coriolanus”.

“Julius Cæsar”—“Antony and Cleopatra." (c) Abstract and Intellectual — The purely imaginative and ideal play

of “The Tempest” — Shakspere's two last, and somewhat incomplete, dramas of “Timon of Athens” and “Henry VIII.” — The

Globe Theatre burned down CONCLUSION

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P. 421

APPENDIX.

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.

P. 485

A. REPRINT OF THE ARTICLE ON SHAKSPERE'S SONNETS from Temple

Bar, April 1862
B. CHRONOLOGY OF THE PLAYS, ETC.

. 503 C. A PAPER ON MACBETH, reprinted from People's and Howitt's Jour

.

P. 505

INTRODUCTION

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