is well seized; the characters have that individuality which Shakspeare seldom misses."*

I acknowledge carelessness in omitting to notice the address of Marcellus, the tribune to the people :

"Wherefore rejoice? What conquest brings he home?

What tributaries follow him to Rome,

To grace in captive bonds his chariot wheels?
You blocks! you stones! you worse than senseless
things!

Oh, you hard hearts! you cruel men of Rome,
Knew ye not Pompey? Many a time and oft
Have you climb'd up to walls and battlements,
To towers, and windows, yea, to chimney tops,
Your infants in your arms, and there have sat
The live-long day, with patient expectation,
To see great Pompey pass the streets of Rome;
And when you saw his chariot but appear,
Have you not made an universal shout,
That Tiber trembled underneath his banks,
To hear the replication of your sounds,
Made in her concave shores?

And do you now put on your best attire?
And do you now cull out a holiday?
And do you now strew flowers in his way,
That comes in triumph over Pompey's blood?
Begone;

• P. 571.

Run to your houses, fall upon your knees,
Pray to the gods to intermit the plague
That needs must light on this ingratitude.”

Of these lines, Campbell says, that "they are among the most magnificent in the English language," and so they strike me. With slight exceptions, the ideas are simple and homely; but the words tell, like one of the Duke of Wellington's speeches, where florid ornament might fail.

ANTONY AND CLEOPATRA. "This play," says Hallam, "does not furnish perhaps, so many striking beauties as the last, but is at least equally redolent of the genius of Shakspeare. Antony, indeed, was given him by history, and he has but embodied in his own vivid colours the irregular mind of the triumvir-ambitious and daring against all enemies but himself. In Cleopatra he had less to guide him. She is another încarnation of the same passions, more lawless and insensible to reason and honour, as they are found in women. This character being not one that can please, its strong and spirited delineation has not been sufficiently observed. It has, indeed, only a political originality, the type was in the courtezan of common life, but the resemblance is that of Michael Angelo's sybils to a muscular woman. In this tragedy, like Julius Cæsar, as has been justly observed by Schlegel, the events that do not pass on the stage are scarcely made clear enough to one who is not previously

acquainted with history, and some of the persons appear and vanish again without sufficient reason. He has, in fact, copied Plutarch too exactly."*

Of the three Roman plays this judicious critic says:

"Coriolanus is less rich in poetical style than the other two, but the comic parts are full of humour. In these three tragedies it is manifest that Roman character, and still more, Roman manners, are not exhibited with the precision of a scholar; yet there is something that distinguishes them from the rest, something of a grandiosity in the sentiments and language which shews that Shakspeare had not read the history without entering into its spirit."†

* iii. 571.-See Campbell, p. lxi.

† P. 573.

INDEX.

ABERGAVENNY, Earl of, i. 77.

George Neville, third lord, ii. 122.

Actium, battle of, ii. 271.

Agincourt, battle of, i. 189-205.

Albany, John Stewart, Duke of, ii. 124.

Alençon, Duke of, i. 205.

Amyot, Thomas, i. 35; on the death of Richard II., 72.

Angers, town of, i. 6.

Anglia Sacra, quoted, i. 131, 134.

Angus, Scottish noble, ii. 200, 201.

Anjou and Maine, i. 3, 260, 287.

Anne, daughter of Warwick, wife of Prince Edward, and of
Richard III., betrothed to Edward, ii. 27; her marriage,
30, 31; with Richard, 65; her disguise, 66; her wooing,
68; her death, 100; her dress, 102; her character, 117.
Anne Boleyn, first mentioned, ii. 136, 140: how far the
cause of the divorce, 144-8, 153; scene with the old lady,
148; her marriage, 156, 158; Gardiner's hostility, 165:
her character, 308, 309.

Antony and Cleopatra, the play, ii. 264, 281.

−, Mark, ii. 231, 232, 236, 237, 247, 268, 271; his
address to Cæsar's corpse, 239; his speech over it, 241,
258, 287; over Brutus, 255; captivated by Cleopatra, 264,
268; jealous of her, 271; observes on his wife, 267; his
character, 272, 274.

Appeal of treason, i. 39.

Appian, ii. 256.

Archæologia, quoted, i. 46, 47, 54, 56, 57, 58, 59, 64, 65, 69.
Archers, English, at Homildon, i. 76.

Armagnac, Earl of, i. 252, 263.

Armorial bearings worn at Agincourt, i. 198.

Armourer, the, and his man Peter, i. 273.

Arnold's History of Rome, quoted, ii. 212, 226.

Arthur of Bretagne, Prince, the King of France claims the
crown for him, i. 2; knighted, 5; why so named, ib.;
created Earl of Richmond, 11; his disposition, 15; scene
with Hubert, 16; death, 20; discontents thereat, 23.
Arundel, Richard Fitz-Alan, Earl of, i. 38.

Ashley, Lady, ii. 63.

Attainder of the Yorkists, i. 307; ii. 5, 12; of Clarence,
73, 90; of Richard III., 96.

Audley, James Touchet, fifth lord, ii. 4.

Aumerle, Edward Plantagenet, Duke of.-See York.

Austria, Archduke of, i. 3.

Bacon, Lord, i. 35.

Bagot, Sir John, i. 44, 47, 61.

Banquo, ii. 178, 193, 195.

Barante, quoted, i. 222.

Bardolph, Lord, i. 120, 123, 136.

Falstaff's companion, i. 84, 137, 184.

Barons of England, their revolt against John, i. 27

Basset, i. 249.

Bayonne, Bishop of, ii. 144.

Beaufort, Cardinal, i. 213; bickerings with Gloucester, 217,
224, 237, 240; a negociator, 254; his part in the king's
marriage, 256, 266, 268; described, 269; concerned against
Elinor, 270, 272, 277, 279, 280; his death, 288; character,
313.

family, ii. 115.

Beaumont, John, first viscount, i. 6.

Bedford, John Duke of, (see Prince John of Lancaster,) i.
174, 194, 196, 197, 213, 222, 223, 224, 237; his death,
227.