Chapter 17
the christening of Anne Bullen's daughter Elizabeth. If any of this act be by Shakespeare it can only be the first scene.
Little of this play is by Shakespeare. The greater part of it is by John Fletcher. Some scenes bear the marks of a third hand, like that of Philip Massinger. The play reads as though the two lesser poets had worked from a scenario of Shakespeare's less complete than the draft of _Troilus and Cressida_. It is certain that they received no hint of the lines on which Shakespeare meant to proceed after the end of Act III. Not knowing what to do, they patched up a piece without any central tragical idea, and hid their want of thought with much effective theatrical invention, pageants, a trial, a coronation, a christening, etc., and with bright, facile, vinous dialogue, of the kind that will hold an uncritical audience. The play, when done, was mounted with extreme splendour at the Globe Theatre. Wadding from the cannons discharged in the first act set fire to the theatre, and burned it to the ground, June 29, 1613.
Shakespeare's dramatic intention is indicated in the scenes written by him. Knowing his practice, and having before us Holinshed, his authority, it is easy to sketch out the kind of play that he would have written by himself. Wolsey, eaten up by his obsession for worldly power, betraying Buckingham to his fall, breaking the power of the Queen, and ruling England, would have filled the first two acts. The third act would have told (much more subtly than Fletcher has told) of his downfall. Fletcher attributes the downfall to the chance discovery of his attempt to thwart the king's marriage with Anne Bullen. That discovery would have been put to full dramatic use by Shakespeare; but it would have been represented as something working from beyond the grave, the result of many unjust acts that have cried to God for justice till God hears. The last acts would have exposed other sides of Wolsey's character. The play would have been a fuller, nobler work than _Richard II_, and of an ampler canvas than _Timon_. Shakespeare's share in the play as we have it is all noble work. Wolsey, Katharine and the King are drawn with the great, sharp, ample line of a master. The difference between genius and supreme genius is shown very clearly in the first act, where a great work, greatly begun, with the masterly power of exposition that makes Shakespeare's first acts like daybreaks, is ended by another spirit, without vision, but with a tremendous sense of Vanity Fair.
WORK ATTRIBUTED TO SHAKESPEARE
A play called _Cardenno_, or _Cardenna_, was acted at Court by Shakespeare's company in 1613. It is thought that this play was the _History of Cardenio_, described as "by Fletcher and Shakespeare," which was licensed for publication in 1653 but never published. The play is now lost. It was attributed to Fletcher and Shakespeare on very poor authority.
_Arden of Feversham_ is a domestic tragedy founded on a story told by Holinshed. It was published anonymously in 1592. It is held by some to be an early work of Shakespeare's, on the ground that no other known poet, then living, could have written it. It is a strong play, but it is the work of a joyless mind. It bears no single trace of Shakespeare's mind. It could not have been written by him at any stage in his career.
_Edward III_ is an historical chronicle play by at least two unknown hands. It was published anonymously in 1596. Some think that part of Act I and the whole of Act II (dealing with the King's obsession of passion for the Countess of Salisbury) were by Shakespeare, on the grounds that the writing is too good to be by anybody else then living, and that the unknown author makes use of a line and a phrase which occur in the genuine sonnets of Shakespeare. The scenes attributed to Shakespeare contain several beautiful lines in something of the Shakespearean manner. The construction of the scenes, and their relation to the rest of the play is un-Shakespearean. It is unlikely that Shakespeare wrote them.
_The Spanish Tragedy_, a play by Thomas Kyd, published in 1592 and reprinted with many additions ten years later, contains in the additions several magnificent scenes of the passion of grief raised to madness. Some think that Ben Jonson wrote these scenes; others, that they are too good to be by any one but Shakespeare. They are not like Shakespeare's work.
_The Two Noble Kinsmen_, a romantic tragedy on the subject of Chaucer's _Knight's Tale_, was first published in 1634. It was described on the title-page as the joint work of Fletcher and Shakespeare. Shakespeare's hand is plainly marked upon the play; but it seems likely that most of the scenes usually credited to him are by Massinger. Few can have ears dull enough to credit Shakespeare with all the scenes that are plainly not by Fletcher.
About a dozen other plays and parts of plays have been attributed to Shakespeare, either by lying publishers, anxious to make money, or by foolish critics eager to make a noise. "Evil men understand not judgment: and he that maketh haste to be rich shall not be innocent." There is not a glimmer of evidence in any line or scene to show that Shakespeare had a hand in any of them.
THE POEMS
_Venus and Adonis._--This poem was published in 1593 with a dedication to the Earl of Southampton, then a youth. In the dedication Shakespeare speaks of the poem as "the first heire of my invention," from which some conclude that it was the first poem ever made public by him.
Though it may be his earliest poem, the thought expressed by it is the thought expressed in the greatest of the plays, that evil comes of obsession.
Venus, a lustful woman, pursuing her opposite, a chaste youth, comes to misery. Adonis, a chaste youth, fleeing from her, comes to death.
The poem is beautiful and wild blooded. It is fierce with the excelling animal zest of something young and untainted.
"The sun ariseth in his majesty Who doth the world so gloriously behold, That cedar-tops and hills seem burnish'd gold."
It is full of the images of delicate quick-blooded things going swiftly and lustily from the boiling of the April in them.
* * * * *
_The Rape of Lucrece._--This poem was published in 1594, with a dedication to the Earl of Southampton. Like so many of the works of Shakespeare, it describes at length the prompting, acting, and results of a treachery inspired by an obsession. Tarquin, hearing of Lucrece's chastity, longs to attempt her. Coming stealthily to her home, in her lord's absence, he foully ravishes her. She kills herself and he is banished from Rome. The subject is not unlike that of _Venus and Adonis_, with the sexes reversed. In both poems the subject is sexual obsession and its results.
_Lucrece_ is a wiser and a finer poem than _Venus and Adonis_. It is constructed with the art of a man familiar with the theatre. The delaying of the great moments so as to heighten the expectation, is contrived with rapturous energy. The poem is heaped and overflowing with the abundance of imaginative power. The wealth of the young man's mind is poured out like life in June.
It is strange that both Lucrece and Hamlet, in their moments of distraction, turn to the image of Troy blazing with the punishment of treachery.
_The Passionate Pilgrim._--This little collection of poems was published in 1599, under Shakespeare's name, by William Jaggard, a dishonest bookseller. It contains poems by Richard Barnfield, Bartholomew Griffin, Christopher Marlowe, and one or more unknown hands. It also contains two genuine Shakespearean sonnets, three more from the text of _Love's Labour's Lost_, and three (less certainly his) on the subject of _Venus and Adonis_, which have the ring of his freshest youthful manner. Whether any others in the collection be by Shakespeare can only be a matter of opinion. The nineteenth poem has a smack of his mind about it. If it be by him it must be his earliest extant work.
* * * * *
_The Sonnets._--_Written_ between 1592 and 1609. _Published_ (piratically) 1609.
These personal poems have puzzled many readers. Many writers have tried to interpret them. Although their first editor tells us that they are "serene, cleare, and elegantlie plaine (with) no intricate and cloudie stuffe to trouble and perplex the intellect," much good and bad brain work has been spent on them. Some have held that they are poetical exercises. Others find that they are confessions. Others wrest from dark lines dark meanings, till they have laid bare a story from them. Others interpret spiritually. Others find evidence in them that Shakespeare was guilty of an abnormal form of passion. The facts about them may be stated--
1. They are personal poems. Some of them are of great beauty; others are unsuccessful.
2. They were written in many moods. Some were written in a mood of the intensest tranquil ecstasy, others in a fit of earthly passion, others in a trivial mood.
3. They were written to more than one person. Many were written to an attractive, handsome, young, unmarried man, Shakespeare's dear friend. Men with imagination enjoy sweeter and closer friendships than the many know. The many, mulish as ever, therefore imagine evil.
4. Some of the sonnets were written to a woman, of the kind described in two or three of the plays, viz. a black-haired, black-eyed, white-faced, witty wanton, false to her marriage vows and the cause of similar falseness in Shakespeare himself, and in his friend.
5. Many of them show that Shakespeare, loving this woman, against his better nature, was wilfully betrayed by her to all the devils of jealousy, craving and self-loathing, which follow the banner of lechery. Among the objects of the jealousy another poet figured.
No one knows who the friend, the lady and the rival poet were. The discovery of letters and manuscripts may some day remove the mystery. "Against that time, if ever that time come," men of intellect would do well to accept the sonnets as beautiful poems, and try to write as good ones to their wives.
Beautiful as many of the sonnets are, they are less wonderful achievements and less important to the soul of man than the plays. Few people thought much of them until the degradation of the English theatre had hidden from English minds the greater glory of the creative system. That they are now widely read while the plays are seldom acted, is another proof that this age cares more for what was perishing and personal in Shakespeare than for that which went winging on, in the great light, surveying the eternal in man.
What Shakespeare thought of his perishing self is expressed in the noblest of the sonnets. Two syllables are missing from the second line.
"Poor soul, the centre of my sinful earth, ( ) these rebel powers that thee array, Why dost thou pine within and suffer dearth, Painting thy outward walls so costly gay? Why so large cost, having so short a lease, Dost thou upon thy fading mansion spend? Shall worms, inheritors of this excess, Eat up thy charge? is this thy body's end? Then, soul, live thou upon thy servant's loss, And let that pine to aggravate thy store; Buy terms divine with selling hours of dross; Within be fed, without be rich no more: So shalt thou feed on Death, that feeds on men, And Death once dead, there's no more dying then."
The sonnets were piratically published in a quarto volume in 1609. At the end of the volume a narrative poem was printed, under the name _A Lover's Complaint_. It tells in the first person the story of a girl who has been seduced by a plausible villain. It is a work of Shakespeare's youth, fresh and felicitous as youth's work often is, and very nearly as empty.
* * * * *
_The Phoenix and The Turtle._--This strange, very beautiful poem was published in 1601 in an appendix to Robert Chester's _Love's Martyr, or Rosalin's Complaint_, to which several famous poets contributed. In dark and noble verse it describes a spiritual marriage, suddenly ended by death. It is too strange to be the fruit of a human sorrow. It is the work of a great mind trying to express in unusual symbols a thought too subtle and too intense to be expressed in any other way. Spiritual ecstasy is the only key to work of this kind. To the reader without that key it can only be so many strange words set in a noble rhythm for no apparent cause.
Poetry moves in many ways. It may glorify and make spiritual some action of man, or it may give to thoughts such life as thoughts can have, an intenser and stranger life than man knows, with forms that are not human and a speech unintelligible to normal human moods. This poem gives to a flock of thoughts about the passing of truth and beauty the mystery and vitality of birds, who come from a far country, to fill the mind with their crying.
AUTHOR'S NOTE
Shakespeare's plays were printed carelessly, often from imperfect, torn, ill-written or stolen copies. When printed, they were seldom corrected. When reprinted, the original errors were often made much worse. Thus, "he met the night-mare," or "a met the night-mare," in the original manuscript, was printed "a nellthu night more," and reprinted "anelthu night Moore." Those who lightly read the modern editions seldom know that years of mental toil went to the preparation of the texts so easily read to-day.
Many English minds have paid tribute to Shakespeare. Few of them deserve more praise than the Cambridge Editors, whose six years of labour cleared the text of countless errors and corruptions. The correction of a corrupt text by collation and conjecture, is one of the most difficult and least amusing tasks that a fine mind can have. The Cambridge _Shakespeare_, the work of William George Clark and Dr. William Aldis Wright, gives a text not likely to be improved until the poet's corrected manuscripts are found.
The _Life of William Shakespeare_ has been ably written by Dr. Sidney Lee, whose judgment equals his learning.
Some of the dramatic methods of Shakespeare have been nobly studied by Dr. A. C. Bradley in his _Shakespearean Tragedy_.
To these books and to the Shakespearean Essays in Mr. W. B. Yeats's _Ideas of Good and Evil_, I am deeply indebted, as all modern students of Shakespeare must be.
Our knowledge of Shakespeare is imperfect. It can only be increased by minute and patient study, by the rejection of surmise about him, and by the constant public playing of his plays, in the Shakespearean manner, by actors who will neither mutilate nor distort what the great mind strove to make just.
INDEX OF CHARACTERS
Achilles, 169, 170
Adonis, 241, 242
Adriana, 46, 47
AEgeon, 44, 46, 49
Aguecheek, Sir Andrew, 139
Ajax, 169, 172
Albany, Duke of, 187, 190
Alcibiades, 214, 215, 217, 218
Angelo, 174, 175, 177, 196
Anne Bullen, 236, 237
Anne, Lady, 93, 100
Antipholus of Ephesus, 44, 46
Antipholus of Syracuse, 44
Antonio (_Merchant of Venice_), 103
Antonio (_Tempest_), 232, 235
Antonio (_Two Gentlemen of Verona_), 34
Apemantus, 215
Armado, 30, 31
Arthur, Prince, 75, 80, 83, 84
Audrey, 129
Austria, Lymoges, Duke of, 81
Autolycus, 228
Banquo, 195, 200
Bardolph, 122, 124, 125
Bassanio, 103
Beatrice, 133, 134, 136, 137
Beaufort, Cardinal, 51, 55, 57, 58, 59
Belarius, 223
Belch, Sir Toby, 82, 138, 139, 217
Benedick, 133, 134, 136
Bertram, 144, 145, 146
Bianca, 105, 108
Biondello, 107
Biron, 24, 25, 32, 36
Blanch of Spain, 75, 79
Borachio, 134, 135
Bottom, 63
Boyet, 30
Brutus, 149, 150, 154, 156
Buckingham, Duke of (_Richard III_), 94, 98, 99
Buckingham, Duke of (_Henry VIII_), 235, 237
Cade, Jack, 55, 57
Caius, Dr., 124, 125
Calchas, 169
Carlisle, Bishop of, 89, 92
Cassio, 180, 181, 183
Cassius, 149
Cawdor, 198
Celia, 128, 129
Cerimon, 222
Clarence, George, Duke of, 93, 94, 98, 100
Claudio (_Measure for Measure_), 174, 177, 178
Claudio (_Much Ado_), 133, 134, 135
Claudius (_Hamlet_), 157, 158, 160, 161, 163, 164, 165, 166
Cleopatra, 202, 203, 207, 217
Cloten, 223
Cordelia, 187, 188, 190, 192
Coriolanus, 196, 208, 209, 210, 211, 212
Cornwall, Duke of, 190
Costard, 30, 31
Cranmer, 236
Cressida, 169
Cymbeline, 223, 225
Demetrius, 63
Desdemona, 180, 181, 183, 184, 185
Diana (_All's Well_), 144
Diana (_Pericles_), 219, 220
Don John, 133, 134, 135
Don Pedro, 133, 134, 136
Dorset, Marquess of, 98
Dromio of Ephesus, 44
Dromio of Syracuse, 44, 46
Dumaine, 24, 32
Duncan, King, 154, 195, 198, 201
Edgar, 187, 190
Edmund, 187, 188, 189, 190, 192, 204
Edward III, 239
Edward IV, 93, 94
Edward, Prince of Wales (_Henry VI_), 62
Edward, Prince of Wales (_Richard III_), 99
Eglamour, 41
Elinor, Queen, 78
Elizabeth, wife of Edward IV, 94
Elizabeth, Princess, 236
Emilia, 183, 184
Evans, Sir Hugh, 124, 125
Falstaff, Sir John, 112, 113, 116, 122, 123, 124, 125, 126
Flavius, 216
Florizel, 227
Fluellen, 123
Fool (_Lear_), 192
Ford, Mistress, 124, 125
Fortinbras, 161
Frederick, Duke, 128, 129, 132
Friar Laurence, 68, 71, 74
Gertrude, Queen, 157, 158, 161, 165
Ghost (_Hamlet_), 158
Gloucester, Earl of, 187, 188, 189, 190
Gloucester, Humphrey, Duke of, 51, 55, 57, 58, 59
Gloucester, Richard, Duke of, (_Henry VI_), 61
Gloucester, Richard, Duke of, (_Richard III_), 93, 115
Goneril, 187, 189, 193
Grey, Lord, 98, 99
Hamlet, 158, 160, 162, 163, 164, 165, 166, 191, 196, 243
Hastings, Lord, 99
Hector, 169, 170
Helen, 171
Helena (_Midsummer Night's Dream_), 63
Helena (_All's Well_), 144, 145, 147
Henry IV, 109, 110, 111, 113, 114, 116
Henry V, 120, 121
Henry VI, 51, 52, 60, 61, 62
Henry VIII, 235, 236, 237, 238
Henry, Prince of Wales, 109, 111, 112, 114, 118
Henry Bolingbroke, 86, 87, 88, 89, 90, 92
Hermia, 63
Hermione, 226, 227, 229
Hero, 133, 134, 135
Hippolyta, 63
Hotspur, Henry Percy, surnamed, 109, 110, 111, 113, 114, 116, 119
Hubert de Burgh, 80, 83
Iachimo, 223, 225
Iago, 181, 182, 181, 185, 204, 211
Imogen, 223
Isabella, 174, 175
Jaques, 129, 131, 132
Joan of Arc, 51, 54
John, King of England, 75, 76, 77, 78, 80
John of Gaunt, 86, 89, 91
John of Lancaster, 114, 118
Julia, 34, 35, 39, 40, 42
Juliet, 67, 68, 69, 70, 71
Julius Caesar, 149, 153, 154, 156, 196
Katharina, 106, 108
Katharine, 32
Katharine of France, 120
Katharine, Queen, 235, 236, 237, 238
Kent, 187, 190
Laertes, 158, 161
Launce, 42
Lear, King, 187, 188, 189, 190, 191, 193, 194
Lennox, 202
Leonato, 135, 136
Leontes, King of Sicilia, 226, 227, 228, 229
Lewis the Dauphin, 75, 79
Longaville, 24, 32
Lucio, 177,178
Lucrece, 243
Lysander, 63
Macbeth, 191, 195, 196, 197, 198, 199, 200, 202, 217
Macbeth, Lady, 195, 199, 200
Macduff, 195, 202
Malcolm, 195
Malvolio, 138, 139, 140, 141
Mamillius, 227, 229
Marcius, 208
Margaret of Anjou, 52, 55, 62, 94
Maria, 139
Mariana, 174, 175
Marina, 219, 220, 222
Mark Antony, 149, 191, 196, 202, 204, 206
Mercutio, 68, 70
Milan, Duke of, 34, 35, 38, 39
Miranda, 232
Mortimer, 53
Norfolk, Thomas Mowbray, Duke of, 86, 119
Northumberland, Henry Percy, Earl of, 114
Nurse to Juliet, 74
Nym, 123, 124
Oberon, 63
Octavia, 202
Octavius Caesar, 149, 202, 203, 205
Olivia, 138, 140, 141
Oliver, 128, 129
Ophelia, 157, 158, 166
Orlando, 128, 129, 131
Orsino, 138, 139, 140, 141, 142
Othello, 180, 181, 182, 183, 186, 191, 196
Page, Anne, 124
Page, Mistress, 124
Pandarus, 169
Pandulph, Cardinal, 75
Paris, 68
Pericles, Prince of Tyre, 213, 219, 220
Petruchio, 105, 107
Phebe, 129, 132, 133
Philip the Bastard, 77, 78, 80, 82, 83
Philip of France, 75, 80
Pistol, 117, 122, 123, 124
Polixenes, King of Bohemia, 226, 227, 228
Polonius, 158, 161
Portia, 102, 103, 104, 132
Posthumus, 223, 225
Prospero, Duke of Milan, 232, 235
Proteus, 34, 35, 39, 40, 41
Puck, 63
Pyramus, 63
Queen (_Cymbeline_), 223, 225
Quickly, Mrs., 124
Regan, 187, 189
Richard II, 86, 87, 88, 89, 90, 92, 115, 119
Richard III, 93, 94, 96, 98, 99, 102, 211
Richard, Duke of York, 99
Rivers, Earl, 98, 99
Roderigo, 183
Romeo, 67, 68, 69, 70, 71
Rosalind, 128, 129, 132
Rosaline, 25, 31, 32, 69, 133
Salisbury, Countess of, 239
Scroop, Lord, 122
Sebastian (_Tempest_), 235
Sebastian (_Twelfth Night_), 138
Shallow, Justice, 82, 124
Shylock, 103, 104
Silvia, 34, 35, 38, 39, 41
Simpcox, 65, 59
Slender, Master, 124
Sly, Christopher, 105, 107
Somerset, Earl of, 51
Stephano, 234
Suffolk, Earl of, 52, 55, 57
Talbot, 51, 54
Tamora, 49, 50
Tarquin, 196, 243
Thaisa, 219, 220, 222
Thersites, 172
Theseus, 63, 66
Thisbe, 63
Thurio, 34, 35, 37, 38
Timon of Athens, 196, 209, 213, 214, 215, 216, 217, 218
Titania, 63
Titus Andronicus, 49, 50
Touchstone, 129
Trinculo, 234
Troilus, 169
Tybalt, 68, 70
Ulysses, 170
Ursula, 133
Valentine, 34, 35, 38, 39, 41
Venus, 241, 242
Vienna, Duke of, 174, 178
Viola, 138, 139, 141, 142
Warwick, Earl of, 59, 61
Wolsey, Cardinal, 196, 235, 236, 237, 238
York, Edmund of Langley, Duke of, 89, 92
York, Edward, Duke of, 61
York, Richard, Duke of, 51, 55, 57, 62
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By L. PEARSALL SMITH, M.A.
IN PREPARATION
_ANCIENT ART AND RITUAL._ By Miss JANE HARRISON, LL.D., D.Litt.
_THE RENAISSANCE._ By Mrs R. A. TAYLOR.
_ITALIAN ART OF THE RENAISSANCE._ By ROGER E. FRY, M.A.
_ENGLISH COMPOSITION._ By Prof. WM. T. BREWSTER.
_GREAT WRITERS OF AMERICA._ By Prof. W. P. TRENT and Prof. J. ERSKINE.
_GREAT WRITERS OF RUSSIA._ By C. T. HAGBERG WRIGHT, LL.D.
_THE LITERATURE OF GERMANY._ By Prof. J. G. ROBERTSON, M.A., Ph.D.
_Science_
7. _MODERN GEOGRAPHY_
By Dr MARION NEWBIGIN. (Illustrated.) "Geography, again: what a dull, tedious study that was wont to be!... But Miss Marion Newbigin invests its dry bones with the flesh and blood of romantic interest, taking stock of geography as a fairy-book of science."--_Daily Telegraph._
9. _THE EVOLUTION OF PLANTS_
By Dr D. H. SCOTT, M.A., F.R.S., late Hon. Keeper of the Jodrell Laboratory, Kew. (Fully illustrated.) "The information which the book provides is as trustworthy as first-hand knowledge can make it.... Dr Scott's candid and familiar style makes the difficult subject both fascinating and easy."--_Gardeners' Chronicle._
17. _HEALTH AND DISEASE_
By W. LESLIE MACKENZIE, M.D., Local Government Board, Edinburgh. "The science of public health administration has had no abler or more attractive exponent than Dr Mackenzie. He adds to a thorough grasp of the problems an illuminating style, and an arresting manner of treating a subject often dull and sometimes unsavoury."--_Economist._
18. _INTRODUCTION TO MATHEMATICS_
By A. N. WHITHEAD, Sc.D., F.R.S. (With Diagrams.) "Mr Whitehead has discharged with conspicuous success the task he is so exceptionally qualified to undertake. For he is one of our great authorities upon the foundations of the science, and has the breadth of view which is so requisite in presenting to the reader its aims. His exposition is clear and striking."--_Westminster Gazette._
19. _THE ANIMAL WORLD_
By Professor F. W. GAMBLE, D.Sc., F.R.S. With Introduction by Sir Oliver Lodge. (Many Illustrations.) "A delightful and instructive epitome of animal (and vegetable) life.... A most fascinating and suggestive survey."--_Morning Post._
20. _EVOLUTION_
By Professor J. ARTHUR THOMSON and Professor PATRICK GEDDES. "A many-coloured and romantic panorama, opening up, like no other book we know, a rational vision of world-development."--_Belfast News-Letter._
22. _CRIME AND INSANITY_
By Dr C. A. MERCIER, F.R.C.P., F.R.C.S., Author of "Text-Book of Insanity," etc. "Furnishes much valuable information from one occupying the highest position among medico-legal psychologists."--_Asylum News._
28. _PSYCHICAL RESEARCH_
By Sir W. F. BARRETT, F.R.S., Professor of Physics, Royal College of Science, Dublin, 1873-1910. "As a former President of the Psychical Research Society, he is familiar with all the developments of this most fascinating branch of science, and thus what he has to say on thought-reading, hypnotism, telepathy, crystal-vision, spiritualism, divinings, and so on, will be read with avidity."--_Dundee Courier._
31. _ASTRONOMY_
By A. R. HINKS, M.A., Chief Assistant, Cambridge Observatory, "Original in thought, eclectic in substance, and critical in treatment.... No better little book is available."--_School World._
32. _INTRODUCTION TO SCIENCE_
By J. ARTHUR THOMSON, M.A., Regius Professor of Natural History, Aberdeen University. "For those who have not yet become possessed of the Library, this would form an appropriate introduction. Professor Thomson's delightful literary style is well known; and here he discourses freshly and easily on the methods of science and its relations with philosophy, art, religion, and practical life."--_Aberdeen Journal._
36. _CLIMATE AND WEATHER_
By H. N. DICKSON, D.Sc. Oxon., M.A., F.R.S.E., President of the Royal Meteorological Society; Professor of Geography in University College, Reading. (With Diagrams.) "The author has succeeded in presenting in a very lucid and agreeable manner the causes of the movement of the atmosphere and of the more stable winds. The information throughout appears to be reliable, and is certainly conveyed in an attractive form."--_Manchester Guardian._
41. _ANTHROPOLOGY_
By R. R. MARETT, M.A., Reader in Social Anthropology in Oxford University. "An absolutely perfect handbook, so clear that a child could understand it, so fascinating and human that it beats fiction 'to a frazzle.'"--_Morning Leader._
44. _THE PRINCIPLES OF PHYSIOLOGY_
By Prof. J. G. MCKENDRICK, M.D.
46. _MATTER AND ENERGY_
By F. SODDY, M.A., F.R.S.
49. _PSYCHOLOGY, THE STUDY OF BEHAVIOUR_
By Prof. W. MCDOUGALL, F.R.S., M.B.
IN PREPARATION
_ELECTRICITY._ By Dr GISBERT KAPP.
_CHEMISTRY._ By Prof. R. MELDOLA, F.R.S.
_THE MAKING OF THE EARTH._ By Prof. T. W. GREGORY, F.R.S.
_THE MINERAL WORLD._ By Sir T. H. HOLLAND, K.C.I.E., D.Sc.
_THE HUMAN BODY._ By Dr A. KEITH, M.D., F.R.C.S.
_PLANT LIFE._ By Prof. J. B. FARMER, F.R.S.
_Philosophy and Religion_
15. _MOHAMMEDANISM_
By Prof. D. S. MARGOLIOUTH, M.A., D.Litt. "This generous shilling's worth of wisdom.... A delicate, humorous, and most responsible tractate by an illuminative professor."--_Daily Mail._
40. _THE PROBLEMS OF PHILOSOPHY_
By the Hon. BERTRAND RUSSELL, F.R.S. "A book that the 'man in the street' will recognise at once to be a boon.... Consistently lucid and non-technical throughout."--_Christian World._
47. _BUDDHISM_
By Mrs RHYS DAVIDS, M.A.
50. _NONCONFORMITY: ITS ORIGIN AND PROGRESS_
By Principal W. B. SELBIE, M.A.
IN PREPARATION
_THE OLD TESTAMENT._ By Prof. GEORGE MOORE, D.D., LL.D.
_BETWEEN THE OLD AND NEW TESTAMENTS._ By R. H. CHARLES, D.D.
_THE MAKING OF THE NEW TESTAMENT._ By Prof. B. W. BACON, Litt.D., D.D.
_COMPARATIVE RELIGION._ By Prof. J. ESTLIN CARPENTER, D.Litt.
_A HISTORY OF FREEDOM OF THOUGHT._ By Prof. J. B. BURY, LL.D.
_ETHICS._ By G. E. MOORE.
_MISSIONS._ By Mrs CREIGHTON.
_Social Science_
1. _PARLIAMENT_
Its History, Constitution, and Practice. By Sir COURTENAY P. ILBERT, K.C.B., K.C.S.I., Clerk of the House of Commons. "The best book on the history and practice of the House of Commons since Bagehot's 'Constitution.'"--_Yorkshire Post._
5. _THE STOCK EXCHANGE_
By F. W. HIRST, Editor of "The Economist." "A little treatise which to an unfinancial mind must be a revelation.... The book is as clear, vigorous, and sane as Bagehot's 'Lombard Street,' than which there is no higher compliment."--_Morning Leader._
6. _IRISH NATIONALITY_
By Mrs J. R. GREEN. "As glowing as it is learned. No book could be more timely."--_Daily News._ "A powerful study.... A magnificent demonstration of the deserved vitality of the Gaelic spirit."--_Freeman's Journal._
10. _THE SOCIALIST MOVEMENT_
By J. RAMSAY MACDONALD, M.P. "Admirably adapted for the purpose of exposition."--_The Times._ "Mr MacDonald is a very lucid exponent.... The volume will be of great use in dispelling illusions about the tendencies of Socialism in this country."--_The Nation._
11. _CONSERVATISM_
By Lord HUGH CECIL, M.A., M.P.
16. _THE SCIENCE OF WEALTH_
By J. A. HOBSON, M.A. "Mr J. A. Hobson holds an unique position among living economists.... The text-book produced is altogether admirable. Original, reasonable, and illuminating."--_The Nation._
21. _LIBERALISM_
By L. T. HOBHOUSE, M.A., Professor of Sociology in the University of London. "A book of rare quality.... We have nothing but praise for the rapid and masterly summaries of the arguments from first principles which form a large part of this book."--_Westminster Gazette._
24. _THE EVOLUTION OF INDUSTRY_
By D. H. MACGREGOR, M.A., Professor of Political Economy in the University of Leeds. "A volume so dispassionate in terms may be read with profit by all interested in the present state of unrest."--_Aberdeen Journal._
26. _AGRICULTURE_
By Prof. W. SOMERVILLE, F.L.S.
30. _ELEMENTS OF ENGLISH LAW_
By W. M. GELDART, M.A., B.C.L., Vinerian Professor of English Law at Oxford. "Contains a very clear account of the elementary principles underlying the rules of English law; and we can recommend it to all who wish to become acquainted with these elementary principles with a minimum of trouble."--_Scots Law Times._
38. _THE SCHOOL_
_An Introduction to the Study of Education._
By J. J. FINDLAY, M.A., Ph.D., Professor of Education in Manchester University. "An amazingly comprehensive volume.... It is a remarkable performance, distinguished in its crisp, striking phraseology as well as its inclusiveness of subject-matter."--_Morning Post._
IN PREPARATION
_THE EVOLUTION OF CITIES._ By Prof. PATRICK GEDDES.
_ELEMENTS OF POLITICAL ECONOMY._ By Prof. S. J. CHAPMAN.
_COMMONSENSE IN LAW._ By Prof. P. VINOGRADOFF, D.C.L.
_THE CIVIL SERVICE._ By GRAHAM WALLAS, M.A.
_MISSIONS._ By Mrs CREIGHTON.
_PRACTICAL IDEALISM._ By MAURICE HEWLETT.
_NEWSPAPERS._ By G. B. DIBBLEE.
_ENGLISH VILLAGE LIFE._ By E. N. BENNETT, M.A.
London: WILLIAMS AND NORGATE
_And of all Bookshops and Bookstalls._
* * * * *
Transcriber's note
Minor punctuation errors have been corrected without notice. Obvious printer errors have been corrected, and are listed below.
For the chapter heading, "The Second Part of King Henry IV", the Table of Contents lists it as "King Henry IV, Part II"; this was not changed. In addition other inconsistencies are as in the original. The author's spelling has been maintained.
Page 36: "obession is at the root" changed to "obsession is at the root".
Page 94: "great historical play" changed to "great historical plays".
Page 253: "Aegon" changed to "AEgeon".
Page 256: Index entry for page 133 of "Rosaline" was moved to "Rosalind".
Page 256: Index entry for page 92 of "York, Edmund of Langley, Duke" was removed.
Page 262: "Py Prof. R. Medola" changed to "By Prof. R. Medola".