VII. PLATONISM, SHAKESPEARE'S AND MICHAEL ANGELO'S SONNETS --THE TECHNIQUE VIII. _JULIUS CÆSAR_--THE FUNDAMENTAL DEFECT OF THE DRAMA IX. 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