ments concerning, ix-x, 26°, 27%, 
84°, 44" 451, 561, 123°; ‘and asso- 
e. -Ciates lease Blackfriars theatre, 10, 
e 34°, 35, 44°, 45°, 56°; only great 
dren, 12; effect of theatrical con- 
_ ditions on dramatic freedom of, 
13-14, 123; as individual genius, 
13-14, 167°; in competition with 
' Blackfriars Boys, 13, 14, 15, 167- 
68, 173-74, 175-82; errors con- 
cerning connection with Black- 
friars, 18; Blackfriars property 
of, 26°, 27, 28; Heminge and Con- 
, “dell’s address in 1623 edition of 
_ plays by, on sitting on stage, 136; 
on stage- -quarrel, 158*, 168, 172, 
; 173°-74, 180*-81, 183; influence of 
Blackfriars dramas on, 167; in- 
g fluences of, on Blackfriars dramas 
7 Eand Chapman, 167-68; as giver 
g and receiver of influences, 167°. 
* 
4 
¥) 
ot 
Hamlet, date of, established, 
.: ma s00,. 168. 174-75, 182°, 183- 
a 84" > historical problems of, xi, 
- 182-84"; historical value of ‘chil- 
dren-passage in, aS an original 
- document, xi, 164, 173, 182; ante- 
dates Star Chamber ‘decree, 86; 
satirized in May Day, 86, 168; on 
singing of Blackfriars Children, 
115, 180; champions cause of pub- 
clic theatres against Blackfriars, 
129, 168, 176; influence of Black- 
friars vogue on, 133, 167; minia- 
tures Blackfriars fad of sitting 
, on stage, 133; local allusions of, 
~ 1833, 164, 173°-74; censures Eliza- 
-- beth’s. theatrical partisanship, 
158*, 178-81; on _ stage-quarrel, 
158*, 178-82; escapes penalty of 
_ law against criticism, 164, 176, 
| 181°; on losses of genteel audi- 
tors to Blackfriars, 164, 175-77, 
181-82; children-passage of, in 
Q:, Q2, Fi, quoted, 1737-74; and 
interpreted on historical basis, 
| 173-85; holds Queen’s patronage 
of Blackfriars as cause of com- 
panies traveling into country, 
175°-76; “logic” of art in chil- 
_ dren-passage of, 178-81°; cause of 
partial omissions in 1604 quarto 
of, 182-83; new significance to 
quarto and folio differences in 
children-passage of, 183-84'; re- 
SUBJECT 
_ dramatist not writing for Chil-— 
INDEX 203 
lations of, to Der Bestrafte Bru- 
dermord, 184". 
Much Ado about Nothing, 
character-extensions of, in Suir 
Giles Goosecap, 167; date of, 167. 
The Taming of the Shrew, 
traces of influences of, in The 
Widow's Tears, 168; why men- 
tions strolling players, 175°-76; 
probable date of, 168, 175° 
The Tempest, as first play 
by Burbage-Shakespeare company 
at Blackfriars, 10°; influences on, 
by Blackfriars vogue, 10, 167; 
date of, 10. . 
Trotlus and Cressida, theat- 
rical partisanship of, 168, 172; 
date of, 168. 
Twelfth Night, character- 
extensions of, in The Gentleman © 
Usher, 167-68 ; and in M. D’Olive, 
168; date of, 168. 
Shirley, James, The Triumph of 
Peace, masque with . antimasque 
at Court, by Black- 
121; probable 
See Concert, 
“Showe, a,” 
friars Boys, 115, 
authors of, 121’. 
Music. 
Singing, taught and practiced at 
Blackfriars, xi, 4, 5, 9, 10, 71, 80°, 
106-7, 113-144, 115, 117, 121-22, 
163, 180; Duke of Stettin’s Diary 
on, 5, 10, 106-7, 113, 115, 117-18, 
121; within the play, 5, 9-10, 113- 
14*, 115, 163, 180; preceding play, 
5, 9, 10, 106-7, 113, 115-16, 117, 
163, 180; in concert, musicale, 
“showe,’ or praeludia, 5, 9, 10, 
106-7, 113, 115, 117-18, 121, 122; 
characteristic of private theatre 
and children-plays, 10, 122; Clif- 
ton’s charges concerning, 80-80%, 
114, 115; Clifton’s charges dis- 
psoved.- 80... -113*-14*%) 115.0, 750% 
stage-directions for, 113, 1144, 
121; Hamlet on, at Blackfriars, 
115, 180; chief exhibitions of, by 
Blackfriars Boys, not in plays, 
aU ea yu Faliraki 
Sir Giles Goosecap. See Chapman. 
Sitting on the stage, a custom at 
Blackfriars, xi, 7, 42°, 43, 44, 45, 
46, 47, 48', 50-plat-51, 52, 124, 
130-47; at other private theatres, 
44, 130, 136, 137*; not at Paul’s 
317 
ny vient 2 a awe 
