Bernardo-his meeting with Hamlet, 18; the distinction between him and Mar.
cellus and Francisco, 196.
Betterton, 167, 192.
Caldecott's edition of "Hamlet," 15.
Cambridge "Shakespeare," 16, 197.
'Clarendon'"Hamlet," 169, 187-8, 196-7.
Claudius-his succession to the throne, 16; assumption of fatherly affection for
Hamlet, 17; inquires of Rosencrantz and Guildenstern the result of their
interview with Hamlet, 39; his dread of Hamlet increased, 41; decides to
send him to England, 41; his consent to be present at the play, 42; pre-
pares to send Hamlet to England, 45; his soliloquy and prayer, 45; his
hypocrisy, 60; apology for the leniency he has shown to Hamlet, 63;
informs Hamlet of his decision to send him to England, 63; his self-posses-
sion when Laertes demands an explanation, 78; receives Hamlet's letter, 83;
concocts his plan of revenge on Hamlet with Laertes, 84; contrast between
Claudius and Laertes, 86; his hypocrisy at the last, 107; insinuates himself
into Gertrude's affections and some of the kingly duties, 116; contrast
between Claudius and the elder Hamlet, 116; was he intended to be a
satire on Henry VIII.? 116; the amount of his affection for Gertrude, 118; his
plans arrive at maturity, 118; his conduct during Hamlet's absence_at
Wittenberg, 120; accepts the crown, 121.
Davies, Tom-his account of the arrangement of the pictures in the closet-
scene, 167.
Denmark-Crown of, whether elective, 118, 195; kings of, 191.
Fortinbras-his character and appearance, 73; his victorious return, 108; was he
heir to the Crown of Norway? 177-180.
Gervinus, 90, 129, 148, 183, 186, 195.
Ghost-its first appearance to Hamlet, 19; Hamlet's distrust of its genuineness, 39;
second appearance to Hamlet, in the closet-scene, 50; not seen by the
Queen, 51; effect of its appearance, 52; do Horatio and Marcellus hear the
Ghost at end of Act I.? 184.
Goethe, 15, 16, 131, 149.
Guildenstern-see Rosencrantz.
Hamlet-love for his father, 10; his weakness, 11; contempt of evil, 12; fidelity
to his friends, 12; uncongeniality, 12; first entry, 16; respect to his
mother, 18; first soliloquy, 18; meeting with Horatio, Marcellus, and
Bernardo, 18; interview with the Ghost, 19; second soliloquy, 21; assump-
tion of madness, 22; his appeal to the affection of his friends, 23; resolves
to break off his affectionate relations with Ophelia, 24; was he guilty of the
ruin of Ophelia? 26; his interview with Ophelia as planned by Polonius, 27;
his loss of confidence in Rosencrantz and Guildenstern, 33; reception of the
players, 35; third soliloquy, 36; fourth soliloquy, 39; his speech to Hora-
tio, 42; his conduct during the play-scene, 42; his thoughts of diabolical
revenge, 45; his conduct during the closet-scene, 47; his conduct to his
mother considered, 53; the guilt incurred through killing Polonius, 55;
his knowledge of the King's treachery in sending him to England, 57 ;
assumption of ironical incoherence toward Rosencrantz and Guildenstern,
62; his defence to Horatio of his conduct to Rosencrantz and Guildenstern,
64; to what extent we can admit it as a justification of that conduct, 68;
his meeting with the soldiers of Fortinbras, 70; fifth soliloquy, 71; his
conduct during the Grave-diggers' scene, 93; his ignorance of Ophelia's
madness, 93; proof of his age, 95; his conduct when he learns it is Ophelia's
funeral, 96; his sorrow for his passion at Ophelia's grave, 102; ridicules
Osric, 102; courteous bearing when the King and Queen are announced, 103;
his fatalism, 104; apology to Laertes, 104; his increased courtesy to all,
106; kills the King, 108; his charge to Horatio and death, 108; summary
of his character, 109; Salvini's opinion as to his chief characteristic, 110;
want of humility and faith his principal defect, 111; does he represent
religious uncertainty? 112; his early life, 113; his religion, 115; daily
occupations, 115; his letter to Ophelia, 119; the shock he receives on
reaching Elsinore after his father's death, 122; his age, 181--2; comparison
between him and Prince Henry, 186.
Horatio his meeting with Hamlet in company with Marcellus and Bernardo, 18;
his interview with Hamlet before the play-scene, 42; treated with confidence
by the Queen, 77; interview with the sailors, 81; his position, 81; goes to
join Hamlet, 82; accompanies Hamlet to the churchyard, 93; receives
Hamlet's last charge to live and clear his name, 109; his marked difference
from the rest of the characters, 110; his similarity to Pylades, foot-note,
110; never speaks to the King, 196; was he a soldier? 196.
Irving-references to his acting in "Hamlet," 165, 166.
Johnson, 15-his censure on Hamlet's apology to Laertes, 104; proved to be un.
just, 105, 199.
Laertes-rebellion in his favour, 78; his conduct during his interview with the
King, 79; grief for Ophelia's condition, 80; his conduct when Claudius
proposes his plan of vengeance on Hamlet, 84; contrast between Laertes
and Claudius, 86; the proportion of guilt to be assigned to him for his part
in this plot, 88; Gervinus' opinion of him censured, 90; expostulates with
the priests at his sister's funeral, 96; his answer to Hamlet's apology before
the duel, 106; seeming repentance for his treachery, 108; his conduct to
his sister, 132, 133; his self-conceit, 133; his sententiousness an imitation
of his father, 133.
Malone, 15, 23, 38, 87, 93, 101, 165, 188, 195.
Marcellus-his meeting with Hamlet, 18.
Ophelia - her description to Polonius of her last interview with Hamlet, 24; her
conduct during the meeting with Hamlet as planned by Polonius, 28; her
funeral, 96; her purity, 128; Gervinus' unjustifiable conclusions on her
conduct, 129; Goethe's opinion of her character, 131; passages from the
play confuting their aspersions, 132; her conduct during the play-scene,
141; strengthens the proof of her purity, 143; her madness, 143; the songs
she sings, 144; remarks on Gervinus' and Goethe's conception of her cha,
racter, 148.
Pictures--the two pictures in the closet-scene (Appendix): Should they be pre-
sented on the stage or seen only in the mind's eye of Hamlet? 166-171;
how represented on the stage since the time of Betterton, 167-168; by
various actors, 169.
Polonius-his device to ascertain the cause of Hamlet's madness, 27; really a
satire on Lord Burleigh, 32; announces the players, 34; an absolute anti-
thesis of Hamlet, 35; his counsels to the Queen before the closet-scene, 47;
his death, 48; his fate not undeserved, 55; his popularity, 18; his exhorta.
tions to Ophelia, 133-135; his testimony to her filial conduct, 136–137.
Queen-her conduct during the closet-scene, 48; her freedom from hypocrisy, 49;
not guilty of connivance at, or complicity in, her first husband's murder,
55; the promise given by her not to betray Hamlet's secret, 57; her ex-
planation of the murder of Polonius to the King, 59; her increased respect
for Horatio, 77; her description of Hamlet's mental condition, 100; her
death, 107.
Richardson's "Essay on Hamlet," 15.
Rosencrantz and Guildenstern - welcomed by the King and Queen, 31; their inter-
view with Hamlet, 33; they summon Hamlet to his mother's presence, 44;
informed by the King that they are to go to England with Hamlet, 60;
their inseparability, 61; they seek Hamlet to get from him where he has
put the body of Polonius, 61; discussion of the question, whether they had
any guilty knowledge of the King's treachery in sending Hamlet to Eng-
land, 63.
Rossi, Ernesto-references to his acting in “Hamlet," 163, 166, 169.
Rowe, 14.
Salviri-references to his acting in "Hamlet," 165, 166, 200, and foot-note.
Schlegel, 16, 183.
Seymour ("Remarks on Shakespeare "), 168.
Steevens, 15, 98, 101, 104, 118, 187.
Ulrici, 180, 183, 189.
Voltaire, 14.
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