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DirectX 11 1 Game Programming 1st Edition Pooya
Eimandar Digital Instant Download
Author(s): Pooya Eimandar
ISBN(s): 9781849694803, 184969480X
Edition: 1
File Details: PDF, 14.38 MB
Year: 2013
Language: english
DirectX 11.1 Game
Programming

A step-by-step guide to creating 3D applications and

interactive games in Windows 8

Pooya Eimandar

BIRMINGHAM - MUMBAI
DirectX 11.1 Game Programming

Copyright © 2013 Packt Publishing

All rights reserved. No part of this book may be reproduced, stored in a retrieval
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Every effort has been made in the preparation of this book to ensure the accuracy
of the information presented. However, the information contained in this book
is sold without warranty, either express or implied. Neither the author nor Packt
Publishing, and its dealers and distributors will be held liable for any damages
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First published: August 2013

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Published by Packt Publishing Ltd.

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ISBN 978-1-84969-480-3

www.packtpub.com

Cover Image by Pooya Eimandar (Pooya.Eimandar@live.com)

 Credits

Author Project Coordinator

Pooya Eimandar Amigya Khurana

Reviewers Proofreader
Doron Feinstein Paul Hindle
Stephan Hodes
Vinjn Zhang Indexer
Mariammal Chettiyar

Acquisition Editors
Saleem Ahmed Graphics
Ronak Dhruv
Erol Staveley

Production Coordinator
Commissioning Editor
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Cover Work
Technical Editors
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Copy Editors
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 About the Author

Pooya Eimandar was born on January 07, 1986. He graduated with a degree in
Computer Science and Hardware Engineering from Shomal University and has been
programming mainly in DirectX and OpenGL since 2002.

His main research interests are GPU-programming, image processing, parallel

computing, and game developing.

Since 2010, he has been leading a game engine team for a company Bazipardaz,
working on their latest titles for Xbox 360 and PC. You can find more information
about this at http://persianengine.codeplex.com/.

I thank God for every moment of my life.

I would like to thank the staff at Packt Publishing, in particular

Yogesh Dalvi and Amigya Khurana, and thanks a million to the
technical reviewers for their valuable suggestions.

Also, I would like to thank Amir Sarabadani, Seyed Mohammad

Hossein Mayboudi, and Simin Vatandoost for their valuable support
while editing the book.

I would also like to thank my colleagues at Bazipardaz, and finally

my family for their love and support.

Your feedback is valuable to me, so never hesitate to contact me. You

can find me at http://www.Pooya-Eimandar.com.
 About the Reviewers

Doron Feinstein is a Senior Graphics Programmer at Rockstar Games and is the

author of the book HLSL Development Cookbook published by Packt Publishing.

After working with simulations for a number of years, he decided to switch to an

exciting career in the games industry. Max Payne 3 and All Points Bulletin (APB)
are among some of the titles Doron has worked on commercially.

Stephan Hodes has been working as a Game Engine programmer for almost 15
years while GPUs made the transition from fixed function pipeline to programmable
shader hardware. During this time, he worked on a number of games released for
PC as well as for Xbox 360 and PS3.

Since he joined AMD as a Developer Relations Engineer in 2011, he has worked

with a number of European developers on optimizing their technology to take full
advantage of the processing power that the latest GPU hardware provides.

He is currently living with his wife and son in Berlin, Germany.

Vinjn Zhang is an enthusiastic Software Engineer. His main interests in
programming include game development, graphics shader writing, human-
computer interaction, and computer vision. He has translated two technical books
into Chinese, one for the processing language and one for OpenCV.

Vinjn Zhang has worked for several game production companies including Ubisoft
and 2K Games. He is currently working as a GPU Architect for NVIDIA, where
he gets the chance to see the secrets of GPU. Besides his daily work, he is an active
github user. He tries to make every piece of code open source. His website is also an
open source repositoryVisit his website http://vinjn.github.io/.
 www.PacktPub.com

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Dedicated to my mother
 Table of Contents
Preface 1
Chapter 1: Say Hello to DirectX 11.1 5
The need for DirectX 11.1 6
Why should we target Windows 8? 7
The prerequisites 8
Introduction to C++/CX 9
Lifetime management 10
What is a ref class? 11
Inheritance 12
Delegates and events 13
Metro Style apps 14
Setting up your first project 15
Building your first Metro app 16
Working with game time 21
Initializing the device 22
Connecting to a swap chain 26
The render target and depth stencil views 28
Summary 29
Chapter 2: Getting Started with HLSL 31
An introduction to HLSL 32
New features of HLSL 33
Compiling and linking to shaders 34
Buffers in Direct3D 39
Constant buffers 39
Vertex buffers 40
Index buffers 40
Textures 41
Table of Contents

Rendering primitives 43
Direct2D 1.1 45
Summary 48
Chapter 3: Rendering a 3D Scene 49
Displaying the performance data 50
A short introduction to FPS 50
Asynchronous loading 52
Introduction to tasks 52
Asynchronous resource loading 54
Getting started with the Model Editor 56
Loading a model from the .cmo format 61
Rendering a model 65
The input devices we'll need 71
Keyboard 71
Pointer 74
Xbox 360 controllers 75
Turn on the camera 77
Base camera 77
First person camera 79
Third person camera 80
Composing XAML and Direct3D 82
Summary 86
Chapter 4: Tessellation 87
Hardware tessellation 87
The most popular usage of hardware tessellation 88
Basic tessellation 90
The Hull Shader stage 90
The Domain Shader stage 92
Tessellating a quad 93
Displacement mapping using tessellation 94
The normal mapping technique 95
The displacement mapping technique 96
DirectX graphics diagnostics 97
Capturing the frame 98
The Graphics Experiment window 99
Investigating a missing object 102
Disabling graphics diagnostics 103
Summary 104

[ ii ]
 Table of Contents

Chapter 5: Multithreading 105

C++ AMP 105
Compute Shader 109
C++ AMP versus Compute Shader 110
Post-processing 115
Implementing post-processing using C++ AMP 115
Implementing post-processing using Compute Shader 119
Summary 121
Index 123

[ iii ]
 Preface
In the last few years, the number of devices in which complex graphics are embedded
has vastly increased. Recently, Microsoft released a new version of Windows called
Windows 8. The Direct3D 11.1 API is also included with Windows 8 and provides a
significant expansion in capabilities over it's previous version.Microsoft showed that
Direct3D 11.1 plays a key role in writing high-performance 3D Metro applications in
Windows 8. To ease portability, Windows 8 introduces a new type of application
called the Windows Store application, which is a great opportunity for developers
to write cross-platform applications to write cross-platform applications over the
Microsoft platforms.

This book will help you easily create your own framework and build your first game
for Metro Style all by yourself in order to publish it on the Windows Store.

What this book covers

Chapter 1, Say Hello to DirectX 11.1, covers the new features of Windows 8,
DirectX 11.1, and the new extension of C++ called C++/CX. This chapter also
covers how to set up a framework and initialize the Direct3D device.

Chapter 2, Getting Started with HLSL, provides you with a preliminary knowledge of
the new features of HLSL in DirectX 11.1 and explains how to interact with buffers in
Direct3D. It also introduces the new additions of Direct2D for Windows 8.

Chapter 3, Rendering a 3D Scene, presents the details of system usages and how to use
the Visual Studio Model Editor to render models. This chapter also covers how to
handle inputs, cameras, and finally integrate XAML and Direct3D.

Chapter 4, Tessellation, introduces the tessellation stages. It also outlines how to use
the graphics debugging feature in Visual Studio 2012.
Preface

Chapter 5, Multithreading, introduces the C++ AMP library and the Compute Shader
stage and compares the performances of both.

What you need for this book

You will need a desktop or a tablet running Windows 8 as a test machine. It is
assumed that you already have knowledge of C and C++ languages, pointers,
object-oriented features, and other modern language concepts. You also need to
be familiar with DirectX programming along with the math and the 3D coordinate
systems. also You need to use Microsoft Visual Studio Express 2012 for Windows
8 as a developer environment and finally make sure to set up the Windows 8 SDK
before starting with this book.

This book is for:

• Those who would like to become a game programmer and who wish to start
their game development journey
• Those who wish to be a game developer to create and sell their game
on the Windows Store
• A DirectX developer who needs more performance from DirectX 11.1
• A C/C++/C# developer who needs to switch to the new platform
of Microsoft
• Those who would like to use XAML and C++/CX for their
graphical applications

Conventions
In this book, you will find a number of styles of text that distinguish between
different kinds of information. Here are some examples of these styles, and an
explanation of their meaning.

Code words in text are shown as follows: "Now you can capture your frame by
calling the g_pVsgDbg->CaptureCurrentFrame() function"

A block of code is set as follows:

float4 vertexPosition =
domain.x * patch[0].pos +
domain.y * patch[1].pos +
domain.z * patch[2].pos;

[2]
 Preface

New terms and important words are shown in bold. Words that you see on the
screen, in menus or dialog boxes for example, appear in the text like this: "Clicking
on the Next button moves you to the next screen".

Warnings or important notes appear in a box like this.

Tips and tricks appear like this.

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the files e-mailed directly to you.

[3]
Preface

Errata
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[4]
 Say Hello to DirectX 11.1
In the last few years, the range of devices in which complex graphics are embedded
has vastly increased. This is great for users, but a demanding challenge for
developers. Direct3D 11 had provided a significant expansion in capabilities over the
previous version; now, Direct3D 11.1, the new version of DirectX 11 which is shipped
in Windows 8, presents some new features.

This chapter is about DirectX 11.1. Before learning about programming with the new
component extension (C++/CX) of Microsoft and DirectX 11.1, it seems necessary
to take a step backward and commence with the new features of DirectX 11.1 on a
Metro Style application to discover why we must move to the newer version. This
chapter will cover the following:

• The need for DirectX 11.1

• The prerequisites
• Introduction to C++ component extensions (C++/CX)
• Metro Style apps
• Setting up your first project
• Building your first Metro app
• Working with game time
• Initializing the device

At the end of this chapter, a running DirectX 11.1 project under Windows 8 and a
framework will be created that supports game time.
Random documents with unrelated
content Scribd suggests to you:
 CYMBELINE

ACT.

What, makest thou me a dullard in this act?

V, 5, 265.

PLAY. PART.

Shall’s have a play of this?

Thou scornful page.
There lie thy part. Striking her, she falls.
V, 5, 228.

“Shall’s” in Elizabethan drama is equivalent to our modern “shall

we.” “There lie thy part,” refers to the part the page shall play by
lying down.

PART. ACT.

That part thou, Pisanio, must act for me.

III, 4, 26.
 COMEDY OF ERRORS

JUGGLERS.

They say this town is full of cozenage;

As nimble jugglers that deceive the eye.
I, 2, 98.

In mediæval times Jugglers were frequently to be met with at

the Court, being well received by an admiring audience. Their
entertainment consisted of catching knives, tossing balls and feats of
balancing. Such diversions even at the present day evoke unstinted
applause, especially if practised by a Cinquevalli. The word is derived
from the Latin joculare, to jest; the early meaning, which is now
obsolete, denoted one who entertains or amuses people by shows,
songs, buffoonery and tricks. It also bore the meaning of magician,
wizard, or sorcerer.

MOUNTEBANK.

A mere anatomy, a mountebank, A threadbare juggler.

V, 1, 239.

A well known character in Shakespeare’s time. This entertainer

performed at street corners, who, from an elevated position,
addressed and amused his audience by means of stories, tricks,
juggling and all forms of quackery, in which he was generally
assisted by a professional clown or fool. Derived from the Italian
Montebanchi, to mount a bench.
 CORIOLANUS

MUMMERS.

If you chance to be pinched with the colic, you make faces like
mummers.
II, 1, 83.

In the fourteenth century, mummings were the customary

entertainments held at the Court on festive occasions. They
consisted of men in masquerade, performing in dumb show, with the
addition of dancing. The word is derived from mum, an articulate
sound made with closed lips. Anyone taking part in these mummings
was called a mummer. The meaning of the word in its slang and
contemptuous reference to an actor is of quite modern date. These
mummings or disguisings—both these terms were used indifferently
—continued to be presented until the first quarter of the sixteenth
century, at which date they assumed the name of masks, and were
of a more elaborate nature than the older form of entertainment,
speaking parts being added, which were generally written in verse.
This is the only instance in which Shakespeare uses the word.

ACTING. PART.

It is a part that I shall blush in acting.

II, 2, 149.

ACTOR.
 Like a dull actor now, I have forgot my part, and I am out.
V, 3, 40.

SCENE. ACT.

When he might act the woman in the scene, He proved the best
man.
II, 2, 100.

The gods look down, and this unnatural scene they laugh at.
V, 3, 184.

PROMPT.

So then the Volsces stand but as at first;

Ready, when time shall prompt them to make road upon’s again.
III, 1, 6.

Come, come, we’ll prompt you.

III, 2, 95.
 HAMLET

ACT.

When thou see’st that act afoot,

Even with the very comment of thy soul
Observe mine uncle.
III, 2, 83.

You that look pale and tremble at this chance

That are but mutes or audience to this act.
V, 2, 346.

ACTED.

I heard thee speak a speech once, but it was never acted.

II, 2, 455.

ACTOR.

When Roscius was an actor in Rome, The actors are come hither.
II, 2, 410.

Then came each actor on his ass. The best actors in the world.
II, 2, 416.
 HAMLET:
My Lord, you played once i’ the university, you
say?

POLONIUS:
That did I, my lord, and was accounted a good
actor.
III, 2, 106.

ABRIDGEMENT.

For look, where my abridgement comes.

II, 2, 439.

ARGUMENT.

There was for a while no money bid for argument.

II, 2, 273.

Belike this show imports the argument of the play.

III, 2, 149.

Have you heard the argument? Is there no offence in it?

III, 2, 242.

The argument of a play signified the plot or the subject matter

under discussion. The word in this sense is now obsolete, although
much in use in Elizabethan times, and frequently employed by
several dramatists of the period.
 AUDIENCE.

They are but mutes or audience to this act.

V, 2, 398.

CHORUS.

You are as good as a chorus, my lord.

III, 2, 255.

CUE.

What would he do
Had he the motive and the cue for passion
That I have?
III, 2, 587.

TRAGEDY. COMEDY. HISTORY. PASTORAL.

POLONIUS:
The best actors in the world, either for tragedy, comedy, history,
pastoral, pastoral-comical, historical-pastoral; tragical-historical,
tragical-comical-historical-pastoral, scene individable, or poem
unlimited; Seneca cannot be too heavy, not Plautus too light. For
the law of writ and the liberty, these are the only men.
II, 2, 415.

By the above speech Polonius must have been fairly well

acquainted with the actors, and the repertoire of the tragedians of
the city. The list describing the different styles of composition are
somewhat exaggerated, but not to such an extent as appears at first
sight. Evidence of the lengthy repertory of the Globe can be gleaned
from an extract concerning a licence granted in 1603 to the Globe
company. Permission is given “freely to use the, and exercise the,
Arte and facultie of playing Comedies, Tragedies, Histories,
Enterludes, Moralls, Pastoralls and stage plaies, and such other like.”
The phrase “scene individable” refers to the dramas, scrupulously
adhering to the Unity of Place, a rule so carefully observed by
classical writers. “Poem unlimited” may have expressed the
antithesis to scene individable. The mention of Seneca and Plautus
takes us back to the dramatic writers of antiquity. Seneca’s tragedies
were translated into English and published in 1581. There are many
allusions in English literature to these blood-curdling dramas. Nash,
the Elizabethan dramatist and pamphleteer, thus describes the works
of the Latin author: “Yet English Seneca read by candle-light yields
many good sentences as ‘Blood is a beggar,’ and so forth, and if you
entreat him fair on a frosty morning he will afford you whole
Hamlets, I should say handfuls, of tragical speeches. But o grief
Tempus edax rerum, what’s that will last always? The sea exhaled by
drops will in continuance be dry, and Seneca let blood line by line
and page by page at length must needs die to our stage.”
I possess an original edition of Seneca’s work in Latin, printed at
Venice in the year 1498. The volume contains the ten tragedies,
which were rendered into English by Thomas Newton and other
writers. The “Hamlet” here referred to is an older play than
Shakespeare’s “Hamlet,” and presumably written by Thomas Kyd, to
which Shakespeare was immeasurably indebted. Traces of this play
may survive in the 1603 quarto of “Hamlet.” The relation of the 1603
quarto of “Hamlet” to the received text is one of the most puzzling
subjects in all Shakesperean literature. The exact relationship still
awaits solution. Plautus was a Latin dramatist, one of whose plays
had been translated into English. The “Menaechmi” was rendered
into the vernacular by William Warner and published in 1595. The
translation acquaints us with the fact that before publication the play
had been circulated in MS. Shakespeare’s play of the “Comedy of
Errors” is founded on Plautus’s comedy. Whether Shakespeare went
direct to the original or copied from Warner or any other translation
cannot be decided. Somewhat puzzling is the question in discovering
the grammatical subject of “these are the only men.” Does Polonius
refer to the law of writ and the liberty or the “best actors of the
world.” “Writ and liberty” bear the same meaning as “scene
individable or poem unlimited.” The phrases may be intended as a
compliment to the poets who were distinguished in both classes of
composition, or perhaps the actors were the only men, who by their
expert knowledge were capable of acting in all kinds of plays,
whether a written composition or extempore plays.

CELLARAGE.

Come on; you hear this fellow in the cellarage.

Consent to sweat.
I, V, 151.

This quotation possibly refers to some kind of contrivance in use

underneath the stage. Trap-doors in the Elizabethan theatre were an
indispensable feature of the stage setting. From the stage of to-day
they have entirely disappeared, with the exception of pantomime,
where they are still much in evidence. The Ghost in “Hamlet”
apparently made his entrance and his exit by one of these trap-
doors. Several dramatists made use of these doors in introducing
their characters upon the stage. The exact spot in which they were
situated cannot be indicated; only in one instance can it be clearly
defined. Ben Jonson, in his Induction to the Poetaster marks the
trap-door in the centre of the stage. One may also have existed in
the upper stage, but this suggestion is quite problematical.
Spectators at the Blackfriars Theatres allowed stools on the stage.
Considering that trap-doors were situated all over the stage, the
stool-holders must have had their allotted space marked off,
otherwise they would have interfered with the stage setting.
 DUMB SHOW.

Capable of nothing but inexplicable dumb-shows and noise.

III, 2, 14.

HAUTBOYS PLAY. THE DUMB-SHOW ENTERS

III, 2, 145.

Enter a King and a Queen very lovingly; the Queen embracing him
and he her. She kneels and makes show of protestation unto him.
He takes her up and reclines his head upon her neck; lays him
down upon a bank of flowers; she, seeing him asleep, leaves
him. Anon comes in a fellow, takes off his crown, kisses it, and
pours poison in the King’s ears, and exit. The Queen returns;
finds the King dead and makes passionate action. The poisoner,
with some two or three Mutes, comes in again, seeming to
lament with her. The dead body is carried away. The Poisoner
wooes the Queen with gifts; she seems loath and unwilling
awhile, but in the end accepts, his love.
Exeunt.

I have quoted the dumb-show scene in full, as only in rare

instances in English dramatic literature is the action of the play
foretold by such means. Why Shakespeare employed this confused
method cannot be conjectured. Surely Hamlet exhibiting, through
the dumb-show, how his father was murdered would naturally put
the King upon his guard; the very thing he sought to avoid. The
dumb-show undoubtedly detracts from the climax of the play-scene,
and must be considered a serious blunder on the part of the
dramatist in having introduced this artless and old-fashioned piece of
machinery. The commentators give no valid excuse for its
introduction. Halliwell-Phillipps makes the silly suggestion that the
King and Queen should be whispering together during the scene,
and so escape seeing it. A more ridiculous note by a great
Shakesperean scholar has never been printed.
 ENACT.

What did you enact? I did enact

Julius Cæsar, I was killed in the Capitol.
Brutus killed me.
III, 2, 107.

Besides writing a play called “Julius Cæsar,” Shakespeare

introduces his name on several occasions; apparently he was one of
the poet’s favourite characters. I am afraid Shakespeare did not
verify his quotations; many simple errors occur through Shakespeare
copying them from other authors, whilst the critics, from sheer
ignorance, always lay them on Shakespeare’s shoulders, thus making
him the scapegoat for other’s mistakes. Of course, from the point of
view of modern scholarship, it is a grave error in placing Cæsar’s
assassination in the Capitol; Plutarch expressly states that Cæsar
met his death at Pompey’s portico, where a statue of his famous
rival stood in the centre. The dramatist was on the right track when
Marc Antony, in his oration, describes the place where Cæsar fell:

“Then burst his mighty heart,

And in his mantle, muffling up his face,
Even at the base of Pompey’s statue,
Which all the while ran blood, great Cæsar fell.”

Julius Cæsar was murdered in the “Curia,” Pompey near the

theatre of Pompey, in the Campus Martius. Chaucer commits the
same blunder in believing that Cæsar was stabbed in the Capitol. In
Shakespeare’s play of “Julius Cæsar” the same error was repeated.
An ancient statue, which was discovered in 1553 and now stands in
the Sala dell’ Udianza of the Spada Palace at Rome, may be the
identical statue of Pompey, at the base of which great Cæsar fell.
Plutarch relates how at the very base where Pompey’s statue stood,
which ran all gore blood, till he was slain. Plutarch’s celebrated lives
of the Grecians and Romans was translated into English by Thomas
North in 1579, from the French version of Jacques Amyot, first
printed in 1559. Four editions were issued before North made his
translation without studying the text very minutely, a difficulty arises
in determining which edition North used. This book was
Shakespeare’s constant companion, and many of North’s vigorous
prose passages are turned into verse with very little alteration. This
volume was in the library of Molière’s mother, and was frequently
consulted by the great French comic poet. The author was in great
vogue during the sixteenth, seventeenth and eighteenth centuries,
and it may well be considered the most popular book of those times
among educated people. During the last hundred years the work has
lost much of its popularity, few people of the present day having
read it. I doubt if many who profess themselves readers of good
literature know the author, even by name. So much for our
educational system. I possess a copy of the first Greek edition,
dated 1517, formerly in the possession of the Duke of Sussex;
besides the rare first French edition, 1559, which I recently
purchased from the catalogue of a lady provincial bookseller.

GROUNDLINGS.
To split the ears of the groundlings, who for the most part are
capable of nothing but inexplicable dumb-shows and noise.
III, II, 12.

That part of the theatre, corresponding to our pit, was called the
yard, and the spectators who stood in the enclosure were dubbed
groundlings, the word being associated with the general sense of
ground. “Your groundlings and gallery-commoner buys his sport by
the penny.” The price of admission to this part of a public theatre,
such as the Globe, was one penny. At the Blackfriars, a private
theatre, there was no open yard. In Jonson’s play of “The Case is
Altered” one of the characters explains: “Tut, give me the penny,
give me the penny. I care not for the gentleman, I, let me have good
ground.” The same dramatist, in another play, designates these
spectators as the understanding gentlemen of the ground. Judging
by contemporary accounts, the yard was the most uncomfortable
place for enjoying the performance, the enclosure was bare of any
sitting accommodation, neither was there any flooring, being
generally overcrowded; there was no room for stools.
Notwithstanding these disadvantages, the people flocked to this part
of the theatre, which, at most of the public theatres, held about a
thousand spectators. In proof of this statement I will quote some
verses from Marlowe’s Epigrams and Elegies, translated from Ovid’s
Amores:

“For as we see
The playhouse doors
When ended is the play, the dance and song,
A thousand townsmen, gentlemen and wantons,
Porters and serving men, together throng.”

These lines were published circa 1596, and have never been
quoted before in reference to the stage, and I regard them, on my
part, in the light of a discovery. When every nook and cranny of
Elizabethan literature has been diligently ransacked in quest of
materials for illuminating theatrical matters, it is all the more
surprising that this passage should have been overlooked. The
reason may be that in this poem some of the verses were too highly
coloured for respectable literary folk, but in spite of this obstacle I
considered it my duty as a student to read the book diligently from
page to page in hopes of finding some reference to the early stage,
and in this instance I was amply rewarded. This volume of amorous
verses was one of the books condemned to be burnt at Canterbury
by Archbishop Whitgift in 1599. By a strange coincidence, the
original of this volume was banned from the public libraries by order
of the Emperor Augustus.
 HOBBY HORSE.

For O, for O, the hobby-horse is forgot.

III, 2, 144.

Although only distantly connected with the stage, the mention of

this well-known feature in the May games proves that Shakespeare
was well versed in all matters connected with the festivities of the
village homes. The hobby-horse was one of the principal actors,
taking part in the Morris Dance, this dance being considered the
chief attraction of the May games. Hobby was originally the name of
a small horse chiefly of Irish breed; when figuring in the festivities
under this name it was represented by a paste board painted figure
of a horse, attached to a frame of wicker wood or other light
material, and was fastened round the waist of a man, his own legs,
going through the body of the horse, were concealed by a long foot-
cloth, thus enabling him to walk unseen, while false legs appeared
where those of the man should have been, at the sides of the horse.
Thus equipped, he executed various antics in imitation of a skittish
high-spirited animal. The name of the performer was also called the
hobby-horse. The phrase is now obsolete, but the word hobby is
now associated with the occupation of collecting various works of art
or trivial things, which is compared to the riding of a toy horse. The
present quotation may be a line now lost from an old ballad, in
which the omission of the hobby-horse from the May games was the
principal theme. The figure of a man riding a hobby-horse is
depicted on a glass window at Betley Church, Staffordshire. This
identical sentence is often mentioned in Elizabethan literature, which
would indicate that at this period it had ceased to form a part of the
rustic games. As an instance showing the disfavour into which the
hobby-horse had fallen, Hope-on-high Bomby, a character in “A
Woman Pleased,” by Beaumont and Fletcher, throws off his hobby-
horse and will no more engage in the Morris Dance. Last summer I
witnessed some very interesting Morris Dances performed on the
Green in the Hampstead Garden Suburb, but was disappointed in not
seeing the hobby-horse. “For O, For O, the hobby-horse is forgot,” I
exclaimed in a loud voice, but no one heeded me, and the dances
continued.

JIG.

Prithee, say on, he’s for a jig or a tale of bawdry, or else he sleeps.
II, 2, 522.

This is the only instance in which Shakespeare uses the word in

its connexion with the dramatic history of the stage. In this sense
the word is now obsolete. Until quite lately, no specimen of this form
of dramatic literature was extant, yet the early commentators were
fully aware of its existence. Very little trustworthy evidence for this
class of literary diversion is procurable, but several early references
clearly indicate that such fare was usually provided at the public
theatres. The jig was a dramatic sketch or ballad drama, of a light or
farcical character, written to dance music and accompanied in most
instances to dance action. The piece that has survived is without this
lasting accessory. The actors in these sketches were chosen from
those that played the clowns and comic characters in the regular
drama. An idea of the nature of these one-act plays may be
imagined by comparing them to the rollicking farces which generally
concluded the programme in our theatres in Victorian times. The
only extant jig, which has recently been discovered, has been
printed in the collection of Shirburn ballads, and edited with much
profound learning by Mr. Andrew Clark. The playlet is entitled:
“Mr. Attwell’s Jigge
betweene
Francis. A Gentleman.
Richard. A Farmer
and their wives.”
 The sketch is divided into four acts, each one accompanied to a
different tune. The first to the tune of “Walsingham,” the second
“The Jewish Bride,” the third to “Buggle-boe,” and the fourth to “Goe
from my Window.” This last tune was familiar in Scotland early in
Elizabeth’s reign. The first act introduces to us the plot of the piece:
the gentleman, who makes love to the farmer’s wife. When her
husband returns, she tells him of the gentleman’s intentions;
thereupon they concoct a plot to entrap the would-be lover, and
inform the gentleman’s wife of his intrigue. In the end the
gentleman makes love to his own wife in the belief that she is the
farmer’s wife. When he discovers his mistake he is forgiven and all
ends happily. We may readily assume that many such pieces still
exist in manuscript which have not yet come to light. We owe a debt
to Mr. Clark for having published this highly interesting example,
illustrating a popular theatrical amusement of the Tudor period. The
Spanish dramas of this date also had their jigs, which were called
“bayles,” always accompanied by words, either sung or recited, and,
of course, by dancing.

LINES.

But if you mouth it, as many of your players do,

I had as lief the town crier spoke my lines.
III, 2, 4.

These lines refer to the delivery of the speech, inserted by

Hamlet in the play scene. Apparently Shakespeare did not appreciate
this boisterous school of acting, which was of a pompous oratorical
style, uttering the words with great distinctness of articulation,
amounting almost to affectation; in brief, a species of ranting. In
poetry, verses are termed lines. Milton, in his ode to Shakespeare,
prefixed to the Second Folio, 1632, writes:
 “... and that each part
Hath from the leaves of thy unvalued Book
Those Delphic lines with deep impression took.”

“Unvalued” in the above quotation is here used for our modern

word “invaluable.” Shakespeare uses the word in both its ancient and
modern definitions, namely, “Inestimable stones, unvalued Jewels,”
in “Richard III,” and once in “Hamlet,” “He may not as unvalued
persons do Carve for himself.”
An actor of to-day still refers to the words of his part as his lines.
A further instance of ranting occurs in Churchill’s “Roliad,” where he
speaks disparagingly of an actor in the following couplet:

He mouths a sentence
As a cur mouths a bone.

Shakespeare himself refers to his “untutored lines” in the

dedication of “Lucrece” to the Earl of Southampton.

PART.

The humourous-man shall end his part in peace.

II, 2, 336.

In this passage the “humourous man” has no connection with the

funny or comical character in our present day melodramas. The
meaning in this latter sense is first used at the end of the
seventeenth century. The Shakesperean sense was moody, peevish,
or capricious, ever ready in entering into a quarrel, and represented
by such characters as Mercutio, Jacques, and Faulconbridge.
 PLAY.

He that plays the King shall be welcome.

II, 2, 332.

The play I remember pleased not the million.

II, 2, 456.

An excellent play well digested in the scenes.

II, 2, 46.

We’ll hear a play to-morrow. Dost thou hear me?

Old friend, can you play the murder of Gonzago?
II, 2, 56.

I have heard that guilty creatures sitting at a play

Have, by the very cunning of the scene,
Been struck so to the soul, that presently
They have proclaimed their malefactions.
II, 2, 618.

I’ll have these players

Play something like the murder of my father.
II, 2, 624.

The play’s the thing

Wherein I’ll catch the conscience of the king.
II, 2, 663.
 They have already order
This night to play before him.
III, 1, 21.

After the play

Let the queen mother alone entreat him.
III, 1, 189.

O, there be players that I have seen play.

III, 2, 33.

Let those that play your clowns speak no more than is set down for
them.
III, 2, 43.

Though, in the meantime, some necessary question of the play be

then to be considered.
III, 2, 47.

There is a play to-night before the king.

III, 2, 80.

If I steal ought whilst the play is playing

And ’scape detecting, I will pay the theft.
III, 2, 93.

They are coming to the play I must be idle.

III, 2, 98.
Belike this show imports the argument of the play.
III, 2, 150.

You are naught, you are naught, I’ll mark the play.
III, 2, 158.

Madam, how like you the play?

III, 2, 239.

What do you call the play? The Mouse trap.

III, 2, 246.

The play is the image of a murder done in Vienna.

III, 2, 265.

Give o’er the play. Give me some light, Away.

III, 2, 279.

Ere I could make a prologue to my brains

They had begun the play.
V, 2, 31.

PLAYED.

My lord, you played once i’ the university, you say.

III, 2, 104.
 PLAYER.

What lenten entertainment the players shall receive from you.

II, 2, 329.

What players are they? Even those you were wont to take such
delight in, the tragedians of the city.
II, 2, 365.

Unless the poet and the player went to cuffs in the question.
II, 2, 373.

There are the players.

You are welcome to Elsinore.
II, 2, 386.

Lest my extent to the players should more appear like entertainment

than yours.
II, 2, 391.

I will prophesy he comes to tell me of the players.

II, 2, 406.

Will you see the players well bestowed.

II, 2, 547.
 Is it not monstrous that this player here
But in a fiction in a dream of passion
Could force his soul so to his own conceit.
II, 2, 577.

I’ll have these players

Play something like the murder of my father.
II, 2, 623.

It so fell out that certain players

We o’er-raught in the way.
III, 1, 16.

If you mouth it as many of your players do.

I had as lief the town crier spoke my lines.
III, 2, 3.

O, there be players that I have seen play.

III, 3, 32.

Bid the players make haste.

III, 2, 54.

Be the players ready.

III, 2, 111.
 The players cannot keep counsel, they tell all.
III, 2, 162.

Will not this—get me a fellowship in a cry of players.

III, 2, 289.

PLAYING.

Anything so overdone is from the purpose of playing.

III, 2, 23.

If he steal aught whilst the play is playing.

III, 2, 93.

PROLOGUE.

And prologue to the omen coming on.

I, 1, 123.

Is this a prologue or the posy of a ring.

III, 2, 123.

Ere I could make a prologue to my brains

They had begun the play.
V, 2, 30.
 QUALITY.
Will they pursue the quality no longer than they can sing?
II, 2, 268.

We’ll have a speech straight, come give us a taste of your quality,

come a passionate speech.
III, 2, 451.

In Shakespeare’s time the word was used technically, as applying

to the profession of acting; in this sense the word is now obsolete.
“Players, I love ye and your quality,” is a quotation from Davies’
“Microcosm,” 1603.

SCENE.

Scene individable or poem unlimited.

II, 2, 418.

An excellent play well digested in the scenes.

II, 2, 418.

Have by the very cunning of the scene.

II, 2, 619.

One scene of it comes near the circumstance

Which I have told thee of my father’s death.
III, 2, 81.

SHOW.
 Belike this show imports the argument of the play.
III, 2, 149.

Will he tell us what this show meant.

III, 2, 153.

The word show in both these passages refers to the dumb-show

which caused Ophelia to make these remarks. Although in modern
slang the word show is used in connexion with a dramatic
entertainment, this meaning did not exist in Shakespeare’s time: its
only meaning in a theatrical sense, in the sixteenth century was of a
spectacular nature, such as pageants, masques or processions on a
large scale.

STAGE.

These are now the fashion and so berattle the common stages.
II, 2, 358.

He would drown the stage with tears.

II, 2, 588.

TRAGEDIAN.

Those who were wont to take such delight in the tragedians of the
city.
II, 2, 324.
 TRAGEDY.

The best actors in the world, either for tragedy, comedy, history.
II, 2, 416.

For us and for our tragedy.

III, 2, 159.

TRAGICAL.

Tragical, historical, tragical comical, historical pastoral.

II, 2, 417.

VICE.

A vice of kings.
A king of shreds and patches.
III, IV, 98.

The vice in the old morality was usually of a humourous and

malicious character, deriving his name from the vicious qualities
attributed to him in the old morality plays. His nature was wholly
mischievous, and this trait permeated his entire being. The vice was
generally dressed in a fool’s habit, hence the further reference to a
king of shreds and patches. One of the meanings of patch is a piece
of cloth sewed together, with others of varying shape and size and
colour to form patchwork or adorn a garment. Shakespeare having
previously alluded to the vice or fool, by association of ideas refers
in a few lines later to his many-coloured garment.
 HAMLET.
Why did you laugh then, when I said “man delights not
me?”
ROSENCRANTZ.
To think, my lord, if you delight not in man what lenten
entertainment the players shall receive from you.
We coted them on the way, and hither are they
coming, to offer you service.
HAM.
He that plays the king shall be welcome; his Majesty
shall have tribute of me; the adventurous knight
shall use his foil and target; the lover shall not sigh
gratis; the humourous man shall end his part in
peace; the clown shall make those laugh whose
lungs are tickle o’ the sere, and the lady shall say
her mind freely, or the blank verse shall halt for’t.
What players are they?
ROS.
Even those you were wont to take such delight in, the
tragedians of the city.
HAM.
How chances it they travel? Their residence, both in
reputation and profit, was better both ways.
ROS.
I think their inhibition comes by the means of the late
innovation.
HAM.
Do they hold the same estimation they did when I was
in the city? Are they so followed?
ROS.
No, indeed they are not.
HAM.
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