Every spot was rich in memories. Five minutes' walk would bring him

to Henley Street, where he had played as a child, and where stood the

old house in which he was born. He would enter; there was the kitchen,

which had been the living room as well in his parents' time; near the

entry was the woman's storeroom, and above, the sleeping-room in which

he was born. How little he dreamed that this spot was to become a

place of pilgrimage for the whole Anglo-Saxon race--nay, for the whole

civilised world.

He would take the road to Shottery, along which he had walked times

out of number in his youth--for had not he and Anne Hathaway kept

their trysts there? Right and left rose the high hedges separating

the fields. Trees, standing singly or in groups, were scattered about

the country, and the road, lined with elms, beeches, and willows,

wound its way through the undulating country lying between Stratford

and Shottery. Half-an-hour's walk would bring him to Anne Hathaway's

cottage, with the moss-grown roof. He would enter, and look once more

upon the wooden bench in the chimney-corner on which he and she had sat

in their ardent youth. How long ago it all seemed! There was the old

fifteenth-century bed in which Anne's parents had slept, with her, as a

child, at their feet. The mattress was nothing but a straw palliasse,

but the bedstead was beautifully carved with figures in the old style.

When, a year or two later, he bequeathed to his wife "the second best

bed," did he remember that this bed was already hers, I wonder?

Another day he would make his way as far as Warwick and its castle. The

town was not unlike that of Stratford; it had the same timbered houses,

but here the two great towers of the castle rose and predominated over

the beautiful scenery. How vividly the past would rise up before him as

he stood on the bridge and gazed up at the castle. He would remember

his own youthful dreams concerning it, and the forms he had conjured up

from their graves to people it afresh. There was the Earl of Warwick,

who enumerated all the proofs of Gloucester's violent death in _Henry

VI._ and that other Earl in the _Second Part of Henry IV_, (Act iii.

sc. I) into whose mouth he had put words whose truth he was now proving:

"There is a history in all men's lives

Figuring the nature of the times deceased."

Charlcote House he would see too. He had stood as a culprit before its

master once, and had suffered the bitterest humiliation of his life,

one so deep that it had driven him away from home, and had thus been

the means of leading him to success and prosperity in London.

How strange it was to be here again where every one knew and greeted

him. In London he had been swallowed up in the crowd. How familiar,

too, the homely provincial version of his name, with the abbreviated

first syllable. In town that first syllable was always long, a

pronunciation, which left no doubt as to the etymology of the name.[1]

It was on account of these differing pronunciations that he had, while

in London, changed the spelling of his name. He had always written

it _Shakspere_, but in town it had from the first (the dedication

of _Venus and Adonis_ and _The Rape of Lucrece_) been printed

_Shakespeare_: a spelling always followed by the various publishers of

the quarto editions of his dramas, only one adopting the orthography

_Shakspeare_.[2]

Every one knew him, and he must exchange a word with all--with the

ploughman in the field, the farmer's wife in her poultry-yard, the

mason on the scaffolding, the fish-dealer at his stall, the cobbler in

his workshop, and the butcher in the slaughter-house. How well he could

talk to each, for no human occupation, however humble, was unfamiliar

to him. He had a thorough acquaintance from of old with the butcher's

trade. It had formed a part of his father's business, and his early

tragedies contain many a proof of his familiarity with it. The Second

and Third Parts of _Henry_ VI. are full of similes drawn from it.[3].

There was hardly any trade, calling, or position in life which he did

not understand as if he had been born to it. Doubtless the simple folk

of his native town respected him as much for his sound judgment and

universal knowledge as for his wealth and property. It would be too

much to expect that they should recognise anything more and greater in

him.

Many years ago, at the outset of his career as a dramatist, he had made

a defeated king praise a country life for its simplicity and freedom

from care (_Third Part of Henry VI._, ii. 5):

"O God! methinks it were a happy life

To be no better than a homely swain;

To sit upon a hill, as I do now,

To carve out dials quaintly, point by point,

Thereby to see the minutes how they run,

How many make the hour full complete;

How many hours bring about the day;

How many days will finish up the year;

How many years a mortal man may live.

When this is known, then to divide the times:

So many hours must I tend my flock;

So many hours must I take my rest;

So many hours must I contemplate;

So many hours must I sport myself;

So many days my ewes have been with young;

So many weeks ere the poor fools will yean;

So many years ere I shall shear the fleece:

So minutes, hours, days, months and years,

Passed over to the end they were created,

Would bring white hairs and a quiet grave."

In just such a regular monotony were Shakespeare's own days now to pass.

[1] In 1875 Charles Mackay made an attempt, in the _Athenaum_,

to prove a Celtic origin for the name, deriving it from _seac_ =

dry, and _speir_--shanks, thus dry or long shanks. If we take into

consideration the numerous other names and nicknames of the day which

began with Shake--Shake-buckler, Shake-launce, Shake-shaft, &c., this

explanation does not seem very probable. Another argument in favour

of its Anglo-Saxon origin and simple meaning, _Spearshaker_, is the

contemporaneous existence of the Italian surname Crollalanza.

[2] It may be mentioned that there were no less than

fifty-five different ways of writing the name at that time. It is

well known that such spellings were quite arbitrary. In Shakespeare's

wedding contract, for example, we have the version _Shagspere_.

[3]

"And as the butcher takes away the calf,

And binds the wretch and beats it when it strays,

Bearing it to the bloody slaughter-house" (II. iii. I)

"Who finds the heifer dead and bleeding fresh,

And sees fast by a butcher with an axe,

But will suspect 'twas he that made the slaughter" (II. iii. 2).

"_Holland_. And Dick the butcher.

"_Bevis_. Then is sin struck down like an ox and

iniquity's throat cut like a calf."

(II. iv. 2).

"_Cade_. They fell before thee like sheep and oxen,

and thou behavedst thyself as if thou hadst been in thine

own slaughter-house." (II. iv. 3).

"So first the harmless sheep doth yield his fleece,

And next his throat unto the butcher's knife." (III. v. 6).

In _As You Like It_ (ii. 2) Rosalind says, using a simile drawn from

the same trade: "This way will I take upon me to wash your liver clean

as a sound sheep's heart, that there shall be not one spot of love in

it."

See Alfred C. Calmon, who in _Fact and Fiction about Shakespeare_ has

been very successful in pointing out the numerous reminiscences of

Stratford to be found in Shakespeare's plays.

XXV

_THE LAST YEARS OF SHAKESPEARE'S LIFE_

Did Shakespeare find that peace and contentment at Stratford which he

sought? From one thing and another we are almost forced to conclude

he did not. His own family seem to have looked upon him in the light

of a returned artist-bohemian, of a man whose past career and present

religious principles were anything but a credit to them. Elze and

others believe, indeed, that, like Byron's descendants at a later date,

Shakespeare's family considered him a stain upon their reputation. This

surmise may be correct, but there is no very great foundation for it.

It has long been inferred, from the fact that he made her his heiress,

that Susanna was Shakespeare's favourite daughter. She was probably the

individual to whom he felt most drawn in Stratford; but we must not

conclude too much from a testamentary disposition. It was plainly the

poet's intention to entail his property, and his original desire was

that his little son Hamnet, as bearer and continuer of the name, should

succeed to everything. Upon the death of the son, the elder daughter

would naturally take his place.

It is not conceivable that Susanna could have any real understanding

of, or sympathy with, her father. Her very epitaph places her in direct

contrast with him in matters of religion, distinctly maintaining that

though she was gifted above her sex, which she owed partly to her

father, she was also wise with regard to her soul's salvation, and

that was entirely due to Him whose happiness she was now sharing.

Shakespeare had none of the credit for that.[1] Her natural inclination

to bigoted piety was confirmed and augmented by the influence of her

husband, whose sectarian zeal and narrow-minded hatred of Catholicism

are plainly shown in such of his journals and books as have been

preserved. We can fancy how Shakespeare's depth and delicacy of feeling

must have suffered under all this. It is even possible that Susanna and

her husband may have burned, on the score of what they considered his

irreligious principles, any papers that Shakespeare left behind, as

Byron's family destroyed his memoirs. This would explain their total

disappearance, which, after all, is no more strange than the utter

absence of any manuscripts belonging to Beaumont or Fletcher, or any

other dramatic writer of the period.

The younger daughter, Judith, could not even write her own name, and

signed her mark with a quaint little flourish when she was married.

It is clearly impossible, therefore, that she could have taken any

interest in her father's manuscripts. In the seventeenth century it

was no very liberal education that a poet's daughter received; even

Milton's eldest daughter, at a much later period, was unable to write.

Susanna could just inscribe her own name, but that seems to have been

the limit of her literary accomplishments. Her utter indifference to

all such matters would sufficiently account for the destruction of

her father's papers, and this surmise is confirmed by a remarkable

statement made in his preface by Dr. John Cooke, the editor of her

husband's papers. Whilst serving as army surgeon during the Civil War,

he was stationed at Stratford to defend the bridge over the Avon. One

of his men, lately an assistant of Dr. Hall's, told him that the books

and manuscripts left by the doctor were still in existence, and offered

to accompany him to the widow's house in search of them. Cooke examined

the books, and Mrs. Hall informed him that she had others which had

belonged to her husband's partner, and had cost a considerable sum.

He replied that if the books pleased him he would be willing to pay

the original price. She then produced them, and they proved to be the

very book from which we are quoting, and some others' all ready for

printing. Cooke, who knew Dr. Hall's handwriting, told her that at

least one of these books was her husband's, and showed her the writing.

She denied it, and finding that his persistence was giving offence, he

paid the sum she named and carried off the books.

This extract proves that Susanna neither knew her husband's handwriting

nor recognised his own books. So entirely lacking was she in any

interest in intellectual matters, that she, a rich woman, set no

greater value on her husband's works than to sell them for a trifle on

the first opportunity that offered.

We can draw a tolerably reliable inference from this anecdote of the

interest she was likely to take in any written or printed papers left

by her father. In all probability she did not even take the trouble to

burn them, but either threw them away or sold them as waste paper.

If we reflect that Susanna, born in better circumstances and better

educated than her mother, must have been decidedly her superior, we can

see how little Shakespeare's wife, now well stricken in years, could

have understood or appreciated her husband. She undoubtedly preferred

sermons to plays, and both her heart and house were always open to

itinerant Puritan preachers. Of this we possess reliable information.

Shakespeare returned to London during the winter of 1614. Letters have

been preserved from his cousin Thomas Greene, the town-clerk, proving

that he was in the capital on the 16th of November and the 23rd of

December. This visit of his is interesting in two ways, for we know

that Shakespeare, capable man of business as he was, was defending the

rights of his fellow-citizens against the country gentry; and we also

know the use his family made of his absence.

The town records of Stratford show that Shakespeare's family was

entertaining a travelling Puritan preacher just at this time, for,

according to custom, the town presented this man with a quart of sack

and a quart of claret, and we read in the municipal accounts: "_Item,

for one quart of sack and one quart of clarett wine geven to a preacher

at the New Place, xxd._"

It is a significant fact that his family should be entertaining a

member of the sect Shakespeare held to be peculiarly inimical to

himself whilst he, the master of the house, was absent on business.

Probably his family never saw one of his plays performed, nor even read

such of them as were printed in the pirated editions.

Anne Hathaway's cottage, which stands unchanged, though the roof is

gradually falling in, was visited by the present writer in 1895. An

old woman lived in it, the last of the Hathaways. She was sitting on a

chair opposite the _courtship bench_, on which, according to tradition,

the lovers used to sit. In the family Bible, lying open before her, she

pointed with pride to a long list of names inscribed by the Hathaways

during hundreds of years, and forming a kind of genealogical tree. The

room was filled with all manner of pictures of William Shakespeare

and Anne Hathaway, with relics of the poet, and of famous actors and

critics of his plays. The old woman, who lived among and by these

comparatively valueless treasures, explained the meaning and story of

each thing, but to the cautiously ventured inquiry whether she had ever

read anything by this same Shakespeare who surrounded her on every

side, and on whose memory she was actually living, she returned the

somewhat astonished reply, "Read anything of him! No, I read my Bible."

If this female Hathaway has never read anything of Shakespeare, was

Anne, who must have been far behind this last scion of her race in

general and certainly Shakespearian culture, likely ever to have done

so?

Seeing that his own family had no great opinion of him, we can hardly

be surprised that, in spite of his wealth and his oft-mentioned

kindliness of disposition, he was hardly appreciated by the upper

ten of Stratford's 1500 citizens. Although he was one of its richest

inhabitants, he was never appointed to one of the public offices of the

town during the years of his residence there.

There were few with whom he could associate in the little town. The

most frequently alluded to of his Stratford acquaintances was a certain

John Combe (steward of Ambrose, Earl of Warwick), a man of low repute

as tax-collector and worse as money-lender and usurer. That he figured

as a philanthropist in his will does not prove very much, but he must

have been better than his reputation, or he would surely never have

been one of Shakespeare's companions. Tradition tells that the poet

and Combe not only spent much time together in their own houses, but

were also in the habit of passing their evenings in the tavern (now

called the Falcon) which lay just across the road. Here, then, the

mighty genius, stranded in a little country town, sat at the same great

table which stands there to-day, tossing dice and emptying his glass in

company with a country bumpkin of doubtful reputation.

Tradition further adds that it was one of Shakespeare's few amusements

to compose ironical epitaphs for his acquaintances, and he is said to

have written an exceedingly contemptuous one upon John Combe in his

character of usurer and extortioner. This epitaph, however, which has

survived to us in various forms, is proved to have been printed, with

its many variations, as early as 1608. It was probably only assigned to

Shakespeare in the same manner that all the Danish witticisms of the

following century were attributed to Wessel. John Combe died in 1614,

leaving Shakespeare a legacy of five pounds. If he was the best of

Shakespeare's Stratford associates, we can figure to ourselves the rest.

His chief companionship must have been that of Nature.

Wiser and more profound than any other in Voltaire's _Candide_ is its

closing utterance, "_Il faut cultiver notre jardin_" Candide and his

friends, at the end of the story, come across a Turk who, absolutely

indifferent to all that is occurring in Constantinople, is entirely

absorbed in the cultivation of his garden. The only communication he

holds with the capital is to send thither for sale the fruit that

he grows. This Turk's philosophy of life makes a great impression

upon Voltaire's hero, who has known and experienced the dangers and

difficulties of nearly every human lot, and his constant refrain

throughout the last pages of the book is, "_Je sais qu'il faut cultiver

notre jardin_" "You are right," answers another character; "let us work

and give up brooding; only work makes life bearable." When Pangloss

undertakes, for the last time, to prove how wonderfully everything is

linked together in this best of all possible worlds, Candide adds the

final apostrophe, "Well said! but we must cultivate our gardens."

This was the thought which was now singing its meagre, sad little

melody in Shakespeare's soul.

His two gardens stretched from New Place down to the Avon; the larger

had one fault--it only communicated by a narrow lane with the bit of

ground that lay directly round the house, two small properties on the

Chapel Lane side intervening between house and garden. The smaller

garden was probably given up to flowers, the larger to the cultivation

of fruit. Warwickshire is especially noted for its apples.

Thus Shakespeare could now improve the quality of his own fruit by that

process of grafting which Polixenes had so lately taught Perdita in the

_Winter's Tale_. He could now, as did the gardener long ago in _Richard

II_, bid his assistants bind up the dangling apricots and prop the

bending branches.

He had planted the famous mulberry-tree with his own hand, and it stood

until the Rev. Francis Gastrell, who owned New Place in 1756, cut it

down in a fit of exasperation with the crowds who requested admission

to see it. Any one who has visited Stratford knows of the endless

pieces of furniture and little boxes which were made from its wood.

Garrick, who revived Shakespeare upon the stage, sat under it in 1744;

and when, in 1769, he was presented with the freedom of the city, the

casket in which the charter was enclosed was made from a portion of the

tree. In the same year, when, on the occasion of Shakespeare's Jubilee,

he sang his song, _Shakespeare's Mulberry-Tree_, he held in his hand a

goblet made from its wood.

A serious attempt was made in Shakespeare's time to introduce

the breeding of silkworms at Stratford, and the planting of the

mulberry-tree may have had some connection with this experiment.

Not even the ruins of New Place are in existence to-day, but only

the site where the house once stood, and the old well in the yard,

which is so overgrown with ivy that the windlass looks like a handle

of greenery. The foundation-stones of the boundary wall are covered

with earth and grass, and form a sort of embankment towards the road.

The gardens, however, are much as they were in Shakespeare's day;

the larger is spacious and beautiful. Wandering there of an autumn

afternoon, when the leaves are beginning to turn faintly golden, a

strange feeling comes over one--a feeling belonging to the place, from

which it is very difficult to tear oneself away.

One seems to see him walking with grave stateliness there, clad in

scarlet, with the broad white collar falling over the sleeveless black

tunic. We see the hand which has written so many ill-understood and

insufficiently appreciated masterpieces binding up branches or lopping

off stray tendrils, while the sunlight sparkles on the plain gold

signet ring with its initials, W.S., which is still in our possession.

The numerous portraits and the famous death-masque discovered in

Germany are all forgeries. The only genuine likenesses are the bad

engraving by Droeshout prefixed to the first Folio and the poorly

executed coloured bust by the Dutchman Gerhard Johnson on the

monument in the Church of the Holy Trinity, which was probably done

from a death-masque. It may be added that a painting was discovered

at Stratford eight years ago, which purports to be the original of

Droeshout's engraving, and the genuineness of which is still a matter

of dispute.[2]

It holds us captive, this head with the healthy, full, red lips,

the slight brownish moustache, the fine, high, poet's brow, with

the reddish hair growing naturally and becomingly at the sides. The

expression is speaking; Shakespeare must surely have looked like

this. Even if the painting should prove a forgery, an imitation of

Droeshout's work instead of its original, it will still retain an

artistic and psychological value possessed by none of the other

portraits. As he looks out at us from the canvas, we seem to see him as

he was in those last years at Stratford, chatting with the townsfolk

and "cultivating his garden."[3]

[1] "Witty above her sexe, but that's not all, Wise to

salvation was good Mistress Hall, Something of Shakespeare was in that,

but this Wholly of him with whom she's now in blisse."

[2] In the Halliwell-Phillips collection of Shakespearian

rarities, stored at the Safe Deposit, Chancery Lane, there was a copy

of the print which, according to the catalogue of the collection, is

in its original proof condition, before it was altered by "an inferior

hand." As traces of what is called the "inferior hand" are to be found

in the painting, it would seem that the latter was copied from the

print. (See John Corbin: _Two Undescribed Portraits of Shakespeare.

Harpers New Monthly Magazine_.)

[3] R. E. Hunter: _Shakespeare and Stratford_. 1864.

Halliwell-Phillips _A Brief Guide to the Gardens_. 1863. G.L.

Lee: _Shakespeare's Home And Rural Life_. 1874. W. H. H.:

_Stratford-Upon-Avon. Historic Stratford_. 1893. _The Home and Haunts

of Shakespeare_, With An Introduction by H. H. Furness. 1892. Karl

Elze: _Shakespeare_, Chap. viii.

XXVI

_SHAKESPEARE'S DEATH_

On the 9th of July 1614 a terrible calamity fell upon the little

town in which Shakespeare dwelt, and a great fire destroyed no less

than fifty-four houses, besides various barns and stables. In spite

of a prohibitive law, the houses of most of the poorer citizens were

thatched with straw, which proved, of course, highly inflammable.

Doubtless Shakespeare, whose house was spared, contributed generously

towards the alleviation of the general distress.

In March 1612, Shakespeare, jointly with Will Johnson, a wine merchant,

John Jackson, and his friend and editor John Heminge, bought a house at

Blackfriars in London. The deed of purchase which is still in existence

in the British Museum, bears Shakespeare's authentic signature written

above the first of the appended seals. His name above and in the body

of the document has a different spelling. This property must have

necessitated a certain amount of attention, and probably occasioned

more than one journey up to town. The already mentioned sojourn

there at the close of the year 1614 was not one of these, however.

Shakespeare's object then was the fulfilment of a commission intrusted

to him by his fellow-townsfolk.

For more than a century past, the great families had been enclosing

all the land they could seize, and their parks and preserves began to

usurp the old common lands and hunting-grounds, their object being

to crush the mediæval custom of the whole community's joint interest

in agriculture and cattle-rearing. A steady withdrawal of land from

agricultural purposes went on, and the peasant classes were growing

gradually poorer as the large landowners arbitrarily raised the

prices of meat and wool. Under these circumstances the country people

naturally did their best to prevent the enclosure of land.

In 1614 Shakespeare's native town was agitated by a proposal to

enclose and parcel out the common land of Old Stratford and Welcombe.

That Shakespeare was averse to this plan and determined to oppose it

we learn from an utterance of his preserved in the memoranda of his

cousin, Thomas Greene, which have been published by Halliwell-Phillips.

According to these, Shakespeare said to his cousin that _he was

not able to bear the enclosing of Welcombe_. We also learn that he

concluded an agreement on the 28th of October, on behalf of his cousin

and himself, with a certain William Replingham of Great Harborough, an

ardent supporter of the enclosure project. Replingham thereby pledged

himself to indemnify the persons concerned for any loss or injury

entailed upon them by the enclosure. Shakespeare was also induced

to plead the cause of his fellow-townsmen in London, the Stratford

town council sending Thomas Greene thither to beg him to use all his

influence for the benefit of the town, which had already suffered

grievous loss through the fire. That Greene fulfilled his commission

is proved by his letter to the council of the 17th of November 1614,

in which he says he received reassuring intelligence from Shakespeare,

and that both the poet and his son-in-law, Dr. Hall, believe that the

dreaded plan will never be carried into execution.[1].

They were right. In 1618, in answer to a petition from the corporation,

Government decreed that no enclosure was to be made, and gave orders

that any fences already erected for that purpose were to be pulled down.

The year 1615 seems to have passed quietly enough in that country

solitude and peace which Shakespeare had so long desired.

He must have been taken seriously ill in January 1616, for above the

actual date of his will, _March 25th_, stands that of _January_, as

though he had begun to draw it up, and then, feeling better, had

postponed his intention of making a will.

The last event of any importance in Shakespeare's life took place

on the 10th of February 1616; on that day his daughter Judith was

married. She was no longer quite young, being thirty-one, and it was

no very brilliant match she made. The bridegroom, Thomas Quiney, was

a tavern-keeper and vintner in Stratford, and a son of the Richard

Quiney who applied eighteen years before to his "loving countryman,"

William Shakespeare, for a loan of £30. Thomas Quiney was four years

younger than his bride, therefore the maxim of _Twelfth Night_, "Let

still the woman take an elder than herself," was as little heeded in

his daughter's case as it had been in Shakespeare's own. A vintner in

a town the size of Stratford is not likely to have been either a very

wealthy man or one of such education that Shakespeare would take any

pleasure in his society.

The last wedding festivity in which Shakespeare had taken part was the

ideally royal marriage of Ferdinand and Miranda. What a contrast was

this of Judith and her vintner! It was prose after poetry.

Ben Jonson and Michael Drayton are supposed to have come down for the

wedding, but of this we have no certain information; The supposition

rests entirely on the following brief statement, written at least fifty

years afterwards by the rector of Stratford, John Ward. "Shakespeare,

Drayton, and Ben Jonson had a merry meeting, and, it seems, drank too

hard, for Shakespeare died of a feavour there contracted." He does not

say that this merry meeting was held at the time of the wedding, but

the probabilities are that it was. Drayton was a Warwickshire man,

and possessed intimate friends in the neighbourhood of Stratford. Ben

Jonson may have been invited in return for his having asked Shakespeare

to stand as godfather to one of his children. There are good grounds

for the surmise that in any case the wine was supplied by the

son-in-law, and that the silver-gilt bowl bequeathed to Judith was used

upon this occasion.

It was childish of the cleric to connect this little drinking party

with Shakespeare's illness. The tradition of Shakespeare's liking for

a good glass was rife in Stratford as late as the eighteenth century.

Numerous pictures of the crab-apple tree preserve the legend that

Shakespeare started off for Bidford one youthful day for the sake of

the lively topers he had heard dwelt there, and the tale runs that

he drank so hard he had to lie down under the _crab-tree_ on his way

home, and sleep for several hours. The story repeated by Ward probably

originated in these reports. All we know for certain is that some days

after the wedding Shakespeare was taken ill.

Several circumstances tend to prove that the poet was attacked by

typhus fever. Stratford, with its low, damp situation and its filthy

roads, was a regular typhus trap in those days. Halliwell-Phillips

has published a list of enactments and penalties promulgated by the

magistrates with a view to the clearing of the streets. They extend

into the latter half of the eighteenth century, and that there are

none for the years in question is accounted for by the fact that the

documents for 1605-1646 are missing. Even so late as the Shakespeare

Jubilee in 1769, Garrick, who was fêted by the town on this occasion,

described it as "the most dirty, unseemly, ill-pav'd, wretched-looking

town in all Britain." Chapel Lane, towards which Shakespeare's house

fronted, was one of the unhealthiest streets in the town. It hardly

possessed a house, being but a medley of sheds and stables with an open

drain running down the middle of the street. It was small wonder that

the place was constantly visited by pestilential epidemics, and little

was known in those days of any laws of hygiene, and as little of any

treatment for typhus. Shakespeare's son-in-law, who was probably his

doctor, knew of no remedy for it, as his journals prove.

Shakespeare drew up his will on the 25th of March. As we have already

said, it is still in existence, and is reproduced in facsimile in the

twenty-fourth volume of the German Shakespeare Year-book.

The fact that it was dictated, and the extreme shakiness of the

signature at the foot of the three lengthily detailed folio pages,

prove that Shakespeare was very ill when his will was made.

His daughter Susanna is the principal heiress. Judith receives £150

ready money and £150 more after the lapse of three years, under certain

conditions. These are the principal bequests. Joan Hart, his sister,

is remembered in various ways. She is to receive five pounds in ready

money and all his clothes. Her three sons are separately mentioned,

although Shakespeare cannot remember the baptismal name of the second,

and are to have five pounds each. To his grand-daughter, Elizabeth

Hall, he leaves his silver plate. Ten pounds is to go to the poor of

Stratford, and his sword to Thomas Combe. Various good burghers of

the town, including Hamlet Sadler, after whom Shakespeare's son was

named, are left twenty-six shillings and eightpence each, wherewith to

buy a ring in memory of the deceased. A line inserted later bequeaths

a similar sum for a similar purpose to the three actors with whom

Shakespeare was most intimately associated in his late company, and

whom he calls "my comrades"--John Heminge, Richard Burbage, and Henry

Condell. As is well known, it is to the first and last of these

three that we owe the first Folio edition, containing nineteen of

Shakespeare's plays which would otherwise have been lost to us.

A peculiar psychological interest attaches to the following features of

the will.

In the first place, the much discussed and remarkable fact that in

making his last will Shakespeare apparently entirely forgot his wife.

Not until it was completed and read aloud to him did he remember that

she, who would receive, of course, the legal widow's share, should at

least be named; and then, between the last lines, he has inserted:

"_Item, Igyve unto my wief my second best bed with the furniture._"

The poverty of the gift is the more obvious when we recall how

Shakespeare's father-in-law remembered his wife in his will.

It is also significant, more especially as it was contrary to the

custom of the times, that not a single member of Mrs. Shakespeare's

family was mentioned in the will. The name Hathaway does not occur,

although it is frequently mentioned in the wills of Shakespeare's

descendants; in that of Thomas Nash, for instance, and of Susanna's

daughter Elizabeth, who became Lady Barnard by her second marriage. The

inference is plain, that Shakespeare was on very unfriendly terms with

his wife's family.

The next peculiarity is that Shakespeare never refers to his position

as a dramatic writer, nor makes any allusion to books, manuscripts, or

papers of any kind, as forming part of his property. This absence of

all concern for his poetical reputation is in complete accord with the

sovereign contempt for posthumous fame which we have already observed

in him.

Finally, it is not without significance that there was neither poet nor

author mentioned among those to whom Shakespeare left money for the

purchase of that ordinary token of friendship, a ring to be worn as a

memento. It would seem as though he felt himself under no obligation

to any of his fellow-authors, and had nothing to thank them for. This

neglect is quite in harmony with the contempt he always displayed for

his brother craftsmen when he had occasion to represent them upon the

stage. He may have been willing enough to drink in company with Ben

Jonson, the honest and envious friend of so many years' standing, but

he had no more depth of affection for him than for any other of the

dramatists and lyric poets among whom his lot had been cast. As Byron

says of Childe Harold--he was one among them, not of them.

He lingered on for four weeks, and then he died.

He had probably completed his fifty-second year the day before, thus

dying at the same age as Molière and Napoleon. He had lived long enough

to finish his work, and the mighty turbulent river of his life came to

an end among the sands, in the daily drop, drop, drop.[2]

A monument was erected by his family in Stratford church before the

year 1623. Below the bust is an inscription, probably of Dr. Hall's

composition. The first two lines liken him, in badly constructed Latin,

to a Nestor for judgment, a Socrates for genius, and a Virgil for

art.[3]

We could imagine a more appropriate epitaph.

[1] The passage runs: "My cosen Shakespeare comyng yesterday

to town, I went to See him, how he did. He told me that they assured

him they ment to inclose no further than to Gospell Bush, and so upp

straight (leavyng out part of the dyngles to the ffield) to the gate

in Clopton hedg, and take in Salisburyes peece; and that they mean

in Aprill to survey the land, and then to give satisfaccion, and not

before; and he and Mr. Hall say they think ther will be nothyng done at

all.

Also C. M. Ingleby: _Shakespeare and the Welcombe Enclosures_, 1883.

[2] It is not altogether correct to say that Shakespeare

died on the same day as Cervantes. True, they both died on the 23rd

of April 1616, but the Gregorian calendar was then in use in Spain,

while England was still reckoning by the Julian; there is an actual

difference of ten days therefore.

[3]

"Judicio Pylium, genio Socratem arte Maronem,

Terra tegit, populus moeret, Olympus habet."

XXVII

_CONCLUSION_

Even a long human life is so brief and fugitive that it seems little

short of a miracle that it can leave traces behind which endure through

centuries. The millions die and sink into oblivion and their deeds die

with them. A few thousands so far conquer death as to leave their names

to be a burden to the memories of school-children, but convey little

else to posterity. But some few master-minds remain, and among them

Shakespeare ranks with Leonardo and Michael Angelo. He was hardly laid

in his grave than he rose from it again. Of all the great names of this

earth, none is more certain of immortality than that of Shakespeare.

An English poet of this century has written:

"Revolving years have flitted on,

Corroding Time has done its worst,

Pilgrim and worshipper have gone

From Avon's shrine to shrines of dust;

But Shakespeare lives unrivall'd still

And unapproached by mortal mind,

The giant of Parnassus' hill,

The pride, the monarch of mankind."

The monarch of mankind! they are proud words those, but they do not

altogether over-estimate the truth. He is by no means the only king in

the intellectual world, but his power is unlimited by time or space.

From the moment; his life's history ceases his far greater history

begins. We find its first records in Great Britain, and consequently in

North America; then it spread among the German-speaking peoples and the

whole Teutonic race, on through the Scandinavian countries to the Finns

and the Sclavonic races. We find his influence in France, Spain, and

Italy; and now, in the nineteenth century, it may be traced over the

whole civilised world.

His writings are translated into every tongue and all the languages of

the earth do him honour.

Not only have his works influenced the minds of readers in every

country, but they have moulded the spiritual lives of thinkers, writers

and poets; no mortal man, from the time of the Renaissance to our own

day, has caused such upheavals and revivals in the literatures of

different nations. Intellectual revolutions have emanated from his

outspoken boldness and his eternal youth, and have been quelled again

by his sanity, his moderation, and his eternal wisdom.

It would be far easier to enumerate the great men who have known him

and owed him nothing than to reckon up the names of those who are far

more indebted to him than they can say. All the real intellectual

life of England since his day has been stamped by his genius, all her

creative spirits have imbibed their life's nourishment from his works.

Modern German intellectual life is based, through Lessing, upon him.

Goethe and Schiller are unimaginable without him. His influence is felt

in France through Voltaire, Victor Hugo, and Alfred de Vigny. Ludovic

Vitet and Alfred de Musset were from the very first inspired by him.

Not only the drama in Russia and Poland felt his influence, but the

inmost spiritual life of the Sclavonic story-tellers and brooders is

fashioned after the pattern of his imperishable creations. From the

moment of the regeneration of poetry in the North he was reverenced by

Ewald, Oehlenschläger, Bredahl, and Hauch, and he is not without his

influence upon Björnson and Ibsen.

This book was not written with the intention of describing

Shakespeare's triumphant progress through the world, nor of telling

the tale of his world-wide dominion. Its purpose was to declare and

prove that Shakespeare is not thirty-six plays and a few poems jumbled

together and read _pêle-mêle,_ but a man who felt and thought, rejoiced

and suffered, brooded, dreamed, and created.

Far too long has it been the custom to say, "We know nothing about

Shakespeare;" or, "An octavo page would contain all our knowledge

of him." Even Swinburne has written of the intangibility of his

personality in his works. Such assertions have been carried so far that

a wretched group of _dilettanti_ has been bold enough, in Europe and

America, to deny William Shakespeare the right to his own life-work, to

give to another the honour due to his genius, and to bespatter him and

his invulnerable name with an insane abuse which has re-echoed through

every land.

It is to refute this idea of Shakespeare's impersonality, and to

indignantly repel an ignorant and arrogant attack upon one of the

greatest benefactors of the human race, that the present attempt has

been made.

It is the author's opinion that, given the possession of forty-five

important works by any man, it is entirely our own fault if we know

nothing whatever about him. The poet has incorporated his whole

individuality in these writings, and there, if we can read aright, we

shall find him.

The William Shakespeare who was born at Stratford-on-Avon in the reign

of Queen Elizabeth, who lived and wrote in London in her reign and that

of James, who ascended into heaven in his comedies and descended into

hell in his tragedies, and died at the age of fifty-two in his native

town, rises a wonderful personality in grand and distinct outlines,

with all the vivid colouring of life from the pages of his books,

before the eyes of all who read them with an open, receptive mind, with

sanity of judgment and simple susceptibility to the power of genius.

THE END

INDEX

AARON the Moor in 'Titus Andronicus'

Abbess in 'Comedy of Errors'

Abbot, Archbishop

Achilles in 'Troilus and Cressida'

'Ad Gulielmum Shakespeare,' by John Weever (1595)

Adam in 'As You Like It'

Adriana in 'Comedy of Errors'

'Æneid'

Æschylus

'Æsthetiske Studier,' by George Brandes

'Agamemnon,' by Seneca

Agamemnon in 'Troilus and Cressida'

Agincourt, Battle of, in 'Henry V.'

Ajax in 'Troilus and Cressida'

Albius in 'The Poetaster'

'Alceste,' Molière's

Alcibiades in 'Timon of Athens'

'Alexander and Campaspe', by Lyly

'All's Well that Ends Well,' or 'Love's Labour's Won' (1602-1603),

chief characters in--Attack on Puritanism in,

Alonso in the 'Tempest'

'Alphonsus, King of Arragon,' by Robert Greene

Ambrogiuolo in Boccaccio's 'Decameron'

Amintor in 'Maid's Tragedy,' by Beaumont and Fletcher

Amleth in 'Saxo Grammaticus'

'Amores,' by Ovid

'Amoretti,' by Spenser

'Amphitruo,' by Plautus

Amyot, Jacques

Andersen, Hans Christian

Andromache in 'Troilus and Cressida'

Angelo in 'Measure for Measure'

Angiers in 'King John'

Anne Boleyn in 'Henry VIII.'

Anne in 'Richard III.'

Anne, James I.'s queen

Antenor in 'Troilus and Cressida'

Antigonus in 'Winter's Tale'

Antiochus in 'Pericles'

Antipholus of Syracuse in 'Comedy of Errors'

Antonio in--

'Merchant of Venice'

'Tempest'

'Twelfth Night'

Antony, Mark, in 'Julius Cæsar'

'Antony and Cleopatra'

Attractions for Shakespeare in--

Sources of

'Dark Lady,' as model in--Fall of the Republic as a world-catastrophe

Apemantus in 'Timon of Athens'

'Apology, The,' by Socrates

Apothecary in 'Romeo and Juliet'

Appleton, Morgan's 'Shakespearean Myth'

Arbaces in 'King and No King,' by Beaumont and Fletcher

Arbury, Mary Fitton's portrait at

'Arcadia,' by Philip Sidney

Archbishop of Canterbury in 'Henry V.'

Archidamus in 'Winter's Tale,

Arden, Edward

----Mary, mother of William Shakespeare

----Robert, grandfather of Shakespeare

'Arden of Feversham'

Arethusa in 'Philaster,' by Beaumont and Fletcher

Ariel in the 'Tempest'

Ariosto's 'Orlando Furioso'

Aristotle

Armada, Spanish

Armado in 'Love's Labour's Lost'

Armitage, Charles

Artemidorus in 'Julius Cæsar'

Arthur in 'King John'

Arviragus in 'Cymbeline'

'As You Like It' (1600), Shakespeare's roving spirit and longing

for nature--Wit and chief characters in

Asbies at Wilmecote

Aspasia in 'Maid's Tragedy,' by Beaumont and Fletcher

'Athelie,' Racine's

Aubrey

Audrey in 'As You Like It'

Aufidius in 'Coriolanus'

Augustus in Ben Jonson's 'Poetaster'

Aumerle in 'Richard II.'

Autolycus in 'Winter's Tale'

'Axel and Valborg,' by Oehlenschläger

Ayrer's, Jacob, 'Comedia von der schönen Sidea'

BACON, Anthony, patronised by Essex

----Delia, Miss, supporting the Baconian Theory (1856)

----Francis

Baconian Theory concerning Shakespeare's plays

Baif, De

Balthasar in

Merchant of Venice

Romeo and Juliet

Bandello

Banquo's ghost in 'Macbeth'

Barabas in C. Marlowe's 'Jew of Malta'

Bardolph in--

'Henry IV.'

'Merry Wives of Windsor'

Barnabe Richs translation of Cinthios

'Hecatomithi' (1581)

Barnadine in 'Measure for Measure'

Barnes, Barnabe

Barnfield, Richard

Barnstorff

'Bartholomew Fair,' by Ben Jonson (1614)

Basianus in 'Titus Andronicus'

Bassanio in 'Merchant of Venice'

Bates in 'Henry V.'

'Battle of Alcazar,' by George Peele

Baynard's Castle

Bear Garden

Beards 'Theatre of God's Judgements' (1597)

Beatrice in 'Much Ado About Nothing'

Beaumont's, Francis, plays and career

Belarius in 'Cymbeline'

Bellay, Joachim du

Belleforest's 'Histoires Tragiques'

'Ben Jonson,' by Symonds

Benedick in 'Much Ado About Nothing'

Benoit de St. Maures 'Histoire de la Guerre de Troie' (1160)

Benvolio in 'Romeo and Juliet'

Bermudas

Bernabo in Boccaccio's 'Decameron'

Berni's 'Orlando Innamorato'

Bertram in 'All's Well that Ends Well'

Beyersdorff's, Robert, 'Giordano Bruno und Shakespeare'

Bianca in Othello

Bierfreund, Theodor

Biron in 'Love's Labour's Lost'

Bishop of Ely in 'Henry V.'

Blackfriars Theatre

Blade's 'Shakespeare and Typography'

Blanch in 'King John'

Blount, Edward

Boaden

Boccaccio's plays

Boece's, Hector, 'Scotorum Historiæ'

Boétie, Estienne de la, Montaigne's friendship for

Bolingbroke in 'Richard II.'

'Book of Martyrs, Foxe's

'Book of Troy,' Lydgate's

'Booke of Ayres' (1601)

'Booke of Plaies, and Notes thereon,' by Dr. Simon Forman

Börne

Bosworth Field in 'Richard III.'

Bothwell, Earl of

Bottom in 'Midsummer Night's Dream'

Boyet in 'Love's Labour's Lost'

Brabantio in 'Othello'

Brandes, George

Bright, James Heywood, 267

Briseida in Benoit's 'Histoire de la Guerre de Troie' (1160)

Brown, Henry

Browning, Robert

Browne's, Sir Thomas, 'Religio Medici' (1642)

Brown's, C. A., 'Shakespeare's Autobiographical Poems'

Brunnhofer, 350

Bruno's, Giordano, supposed influence over Shakespeare

'Brut,' by Layamon (1205)

Brutus, Junius, in 'Coriolanus'

----Marcus, in 'Julius Cæsar'

Bryan, George

Buckingham, Duke of, in 'Richard III.'

Bucknill, Dr., on Shakespeare's Medical Knowledge

Burbage, James

----Richard, actor

Burghley, Lord

Butler, Samuel

Byron

CADE, Jack, in 'Henry VI.'

'Cæsar's Fall' (1602)

Caius Lucius in 'Cymbeline'

Calchas in 'Troilus and Cressida'

Calderon

Calianax in 'Maid's Tragedy,' by Beaumont and Fletcher

Caliban in the 'Tempest'

Calphurnia in 'Julius Cæsar'

Cambyses

Camden, William

Camillo in 'Winter's Tale'

Campbell's, Lord, Shakespeare's Legal Acquirements

'Candelajo,' by Giordano Bruno

'Candide,' by Voltaire

Caphis in 'Timon of Athens'

Capulet in 'Romeo and Juliet'

Carleton, Sir Dudley

'Carmosine,' by De Musset

Carr, Robert, Viscount Rochester and Earl of Somerset,

James I.'s favourite--Lady Essex's marriage with--

Crime and fall of

Casca in 'Julius Cæsar'

Cassio in 'Othello'

Cassius in 'Cæsar'

Catesby, Sir William, in 'Richard III.'

'Catiline,' by Ben Jonson

Cato

Cavalieri, Tommaso de'

Cavendishs, George, 'Relics of Cardinal Wolsey'

Cecil, Sir Robert

Celia in 'As You Like It'

Ceres in the 'Tempest'

Cerimon in 'Pericles'

Cervantes 'Don Quixote'

Chalmers, Alexander

Chamberlain, John

Chapman

Charlcote

Charmian in 'Antony and Cleopatra'

Chaucer

Chettle, Henry

Chief-justice in 'Henry IV.'

Christian IV. of Denmark

Christopher Sly in 'Taming of the Shrew'

'Chronicle History of King Leir'

Cicero

Cinna in 'Julius Cæsar'

Cinthio

'Clärchen,' Goethe's

Clarence, George, Duke of, in 'Richard III.'

Clarendon's estimate of William Herbert, Earl of Pembroke

Claudio in--

'Measure for Measure'

'Much Ado About Nothing'

'Clavigo,' by Goethe

Cleopatra, in 'Antony and Cleopatra'

'Cleopatra,' by Daniel (1594)

Clifford, Lord, in 'Henry VI.'

'Cloaca Maxima,' 181

Cloten in 'Cymbeline'

Clown in--

'All's Well that Ends Well, or 'Love's Labour's Won'

'Othello'

'Twelfth Night'

Cobham, Lord

Cobweb in 'Midsummer Night's Dream'

Coleridge

'Colin Clouts come Home Again,' by Spenser

Colliers 'Shakespeare's Library'

'Comedia von der shönen Sidea,' by Jacob Ayrer

'Comedy of Errors' (1589-1591)

Cominius in 'Coriolanus'

Commedia dell' Arte

'Comus,' by Milton

Condell

'Confessio Amantis,' by John Gower

'Confessions d'un Enfant du Siècle, by Alfred de Musset

Conrad, Hermann

'Conspiracy and Tragedy of Charles, Duke of Byron,' by Chapman

Constable, Henry

Constance in 'King John'

'Contemporary History,' Wilson's

Copernicus

Cordelia in 'King Lear'

Corin in 'As You Like It'

'Coriolanus'

---- Date of production--Shakespeare's hatred of the masses

---- Dramatic power of--Inconsistencies in

Corneille

Coryat

Costard in 'Love's Labour's Lost,'

Countess in 'Alls Well that Ends Well,'

Cranmer in 'Henry VIII.,'

Cressida in 'Troilus and Cressida,'

Crispinus in 'Poetaster,' by Ben Jonson,

Curius in Jonson's 'Catiline'

'Cymbeline' (1610), Shakespeare's country idyll and conception of

morality in--Dual contrast and chief characters in

Cynthia in Lyly's 'Endymion'

'Cynthia's Revels,' by Jonson

'DÆMONOLOGIE,' by James I.

Dame Quickly in--

'Henry IV.'

'Merry Wives of Windsor'

Damon and Pythias in the Hero and Leander puppet-show in Jonson's

'Bartholomew Fair'

Daniel, Samuel

Danvers, Sir Charles

Dares Phrygius, 'De Bello Trojano'

'Darius,' Count Stirling's

'Dark Lady,' or Mary Fitton (see that title)

Darley, George

Darnley, Lord

Daudet's 'Sappho'

'Daughter of the Air' (1664)

Dauphin in--

'Henry V.'

'King John'

Davenant, Mrs., courted by Shakespeare

---- Sir William, probable son of W. Shakespeare

Davison's 'Poetical Rhapsody,'

'Day of the Seven Sleepers,' by T. L. Heiberg

'De Amicitia,' by Cicero

'De Analogia,' by Julius Cæsar

'De Bello Trojano,' by Dares Phrygius

'De Bello Trojano,' by Dictys Cretensis

'De la Causa' by Giordano Bruno

'Decameron,' by Boccaccio

Decius in 'Julius Cæsar'

'Declaration of Popish Impostures,' by Harsnet

'Defence of Poesy,' by Sir Philip Sidney (1583)

Dekker

"Delia," by Daniel

Delius, Nikolaus

Demetrius in 'Midsummer Dream'

'Der bestrafte Brudermord'

'Der junge Tischermeister,' by Tieck

'Der Kinder Sünde der Vater Fluck,' by Paul Heyse

Desdemona in 'Othello'

Desportes, Philippe

'Dial of Princes,' by Guevara

'Diana,' by Montemayor (1520-1562)

Diana in 'Pericles'

Dick in 'Henry VI.' (2nd Part)

'Dictionary of National Biography,' by Robert Devereux

Dictys Cretensis' 'De Bello Trojano'

'Die Räuber,' by Schiller

Digges, Leonard

Diomedes in Benoit's 'Histoire de la Guerre de Troie'

'Troilus and Cressida'

Dionyza in 'Pericles'

'Discour sur la Tragédie,' by Voltaire

'Discoveries,' by Ben Jonson

'Discovery of the Large, Rich, and Beautiful Empire

of Guiana' (1596)

Doctor Caius in 'Merry Wives of Windsor'

'Dr. Faustus,' by Marlowe

Dogberry in 'Much Ado About Nothing'

Dolabella in 'Antony and Cleopatra'

Doll Tearsheet in 'Henry IV.'

'Doll's House'

Don John, in 'Much Ado About Nothing'

'Don Juan,' by Byron

----Mozart's

Don Pedro in 'Much Ado About Nothing'

'Don Quixote,' by Cervantes

Donne, Dr. John

Douglas in 'Henry IV.'

Dowden

Drake, Sir Francis

Drayton

Droeshout's engraving of Shakespeare

Dromio of Syracuse in 'Comedy of Errors'

Drummond, William

Dryden

Duke in--

'As You Like It'

'Measure for Measure'

'Othello'

'Twelfth Night'

Dumain in 'Love's Labour's Lost'

Dürer's, Albert, 'Melancholia'

EAST India Company

'Eastward Ho!' by Chapman

Eden's 'Historye of Travaile in East and West Indies' (1577)

Edgar in 'King Lear'

Edmund in 'King Lear'

'Edward II.,' by C. Marlowe

'Edward III.,' authorship of

Edward IV. in--

'Henry VI.'

'Richard III.'

Edward V., son of Edward IV., in 'Richard III.'

Edward, Prince of Wales, in 'Henry VI.'

'El Principe Constante'

'El Secreto a Voces'

Elizabeth, Princess, her marriage with the Elector Palatine,

Tempest written for

---- Queen

Elizabeth, Queen of Edward IV., in 'Richard III.'

'Elves,' by J. L. Heiberg

Elze, Karl

Emerson's 'Representative Men'

Emilia in--

'Othello,'

'Two Noble Kinsmen'

'Endymion,' by John Lyly

Enobarbus in 'Antony and Cleopatra,'

Escalus in 'Measure for Measure,'

'Essay of Dramatic Poesy,' by Dryden

Essex, Earl of

---- Lady Frances, afterwards Lady Somerset

---- Lettice, Countess of

Eudemus in 'Sejanus'

Euphrasea or Bellario in 'Philaster,' by Beaumont and Fletcher

'Euphues,' by Lyly

Evadne in 'Maid's Tragedy,' by Beaumont and Fletcher

Evans, Sir Hugh, in 'Merry Wives of Windsor'

'Every Man in His Humour' (1595), by Ben Jonson

'Every Man out of His Humour' (1599), by Ben Jonson

FAITHFUL SHEPHERDESS, by Fletcher

Falstaff in--

'Henry IV.'

'Merry Wives of Windsor

'Famous Victories of Henry the Fifth, containing the Honorable Battell

of Agin-court

Farmer, Dr.

'Fasti,' by Ovid

Faulconbridge in King John

Faust

Feis', Jacob, 'Shakespeare and Montaigne'

Fenton in 'Merry Wives of Windsor'

Ferdinand in 'Tempest'

Fiammetta, Maria

'Filostrato,' by Boccaccio

Fiorentino's, Sir Giovanni, 'Il Pecorone' (1558)

Fitton's, Mary, relations with Shakespeare and Earl of Pembroke--

Addressed in the Sonnets as the Dark Lady

Fitton, Anne, elder sister of Mary Fitton

Flaubert

Flavina in 'Two Noble Kinsmen'

Flavius in--

'Julius Cæsar'

'Timon of Athens'

Fleance in 'Macbeth'

Fleay

Fletcher's, John, plays and career

Florio

Florizel in 'Winter's Tale'

Fluellen in 'Henry V.'

Fool in 'King Lear'

Ford, Master and Mistress, in 'Merry Wives of Windsor'

Forest of Arden in 'As You Like It'

Forman, Dr.

Fortinbras, Prince of Norway, in 'Hamlet'

Fortunate Shipwreck

Frampton's translation of 'Marco Polo' (1579)

Frederick in 'As You Like It'

Frederick the Great and Voltaire

Freiligrath

Friar Bacon, by Greene

Friar Lawrence in Romeo and Juliet

Friesen, Herr von

Fuller

Fulvia, wife of Mark Antony, 465, 468, 473

Fulvia in Jonson's Catiline, 337

Furnivall, 334, 578, 600, 608-610

'GALLIC WAR,' Cæsar's

Gallus in Ben Jonsons 'Poetaster'

'Gammer Gurton's Needle'

Gardiner

Garnett, Richard

Garnier's 'Henriade'

Gaveston in C. Marlowe's 'Edward II.'

Gawsworth Church, in 'Cheshire'

Gerutha in 'Saxo Grammaticus'

Gervinus

'Gesta Romanorum'

Ghost in 'Hamlet'

'Gilette of Narbonne,' Boccaccio's story of

Giordano Bruno. _See_ Bruno

Glendower in 'Henry IV.'

Globe Theatre

Gloucester, Duke of, in--

'Henry VI.'

'King Lear,'

Gloucester, Richard, Earl of, in 'Henry VI.,' afterwards 'Richard III.'

Gobbo in 'Merchant of Venice'

Goethe

Gogol's 'Revisor'

Golding's, Arthur, translation of Ovid's 'Metamorphoses'

Gondomar, Count of

Goneril in 'King Lear'

Gontscharoff

Gonzago in 'Hamlet'

Gonzalo in the 'Tempest'

Gosse

'Gossip from a Muniment-Room, being Passages in the lives of Anne

and Mary Fitton,' published by Lady Newdigate-Newdegate

Gosson, Stephen

Gower, John

Gracioso

Gravedigger in 'Hamlet'

Green, Robert, plays of

Shakespeare attacked by

---- Thomas, Shakespeare's cousin

Gremio in 'Taming of the Shrew'

Gretchen in Goethe's 'Faust'

Greville, Fulk

Griseida or Cryseida in Boccaccio's 'Filostrato'

'Groat's Worth of Wit bought with a Million of Repentance'

by Greene (1592)

Guarini's 'Pastor Fido'

Guiderius in 'Cymbeline'

Guido delle Columne

Guildenstern in 'Hamlet'

Gull's Hornebooke' (1609), by Dekker, 539

Gunpowder Plot

HALL, Elizabeth, Shakespeare's grand-daughter

---- John, Dr., husband of Susanna Shakespeare

Hall, William

Hallan, Brown

Halliwell-Phillips

Hamlet

Antecedents in fiction, history, and drama--Parallels

to circumstances in

Criticism on dramatic art in--Shakespeare's attack on Kemp and

eulogy of Tarlton--Danish March played in

Dramatic features of

Influence of 'Hamlet' on foreign literature

Local colour in

Montaigne's and Giordano Bruno's influence over Shakespeare--

Parallels in Lyly's 'Euphues' to 'Hamlet'

Ophelia's relations with Hamlet compared with 'Faust'

Personal element in

Psychology of

Hansen, Adolf

Harington, Sir John

Lord

Harrison, Rev. W. A.

Harsnet's 'Declaration of Popish Impostures'

Hart, Joan, Shakespeare's sister

---- William, Shakespeare's nephew

Hart's attack on Shakespeare in 1848

Harvey

Hastings, Lord, in 'Richard III.'

Hathaway, Anne, her marriage with Shakespeare--Children of

William

Hecate in 'Macbeth'

'Hecatomithi,' by Giraldi Cinthio (1565)

Hector

Hector in 'Troilus and Cressida'

Heiberg, J. L.

Heine, Heinrich

Helen in 'Troilus and Cressida'

Helena in--

'All's Well that Ends Well'

'Midsummer Night's Dream'

Helwys, Sir Gervase

Heminge

'Henriade,' by Garnier

'Henry IV.' (1597), chief characters and scenes in--Freshness

and perfection of the play

'Henry IV.':--

First Part

Second Part

'Henry V.,' or Prince of Wales in 'Henry IV.' (1599), as a national

drama--Patriotism and Chauvinism of--Vision of a greater England

in--'Henry V.' as typical English hero

'Henry VI.':--

First Part

Second Part

Third Part

Trilogy--Greene attacking Shakespeare on Shakespeare's authorship

of

'Henry VIII.,' Shakespeare's part in

Henry, Prince, son of James I.

Henslow

'Heptameron of Civil Discourses,' by George Whetstone (1582)

Herbert William. _See_ Earl of Pembroke

Hericault, C. d'

Hermann, Conrad

Hermia in 'Midsummer Night's Dream'

Hermione in 'Winter's Tale'

Hermogenes in 'Poetaster,' by Jonson

'Hero and Leander,' by C. Marlowe (1598)

'Hero and Leander,' or 'Touchstone of True Love,' by Ben Jonson

Hero in 'Much Ado About Nothing'

Hertzberg, W.

Heyse's, Paul, 'Der Kinder Sünde der Vater Fluch'

Hieronimo in Kyd's 'Spanish Tragedy'

Hippolyta in 'Midsummer Night's Dream'

'Histoire de la Guerre de Troie' (1160), by Benoit de St. Maure

'Histoires Tragiques,' by Belleforest

'Historia Trojana,' by Guido delle Columne

'History of the Rebellion,' by Clarendon

'Historye of Travaile in East and West Indies' (1577), by Eden

'Histriomastix', by Prynne

Hogarth

Holberg

Holinshed's Chronicle

Holofernes in 'Love's Labour's Lost'

Homer's 'Iliad' compared with 'Troilus and Cressida'

Horace

Horatio in 'Hamlet'

Hotspur or Henry Percy in 'Henry IV.'

--Mastery of the character-drawing

--Achilles compared with

'House of Fame,' by Chaucer

Hubert de Burgh in 'King John,'

Hudson, H. N.

Hughes, William

Hunsdon, Lord

'Hystoria novellamente ritrovata di dui nobili Amanti,' by

Luigi da Porta

IACHIMO in 'Cymbeline'

Iago in 'Othello'

Iden in 'Henry VI.'

Ides of March in 'Julius Cæsar'

'Il Pecorone,' by Ser Giovanni Fiorentino (1558)

'Iliad'

Imogen in 'Cymbeline'

'Inganni'

Ingleby

Inigo Jones

'Iphigenia in Aulis,' by Racine

'Iphigenia in Tauris,' by Goethe

Iras in 'Antony and Cleopatra'

Iris in the 'Tempest'

Isaac, Hermann

Isabella in 'Measure for Measure'

Italy visited by Shakespeare

JAGGARD, bookseller

James I. of England and VI. of Scotland

Jameson, Mrs.

Jamy in 'Henry V.'

Jaques in 'As You Like It'

Jeanne d'Arc

'Jeppe pas Bjerget,' by Ludwig Holberg

Jessica in 'Merchant of Venice'

'Jew of Malta,' by C. Marlowe

Joan of Arc or La Pucelle in 'Henry VI.'

John of Gaunt, Duke of Lancaster, in 'Richard II.'

Jonson, Ben, his career, plays, and learning--Shakespeare compared

with

Julia in 'Two Gentlemen of Verona,'; in the 'Poetaster'

Juliet in--

'Measure for Measure'

Romeo and Juliet

'Julius Cæsar' (1601), Plutarch's Lives forming material for--

Defective representation of Cæsar's character--Characters of

Brutus and Portia--Antony's Oration

Juno in the 'Tempest'

Jupiter in 'Cymbeline'

'KABALE UND LIEBE,' by Schiller

Kalisch

'Käthchen von Heilbronn,' by Kleist

Katherine in--

'Henry V.'

'Henry VIII.'

'Taming of the Shrew'

Kemp, William, actor

Kent, Earl of, in 'King Lear'

'Kind-hart's Dreame'

King in 'Love's Labour's Lost'

'King and no King,' by Beaumont and Fletcher

King Claudius in 'Hamlet'

King Duncan in 'Macbeth'

'King John,' Shakespeare's sorrow at death of Hamnet

--Old play basis for--Patriotism and chief characters

in

'King Lear'

Ingratitude denounced by Shakespeare in--Sources of, 449-453

Titanic tragedy of human life--Construction of, 454-460

'King Leir'

King of France in--

'All's Well that Ends Well,' or 'Love's Labour's Won'

'King John'

'King Lear'

'Kitchen-Stuff Woman,' by W. Kemp

Kleist

Klinger, Max

Knight

'Knight's Conjuring' (1607), by Dekker

Knollys, Sir William, admirer of Mary Fitton

Kohélet

König

Krasinskis 'Undivine Comedy' and 'Temptation'

Kreyssig

Kronborg

Kyd

'LA CENA DE LE CENERI,' by Giordano Bruno

'La Dama Duende'

'La Gran Cenobia'

'La Hija del Ayre'

'La Princesse d'Elde,' by Molière

'La Puente de Mantible'

'La sfortunata morte di due infelicissimi amanti,' by Bandello

'La Teseide, by Boccaccio'

'La Tosca,' by Victorien Sardou

'La Vida es Sueño'

'Lady of the May,' by Sir Philip Sidney

Laertes in 'Hamlet'

Lafeu in 'All's Well that Ends Well,' or 'Love's Labour's Won'

Lambert, Edmund

---- John

Languet's tenderness for Philip Sidney

Launce in 'Two Gentlemen of Verona'

Launcelot in 'Merchant of Venice'

Lavinia in 'Titus Andronicus'

Layamons 'Brut' (1205)

Le Beau in 'As You Like It'

Leander in Marlowe's 'Hero and Leander'

Sidney, 'Life of Shakespeare'

Leicester, Earl of

Lennox in 'Macbeth'

Leonato in 'Much Ado About Nothing'

Leonine in 'Pericles'

Leontes in 'Winter's Tale'

Lepidus in 'Antony and Cleopatra'

'Life is a Dream,' by Calderon (1635)

Limoges in 'King John'

Lion in 'Midsummer Night's Dream'

Livia in 'Sejanus'

Livy

'Locrine'

Lodge, Thomas

'London Prodigal' (1605)

Longaville in 'Love's Labour's Lost'

'Lord Cromwell' (1613)

Lord Mayor of London in 'Richard III.'

Lorenzo in 'Merchant of Venice'

'Los Empeños de un Acaso'

Lougher, John, Mary Fitton's second husband

'Love's Labour's Lost' (1589), matter, style,

and motives of

'Love's Labour's Won,' or 'All's Well that Ends Well'

(_see_ that title)

'Lucan,' Marlowe's translation of

Lucentio in 'Taming of the Shrew'

Lucetta in 'Two Gentlemen of Verona

Luciana in 'Comedy of Errors'

Lucio in 'Measure for Measure'

Lucius in--

'Julius Cæsar'

'Timon of Athens'

'Titus Andronicus'

'Lucrece,' relation to painting in

Lucy, Sir Thomas, Shakespeare's relations with

Ludovico in 'Othello'

Ludwig, Otto

Lupercal Feast in 'Julius Cæsar'

Lychorida in 'Pericles'

Lydgate

Lyly, John

Lysander in 'Midsummer Night's Dream'

Lysimachus in Pericles

'MACBETH' (1604-1605), similarity between 'Hamlet' and 'Macbeth'

Belief in Witches--Defective text--Macbeth's children--Moral

lesson

---- Lady, in 'Macbeth'

Macduff in 'Macbeth'

---- Lady, in 'Macbeth'

Macmorris in 'Henry V.'

Magna Charta ignored by Shakespeare

'Maid's Tragedy,' by Beaumont and Fletcher

Malcolm in 'Macbeth'

'Malcontent,' by Marston

Malone, Edmund

Malvolio in 'Twelfth Night'

Mamillius in 'Winter's Tale'

'Manfred,' by Byron

Manningham, John

'Marco Polo,' Frampton's translation of (1579)

Mardian in 'Antony and Cleopatra'

Margaret in 'Much Ado About Nothing'

---- Henry VI.'s widow in 'Richard III.'

---- of Anjou in 'Henry VI.'

Maria in--

'Love's Labour's Lost'

'Twelfth Night'

Mariana in 'Measure for Measure'

Marianus, Byzantine scholar

Marina in 'Pericles'

Marlowe, Christopher, English tragedy created by Shakespeare influenced

by Marlowe

Marston, John

Marullus in 'Julius Cæsar'

'Masque of Blackness,' by Ben Jonson

'Masque of the Inner Temple and Gray's Inn,' by Beaumont

Massey

Massinger

Mauvissière, French ambassador

'Maydes Metamorphosis,' by Lyly

'Measure for Measure,' chief characters and scenes in--Pessimism

and monarchical tone of

Meissner, Johan

'Melancholia,' by Albert Dürer

Melantius in 'Maid's Tragedy,' by Beaumont and Fletcher

Menelaus in 'Troilus and Cressida'

Menenius in 'Coriolanus'

'Menœchmi' of Plautus

Mephistopheles in 'Faust'

'Merchant of Venice' (1596-1598), Shakespeare's craving for wealth

and position--Sources of--Chief characters in--Shakespeare's

love of music shown in

Mercutio in 'Romeo and Juliet'

Meres (1598)

'Mermaid' Tavern

'Merry Wives of Windsor' (1599), prosaic and bourgeois tone of--Fairy

scenes in

'Metamorphoses', Ovid's

Michael Angelo

Mickiewicz

Middleton

'Midsummer Night's Dream'

'Miles Gloriosus'

Milton

Minto, Professor

Miranda in the 'Tempest'

'Mirror of Martyrs, or The Life and Death of Sir Iohn Oldcastle Knight,

Lord Cobham,' by John Weever

'Mirrour of Policie' (1598)

'Miseries of Enforced Marriage', by George Wilkins

Mistress Overdone in 'Measure for Measure'

'Mitre' Tavern

Molière

Mommsen

Montague in 'Romeo and Juliet'

Montaigne

Montemayor's 'Diana'

Montgomery, Lord

Moonshine in 'Midsummer Night's Dream'

More's 'Utopia'

'Mort de César,' by Voltaire

Mortimer in 'Henry IV.'

Moth in 'Love's Labour's Lost'

'Much Ado About Nothing'

Muley Hamlet or Muley Mahomet in 'G. Peele's Battle of Alcazar'

Munday

Musset, Alfred de

Mustard-seed in 'Midsummer Nights Dream'

'Mydas,' by John Lyly

NASH, Thomas

'Natural History,' by Pliny

'Natural History of the Insects mentioned by Shakespeare,'

by R. Paterson (1841)

Navarre, King of, in 'Love's Labour's Lost'

Neile, Bishop

Nerissa in 'Merchant of Venice'

Nestor in 'Troilus and Cressida'

'New Inn,' by Ben Jonson

'New Shakspere Society's Transactions'

Newdigate-Newdegate, Lady

'News of Purgatory,' by Tarlton

Nicholson

Niels Steno on Geology

Nietzsche

'Night Raven,' by Samuel Rowland

'Nine Daies Wonder,' by Kemp

Norfolk, Duke of, in--

'Richard II.'

'Richard III.'

North

Northampton, Lord

Northumberland, Earl of, in--

'Henry IV.'

'Richard II.'

Nottingham, Lord

'Nouvelles Françaises du 14me Siècle'

'Nugæ Antiquæ,' by Rev. H. Harington (1779)

Nurse in 'Romeo and Juliet'

'Nutcrackers,' by J. L. Heiberg

Nym in 'Merry Wives of Windsor'

OBERON in 'Midsummer Night's Dream'

Octavia in 'Antony and Cleopatra'

Octavius Cæsar in 'Antony and Cleopatra'

'Odyssey'

Oehlenschläger

Oldcastle, Sir John. _See_ Falstaff

Oldys

Oliver in 'As You Like It'

Olivia in 'Twelfth Night'

'On Poet-Ape,' by Ben Jonson

Ophelia in 'Hamlet'

Orlando in 'As You Like It'

'Orlando Furioso,' Ariosto's

'Orlando Innamorato,' by Berni

Osrick in 'Hamlet'

'Othello' (1605)

Iago's character and significance

Theme and origin of--Othello as a monograph

Overbury, Sir Thomas

Ovid

Oxford

Oxford, Earl of

'PÆAN TRIUMPHALL,' by Drayton

Wage, Mr., Mrs., and Anne, in 'Merry Wives of Windsor'

'Palace of Pleasure,' by Paynter

Palamon in 'Two Noble Kinsmen'

Palatine Anthology, The

'Palladis Tamia,' by Francis (1598)

Pandarus in 'Troilus and Cressida'

Pandulph in 'King John,'

'Panegyrike Congratulatorie to the King's Majestie,' by Samuel Daniel

Panurge compared with Sir John Falstaff

Paris in--

'Romeo and Juliet'

'Troilus and Cressida'

Parolles in 'Love's Labour's Won,' or

'All's Well that Ends Well'

Pascal

'Passionate Pilgrim' (1599)

'Pastor Fido,' by Guarini

Patroclus in 'Troilus and Cressida'

'Patterne of Paynfull Adventures,' by Lawrence Twine

Patterson's, R., 'Natural History of the Insects mentioned

by Shakespeare' (1841)

Paulina in 'Winter's Tale'

Pavier

Paynter's 'Palace of Pleasure'

Pease-blossom in 'Midsummer Night's Dream'

Peele, George

Pembroke, Lady Mary

---- William Herbert, Earl of, passionately loved by Shakespeare

--Sonnets addressed to Mary Fitton's relations with--Career of

'Penates,' by Ben Jonson

'Pensées,' by Pascal

Percy, Henry. _See_ Hotspur Lady, wife of Hotspur,

in 'Henry IV.'

Perdita in 'Winter's Tale'

'Pericles,' Shakespeare's collaboration with Wilkins and Rowley

--Corneille compared with Shakespeare--Shakespeare's restoration

to happiness

'Persæ' of Æschylus

Peter in 'Romeo and Juliet'

Petrarch

Petruchio in 'Taming of the Shrew'

Phebe in 'As You Like It'

'Phèdre,' by Racine

'Philaster, or Love Lies Bleeding,' by Beaumont and Fletcher

Philippi, 307

Phrynia in 'Timon of Athens'

'Pimlyco, or Runne Redcap' (1609)

Pindar

Piombo, Sebastian del

Pisanio in 'Cymbeline'

Pistol in--

'Henry IV.'

'Henry V.'

'Merry Wives of Windsor'

Plato

Platonism in Shakespeare's Sonnets

Plautus

'Players, I love yee, and your Qualitie,' by John Davies

'Pleasant Comedie called Common Conditions'

Pliny's 'Natural History'

Plutarch

'Poetaster,' by Ben Jonson (1601)

'Poetical Rhapsody,' by Davison

'Poet's Vision and a Prince's Glorie,' by Thomas Greene

Poins in 'Henry IV.'

Polixenes in 'Winter's Tale'

Polonius in 'Hamlet'

Polwheele, William, Mary Fitton's first husband

Pompey in 'Measure for Measure'

Pompey the Great

Pope, Thomas

Porter in 'Macbeth'

Portia in--

'Julius Cæsar'

'Merchant of Venice'

Posthumus in 'Cymbeline'

'Précieuses Ridicules'

Priam in 'Troilus and Cressida'

Princess in 'Love's Labour's Lost'

Propertius

Prospero in the 'Tempest'

Proteus in 'Two Gentlemen of Verona'

Provost in 'Measure for Measure'

Prynne's 'Histriomastix'

'Psyché,' by Molière

Puck in 'Midsummer Night's Dream'

Puritanism hated and attacked by Shakespeare

Pushkin, influence of 'Hamlet' on

Pyramus in 'Midsummer Night's Dream'

Pyrgopolinices

Pythagoreans

QUEEN in--

'Cymbeline'

'Hamlet'

'Queen of Corinth'

Quince in 'Midsummer Night's Dream'

Quiney, Adrian

---- Richard

---- Thomas, husband of Judith Shakespeare

RABELAIS compared with Shakespeare

Racine

Raigne of King Edward Third (1596)

Raleigh, Sir Walter, career of--Accusations against--Fate of

'Ralph Roister Doister'

Raoul le Fevre's 'Recueil des Histoires de Troyes'

'Ratsey's Ghost'

Regan in 'King Lear'

'Relics of Cardinal Wolsey,' by George Cavendish

'Religio Medici,' by Sir Th. Browne

Renaissance

'Representative Men,' by Emerson

'Return from Parnassus' (1606), by Ben Jonson

'Revisor,' by Gogol

Rich, Lady Penelope

'Richard II.,' C. Marlowe's Edward II. used by Shakespeare

as model for

'Richard III.,' principal scenes and classic tendency of

Richard of York. _See_ York and Gloucester

Richter, Jean Paul

'Right Excellent and Famous History of Promos and Cassandra' (1578), by

George Whetstone

Rivers, Earl, in 'Richard III.'

Rizzio

Rochester, Viscount. _See_ Robert Carr

Roderigo in 'Othello'

Romano, Giulio, in 'Winter's Tale'

'Romeo and Juliet' (1591), Romanesque structure of

--Conception of love in

Ronsard

Rosalind in 'As You Like It'

Rosaline in--

'Love's Labour's Lost'

'Romeo and Juliet'

'Rosalynde,' by Lodge

Rosencrantz in 'Hamlet'

Rosse in 'Macbeth'

Rossetti, W. M.

Rowe, Shakespeare's first biographer

Rowland's, Samuel, 'Night Raven'

Rowley, William

Rushtons 'Shakespeare's Euphuism' (1871)

Russell, Mrs. Anne

Russell, Mrs. Bess

Rutland, Lord

Rutland's death in 'Henry VI.,

SACKVILLE, Thomas

'Sad Shepherd, The,' by Ben Jonson

Sadler, Hamlet, Shakespeare's friend

Sallust in 'Catiline,' by Ben Jonson

'Sappho,' by Daudet

Sardou's, Victorien, La Tosca

'Satiromastix,' by Marston and Dekker

Saturninus in 'Titus Andronicus'

Saxo Grammaticus

Scheffler, Ludwig von

Schiller

'School of Abuse,' by Stephen Gosson (1579)

Schopenhauer

Schück, Henry

'Scotorum Historiæ,' by Hector Boece

Seasons of Shakspeare's Plays

Sebastian in--

'Tempest'

'Twelfth Night,

Segar, Maister William, Garter King at Armes, notebook of

'Sejanus,' by Ben Jonson (1603)

Seneca, poet

'Sententiæ Pueriles'

Servilia, Brutus's mother

Servilius in Timon of Athens

Seven Ages of Man, Shakespeare's speech in 'As You Like It'

Sextus in 'Rape of Lucrece'

Sextus Pompeius in 'Antony and Cleopatra'

Seymour's, Lord William, marriage with Arabella Stuart

Shadow of the Night, by Chapman (1594)

Shakespeare, John, father of William Shakespeare

---- Richard, grandfather of William Shakespeare

---- William, Anne Hathaway's marriage with--Shakespeare's

conception of relation of the sexes

Aristocratic principles of--Shakespeare's hatred of the masses,

Associates of

Attacks upon--The Baconian Theory

Biographies of

Bohemian life and dissipation of

Brilliant and happiest period of--Feminine types belonging to it

Bruno's, Giordano, supposed influence over

Corneille, Pierre, compared with

Davenant, Mrs., courted by

Heath of

Diction of

Dramatic art, Shakespeare's conception of

Elizabeth, Queen, cause of Shakespeare's coolness towards

Elizabethan England in the youth of

Euphuism and pedantry ridiculed by--Traces of John Lyly's Euphues' in

'Hamlet'

Fitton, Mary, or the Dark Lady, loved by

Greene's, Robert, attack on

Hamnet, son of Shakespeare's sorrow at death of

Italy visited by--Discussion on

James I.'s patronage of--Relations between

Jonson, Ben, compared with--Relations between

Judith, daughter of

Kemp's, actor, relations with

Knowledge of physical and philosophical

London, Shakespeare's first arrival in--Buildings, costumes, manners

--Political and religious conditions of the period

Lucy's, Sir Thomas, relations with--Shakespeare's consequent

departure from Stratford

Marlowe's, C., influence on

Melancholy, pessimism, and misanthropy of causes of--Shakespeare's

restoration to happiness

Montaigne's influence over

Morality--Shakespeare's conception of true morality

Music, Shakespeare's love of

Nature and solitude, Shakespeare's love and longing for

Painting described by

Parentage and boyhood of Shakespeare at Stratford

Pembroke, William Herbert, Earl of, passionately loved by--

Shakespeare's Platonism and idolatry in friendship

Position of

Prosperity and wealth of--Shakespeare's purchase of New Place,

houses, and land--Money transactions and lawsuits

Puritanism hated and attacked by

Rabelais compared with

Return of Shakespeare to Stratford--Surroundings of--Visit of

Shakespeare to London--Last years of his life

Rivalry, Shakespeare's sense of

Self-transformation, Shakespeare's power of

Susannah, daughter of

Tarlton eulogised by

Tavern life of

Theatres in time of, situation and arrangements of--Costumes,

players and audiences

Will of

Womanhood, Shakespeare's ideal of

Women, Shakespeare's contempt for

'Shakespeare and Montaigne,' by Jacob Feis

'Shakespeare and Typography,' Blades

'Shakespeare's Autobiographical Poems,' by C. A. Brown

'Shakespeare's Centurie of Prayse,' by

Ingleby

'Shakespeare's Euphuism,' by Rushton (1871)

'Shakespeare's Knowledge and Use of the Bible,' by Bishop Charles

Wordsworth

'Shakespeare's Legal Acquirements,' by Lord Campbell

'Shakespeare's Library, Collier's'

'Shakespeare's Mulberry Tree,' sung by Garrick

'Shakespearean Myth,' by Appleton Morgan

Shallow in--

'Henry IV.'

'Merry Wives of Windsor'

Sheffield, Countess of

Shelley

'Shepheard's Spring Song for the Entertainment of King James,'

by Henry Chettle

'Shepherdess Felismena'

'Shepherd's Calendar,' by Spenser

Sheppard

Sherborne

'Shirley's Eulogy' of Beaumont and Fletcher

Shottery, Anne Hathaway's cottage at

Shrewsbury battlefield in 'Henry IV.'

Shylock in 'Merchant of Venice'

Sicinius in Coriolanus

Sidney, Sir Philip

Silence, Justice, in 'Henry IV.'

'Silent Woman, The,' by Ben Jonson (1609)

Silvayn's, Alexander, 'Orator'

Silvia in 'Two Gentlemen of Verona'

Simonides in 'Pericles'

Simpson, Mr. Richard

Sir Andrew Aguecheek in 'Twelfth Night,'

Sir John Oldcastle (1600)

Sir Tobby Belch in 'Twelfth Night'

Slender in 'Merry Wives of Windsor'

Slowacki

Smith in Henry VI.

Smith, William, founding the Baconian

Theory (1856)

Smith's, Thomas, 'Voiage and Entertainement in Rushia'

Snug in 'Midsummer Night's Dream'

Socrates 'Apology'

'Solyman and Perseda,' by Kyd

Somer, Sir George

Somerset, Earl of _See_ Robert Carr

Sonnets (1601), melancholy and sadness of--Date of Pembroke

and Mary Fitton addressed in Shakespeare's Platonism,

idolatry in friendship, and inner life shown in--Form and

poetic value of

Sören Kierkegaard

Southampton, Earl of, Shakespeare's patron--Conspiracy of

Southampton, Lady

Southwell, Elizabeth

---- Robert

Spaccio, by Giordano Bruno

Spanish Alliance

'Spanish Tragedy,' by Kyd

Spedding James

Speed in 'Two Gentlemen of Verona'

Spenser

Stanley, Lord, in Richard III.

Stationers' Register

Statius' 'Thebaide'

Stedefeld, G. F.

Stephano in the 'Tempest'

Stern, Alfred

Stirling's, Count, 'Darius'

Story of 'Troylus and Pandor' (1515)

Stows Summarie of the Chronicles of England, 111

Straparola's Two Lovers of Pisa

Stratford on Avon--

Birth of Shakespeare at--Description of town and Shakespeare's

boyhood at

Departure of Shakespeare from

Property bought by Shakespeare at Shakespeare restoring position

and prosperity of his family at

Return of Shakespeare to--Surroundings of--Visit of Shakespeare

to London--Last years of his life at

Stuart, Arabella

---- Mary, mother of James I.

Study of Shakespeare, by Swinburne

Sturley, Abraham

Suffolk, Duke of, in 'Henry VI.'

Sullivan, E.

Summarie of the Chronicles of England, by Stow

Surrey, Henry, Earl of

'Swan' Theatre

Swinburne

Sycorax in the Tempest

Sylvia in 'Two Gentlemen of Verona'

Symonds, John Addington

Symons, Arthur

Syren, literary club founded by Sir Walter Raleigh

TADEMA, ALMA--

Tagelied

Tailor's, Robert, 'Hog has Lost his Pearl' (1614)

Taine

Talbot, Lord

'Tamburlaine the Great,' by C. Marlowe

'Taming of the Shrew' (1596)

Tamora in 'Titus Andronicus'

'Tancred and Gismunda'

Tantalus in Seneca's 'Thyestes'

Tarlton, actor, Shakespeare's eulogy of

'Tarlton's Jests and News, &c.'

'Tartuffe,' by Molière

'Tears of Fancie,' by Watson

'Tears of the Muses,' by Spenser

'Tempest' (1612-1613)

Dramatic value of--Chief characters in--Shakespeare's farewell

to Art

Sources of

Wedding of Princess Elizabeth celebrated by

Temptation, by Krasinski

Thaisa in Pericles

'The Case is Altered,' by Ben Jonson

'The Hog has Lost His Pearl' (1614), by Robert Tailor

'The Orator,' by Alexander Silvayn

'The Prince,'

'The Puritan' (1607)

'The Supposes'

'The Theatre,' first play-house erected in London and owned by

James Burbage

'The Witch,' by Middleton

'Theatre of God's Judgements' (1597)

'Theatrum Licentia,' in Laquei Ridiculosi (1616)

'Thebaide,' by Statius

'Théodore, Vierge et Martyre,' by Pierre Corneille

Thersites in 'Troilus and Cressida'

Theseus in 'Midsummer Night's Dream'

'Two Noble Kinsmen'

'Third Blast of Retraite from Plaies' (1580)

Thisbe in 'Midsummer Night's Dream'

Thorpe, Thomas

Thorvaldsen

'Thyestes,' by Seneca

Thyreus in 'Antony and Cleopatra'

Tiberius in Sejanus, by Ben Jonson

Tibullus in Ben Jonson's 'Poetaster'

Tieck

Timandra in 'Timon of Athens'

'Timbreo of Candona,' Bandello's story of

'Times displayed in Six Sestyads,' by Sheppard

'Timon of Athens,' sources of--Shakespeare's part and purpose

in--Coriolanus compared with Timon--Non-Shakespearian

elements in--Shakespeare's bitterness and hatred of mankind,

Titania in 'Midsummer Night's Dream'

'Titus and Vespasian' (1592)

'Titus Andronicus,' Shakespeare's authorship of

Titus Lartius in "Coriolanus"

Tolstoi, influence of 'Hamlet' on

'To the Majestie of King James, a Gratulatorie Poem,' by

Michael Drayton

Tophas, Sir, in John Lyly's 'Endymion'

'Tottel's Miscellany' (1557)

'Totus Mundus Agit Histrionem,' motto on sign of Globe

Theatre, Shakespeare's allusion to

Touchstone in 'As You Like It'

Touchstone of True Love, or Hero and Leander, by Ben Jonson

(_see_ that title)

'Tragedie of Antonie'

'Tragicall Historye of Romeus and Juliet,' etc., etc.

'Travels of Three English Brothers'

'Treatise on Education,' by Plutarch

'Triar Table of the Order of Shakespeare's Plays,' by

Furnival

Trinculo in the 'Tempest'

'Troilus and Cressida' (1609)

Contempt for women portrayed in Cressida's character

Historical material for

Homer's 'Iliad' compared with

Scorn of woman's guile and public stupidity in

'Troilus and Cressida,' by Chaucer, (1630)

'Troublesome Raigne of John, King of England, with the discouerie

of King Richard Cordelions Base sonne (vulgarly named the Bastard

Fawconbridge): also the death of King John at Swinstead Abbey'

Troy, destruction of

'True Tragedie of Richard Duke of Yorke, and the Death of the good

King Henrie the Sixt'

'True Tragedy of Richard III.'

Tschischwitz

Tubal in 'Merchant of Venice'

Tucca in Dekker's 'Satiromastix'

Türck, Hermann

Turgueneff, influence of 'Hamlet' on

'Turkish Mahomet and Hyren the Fair

Greek,' by George Peele

Turner, Mrs.

'Twelfth Night' (1601), gibes at Puritanism and chief characters

in--Melancholy tone of

Twine's, Lawrence, 'Patterne of Paynfull Adventures'

'Two Gentlemen of Verona'

'Two Lovers of Pisa,' by Straparola

'Two Noble Kinsmen,' Shakespeare's and Fletcher's parts in

Tybalt in 'Romeo and Juliet'

Tycho Brahe

Tyler, Mr. Thomas

Tyrone's, O'Neil, Earl of, rebellion in

Ireland

Tyrwhitt, Thomas

ULYSSES in 'Troilus and Cressida'

'Ulysses von Ithacia,' by Holberg

'Undivine Comedy,' by Krasinski

'Utopia,' More's

VALENTINE in 'Two Gentlemen of Verona'

Venice

Ventidius in 'Antony and Cleopatra'

'Venus and Adonis' (1590-1591), descriptions of nature in

Vere, Bridget

Verges in 'Much Ado About Nothing'

Vernon, Lady Elizabeth, Earl of Southampton's marriage with

Sir Richard in 'Henry IV.'

Verona

Vespasian in 'Titus and Vespasian'

Victor Hugo

Vidushakus

Vigny, Alfred de

Villiers, Sir George, James I.'s favourite

Viola in 'Twelfth Night'

Virgil in 'Poetaster,' &c., by Ben Jonson

Virgilia in 'Coriolanus'

Virginia

'Vittoria Corombona,' by Webster

'Voiage and Entertainement in Rushia,' by Th. Smith

'Volpone,' by Jonson

Voltaire

Voltemand in 'Hamlet'

Volumnia in 'Coriolanus'

Vorstius, Conrad

WALKER, Henry

Wall in 'Midsummer Night's Dream'

Walsingham

Ward, John, Vicar of Stratford

Warner

Warwick, Earl of, in--

'Edward III.'

'Henry IV.'

'Henry VI.'

Watkins, Lloyd

Watson's 'Tears of Fancie,' sonnets

Webster, John

Weever, John

'Mirrors of Martyrs, or The Life and Death of Sir John Oldcastle

Knight, Lord Cobham'

Weldon, Sir Anthony

Werder, K.

Weston, Richard

Whetstone, George

'White Divel' (1612), by John Webster

Whyte, Rowland

Widow of Florence in 'Alls Well that Ends Well'

or 'Love's Labour's Won'

'Wild Goose Chase,' by Fletcher

'Wilhelm Meister,' by Goethe

Wilkins, George

William Rufus, King

William in

'As You Like It'

'Merry Wives of Windsor'

Williams in 'Henry V.'

Willoughby, Ambrose

Wilmecote

Wilson, Arthur

Wilton

Winstanley

Winter, Sir Edward

'Winter's Tale,' Greene supplying material for--Euphuism

ridiculed in--Chief characters in

Winwood, Lord

Witches in 'Macbeth'

'Wit's Miserie,' by Thomas Lodge

Witt, Jan de

Wittenberg

Wolsey in 'Henry VIII.'

'Woman-Hater,' by Fletcher

Worcester in 'Henry IV.'

Wordsworth

'Worthies,' by Fuller

Wotton, Sir Henry

Wrightman, Edward

Wriothesley, Henry, Earl of Southampton,

Wynkyn de Worde

YONG's, Bartholomew, translation of 'Diana'

York in 'Richard II.'

York, Duchess of, mother of Edward IV.

in 'Richard III.'

---- Duke of, father of Edward IV., in

'Henry VI.'

---- Edward of. _See_ Edward IV.

---- Edward of, son of Edward IV. _See_ 'Edward V.'

---- Richard of, afterwards Earl of Gloucester and Richard III.

_See_ Gloucester

Yorkshire Tragedy" (1608)

THE END