INDEX.
A
Abbey, Mr. E. A., [342]
Abbott, Dr. E. A., [364]
Actor, Shakespeare as an, [43-45]
See also Rôles, Shakespeare’s
Actors: entertained for the first time at Stratford-on-Avon, [10]
return of the two chief companies to London in 1587, [33]
the players’ licensing Act of Queen Elizabeth, [34]
companies of boy actors, [34] [35] [38] [213]
companies of adult actors in 1587, [35]
the patronage of the company which was joined by Shakespeare, [35] [36]
women’s parts played by men or boys, [38] and n 2
tours in the provinces, [39-42]
foreign tours, [42]
Shakespeare’s alleged scorn of their calling, [44] [45]
‘advice’ to actors in Hamlet, [45]
their incomes, [198] [199] and n 2, [201]
the strife between adult actors and boy actors, [213-17] [221]
patronage of actors by King James, [232] and n 2
substitution of women for boys in female parts, [334] [335]
Adam, in As You Like It, played by Shakespeare, [44]
Adaptations by Shakespeare of old plays, [56]
Adaptations of Shakespeare’s plays at the Restoration, [331] [332]
Adulation, extravagance of, in the days of Queen Elizabeth, [137] [138] and n 2
Æschylus, Hamlet’s ‘sea of troubles’ paralleled in the Persæ of, [13] n
resemblance between Lady Macbeth and Clytemnestra in the Agamemnon of, [13] n
Æsthetic school of Shakespearean criticism, [333]
Alexander, Sir William, sonnets by, [438]
Alleyn, Edward, manages the amalgamated companies of the Admiral and Lord Strange, [37]
pays fivepence for the pirated Sonnets, [90] n
his large savings, [204]
Allot, Robert, [312]
All’s Well that Ends Well: the sonnet form of a letter of Helen, [84]
probable date of production, [162]
plot drawn from Painter’s ‘Palace of Pleasure,’ [163]
probably identical with Love’s Labour’s Won, [162]
chief characters, [163]
its resemblance to the Two Gentlemen of Verona, [163]
For editions see Section xix. (Bibliography), [301-25]
America, enthusiasm for Shakespeare in, [341] [342]
copies of the First Folio in, [308] [310] n
Amner, Rev. Richard, [321]
‘Amoretti,’ Spenser’s, [115] [435] and n 5, [436]
‘Amours’ by ‘J. D.,’ [390] and n
Amphitruo of Plautus, the, and a scene in The Comedy of Errors, [54]
‘Amyntas,’ complimentary title of, [385] n 2
Angelo, Michael, ‘dedicatory’ sonnets of, [138] n
‘Anthia and Abrocomas,’ by Xenophon Ephesius, and the story of Romeo and Juliet, [55] n
Antony and Cleopatra: allusion to the part of Cleopatra being played by a boy, [39] n
the youthfulness of Octavius Cæsar, [143] n 2
the longest of the poet’s plays, [224]
date of entry in the ‘Stationers’ Registers,’ [244]
date of publication, [245]
the story derived from Plutarch, [245]
the ‘happy valiancy’ of the style, [245]
For editions see Section xix. (Bibliography), [301-25]
Apollonius and Silla, Historie of, [210]
‘Apologie for Poetrie,’ Sidney’s, allusion to the conceit of the immortalising power of verse in, [114]
on the adulation of patrons, [138]
‘Apology for Actors,’ Heywood’s, [182]
Apsley, William, bookseller, [90] [304] [312]
‘Arcadia,’ Sidney’s, [88] n, [241] and n 2, [429]
Arden family, of Warwickshire, [6] [191]
Arden family, of Alvanley, [192]
Arden, Alice, [7]
Arden, Edward, executed for complicity in a Popish plot, [6]
Arden, Joan, [12]
Arden, Mary. See Shakespeare, Mary
Arden, Robert (1), sheriff of Warwickshire and Leicestershire in 1438, [6]
Arden, Robert (2), landlord at Snitterfield of Richard Shakespeare, [3] [6]
marriage of his daughter Mary to John Shakespeare, [6] [7]
his family and second marriage, [6]
his property and will, [7]
Arden, Thomas, grandfather of Shakespeare’s mother, [6]
Arden of Feversham, a play of uncertain authorship, [71]
Ariel, character of, [256]
Ariodante and Ginevra, Historie of, [208]
Ariosto, I Suppositi of, [164]
Orlando Furioso of, and Much Ado about Nothing, [208]
Aristotle, quotation from, made by both Shakespeare and Bacon [370] n
Armado, in Love’s Labour’s Lost [51] n, [62]
Armenian language, translation of Shakespeare in the, [354]
Arms, coat of, Shakespeare’s, [189] [190] [191] [193]
Arms, College of, applications of the poet’s father to, [2] [10] n, [188-92]
Arne, Dr., [334]
Arnold, Matthew, [327] n 1
Art in England, its indebtedness to Shakespeare, [340] [341]
As You Like It: allusion to the part of Rosalind being played by a boy, [38] n 2
ridicule of foreign travel, [42] n 2
acknowledgments to Marlowe (III. v. 8), [64]
adapted from Lodge’s ‘Rosalynde,’ [209]
addition of three new characters, [209]
hints taken from ‘Saviolo’s Practise,’ [209]
its pastoral character, [209]
said to have been performed before King James at Wilton, [232] n 1 [411] n.
For editions see Section xix. (Bibliography), [301-25]
Asbies, the chief property of Robert Arden at Wilmcote, bequeathed to Shakespeare’s mother, [7]
mortgaged to Edmund Lambert, [12]
proposal to confer on John Lambert an absolute title to the property, [26]
Shakespeare’s endeavour to recover, [195]
Ashbee, Mr. E. W., [302] n
Assimilation, literary, Shakespeare’s power of, [61] [109] seq.
Aston Cantlowe, [6]
place of the marriage of Shakespeare’s parents, [7]
‘Astrophel,’ apostrophe to Sidney in Spenser’s, [143] n 2
‘Astrophel and Stella,’ [83]
the metre of, [95] n 2
address to Cupid, [97] n
the praise of ‘blackness’ in, [119] and n [153] n 1
editions of, [428] [429]
Aubrey, John, the poet’s early biographer, on John Shakespeare’s trade, [4]
on the poet’s knowledge of Latin, [16]
on John Shakespeare’s relations with the trade of butcher, [18]
on the poet at Grendon, [31]
lines quoted by him on John Combe, [269] n
on Shakespeare’s genial disposition, [278]
value of his biography of the poet, [362]
his ignorance of any relation between Shakespeare and the Earl of Pembroke, [414] [415]
‘Aurora,’ title of Sir W. Alexander’s collection of sonnets, [438] Autobiographical features of Shakespeare’s plays, [164-7] [168] [248]
of Shakespeare’s sonnets, the question of, [100] [109] [125] [152] [160]
Autographs of the poet, [284-6]
‘Avisa,’ heroine of Willobie’s poem, [155] seq
Ayrer, Jacob, his Die schöne Sidea, [253] and n 1
Ayscough, Samuel, [364] n
B
Bacon, Miss Delia, [371]
Bacon Society, [372]
Bacon-Shakespeare controversy, (Appendix II.), [370-73]
Baddesley Clinton, the Shakespeares of, [3]
Baïf, De, plagiarised indirectly by Shakespeare, [111] and n
indebtedness of Daniel and others to, [431] [432]
one of ‘La Pléiade,’ [443] [444]
Bandello, the story of Romeo and Juliet by, [55] n 1
the story of Hero and Claudio by, [208]
the story of Twelfth Night by, [210]
Barante, recognition of the greatness of Shakespeare by, [350]
Barnard, Sir John, second husband of the poet’s granddaughter Elizabeth, [282]
Barnes, Barnabe, legal terminology in his Sonnets, [32] n 2
and (Appendix IX.) [432]
use of the word ‘wire,’ [118] n 2
his sonnets of vituperation, [121]
the probable rival of Shakespeare for Southampton’s favour, [131] [132] [133] [135] n
his sonnets, [132] [133] [432]
called ‘Petrarch’s scholar’ by Churchyard, [133]
expressions in his sonnet (xlix.) adopted by Shakespeare, [152] n
sonnet to Lady Bridget Manners, [379] n
sonnet to Southampton’s eyes, [384]
compliment to Sidney in Sonnet xcv. [432]
Sonnet lxvi. (‘Ah, sweet Content’) quoted, [432]
his sonnets to patrons, [440]
his religious sonnets, [441]
Barnfield, Richard, feigning old age in his ‘Affectionate Shepherd,’ [86] n
his adulation of Queen Elizabeth in ‘Cynthia,’ [137] n, [435]
sonnets addressed to ‘Ganymede,’ [138] n 2, [435]
predicts immortality for Shakespeare, [179]
chief author of the ‘Passionate Pilgrim,’ [182] and n
Bartholomew Fair, [255]
Bartlett, John, [364]
Barton collection of Shakespeareana at Boston, Mass., [341]
Barton-on-the-Heath, [12]
identical with the ‘Burton’ in the Taming of the Shrew, [164]
Bathurst, Charles, on Shakespeare’s versification, [49] n
Baynes, Thomas Spencer, [365]
Beale, Francis, [389]
‘Bear Garden in Southwark, The,’ the poet’s lodgings near, [38]
Bearley, [6]
Beaumont, Francis, on ‘things done at the Mermaid,’ [177]
Beaumont, Sir John, [388]
Bedford, Edward Russell, third Earl of: his marriage to Lucy Harington, [161]
Bedford, Lucy, Countess of, [138] n 2, [161]
Beeston, William (a seventeenth-century actor), on the report that Shakespeare was a schoolmaster, [29]
on the poet’s acting, [43]
Bellay, Joachim du, Spenser’s translations of some of his sonnets, [101] [105] n, [432] [436] [443] [444]
Belleau, Remy, poems and sonnets by, [441] n 1, [444] [445] n
Belleforest (Francois de), Shakespeare’s indebtedness to the ‘Histoires Tragiques’ of, [14] [55] n 1, [208] [222]
Benda, J. W. 0., German translation of Shakespeare by, [344]
Benedick and his ‘halting sonnet,’ [108] [208]
Benedix, J. R., opposition to Shakespearean worship by, [345]
Bentley, R., [313]
Berlioz, Hector, [351]
Bermudas, the, and The Tempest, [252]
Berners, Lord, translation of ‘Huon of Bordeaux’ by, [162]
Bernhardt, Madame Sarah, [351]
Bertaut, Jean, [443]
Betterton, Mrs., [335]
Betterton, Thomas, [33] [332] [334] [335] [362]
Bianca and her lovers, story of, partly drawn from the ‘Supposes’ of George Gascoigne, [164]
Bible, the, Shakespeare and, [16] [17] and n 1
Bibliography of Shakespeare, [299-325]
Bensley, Robert, actor, [338]
Bidford, near Stratford, legend of a drinking bout at, [271]
Biography of the poet, sources of (Appendix I.), [361-5]
Birmingham, memorial Shakespeare library at, [298]
Biron, in Love’s Labour’s Lost, [51] and n
Birth of Merlin, [181]
Birthplace, Shakespeare’s, [8] [9]
‘Bisson,’ use of the word, [317]
Blackfriars Shakespeare’s purchase of property in, [267]
Blackfriars Theatre, built by James Burbage (1596), [38] [200]
leased to ‘the Queen’s Children of the Chapel,’ [38] [202] [213]
occupied by Shakespeare’s company, [38]
litigation of Burbage’s heirs, [200]
Shakespeare’s interest in, [201] [202]
shareholders in, [202]
Shakespeare’s disposal of his shares in, [264]
‘Blackness,’ Shakespeare’s praise of, [118-120] cf. [155]
Blades, William, [364]
Blind Beggar of Alexandria, Chapman’s, [51] n
Blount, Edward, publisher, [92] [135] n, [183] [244] [304] [305] [312] [393] [394] and n 1
Boaistuau de Launay (Pierre) translates Bandello’s story of Romeo and Juliet, [51] n
Boaden, James, [406] n
Boar’s Head Tavern, [170]
Boas, Mr. F. S., [365]
Boccaccio, Shakespeare’s indebtedness to, [163] [249] [251] and n 2
Bodenstedt, Friedrich von, German translator of Shakespeare, [344]
Bohemia, allotted a seashore in Winter’s Tale, [251]
translations of Shakespeare in, [354]
Boiardo, [243]
Bond against impediments respecting Shakespeare’s marriage, [20] [21]
Bonian, Richard, printer, [226]
Booth, Barton, actor, [335]
Booth, Edwin, [342]
Booth, Junius Brutus, [342]
Booth, Lionel, [311]
Borck, Baron C. W. von, translation of Julius Cæsar into German by, [343]
Boswell, James, [334]
Boswell, James (the younger), [322] [405] n
Boswell-Stone, Mr. W. G. [364]
Böttger, A., German translation of Shakespeare by, [344]
Boy-actors, [34] [35] [38]
the strife between adult actors and, [213-217]
Boydell, John, his scheme for illustrating the work of the poet, [341]
Bracebridge, C. H., [364]
Brach, Pierre de, his sonnet on Sleep echoed in Daniel’s Sonnet xlix., [101] and n 1 [431] [445] n
Brandes, Mr. Georg, [365]
Brassington, Mr. W. Salt, [290] n
Brathwaite, Richard, [269] n 1, [388] [398]
Breton, Nicholas, homage paid to the Countess of Pembroke in his poems, [138] n 2
his play on the words ‘wit’ and ‘will,’ [417]
Brewster, E., [313]
Bridgeman, Mr. C. 0., [415] n
Bright, James Heywood, [406] n
Broken Heart, Ford’s, similarity of theme of Shakespeare’s Sonnet cxxvi. to that of a song in, [97] n
Brooke or Broke, Arthur, his translation of the story of Romeo and Juliet, [55] [322]
Brooke, Ralph, complains about Shakespeare’s coat-of-arms, [192] [193]
Brown, C. Armitage, [406] n
Brown, John, obtains a writ of distraint against Shakespeare’s father, [12]
Browne, William, love-sonnets by, [439] and n 2
Buc, Sir George, [245]
Buckingham, John Sheffield, first Duke of, a letter from King James to the poet said to have been in his possession, [231]
Bucknill, Dr. John Charles, on the poet’s medical knowledge, [364]
Burbage, James, owner of The Theatre and keeper of a livery stable, [33] [36]
erects the Blackfriars Theatre, [38]
Burbage, Richard, erroneously assumed to have been a native of Stratford, [31] n
a lifelong friend of Shakespeare’s, [36]
demolishes The Theatre and builds the Globe Theatre, [37] [200]
performs, with Shakespeare and Kemp, before Queen Elizabeth at Greenwich Palace, [43]
his impersonation of the King in Richard III, [63]
litigation of his heirs respecting the Globe and the Blackfriars Theatres, [200]
his income, [203] [219]
creates the title-part in Hamlet, [222] [231]
his reputation made by creating the leading parts in the poet’s greatest tragedies, [264] [265]
anecdote of, [265]
the poet’s bequest to, [276]
as a painter, [292]
Burgersdijk, Dr. L. A. J., translation in Dutch by, [352]
Burghley, Lord, [375] [376] [378]
Burton, Francis, bookseller, [399] n 2, [400]
Butter, Nathaniel, [180] [241]
C
‘C., E.,’ sonnet by, on lust, [153] n 1
his collection of sonnets, ‘Emaricdulfe,’ [436]
Caliban, the character of, [253] [256] [257] and notes
Cambridge, Hamlet acted at, [224]
Cambridge edition of Shakespeare, [324]
Camden, William, [191]
Campbell, Lord, on the poet’s legal acquirements, [364]
Campion, Thomas, his opinion of Barnes’s verse, [133]
his sonnet to Lord Walden, [140]
sonnets in Harleian MS., [437] and n 3
Capell, Edward, reprint of Edward III in his ‘Prolusions,’ [71] [224]
his edition of Shakespeare, [319]
his works on the poet, [320]
Cardenio, the lost play of, [181] [258] [259]
Carter, Rev. Thomas, on the alleged Puritan sympathies of Shakespeare’s father, [10] n
Casteliones y Montisis, Lope de Vega’s, [55] n 1
Castille, Constable of, entertainments in his honour at Whitehall, [233] [234]
Castle, William, parish clerk of Stratford, [34]
Catherine II of Russia, adaptations of the Merry Wives and King John by, [352] [353]
Cawood, Gabriel, publisher of ‘Mary Magdalene’s Funeral Tears,’ [88] n
Cecil, Sir Robert, and the Earl of Southampton, [143] [379] [381] [382]
‘Centurie of Spiritual Sonnets, A,’ Barnes’s, [132]
‘Certain Sonnets,’ Sidney’s, [153] n 1
Cervantes, his ‘Don Quixote,’ foundation of lost play of Cardenio, [258]
death of, [272] n 1
Chamberlain, the Lord, his company of players. See Hunsdon, first Lord and second Lord
Chamberlain, John, [149] [261] n
Chapman, George, plays on Biron’s career by, [51] n, [395] n 1
his An Humourous Day’s Mirth, [51] n
his Blind Beggar of Alexandria, [51] n
his censure of sonnetteermg, [106]
his alleged rivalry with Shakespeare for Southampton’s favour, [134] [135] n, [183]
his translation of the ‘Iliad,’ [227]
his sonnets to patrons, [388] [440] n
sonnets in praise of philosophy, [441]
Charlecote Park, probably the scene of the poaching episode, [27] [28]
Charles I and the poet’s plays, [329]
his copy of the Second Folio, [312]
Charles II, his copy of the Second Folio, [312]
Chateaubriand, [349]
Châtelain, Chevalier de, rendering of Hamlet by, [351]
Chaucer, the story of ‘Lucrece’ in his ‘Legend of Good Women,’ [76]
hints in his ‘Knight’s Tale’ for Midsummer Night’s Dream, [162]
the plot of Troilus and Cressida taken from his ‘Troilus and Cresseid,’ [227]
plot of The Two Noble Kinsmen drawn from his ‘Knight’s Tale,’ [260]
Chenier, Marie-Joseph, sides with Voltaire in the Shakespearean controversy in France, [349]
Chester, Robert, his ‘Love’s Martyr,’ [183] [184] n
Chettle, Henry, the publisher, his description of Shakespeare as an actor, [43] [48] n
his apology for Greene’s attack on Shakespeare, [58] [277] [225]
appeals to Shakespeare to write an elegy on Queen Elizabeth, [230]
Chetwynde, Peter, publisher, [312]
Chiswell, R., [313]
‘Chloris,’ title of William Smith’s collection of sonnets, [437] and n 4 Chronology of Shakespeare’s plays [48-57] [59] [63-72]
partly determined by subject-matter and metre, [48-50] [161] seq., [207] seq., [235] seq., [248] seq.
Churchyard, Thomas, his Fantasticall Monarcho’s Epitaph, [51] n
calls Barnes ‘Petrarch’s scholar,’ [133]
Cibber, Colley, [335]
Cibber, Mrs., [336]
Cibber, Theophilus, the reputed compiler of ‘Lives of the Poets,’ [32] and n 3, [33]
Cinthio, the ‘Hecatommithi’ of, Shakespeare’s indebtedness to, [14] [53] [236]
his tragedy, Epitia, [237]
Clark, Mr. W. G., [325]
Clement, Nicolas, criticism of the poet by, [347] [348]
Cleopatra: the poet’s allusion to her part being played by a boy, [38] n 2
compared with the ‘dark lady’ of the sonnets [123] [124]
her character, [245]
Clive, Mrs., [336]
Clopton, Sir Hugh, the former owner of New Place, [193]
Clopton, Sir John, [283]
Clytemnestra, resemblance between the characters of Lady Macbeth and, [13] n
Cobham, Henry Brooke, eighth Lord, [169]
‘Cœlia,’ love-sonnets by William Browne entitled, [439] and n 2
‘Cœlia,’ title of Percy’s collection of sonnets, [435]
‘Cœlica,’ title of Fulke Greville’s collection of poems, [97] n
Cokain, Sir Aston, lines on Shakespeare and Wincot ale by, [166]
Coleridge, S. T., on the style of Antony and Cleopatra, [245]
on The Two Noble Kinsmen, [259]
representative of the æsthetic school, [333]
on Edmund Kean, [338] [365]
Collier, John Payne, includes Mucedorus in his edition of Shakespeare, [72]
his reprint of Drayton’s sonnets, [110] n
his forgeries in the ‘Perkins Folio,’ [312] and n 2, [317] n 2 [324] [333] [362]
his other forgeries (Appendix I.), [367-9]
Collins, Mr. Churton, [317] n 1
Collins, Francis, Shakespeare’s solicitor, [271] [273]
Collins, Rev. John, [321]
Colte, Sir Henry, [410] n
Combe, John, bequest left to the poet by, [269]
lines written upon his money-lending, [269] n
Combe, Thomas, legacy of the poet to, [276]
Combe, William, his attempt to enclose common land at Stratford, [269]
Comedy of Errors: the plot drawn from Plautus, [16] [54]
date of publication, [53]
allusion to the civil war in France, [53]
possibly founded on The Historie of Error, [54]
performed in the hall of Gray’s Inn 1594, [70]
For editions see Section xix. (Bibliography), [301-25]
‘Complainte of Rosamond,’ Daniel’s, parallelisms in Romeo and Juliet with, [56]
its topic and metre reflected in ‘Lucrece,’ [76] [77] and n [431]
Concordances to Shakespeare, [364] and n
Condell, Henry, actor and a lifelong friend of Shakespeare, [36] [202] [203] [264]
the poet’s bequest to him, [276]
signs dedication of First Folio, [303] [306]
Confessio Amantis, Gower’s, [244]
Conspiracie of Duke Biron, The, [51] n
Constable, Henry, piratical publication of the sonnets of, [88] n
followed Desportes in naming his collection of sonnets ‘Diana,’ [104] [431]
dedicatory sonnets, [440]
religious sonnets, [440]
Contention betwixt the two famous houses of Yorke and Lancaster, first part of the, [59]
‘Contr Amours,’ Jodelle’s, parody of the vituperative sonnet in, [122] and n
Cooke, Sir Anthony, [436]
Cooke, George Frederick, actor, [338]
Coral, comparison of lips with, [118] and n 2
Coriolanus: date of first publication, [246]
derived from North’s ‘Plutarch,’ [246]
literal reproduction of the text of Plutarch, [246] and n
originality of the humorous scenes, [246]
date of composition, [246] [247]
general characteristics, [247]
For editions see Section xix. (Bibliography), [301-25]
‘Coronet for his mistress Philosophy, A,’ by Chapman, [106]
Coryat, ‘Odcombian Banquet’ by, [395]
Cotes, Thomas, printer, [312]
Cotswolds, the, Shakespeare’s allusion to, [168]
Court, the, Shakespeare’s relations with, [81] [83] [230] [232-4]
cf. [251] n, [254] n, [256] n 1, [264]
Cowden-Clarke, Mrs., [364]
Cowley, actor, [208]
‘Crabbed age and youth,’ etc. [182]
Craig, Mr. W. J., [325]
Creede, Thomas, draft of the Merry Wives of Windsor printed by, [172]
draft of Henry V printed by, [173]
fraudulently assigns plays to Shakespeare, [179] [180]
Cromwell, History of Thomas, Lord, [313]
‘Cryptogram, The Great,’ [372]
Cupid, Shakespeare’s addresses to, compared with the invocations of Sidney, Drayton, Lyly, and others, [97] n
Curtain Theatre, Moorfields, one of the only two theatres existing in London at the period of Shakespeare’s arrival, [32] [36]
the scene of some of the poet’s performances, [37]
closed at the period of the Civil War, [37] [233] n 1
Cushman, Charlotte, [342]
Cust, Mr. Lionel, [290] n
Cymbeline: sources of plot, [249]
introduction of Calvinistic terms, [250] and n
Imogen, [250]
comparison with As You Like It, [250]
Dr. Forman’s note on its performance, [250]
For editions see Section xix. (Bibliography) [301-25]
‘Cynthia,’ Barnfield’s, adulation of Queen Elizabeth in, [137] n, [435]
‘Cynthia,’ Ralegh’s, extravagant apostrophe to Queen Elizabeth in, [137] n
Cynthia’s Revels, performed at Blackfriars Theatre, [215]
Cyrano de Bergerac, plagiarisms of Shakespeare by, [347]
D
‘Daiphantus,’ allusion to the poet in Scoloker’s, [277]
Daniel, Samuel, parallelisms in Romeo and Juliet with his ‘Complainte of Rosamond,’ [56] [61]
the topic and metre of the ‘Complainte of Rosamond’ reflected in ‘Lucrece,’ [76] [77] and n 1
feigning old age, [86] n
his sonnet (xlix.) on Sleep, [101]
admits plagiarism of Petrarch in his ‘Delia,’ [101] n 4
followed Maurice Sève in naming his collection of sonnets, [104] [430]
claims immortality for his sonnets, [115]
his prefatory sonnet in ‘Delia,’ [130] [429]
celebrates in verse Southampton’s release from prison, [149] [388]
his indebtedness to Desportes, [430]
and to De Balt and Pierre de Brach, [431]
popularity of his sonnets, [431]
Danish, translations of Shakespeare in, [354]
Danter, John, prints surreptitiously Romeo and Juliet, [56]
Titus Andronicus entered at Stationers’ Hall by, [66]
Daurat (formerly Dinemandy), Jean, one of ‘La Pleiade,’ [443]
D’Avenant, John, keeps the Crown Inn, Oxford, [265]
D’Avenant, Sir William, relates the story of Shakespeare holding horses outside playhouses, [33]
on the story of Southampton’s gift to Shakespeare, [126] [374]
a letter of King James to the poet once in his possession, [231]
Shakespeare’s alleged paternity of, [265] [328]
Davies, Archdeacon, vicar of Saperton, on Shakespeare’s ‘unluckiness’ in poaching, [27]
on ‘Justice Clodpate’ (Justice Shallow), [29] [362]
Davies, John, of Hereford, his allusion to the parts played by Shakespeare, [44]
celebrates in verse Southampton’s release from prison, [149] [388]
his ‘Wittes Pilgrimage,’ [439]
sonnets to patrons, [440] n
Davies, Sir John: his ‘gulling sonnets,’ a satire on conventional sonnetteering, [106] [107] and n 1 [128] n, [435] [436]
his apostrophe to Queen Elizabeth, [137] n [273]
Davison, Francis, his translation of Petrarch’s sonnet, [102] n
dedication of his ‘Poetical Rhapsody’ to the Earl of Pembroke, [414]
Death-mask, the Kesselstadt, [296] and n 1
‘Decameron,’ the, indebtedness of Shakespeare to, [163] [249] [251] and n2
Dedications, [392-400]
‘Dedicatory’ sonnets, of Shakespeare, [125] seq.
of other Elizabethan poets, [138] n 2 [140] [141]
Defence of Cony-Catching, [47] n
Dekker, Thomas, [48] n
the quarrel with Ben Jonson, [214-20] [228] n [225]
on King James’s entry into London, [232]
his song ‘Oh, sweet content’ an echo of Barnes’s ‘Ah, sweet Content,’ [433] n 1
‘Delia,’ title of Daniel’s collection of sonnets, [104] [118] n 2, [130] [430] [434]
See also under Daniel, Samuel
‘Délie,’ sonnets by Sève entitled, [442]
Delius, Nikolaus, edition of Shakespeare by, [324]
studies of the text and metre of the poet by, [345]
Dennis, John, on the Merry Wives of Windsor, [171] [172]
his tribute to the poet, [332]
Derby, Ferdinando Stanley, Earl of, his patronage of actors, [35]
performances by his company, [56] [59] [66] [73]
Spenser’s bestowal of the title of ‘Amyntas’ on, [385] n 2
Derby, William Stanley, Earl of, [161]
Desmond, Earl of, Ben Jonson’s apostrophe to the, [140]
Desportes, Philippe, his sonnet on Sleep, [101] and [431]
plagiarised by Drayton and others, [103] and n 3, [430] seq.
plagiarised indirectly by Shakespeare, [110] [111]
his claim for the immortality of verse, [114] and n 1
Daniel’s indebtedness to him, [430] [431] [443] [444] [445] n
Deutsche Shakespeare-Gesellschaft, [365]
Devrient family, the, stage representation of Shakespeare by, [346]
Diana, George de Montemayor’s, and Two Gentlemen of Verona, [53]
translations of, [53]
‘Diana’ the title of Constable’s collection of sonnets, [88] n [96] n [104] [431]
Diderot, opposition to Voltaire’s strictures by, [348]
‘Diella,’ sonnets by ‘R. L.’ [Richard Linche], [437]
Digges, Leonard, on the superior popularity of Julius Cæsar to Jonson’s Catiline, [220] n
commendatory verses on the poet, [276] n 1 [300] [306]
on the poet’s popularity, [329]
‘Don Quixote’ and the lost play Cardenio, [258]
Doncaster, the name of Shakespeare at, [1]
Donne Dr. John, his poetic addresses to the Countess of Bedford, [138] n 2
expression of ‘love’ in his ‘Verse Letters,’ [141]
his anecdote about Shakespeare and Jonson, [177]
Donnelly, Mr. Ignatius, [372]
Dorell, Hadrian, writer of the preface to the story of ‘Avisa,’ [157]
Double Falsehood, or the Distrest Lovers, [258] [259] and n 1
Douce, Francis, [364]
Dowdall, John, [362]
Dowden, Professor, [333] [416] n [364] [365]
Drake, Nathan, [363]
Drayton, Michael, [61]
feigning old age in his sonnets, [86] n
his invocations to Cupid, [97] n
plagiarisms in his sonnets, [103] and n 2 [434]
follows Claude de Pontoux in naming his heroine ‘Idea,’ [104] [105] n 1
his admission of insincerity in his sonnets, [105]
Shakespeare’s indebtedness to his sonnets, [110] n
claims immortality for his sonnets, [115]
use of the word ‘love,’ [127] n
title of ‘Hymn’ given to some of his poems, [135] n
identified by some as the ‘rival poet,’ [135]
adulation in his sonnets, [138] n 2
Shakespeare’s Sonnet cxliv. adapted from, [153] n 2
entertained by Shakespeare at New Place, Stratford, [271] [427] n 2
greetings to his patron in his works, [398]
Droeshout, Martin, engraver of the portrait in the First Folio, [287-8]
his uncle of the same name, a painter, [290]
Droitwich, native place of John Heming, one of Shakespeare’s actor-friends, [31] n
Drummond, William, of Hawthornden, his translations of Petrarch’s sonnets, [104] n 4 [111] n
Italian origin of many of his love-sonnets, [104] and n
translation of a vituperative sonnet from Marino, [122] n 1
translation of a sonnet by Tasso, [152] n
two self-reproachful sonnets by him, [152] n
See also (Appendix) [439] and n 1
Dryden, a criticism of the poet’s work by, [330]
presented with a copy of the Chandos portrait of the poet, [330] [361]
Ducis, Jean-François, adaptations of the poet for the French stage [349] [352]
Dugdale, Gilbert, [231] n
Dulwich, manor of, purchased by Edward Alleyn, [204] [233] n 1
Dumain, Lord, in Love’s Labour’s Lost, [51] n
Dumas, Alexandre, adaptation of Hamlet by, [351]
Duport, Paul, repeats Voltaire’s censure, [350]
Dyce, Alexander, [259] n 1
on The Two Noble Kinsmen, [259]
his edition of Shakespeare, [323]
E
Ecclesiastes, Book of, poetical versions of, [441] and n 1
Eden, translation of Magellan’s ‘Voyage to the South Pole’ by, [253]
Edgar, Eleazar, publisher, [390]
Editions of Shakespeare’s works.
See under Quarto and Folio
Editors of Shakespeare, in the eighteenth century, [313-22]
in the nineteenth century, [323-5]
of variorum editions, [322] [323]
Education of Shakespeare: the poet’s masters at Stratford Grammar School, [13]
his instruction in Latin, [13]
no proof that he studied the Greek tragedians, [13] n
alleged knowledge of the classics and of Italian and French literature, [13] [14] [15] [16]
study of the Bible in his schooldays, [16] [17] and n 1
removal from school, [18]
Edward II, Marlowe’s, Richard II suggested by, [64]
Edward III, a play of uncertain authorship, [71]
quotation from one of Shakespeare’s sonnets, [72] [89] and n 2
Edwardes, Richard, author of the lost play Palæmon and Arcyte, [260]
Edwards, Thomas, ‘Canons of Criticism’ of, [319]
Eld, George, printer, [90] [180] [399] n 2 [401] [402]
Elizabeth, Princess, marriage of, performance of The Tempest, etc. at, [254] [258] [262] [264]
Elizabeth, Queen: her visit to Kenilworth, [17]
Shakespeare and other actors play before her, [43] [70] [81]
shows the poet special favour, [81] [82]
her enthusiasm for Falstaff, [82]
extravagant compliments to her, [137]
called ‘Cynthia’ by the poets, [148]
elegies on her, [147] [148]
compliment to her in Midsummer Night’s Dream, [161]
her objections to Richard II, [175]
death, [230]
her imprisonment of Southampton, [380]
Elizabethan Stage Society, [70] n 1 [210] n 2
Elton, Mr. Charles, Q.C., on the dower of the poet’s widow, [274] n
Elze, Friedrich Karl, ‘Life of Shakespeare’ by, [364]
Shakespeare studies of, [345]
‘Emaricdulfe,’ sonnets by ‘E.C.,’ [153] n 1 [436]
Endymion, Lyly’s, and Love’s Labour’s Lost, [62]
Eschenburg, Johann Joachim, completes Wieland’s German prose translation of Shakespeare, [343]
Error, Historie of, and Comedy of Errors, [54]
Essex, Robert Devereux, second Earl of, company of actors under the patronage of, [33]
an enthusiastic reception predicted for him in London in Henry V, [174]
trial and execution, [175] [176]
his relations with the Earl of Southampton, [376] [377] [380] [383]
Euphues, Lyly’s, Polonius’s advice to Laertes borrowed from, [62] n
Euripides, Andromache of, [13] n
Evans, Sir Hugh, quotes Latin phrases, [15]
sings snatches of Marlowe’s ‘Come live with me and be my love,’ [65]
Evelyn, John, on the change of taste regarding the drama, [329] n 2
Every Man in his Humour, Shakespeare takes a part in the performance of, [44] [176]
prohibition on its publication, [208]
F
Faire Em, a play of doubtful authorship, [72]
Falstaff, Queen Elizabeth’s enthusiasm for, [82] [171]
named originally ‘Sir John Oldcastle,’ [169]
objections raised to the name, [170]
the attraction of his personality, [170]
his last moments, [173]
letter from the Countess of Southampton on, [383] and n 1
Farmer, Dr. Richard, on Shakespeare’s education, [14] [15] [363]
Farmer, Mr. John S., [386] n 1
‘Farmer MS., the Dr.,’ Davies’s ‘gulling sonnets’ in, [107] n 1
Fastolf, Sir John, [170]
Faucit, Helen. See Martin, Lady
Felix and Philomena, History of, [53]
‘Fidessa,’ Griffin’s, [182] n [431] [437]
Field, Henry, father of the London printer, [186]
Field, Richard, a friend of Shakespeare, [32]
apprenticed to the London printer, Thomas Vautrollier, [32]
his association with the poet, [32]
publishes ‘Venus and Adonis,’ [74] [396]
and ‘Lucrece,’ [76] [396]
Finnish, translations of Shakespeare in, [354]
Fisher, Mr. Clement, [166]
Fitton, Mary, and the ‘dark lady,’ [123] n [406] n [415] n
Fleay, Mr. F. G., metrical tables by, [49] n
on Shakespeare’s and Drayton’s sonnets, [110] n [363]
Fletcher, Giles, on Time, [77] n 2
his ‘imitation’ of other poets, [103]
admits insincerity in his sonnets, [105]
his ‘Licia,’ [433]
Fletcher, John, [181] [184] [258]
collaborates with Shakespeare in The Two Noble Kinsmen and Henry VIII, [259] [262]
Fletcher, Lawrence, actor, takes a theatrical company to Scotland, [41] and n 1 [231]
Florio, John, and Holofernes, [51] n [84] n
the sonnet prefixed to his ‘Second Frutes,’ [84] and n
Southampton’s protégé, [84] n
his translation of Montaigne’s ‘Essays,’ [84] n [253]
his ‘Worlde of Wordes,’ [84] n [387]
his praise of Southampton, [131] (and Appendix IV.)
Southampton’s Italian tutor, [376] [384]
Folio, the First, 1623: editor’s note as to the ease with which the poet wrote, [46]
the syndicate for its production, [303] [304]
its contents, [305] [306]
prefatory matter, [306] [307]
value of the text, [307]
order of the plays, [307] [308]
the typography, [308]
unique copies, [308-10]
the Sheldon copy, [309] and n [310]
number of extant copies, [311]
reprints, [311]
the ‘Daniel’ copy, [311]
dedicated to the Earl of Pembroke, [412]
Folio, the Second, [312]
Folio, the Fourth, [313]
Ford, John, similarity of theme between a song in his Broken Heart and Shakespeare’s Sonnet cxxvi., [97] n
Forgeries in the ‘Perkins’ Folio, [312] and n 2
Forgeries, Shakespearean (Appendix I.), [365-9]
of John Jordan, [365] [366]
of the Irelands, [366]
promulgated by John Payne Collier and others, [367-369]
Forman, Dr. Simon, [239] [250]
Forrest, Edwin, American actor, [342]
Fortune Theatre, [212] [233] n 1
France, versions and criticisms of Shakespeare in, [347-50]
stage representation of the poet in, [350] [351]
bibliographical note on the sonnet in (1550-1600)
(Appendix X.), [442-5]
Fraunce, Abraham, [385] n 2
Freiligrath, Ferdinand von, German translation of Shakespeare by, [344]
French, the poet’s acquaintance with, [14] [15]
French, George Russell, [363]
‘Freyndon’ (or Frittenden), [1]
Friendship, sonnets of, Shakespeare’s, [136] [138-47]
Frittenden, Kent. See Freyndon
Fulbroke Park and the poaching episode, [28]
Fuller, Thomas, allusion in his ‘Worthies’ to Sir John Fastolf, [170]
on the ‘wit combats’ between Shakespeare and Jonson, [178]
the first biographer of the poet, [361]
Fulman, Rev. W., [362]
Furness, Mr. H. H., his ‘New Variorum’ edition of Shakespeare, [323] [341]
Furness, Mrs. H. H., [364]
Furnivall, Dr. F. J., [49] n [302] n [325] [334] [364]
G
Gale, Dunstan, [397]
Ganymede, Barnfield’s sonnets to, [435] and n 4
Garnett, Henry, the Jesuit, probably alluded to in Macbeth, [239]
Garrick, David, [315] [334] [335-7]
Gascoigne, George, his definition of a sonnet, [95] n 2
his Supposes, [164]
Gastrell, Rev, Francis, [283]
Gates, Sir Thomas, [252]
Germany, Shakespearean representations in, [340] [346]
translations of the poet’s works and criticisms in, [342-6]
Shakespeare Society in, [346]
Gervinus, ‘Commentaries’ by, [49] n [346]
‘Gesta Romanorum’ and the Merchant of Venice, [67]
Ghost in Hamlet, the, played by Shakespeare, [44]
Gilchrist, Octavius, [363]
Gildon, Charles, on the rapid production of the Merry Wives of Windsor, [172]
on the dispute at Eton as to the supremacy of Shakespeare as a poet, [328] n
Giovanni (Fiorentino), Ser, Shakespeare’s indebtedness to his ‘Il Pecorone,’ [14] [66] [172]
Giuletta, La, by Luigi da Porto, [55] n 1
‘Globe’ edition of Shakespeare, [325]
Globe Theatre: built in 1599, [37] [196]
described by Shakespeare, [37] cf. [173]
mainly occupied by the poet’s company after 1599, [37]
profits shared by Shakespeare, [37] [196] [200] [201]
the leading London theatre, [37]
revival of Richard II at, [175]
litigation of Burbage’s heirs, [200]
prices of admission, [201]
annual receipts, [201]
performance of A Winter’s Tale, [251]
its destruction by fire, [260] [261] n
the new building, [260]
Shakespeare’s disposal of his shares, [264]
Goethe, criticism and adaptation of Shakespeare by, [345]
Golding, Arthur, his English version of the ‘Metamorphoses,’ [15] [16] [116] n [162] [253]
Gollancz, Mr. Israel, [222] n [325]
Googe, Barnabe, his use of the word ‘sonnet,’ [427] n 2
Gosson, Stephen, his ‘Schoole of Abuse,’ [67]
Gottsched, J. C., denunciation of Shakespeare by, [343]
Gounod, opera of Romeo and Juliet by, [351]
Gower, John, represented by the speaker of the prologues in Pericles, [244]
his ‘Confessio Amantis,’ [244]
Gower, Lord Ronald, [297]
Grammaticus, Saxo, [222]
Grave, Shakespeare’s, [272]
Gray’s Inn Hall, performance of The Comedy of Errors in, [70] and n
Greek, Shakespeare’s alleged acquaintance with, [13] and n [16]
Green, C. F., [364]
Greene, Robert, charged with selling the same play to two companies, [47] n
his attack on Shakespeare, [57]
his publisher’s apology, [58]
his share in the original draft of Henry VI, [60]
his influence on Shakespeare, [61]
describes a meeting with a player, [198]
A Winter’s Tale founded on his Pandosto, [251]
dedicatory greetings in his works, [398]
Greene, Thomas, actor at the Red Bull Theatre, [31] n
Greene, Thomas (‘alias Shakespeare’), a tenant of New Place, and Shakespeare’s legal adviser, [195] [206] [269] [270] and n
Greenwich Palace, Shakespeare and other actors play before Queen Elizabeth at, [43] [44] n 1 [70] [81] [82]
Greet, hamlet in Gloucestershire, identical with the ‘Greece’ in the Taming of the Shrew, [167]
Grendon, near Oxford, Shakespeare’s alleged sojourn there, [31]
Greville, Sir Fulke, complains of the circulation of uncorrected manuscript copies of the ‘Arcadia,’ [88] n
invocations to Cupid in his collection, ‘Cœlica,’ [97] n
his ‘Sonnets,’ [438] [439]
Griffin, Bartholomew, [182] n
plagiarises Daniel, [431] [437]
Griggs, Mr. W., [302] n
Grimm, Baron, recognition of Shakespeare’s greatness by, [349] [350] n 1
‘Groats-worth of Wit,’ Greene’s pamphlet containing his attack on Shakespeare, [57]
Guizot, François, revision of Le Tourneur’s translation by, [350]
‘Gulling sonnets,’ Sir John Davies’s, [106] [107] [435] [436]
Shakespeare’s Sonnet xxvi. parodied in, [128] n
H
‘H., Mr. W.,’ ‘patron’ of Thorpe’s pirated issue of the Sonnets, [92]
identified with William Hall, [92] [402] [403]
his publication of Southwell’s ‘A Foure-fould Meditation,’ [92]
erroneously said to indicate the Earl of Pembroke, [94] [406-415]
improbability of the suggestion that a William Hughes was indicated, [93] n
‘W. H.’s’ true relations with Thomas Thorpe, [390-405]
Hacket, Marian and Cicely, in the Taming of the Shrew, [164-6]
Hales, John (of Eton), on the superiority of Shakespeare to all other poets, [328] and n
Hall, Elizabeth, the poet’s granddaughter, [192] [266] [275]
her first marriage to Thomas Nash, and her second marriage to John Barnard (or Bernard), [282]
her death and will, [282] [283]
Hall, Dr. John, the poet’s son-in-law, [266] [268] [273] [281]
Hall, Mrs. Susanna, the poet’s elder daughter, [192] [205] [266]
inherits the chief part of the poet’s estate, [275] [281]
her death, her ‘witty’ disposition, [281]
Hall, William (1), on the inscription over the poet’s grave, [272] and n 2 [362]
Hall, William (2), see ‘H., Mr. W.’
Halliwell-Phillipps, James Orchard, the indenture of the poet’s property in Blackfriars in the collection of, [267] n
his edition of Shakespeare, [325] [312]
his great labours on Shakespeare’s biography, [333] [363] [364]
Hamlet: parallelisms in the Electra of Sophocles, the Andromache of Euripides, and the Persæ of Æschylus, [13] n
Polonius’s advice to Laertes borrowed from Lyly’s Euphues, [62] n
allusion to boy-actors, [213] n 2 [214] and n 1 [216]
date of production, [221]
previous popularity of the story on the stage, [221] and n
sources drawn upon by the poet, [221-2]
success of Burbage in the title-part, [222]
the problem of its publication, [222-4]
the three versions, [222-4]
Theobald’s emendations, [224]
its world-wide popularity, [224]
the longest of all the poet’s plays, [224]
the humorous element, [224] [225]
its central interest, [225]
For editions see Section xix. (Bibliography), [301-25]
Hanmer, Sir Thomas, [224]
his edition of Shakespeare, [318]
Harington, Sir John, translates Ariosto, [208]
Harington, Lucy, her marriage to the third Earl of Bedford, [161]
Harness, William, [324]
Harrison, John, publisher of ‘Lucrece,’ [76]
Harsnet, ‘Declaration of Popish Impostures’ by, [241]
Hart family, the, and the poet’s reputed birthplace, [8]
Hart, Joan, Shakespeare’s sister, [8]
his bequest to her, [276]
her three sons, [276] [283]
Hart, John, [283]
Hart, Joseph. C., [371]
Harvey, Gabriel, bestows on Spenser the title of ‘an English Petrarch,’ [101]
justifies the imitation of Petrarch, [101] n 4
his parody of sonnetteering, [106] [121] and n
his advice to Barnes, [133]
his ‘Four Letters and certain Sonnets,’ [440]
Hathaway, Anne. See Shakespeare, Anne
Hathaway, Catherine, sister of Anne Hathaway, [19]
Hathaway, Joan, mother of Anne Hathaway, [19]
Hathaway, Richard, marriage of his daughter Anne (or Agnes) to the poet, [18] [19-22]
his position as a yeoman, [18] [19]
his will, [19]
Haughton, William, [48] n [418]
Hawthorne, Nathaniel, [371]
Hazlitt, William, and Shakespearean criticism, [333] [364] [365]
Healey, John, [400] [403] n 2 [408] [409]
‘Hecatommithi,’ Cinthio’s, Shakespeare’s indebtedness to, [14] [53] [236]
Heine, studies of Shakespeare’s heroines by, [345]
Helena in All’s Well that Ends Well, [163]
Heming, John (actor-friend of Shakespeare), wrongly claimed as a native of Stratford, [31] n [36] [202] [203] [264]
the poet’s bequest to, [276]
signs dedication of First Folio, [303] [306]
Henderson, John, actor, [337]
Heneage, Sir Thomas, [375] n 3
Henley-in-Arden, [4]
Henrietta Maria, Queen, billeted on Mrs. Hall (the poet’s daughter) at Stratford, [281]
Henry IV (parts i. and ii.): passage ridiculing the affectations of Euphues, [62] n
sources drawn upon, [167]
Justice Shallow, [29] [168]
references to persons and districts familiar to the poet, [167] [168]
the characters, [68] [169] [170]
For editions see Section xix. (Bibliography), [301-325]
Henry V, The Famous Victories of, the groundwork of Henry V and of Henry V, [167] [174]
Henry V: French dialogues, [1]
disdainful allusion to sonnetteering, [108]
date of production [173]
imperfect drafts of the play, [173]
First Folio version of 1623, [173]
the comic characters, [173]
the victory of Agincourt, [174]
the poet’s final experiment in the dramatisation of English history, [174]
the allusions to the Earl of Essex, [175]
For editions see Section xix. (Bibliography), [301-25]
Henry VI (pt. i.): performed at the Rose Theatre in 1592, [56]
Nash’s remarks on, [56] [57]
first publication, [58]
contains only a slight impress of the poet’s style, [59]
performed by Lord Strange’s men, [59]
Henry VI (pt. ii.): parallel in the Œdipus Coloneus of Sophocles with a passage in, [13] n
publication of a first draft with the title of The first part of the Contention betwixt the two famous Houses of Yorke and Lancaster, [59]
performed by Lord Strange’s men, [59]
revision of the play, [60]
the poet’s coadjutors in the revision, [60]
Henry VI (pt. iii.): performed by a company other than the poet’s own, [36]
performed in the autumn of 1592, [57]
publication of a first draft of the play under the title of The True Tragedie of Richard, Duke of Yorke, &c., [59]
performed by Lord Pembroke’s men, [36] [59]
partly remodelled, [60]
the poet’s coadjutors in the revision, [60]
For editions see Section xix. (Bibliography), [301-25]
Henry VIII, [174]
attributed to Shakespeare and Fletcher, [259]
noticed by Sir Henry Wotton, [260]
first publication, [261]
the portions that can confidently be assigned to Shakespeare, [262]
uncertain authorship of Wolsey’s farewell to Cromwell, [262]
Fletcher’s share, [262]
For editions see Section xix. (Bibliography), [301-25]
Henryson, Robert, [227]
Henslowe, Philip, erects the Rose Theatre, [36]
bribes a publisher to abandon the publication of Patient Grissell, [48] n [180] n [225] [260]
‘Heptameron of Civil Discources,’ Whetstone’s, [237]
‘Herbert, Mr. William,’ his alleged identity with ‘Mr. W. H.’ (Appendix VI.), [406-10]
Herder, Johann Gottfried, [343]
‘Hero and Leander,’ Marlowe’s, quotation in As You Like It, from, [64]
Herringman, H., [313]
Hervey, Sir William, [375] n 3
Hess, J. R., [342]
Heyse, Paul, German translation of Shakespeare by, [344]
Heywood, Thomas, his allusion to the dislike of actors to the publication of plays, [48] n
his poems pirated in the ‘Passionate Pilgrim,’ [182] [301] [328]
Hill, John, marriage of his widow, Agnes or Anne, to Robert Arden, [6]
Holinshed’s ‘Chronicles,’ materials taken by Shakespeare from, [17] [47] [63] [64] [167] [239] [241] [249]
Holland, translations of Shakespeare in, [352]
Holland, Hugh, [306]
Holmes, Nathaniel, [372]
Holmes, William, bookseller, [403] n 1
Holofernes, quotes Latin phrases from Lily’s grammar, [15]
groundless assumption that he is a caricature of Florio, [51] n [84] n
Horace, his claim for the immortality of verse, [114] and n 1 [116] n
Howard of Effingham, the Lord Admiral, Charles, Lord, his company of actors, [35]
its short alliance with Shakespeare’s company, [37]
Spenser’s sonnet to, [140]
Hudson, Rev. H. N., [325]
Hughes, Mrs. Margaret, plays female parts in the place of boys, [335]
Hughes, William, and ‘Mr. W. H.,’ [93] n
Hugo, Francois Victor, translation of Shakespeare by, [350]
Hugo, Victor, [350]
Humourous Day’s Mirth, An, [51] n
Hungary, translations and performances of Shakespeare in, [353]
Hunsdon (Lord Chamberlain), George Carey, second Lord, his company of players, [35]
promotion of the company to be the King’s players on the accession of King James, [35]
Hunsdon (Lord Chamberlain), Henry Carey, first Lord, his company of players, [35]
Shakespeare a member of this company, [36]
Hunt, Thomas, master of Stratford Grammar School, [13]
Hunter, Rev. Joseph, [333] [363] [406]
‘Huon of Bordeaux,’ hints for the story of Oberon from, [162]
‘Hymn,’ use of the word as the title of poems, [133] [134] [135] n
‘Hymnes of Astræa,’ Sir John Davies’s, [440]
I
‘Idea’,’ title of Drayton’s collection of sonnets, [104] [105] [434]
‘Ignoto,’ [183]
Immortality of verse, claimed by Shakespeare for his sonnets, [113] [114] [115] and n
a common theme with classical and French writers, [114] and n 1
treated by Drayton and Daniel, [115]
Imogen, the character of, [249] [250]
Income, Shakespeare’s, [196-204]
Incomes of actors, [198] [199] and n 2
India, translations and representations of Shakespeare in, [354]
Ingannati, (Gl’), its resemblance to Twelfth Night, [210]
Ingram, Dr., on the ‘weak endings’ in Shakespeare, [49] n
Ireland forgeries, the (Appendix 1.), [366]
Ireland, Samuel, on the poaching episode, [28]
Irishman, the only, in Shakespeare’s dramatis personæ, [173]
Irving, Sir Henry, [339]
Italian, the poet’s acquaintance with, [14-16] cf. [66] n 3
Italy, Shakespeare’s knowledge of, [43]
translations and performances of Shakespeare in, [352]
the original home of the sonnet, [442] n 2
list of sonnetteers of the sixteenth century in, [442] n 2
Itinerary of Shakespeare’s company in the provinces between 1593 and 1614, [40] and n 1
J
Jaggard, Isaac, [305]
Jaggard, William, piratically inserts two of Shakespeare’s sonnets in his ‘Passionate Pilgrim,’ [89] [182] [299] [390] [396]
prints the First Folio, [303] [304]
James VI of Scotland and I of England, his favour bestowed on actors, [41] n 1
sonnets to, [440]
his appreciation of Shakespeare, [82]
his accession to the English throne, [147] [148] [149]
grants a license to the poet and his company, [230]
his patronage of Shakespeare and his company [232-4] [411]
performances of A Winter’s Tale and The Tempest before him, [251] and n [254] [255] [256] n
James, Sir Henry, [311]
Jameson, Mrs., [365]
Jamyn, Amadis, [432] [443] [444] n
Jansen, Cornelius, alleged portrait of Shakespeare by, [294]
Jansen or Janssen, Gerard, [276]
Jeronimo, resemblance between the stories of Hamlet and, [221] n
Jew of Malta, Marlowe’s, [68]
Jew . . . showne at the Bull, a lost play, [67]
Jodelle, Estienne, resemblances in ‘Venus and Adonis’ to a poem by, [75] n 2
his parody of the vituperative sonnet, [121] [122] and n
and ‘La Pléiade,’ [443]
John, King, old play on, attributed to the poet, [181]
John, King, Shakespeare’s play of, printed in 1623, [69]
the originality and strength of the three chief characters in, [69] [70]
For editions see Section xix. (Bibliography) [301-325]
Johnson, Dr., his story of Shakespeare, [33]
his edition of Shakespeare, [319] [320] [321]
his reply to Voltaire, [348]
Johnson, Gerard, his monument to the poet in Stratford Church, [276]
Johnson, Robert, lyrics set to music by, [255] and n
Jones, Inigo, designs scenic decoration for masques, [38] n 2
Jonson, Ben, on Shakespeare’s lack of exact scholarship, [16]
Shakespeare takes part in the performance of Every Man in his Humour and in Sejanus, [44]
on Titus Andronicus, [65]
on the appreciation of Shakespeare shown by Elizabeth and James I, [82]
on metrical artifice in sonnets, [106] n 1
use of the word ‘lover,’ [127] n
identified by some as the ‘rival poet,’ [136]
his ‘dedicatory’ sonnets, [138] n 2
his apostrophe of the Earl of Desmond, [140]
relations with Shakespeare, [176] [177]
gift of Shakespeare to his son, [177]
share in the appendix to ‘Love’s’ Martyr,’ [183]
quarrel with Marston and Dekker, [214-20]
his ‘Poetaster,’ [217] [218] and n
allusions to him in the Return from Parnassus, [219]
his scornful criticism of Julius Cæsar, [220] n
satiric allusion to A Winters Tale, [251]
his sneering reference to The Tempest in Bartholomew Fair, [255]
entertained by Shakespeare at New Place, Stratford, [271]
testimony to Shakespeare’s character, [277]
his tribute to Shakespeare in the First Folio, [306] [311] [327]
his Hue and Cry after Cupid, [432] n 2
Thorpe’s publication of some of his works, [395] n 3 [401]
Jordan, John, forgeries of (Appendix 1.), [365] [366]
Jordan, Thomas, his lines on men playing female parts, [335] n
Jourdain, Sylvester, [252]
‘Jubilee,’ Shakespeare’s, [334]
Julius Cæsar: use of the word ‘lovers,’ [127] n
plot drawn from Plutarch, [211]
date of production, [211]
a play of the same title acted in 1594, [211]
general features of the play [211] [212]
Jonson’s hostile criticism, [220] n
For editions see Section xix. (Bibliography), [301-25]
Jusserand, M. J. J., [42] n 1 [348] n 1 [351] n 2
K
Keller, A., German translation of Shakespeare by, [344]
Kemble, Charles, [351]
Kemble, John Philip, [337]
Kemp, William, comedian, plays at Greenwich Palace, [43] [208] [219]
Kenilworth, Elizabeth’s visit to, [17] cf. [162]
Ketzcher, N., translation into Russian by, [353]
Killigrew, Thomas, and the substitution of women for boys in female parts, [334]
King’s players, the company of, [35]
Shakespeare one of its members, [36]
the poet’s plays performed almost exclusively by, [36]
theatres at which it performed, [36] [37]
provincial towns which it visited between 1594 and 1614, [40] and n 1
King James’s license to, [230] [231]
Kirkland, the name of Shakespeare at, [1]
Kirkman, Francis, publisher, [181]
Knight, Charles, [324]
Knollys, Sir William, [415] n
Kok, A. S., translation in Dutch by, [352]
Körner, J., German translation of Shakespeare by, [345]
Kraszewski, Polish translation edited by, [353]
Kreyssig, Friedrich A. T., studies of the poet by, [345]
Kyd, Thomas, influence of, on Shakespeare, [61] [222] n
and Titus Andronicus, [65]
his Spanish Tragedy, [65] [221]
and the story of Hamlet, [221] and n
Shakespeare’s acquaintance with his work, [222] n
L
‘L., H.,’ initials on seal attesting Shakespeare’s autograph.
See Lawrence, Henry
La Harpe and the Shakespearean controversy in France, [349]
Labé, Louise, [445] n
Lambarde, William, [175]
Lambert, Edmund, mortgagee of the Asbies property, [12] [26] [164]
Lambert, John, proposal to confer upon him an absolute title to the Asbies property, [26]
John Shakespeare’s lawsuit against, [195]
Lane, Nicholas, a creditor of John Shakespeare, [186]
Laroche, Benjamin, translation by, [350]
Latin, the poet’s acquaintance with, [13] [15] [16]
‘Latten,’ use of the word in Shakespeare, [177] n
‘Laura,’ Shakespeare’s allusion to her as Petrarch’s heroine, [108]
title of Tofte’s collection of sonnets, [438]
Law, the poet’s knowledge of, [32] and cf. n 2 and [107]
Lawrence, Henry, his seal beneath Shakespeare’s autograph, [267]
Lear, King: date of composition, [241]
produced at Whitehall, [241]
Butter’s imperfect editions, [241]
sources of story, [241]
the character of the King, [242]
For editions see Section xix. (Bibliography) [301-25]
Legal terminology in plays and poems of the Shakespearean period, [32] n 2 [430] cf. [107]
Legge, Dr. Thomas, a Latin piece on Richard III by, [63]
Leicester, Earl of, his entertainment of Queen Elizabeth at Kenilworth, [17] [162]
his regiment of Warwickshire youths for service in the Low Countries, [30]
his company of players, [33] [35]
Leo, F. A. [346]
Leoni, Michele, Italian translation of the poet issued by, [352]
‘Leopold’ Shakspere, the, [325]
Lessing, defence of Shakespeare by, [343]
L’Estrange, Sir Nicholas, [176]
Le Tourneur, Pierre, French prose translation of Shakespeare by, [349]
‘Licia,’ Fletcher’s collection of sonnets called, [77] n 2 [103] [105] [113] n 5 [433]
Linche, Richard, his sonnets entitled ‘Diella,’ [437]
Lintot, Bernard, [231]
Locke (or Lok), Henry, sonnets by, [388] [441]
Locrine, Tragedie of, [179]
Lodge, Thomas, [57] [61]
his ‘Scillaes Metamorphosis’ drawn upon by Shakespeare for ‘Venus and Adonis,’ [75] and n 2
his plagiarisms, [103] and n 3 [433]
comparison of lips with coral in ‘Phillis,’ [118] n 2
his ‘Rosalynde’ the foundation of As You Like It, [209]
his ‘Phillis,’ [417] [433]
Lope de Vega dramatises the story of Romeo and Juliet, [55] n 1
Lopez, Roderigo, Jewish physician, [68] and n
Lorkin, Rev. Thomas, on the burning of the Globe Theatre, [261] n
Love, treatment of, in Shakespeare’s sonnets,
[97] and n [98] [112] [113] and n 2
in the sonnets of other writers, [104-6] [113] n 2
‘Lover’ and ‘love’ synonymous with ‘friend’ and ‘friendship’ in Elizabethan English, [127] n
‘Lover’s Complaint, A,’ possibly written by Shakespeare, [91]
Love’s Labour’s Lost: Latin phrases in, [15]
probably the poet’s first dramatic production, [50]
its plot not borrowed, [51]
its characters, [51] and n [52]
its revision in 1597, [52]
date of publication, [52]
influence of Lyly, [62]
performed at Whitehall, [81]
examples of the poet’s first attempts at sonnetteering, [84]
scornful allusion to sonnetteering, [107]
the praise of ‘blackness,’ [118] [119] and n 2
performed before Anne of Denmark at Southampton’s house in the Strand, [384]
For editions see Section xix. (Bibliography), [301-25]
Love’s Labour’s Won, attributed by Meres to Shakespeare, [162]
See All’s Well
‘Love’s Martyr, or Rosalin’s Complaint,’ [183] [184] n [304]
Lowell, James Russell, [13] n [341]
Lucian, the Timon of, [243]
‘Lucrece:’ published in 1594, [76]
Daniel’s ‘Complainte of Rosamond’ reflected, [76] [77] and n 1
the passage on Time elaborated from Watson, [77] and n 2
dedicated to the Earl of Southampton, [77] [78] [126] [127]
enthusiastic reception of, [78-9]
quarto editions in the poet’s lifetime, [299]
posthumous editions, [300]
Lucy, Sir Thomas, his prosecution of Shakespeare for poaching, [27] [28]
caricatured in Justice Shallow, [29] [173]
Luddington, [20]
Lydgate, ‘Troy Book’ of, drawn upon for Troilus and Cressida, [227]
Lyly, John, [61]
followed by Shakespeare in his comedies, [61] [62]
his addresses to Cupid, [97] n
his influence on Midsummer Night’s Dream, [162]
Lyrics in Shakespeare’s plays, [207] [250] [255] and n
M
‘M. I.’ [306] See also ‘S., I. M.’
Macbeth: references to the climate of Inverness, [41] n 3 [42]
date of composition, [239]
the story drawn from Holinshed, [239]
points of difference from other plays of the same class, [240]
Middleton’s plagiarisms, [240]
not printed until 1623, [239]
the shortest of the poet’s tragedies, [239]
performance at the Globe, [239]
For editions see Section xix. (Bibliography), [301-25]
Macbeth, Lady, and Æschylus’s Clytemnestra, [13] n
Mackay, Mr. Herbert, on the dower of the poet’s widow, [274]
Macready, William Charles, [339] [351]
Madden, Rt. Hon. D. H., on Shakespeare’s knowledge of sport, [27] n [168] [364]
Magellan, ‘Voyage to the South Pole’ by, [253]
Magny, Olivier de, [443]
Malone, Edmund, on Shakespeare’s first employment in the theatre, [34]
on the poet’s residence, [38]
on the date of The Tempest, [254] [332] [333]
his writings on the poet, [321] [322] [362]
Malvolio, [211]
Manners, Lady Bridget, [378] [379] and n
Manningham, John (diarist), a description of Twelfth Night by, [210]
Manuscript, circulation of sonnets in, [88] and n
(Appendix ix.), [391] [396]
Marino, vituperative sonnet by, [122] n 1 [442] n 2
Markham, Gervase, his adulation of Southampton in his sonnets, [131] [134] [387]
Marlowe, Christopher, [57]
his share in the revision of Henry VI, [60]
his influence on Shakespeare, [61] [63-4]
Shakespeare’s acknowledgments, [64]
his translation of Lucan, [90] [393] [399]
Marmontel and the Shakespearean controversy in France, [349]
Marot, Clément, [442]
Marriage, treatment of, in the Sonnets, [98]
Marshall, Mr. F. A., [325]
Marston, John, identified by some as the ‘rival poet,’ [136] [183]
his quarrel with Jonson, [214-20]
Martin, one of the English actors who played in Scotland, [41] and n 1
Martin, Lady, [298] [339] [365]
Masks worn by men playing women’s parts, [38] n 2
Massey, Mr. Gerald, on the Sonnets, [91] n 1
Massinger, Philip, [258]
portions of The Two Noble Kinsmen assigned to, [259]
and Henry VIII, [263] and n 2
‘Mastic,’ use of the word, [228] n
Masuccio, the story of Romeo and Juliet told in his Novellino, [55]
Matthew, Sir Toby, [375] [383]
Measure for Measure: the offence of Claudio, [23] n
date of composition, [235]
produced at Whitehall, [235]
not printed in the poet’s lifetime, [235]
source of plot, [236]
deviations from the old story, [237] [238]
creation of the character of Mariana, [238]
the philosophic subtlety of the poet’s argument, [238]
references to a ruler’s dislike of mobs, [238]
For editions see Section xix. (Bibliography), [301-325]
Melin de Saint-Gelais, [442]
Memorials in sculpture to the poet, [297]
Menæchmi of Plautus, [54]
Mendelssohn, setting of Shakespearean songs by, [347]
Merchant of Venice: the influence of Marlowe, [63] [68]
sources of the plot, [66] [67]
the last act, [69]
date of, [69]
use of the word ‘lover,’ [127] n
For editions see Section xix. (Bibliography), [301-325]
Meres, Francis, recommends Shakespeare’s ‘sugred’ sonnets, [89]
his quotations from Horace and Ovid on the immortalising power of verse, [116] n
attributes Love’s Labour’s Won to Shakespeare, [162]
testimony to the poet’s reputation, [178] [179] [390]
Merry Devill of Edmonton, [181] [258] n 2
Merry Wives of Windsor: Latin phrases put into the mouth of Sir Hugh Evans, [15]
Sir Thomas Lucy caricatured in Justice Shallow, [29]
lines from Marlowe sung by Sir Hugh Evans, [64] [65]
period of production, [171]
publication of, [172]
source of the plot, [172]
chief characteristics, [173]
For editions see Section xix. (Bibliography), [301-325]
Metre of Shakespeare’s plays a rough guide to the chronology, [48-50]
of Shakespeare’s poems, [75-77]
of Shakespeare’s sonnets, [95] and n 2
Mézières, Alfred, [350]
Michel, Francisque, translation by, [350]
Middle Temple Hall, performance of Twelfth Night at, [210]
Middleton, Thomas, his allusion to Le Motte in Blurt, Master Constable, [51] n
his plagiarisms of Macbeth in The Witch, [240]
Midsummer Night’s Dream: references to the pageants at Kenilworth Park, [17] [162]
reference to Spenser’s ‘Teares of the Muses,’ [80]
date of production, [161]
sources of the story, [162]
the final scheme, [162]
For editions see Section xix. (Bibliography), [301-325]
Milton, applies the epithet ‘sweetest’ to Shakespeare, [179] n
his epitaph on Shakespeare, [327]
Minto, Professor, claims Chapman as Shakespeare’s ‘rival’ poet, [135] n
Miranda, character of, [256]
‘Mirror of Martyrs,’ [211]
Miseries of Enforced Marriage, [243]
‘Monarcho, Fantasticall,’ [51] n
Money, its purchasing power in the sixteenth century, [3] n 3 [197] n
Montagu, Mrs. Elizabeth, [348]
Montaigne, ‘Essays’ of, [85] n [253] n
Montégut, Emile, translation by, [350]
Montemayor, George de, [53]
Montgomery, Philip Herbert, Earl of, [306] [381] [410]
Monument to Shakespeare in Stratford Church, [276] [286]
Morley, Lord, [410] n
Moseley, Humphrey, publisher, [181] [258]
Moth, in Love’s Labour’s Lost, [51] n
Moulton, Dr. Richard G. [365]
Mucedorus, a play by an unknown author, [72]
Much Ado about Nothing: a jesting allusion to sonnetteering, [108]
its publication, [207] [208]
date of composition, [208]
the comic characters, [208]
Italian origin of Hero and Claudio, [208]
parts taken by William Kemp and Cowley, [208]
quotation from the Spanish Tragedy, [221] n
For editions see Section xix. (Bibliography), [301-25]
Mulberry-tree at New Place, the, [194] and n
Music at stage performances in Shakespeare’s day, [38] n 2
its indebtedness to the poet, [340]
N
Nash, Anthony, the poet’s legacy to, [276]
Nash, John, the poet’s legacy to, [276]
Nash, Thomas (1), marries Elizabeth Hall, Shakespeare’s granddaughter, [282]
Nash, Thomas (2), on the performance of Henry VI. [56] [57]
piracy of his ‘Terrors of the Night,’ [88] n
on the immortalising power of verse, [114]
use of the word ‘lover,’ [127] n
his appeals to Southampton, [131] [134] [135] n [385] [386] [221] n [427] n 2
his preface to ‘Astrophel and Stella,’ [429] n 1
Navarre, King of, in Love’s Labour’s Lost, [51] n
Neil, Samuel, [364]
Nekrasow and Gerbel, translation into Russian by, [353]
New Place, Stratford, Shakespeare’s purchase of, [193] [194]
entertainment of Jonson and Drayton at, [271]
the poet’s death at, [272]
sold on the death of Lady Barnard (the poet’s granddaughter) to Sir Edward Walker, [283]
pulled down, [283]
Newcastle, Margaret Cavendish, Duchess of, criticism of the poet by, [331]
Newdegate, Lady, [406] n [415]
Newington Butts Theatre, [37]
Newman, Thomas, piratical publication of Sir Philip Sidney’s sonnets by, [88] n [429] and n 1
Nicolson, George, English agent in Scotland, [41] n 1
Nottingham, Earl of, his company of players, [225]
taken into the patronage of Henry, Prince of Wales, [231] n
O
Oberon, vision of, [17] [161]
in ‘Huon of Bordeaux,’ [162]
Oechelhaeuser, W., acting edition of the poet by, [346]
Oldcastle, Sir John, play on his history, [170] [313]
‘Oldcastle, Sir John,’ the original name of Falstaff in Henry IV, [169]
Olney, Henry, publisher, [437]
Ortlepp, E., German translation of Shakespeare by, [344]
Othello: date of composition, [235]
not printed in the poet’s lifetime, [235]
plot drawn from Cinthio’s ‘Hecatommithi,’ [236]
new characters and features introduced into the story, [236]
exhibits the poet’s fully matured powers, [236]
For editions see Section xix. (Bibliography), [301-25]
Ovid, influence on Shakespeare of his ‘Metamorphoses,’ [15] [75] and n 1 [76] [162] [253]
claims immortality for his verse, [114] and n 1 [116] n
the poet’s alleged signature on the title-page of a copy of the ‘Metamorphoses’ in the Bodleian Library, [15]
Oxford, the poet’s visits to, [31] [265] [266]
Hamlet acted at, [224]
Oxford, Earl of, his company of actors, [35]
‘Oxford’ edition of Shakespeare, the, [325]
P
Painter, William, his ‘Palace of Pleasure’ and Romeo and Juliet, [55]
All’s Well that Ends Well, [163]
Timon of Athens, [243]
and Coriolanus, [246]
Palæmon and Arcyte, a lost play, [260]
Palamon and Arsett, a lost play, [260]
Palmer, John, actor, [337]
‘Palladis Tamia,’ eulogy on the poet in, [178]
‘Pandora,’ Soothern’s collection of love-sonnets, [138] n 2
Pandosto (afterwards called Dorastus and Fawnia), Shakespeare’s indebtedness to, [251]
Parodies on sonnetteering, [106-8] [122] and n
‘Parthenophil and Parthenophe,’ Barnes’s, [132]
Pasquier, Estienne, [443]
Passerat, Jean, [443]
‘Passionate Centurie of Love,’ Watson’s, the passage on Time in, [77]
plagiarisation of Petrarch in, [101] n 4 [102] [427] n 2 [428]
‘Passionate Pilgrim,’ piratical insertion of two sonnets in, [98] [182] [437]
the contents of, [182] n [299]
printed with Shakespeare’s poems, [300]
Patrons of companies of players, [35]
adulation offered to, [138] and n 2 [140] [141] [440] and n
Pavier, Thomas, printer, [180]
‘Pecorone, Il,’ by Ser Giovanni Fiorentino, Shakespeare’s indebtedness to, [14] [66] and n 3 [172]
W. G. Waters’s translation of, [66] n 3
Peele, George, [57]
his share in the original draft of Henry VI, [60]
Pembroke, Countess of, dedication of Daniel’s ‘Delia’ to, [130] [429]
homage paid to, by Nicholas Breton, [138] n 2
Pembroke, Henry, second Earl of, his company of players, perform Henry VI (part iii.), [36] [59]
and Titus Andronicus, [66]
Pembroke, William, third Earl of, the question of the identification of ‘Mr. W. H.’ with, [94] [406-15]
performance at his Wilton residence, [231] [232] n 1 [411]
dedication of the First Folio to, [306]
his alleged relations with Shakespeare, [411-15]
the identification of the ‘dark lady’ with his mistress, Mary Fitton, [123] n [409]
the mistaken notion that Shakespeare was his protégé, [123] n
dedications by Thorpe to, [399] and n 1 [403] n 2
Penrith, Shakespeares at, [1]
Pepys, his criticisms of The Tempest and Midsummer Night’s Dream, [329]
Percy, William, his sonnets, entitled ‘Cœlia,’ [435]
Perez, Antonio, and Antonio in The Merchant of Venice, [68] n
Pericles: date of composition, [242]
a work of collaboration, [242]
the poet’s contributions, [244]
dates of the various editions, [244]
not included in the First Folio, [305]
included in Third Folio, [313]
For editions see Section xix. (Bibliography), [301-25]
Perkes (Clement), in Henry IV., member of a family at Stinchcombe Hill in the sixteenth century, [168]
‘Perkins Folio,’ forgeries in the, [312] [317] n 2 [367] and n
Personalities on the stage, [215] n 1
Péruse, Jean de la, [443]
Petowe, Henry, elegy on Queen Elizabeth by, [148]
Petrarch, emulated by Elizabethan sonnetteers, [84] [85] [86] n
feigns old age in his sonnets, [86] n
his metre, [95]
Spenser’s translations from, [101]
imitation of his sonnets justified by Gabriel Harvey, [101] n 4
plagiarisms of, admitted by sonnetteers, [101] n 4
Wyatt’s translations of two of his sonnets, [101] n 4 [427]
plagiarised indirectly by Shakespeare, [101] [111] and n [113] n 1
the melancholy of his sonnets, [152] n
imitated in France, [443]
Phillips, Augustine, actor, friend of Shakespeare, [36]
induced to revive Richard II at the Globe in 1601, [175]
his death, [264]
Phillips, Edward (Milton’s nephew), criticism of the poet by, [362]
editor of Drummond’s Sonnets, [439] n 1
‘Phillis,’ Lodge’s, [118] n 2 [433] and n 3
Philosophy, Chapman’s sonnets in praise of, [441]
‘Phœnix and the Turtle, The,’ [183] [184] [304]
Pichot, A., [350]
‘Pierce Pennilesse.’ See Nash, Thomas (2)
‘Pierces Supererogation,’ by Gabriel Harvey, [101] n 4 [105]
Pindar, his claim for the immortality of verse, [114] and n 1
Plague, the, in Stratford-on-Avon, [10]
in London, [65] [231]
Plautus, the plot of the Comedy of Errors drawn from, [16]
translation of, [54]
Plays, sale of, [47] and n
revision of, [47]
their publication deprecated by playhouse authorities, [48] n
only a small proportion printed, [48] n
prices paid for, [202] n
‘Pléiade, La,’ title of the literary comrades of Ronsard, [442]
list of, [443]
‘Plutarch,’ North’s translation of, Shakespeare’s indebtedness [10] [47] [162] [211] [243] [245] and n [246] and n
Poaching episode, the, [27] [28]
‘Poetaster,’ Jonson’s, [217] [218] and n
Poland, translations and performances of Shakespeare in, [353]
Pontoux, Claude de, name of his heroine copied by Drayton, [104]
Pope, Alexander, [297]
edition of Shakespeare by, [315]
Porto, Luigi da, adapts the story of Romeo and Juliet, [55] n 1
Portraits of the poet, [286-93] [296] n 2
the ‘Stratford’ portrait, [287]
Droeshout’s engraving, [287] [288] [300] [306]
the ‘Droeshout’ painting, [288-91]
portrait in the Clarendon gallery, [291]
‘Ely House’ portrait, [290] [291]
Chandos portrait, [292] [293]
‘Jansen’ portrait, [293] [294]
‘Felton’ and ‘Soest’ portraits, [294]
miniatures, [295]
Pott, Mrs. Henry, [372]
Prévost, Abbé, [348]
Pritchard, Mrs., [336]
Procter, Bryan Waller (Barry Cornwall), [324]
Promos and Cassandra, [237]
Prospero, character of, [257]
Provinces, the, practice of theatrical touring in, [39-42] [65]
Publication of dramas: deprecated by playhouse authorities, [48] n
only a small proportion of the dramas of the period printed, [48] n
sixteen of Shakespeare’s plays published in his lifetime, [48]
Puritaine, or the Widdow of Watling-streete, The, [180] [313]
Puritanism, alleged prevalence in Stratford-on-Avon of, [10] n [268] n 2
its hostility to dramatic representations, [10] n [212] [213] n 1
the poet’s references to, [268] n
‘Pyramus and Thisbe,’ [397]
Q
Quarles, John, ‘Banishment of Tarquin’ of, [300]
Quarto editions of the plays, in the poet’s lifetime, [301] [302]
posthumous, [302] [303]
of the poems in the poet’s lifetime, [299]
posthumous, [300]
‘Quatorzain,’ term applied to the Sonnet, [427] n 2 cf. [429] n 1
‘Queen’s Children of the Chapel,’ the, [34] [35] [38] [213-17]
Queen’s Company of Actors, the, welcomed to Stratford-on-Avon by John Shakespeare, [10]
its return to London, [33] [35] [231] n
Quiney, Thomas, marries Judith Shakespeare, [271]
his residence and trade in Stratford, [280]
his children, [281]
Quinton, baptism of one of the Hacket family at, [165]
R
Rapp, M., German translation of Shakespeare by, [344]
Ralegh, Sir Walter, extravagant apostrophe to Queen Elizabeth by, [137] n 1 [182] n
‘Ratseis Ghost,’ and Ratsey’s address to the players, [185] [199]
Ravenscroft, Edward, on Titus Andronicus, [65] [332]
Reformation, the, at Stratford-on-Avon, [10] n
Rehan, Miss Ada, [342]
Religion and Philosophy, sonnets on, [440] [441]
Return from Parnassus, The, [198] [199] n 1 [218-20] [277]
Revision of plays, the poet’s, [47] [48]
Reynoldes, William, the poet’s legacy to, [276]
Rich, Barnabe, story of ‘Apollonius and Silla’ by, [53] [210]
Rich, Penelope, Lady, Sidney’s passion for, [428]
Richard II: the influence of Marlowe, [63] [64]
published anonymously, [63]
the deposition scene, [64]
the facts drawn from Holinshed, [64]
its revival on the eve of the rising of the Earl of Essex, [175] [383]
For editions see Section xix. (Bibliography), [301-25]
Richard III: the influence of Marlowe, [63]
materials drawn from Holinshed, [63]
Mr. Swinburne’s criticism, [63]
Burbage’s impersonation of the hero, [63]
published anonymously, [63]
Colley Cibber’s adaptation, [335]
For editions see Section xix. (Bibliography), [301-25]
Richardson, John, one of the sureties for the bond against impediments respecting Shakespeare’s marriage, [20] [22]
Richmond Palace, performances at, [82] [230]
Ristori, Madame, [352]
Roberts, James, printer, [225] [226] [303] [431]
Robinson, Clement, use of the word ‘sonnet’ by, [427] n 2
Roche, Walter, master of Stratford Grammar School, [13]
Rôles, Shakespeare’s: at Greenwich Palace, [43] [44] n 1
in Every Man in his Humour, [44]
in Sejanus, [44]
the Ghost in Hamlet, [44]
‘played some kingly parts in sport,’ [44]
Adam in As You Like It, [44]
Rolfe, Mr. W. J, [325]
Romeo and Juliet, [54]
plot drawn from the Italian, [55]
date of composition, [56]
first printed, [56]
authentic and revised version of 1599, [56]
two choruses in the sonnet form, [84]
satirical allusion to sonnetteering, [108]
For editions see Section xix. (Bibliography), [301-35]
Romeus and Juliet, Arthur Brooke’s, [55] [322]
Ronsard, plagiarised by English sonnetteers, [102] [103] n 3 [432] seq.
by Shakespeare, [111] [112] and n 1
his claim for the immortality of verse, [114] and n 1 [116] n
his sonnets of vituperation, [121]
first gave the sonnet a literary vogue in France, [442]
and ‘La Pléiade,’ [442]
modern reprint of his works, [445] n
Rosalind, played by a boy, [38] n 2
Rosaline, praised for her ‘blackness,’ [118] [119]
‘Rosalynde, Euphues Golden Legacie,’ Lodge’s, [209]
Rose Theatre, Bankside: erected by Philip Henslowe, [36]
opened by Lord Strange’s company, [36]
the scene of the poet’s first successes, [37]
performance of Henry VI, [56]
production of the Venesyon Comedy, [69]
Rossi, representation of Shakespeare by, [352]
Roussillon, Countess of, [163]
Rowe, Nicholas, on the parentage of Shakespeare’s wife, [18]
on Shakespeare’s poaching escapade, [27]
on Shakespeare’s performance of the Ghost in Hamlet, [44]
on the story of Southampton’s gift to Shakespeare, [126]
on Queen Elizabeth’s enthusiasm for the character of Falstaff, [171]
on the poet’s last years at Stratford, [266]
on John Combe’s epitaph, [269] n
his edition of the poet’s plays, [314] [362]
Rowington, the Richard and William Shakespeares of, [2]
Rowlands, Samuel, [397]
Roydon, Matthew, poem on Sir Philip Sidney, [140] [184] n
Rümelin, Gustav, [345]
Rupert, Prince, at Stratford-on-Avon, [281]
Rusconi, Carlo, Italian prose version of Shakespeare issued by, [352]
Russia, translations and performances of Shakespeare in, [352] [353]
Rymer, Thomas, his censure of the poet, [329]
S
S., M. I., tribute to the poet thus headed, [327] and n [328]
S., W., initials in Willobie’s book, [156] [157]
commonness of the initials, [157] n
use of the initials on works fraudulently attributed to the poet, [179] [180]
Sackville, Thomas, [408] n
Sadler, Hamlett, the poet’s legacy to, [276]
Saint-Saëns, M., opera of Henry VIII by, [351]
St. Helen’s, Bishopsgate, a William Shakespeare in 1598 living in, [38] and n 1
Sainte-Marthe, Scévole de, [443]
Salvini, representation of Othello by, [352]
Sand, George, translation of As You Like It by, [351]
Sandells, Fulk, one of the sureties for the bond against impediments with respect to Shakespeare’s marriage, [20] [22]
supervisor of Richard Hathaway’s will, [22]
‘Sapho and Phao,’ address to Cupid in, [97] n
Satiro-Mastix, a retort to Jonson’s Cynthia’s Revels, [215]
Savage, Mr. Richard, [165] n [363]
‘Saviolo’s Practise,’ [209]
Scenery unknown in Shakespeare’s day, [38] and n 2
designed by Inigo Jones for masques, [38] n 2
Sir Philip Sidney on difficulties arising from its absence, [38] n 2
Schiller, adaptation of Macbeth for the stage by, [345]
Schlegel, A. W. von, [180]
German translation of Shakespeare by, [343]
lectures on Shakespeare by, [344]
Schmidt, Alexander, [364]
‘Schoole of Abuse,’ [67]
Schroeder, F. U. L., German actor of Shakespeare, [346]
Schubert, Franz, setting of Shakepearean songs by, [347]
Schumann, setting of Shakespearean songs by, [347]
‘Scillaes Metamorphosis,’ Lodge’s, drawn upon by Shakespeare for ‘Venus and Adonis,’ [75] and n 2
Scoloker, Anthony, in ‘Daiphantus,’ [277]
Scotland, Shakespeare’s alleged travels in, [40-42]
visits of actors to, [41]
Scott, Reginald, allusion to Monarcho in ‘The Discoverie of Witchcraft’ of, [51] n
Scott, Sir Walter, at Charlecote, [28]
Scourge of Folly, [44] n 2
Sedley, Sir Charles, apostrophe to the poet, [331]
Sejanus, Shakespeare takes part in the performance of, [44] [401]
Selimus, [179]
Serafino dell’ Aquila, Watson’s indebtedness to, [77] n 2 [102] [103] n 1 [442] n
Sève, Maurice, [104] and n [430] [442] [445] n 1
Sewell, Dr. George, [315]
‘Shadow of the Night, The,’ Chapman’s, [135] n
Shakespeare, the surname of, [1] [2] cf. [24] n
Shakespeare, Adam, [1]
Shakespeare, Ann, a sister of the poet, [11]
Shakespeare, Anne (or Agnes): her parentage, [18] [19]
her marriage to the poet, [18] [19-22]
assumed identification of her with Anne Whateley, [23] [24] and n
her debt, [187]
her husband’s bequest to her, [273]
her widow’s dower barred, [274] and n
her wish to be buried in her husband’s grave, [274]
committed by her husband to the care of the elder daughter, [275]
her death, [280] and n
Shakespeare, Edmund, a brother of the poet, is ‘a player,’ [283]
death, [283]
Shakespeare, Gilbert, a brother of the poet, [11]
witnesses his brother’s performance of Adam in As You Like It, [44]
apparently had a son named Gilbert, [283]
his death not recorded, [283]
Shakespeare, Hamnet, son of the poet, [26] [187]
Shakespeare, Henry, one of the poet’s uncles, [3] [4] [186]
Shakespeare, Joan (1), [7]
Shakespeare, Joan (2), see Hart, Joan
Shakespeare, John (1), the first recorded holder of this surname (thirteenth century), [1]
Shakespeare, John (2), the poet’s father, administrator of Richard Shakespeare’s estate, [3] [4]
claims that his grandfather received a grant of land from Henry VII, [2] [189]
leaves Snitterfield for Stratford-on-Avon, [4]
his business, [4]
his property in Stratford and his municipal offices, [5]
marries Mary Arden, [6] [7]
his children, [7]
his house in Henley Street, Stratford, [8] [11]
appointed alderman and bailiff, [10]
welcomes actors at Stratford, [10]
his alleged sympathies with puritanism, [10] n
his application for a grant of arms, [2] [10] n [188-92]
his financial difficulties, [11] [12]
his younger children, [11]
writ of distraint issued against him, [12]
deprived of his alderman’s gown, [12]
his trade of butcher, [18]
increase of pecuniary difficulties, [186]
relieved by the poet, [187]
his death, [204]
Shakespeare or Shakspere, John (a shoemaker), another resident at Stratford, [12] n 3
Shakespeare, Judith, the poet’s second daughter, [26] [205]
her marriage to Thomas Quiney, [271]
her father’s bequest to her, [275]
her children, [280] [281]
her death, [281]
Shakespeare, Margaret, [7]
Shakespeare, Mary, the poet’s mother: her marriage, [6] [7]
her ancestry and parentage, [6] [7]
her property, [7]
her title to bear the arms of the Arden family, [191]
her death, [266]
Shakespeare, Richard, a brother of the poet, [11] [266]
his death, [283]
Shakespeare, Richard, of Rowington, [2]
Shakespeare, Richard, of Snitterfield, probably the poet’s grandfather, [3]
his family, [3] [4]
letters of administration of his estate, [3] and n 3
Shakespeare, Richard, of Wroxhall, [3]
Shakespeare, Susanna, a daughter of the poet, [22]
See also Hall, Mrs. Susanna
Shakespeare, Thomas, probably one of the poet’s uncles, [3] [4]
Shakespeare, William: parentage and birthplace, [1-9]
childhood, education, and marriage, [10-24]
(see also Education of Shakespeare; Poaching; Shakespeare, Anne)
departure from Stratford, [27-31]
theatrical employment, [32-4]
joins the Lord Chamberlain’s company, [36]
his rôles, [43]
his first plays, [50-73]
publication of his poems, [74] [76] seq.
his Sonnets, [83-124] [151-6]
patronage of the Earl of Southampton, [125-50] [374]
plays composed between 1595 and 1598, [161-73]
his popularity and influence, [176-79]
returns to Stratford, [187]
buys New Place, [193]
financial position before 1599, [196] seq.
financial position after 1599, [200] seq.
formation of his estate at Stratford, [204] seq.
plays written between 1599 and 1609, [207-47]
the latest plays, [248] seq.
performance of his plays at Court, [264]
(see also Court; Whitehall; Elizabeth, Queen; James I)
final settlement in Stratford (1611), [266] seq.
death (1616), [272]
his will, [273] seq.
monument at Stratford, [276]
personal character, [277-9]
his survivors and descendants, [280] seq.
autographs, portraits, and memorials, [284-98]
bibliography, [299-325]
his posthumous reputation in England and abroad, [326-54]
general estimate of his work, [355-7]
biographical sources, [361-5]
alleged relation between him and the Earl of Pembroke, [411-15]
Shakespeare Gallery in Pall Mall, [341]
‘Shakespeare Society,’ the, [333] [365]
Shallow, Justice, Sir Thomas Lucy caricatured as, [29]
his house in Gloucestershire, [167] [168] [173]
Sheldon copy of the First Folio, the, [309] [310]
Shelton, Thomas, translator of ‘Don Quixote,’ [258]
Shiels, Robert, compiler of ‘Lives of the Poets,’ [32] n 3
Shottery, Anne Hathaway’s Cottage at, [19]
Shylock, sources of the portrait of, [67] [68] and n
Siddons, Mrs. Sarah, [337] [338]
Sidney, Sir Philip: on the absence of scenery in a theatre, [38] n 2
translation of verses from ‘Diana,’ [53]
Shakespeare’s indebtedness to him, [61]
addressed as ‘Willy’ by some of his eulogists, [81]
his ‘Astrophel and Stella,’ brings the sonnet into vogue, [83]
piracy of his sonnets, [88] n [432]
circulation of manuscript copies of his ‘Arcadia,’ [88] n
his addresses to Cupid in his ‘Astrophel,’ [97] n
warns the public against the insincerity of sonnetteers, [104]
on the conceit of the immortalising power of verse, [114]
his praise of ‘blackness,’ [119] and n 1
sonnet on ‘Desire,’ [153]
use of the word ‘will,’ [417]
editions of ‘Astrophel and Stella,’ [428] [429]
popularity of his works, [429]
Sidney, Sir Robert, [382]
Singer, Samuel Weller, [324]
Sly, Christopher, probably drawn from life, [164] [165] [166] [167] [221] n
Smethwick, John, bookseller, [304]
Smith, Richard, publisher, [431]
Smith, Wentworth, [157] n
plays produced by, [180] n
Smith, William, sonnets of, [138] n 2 [157] n [390] [437]
Smith, Mr. W. H., and the Baconian hypothesis, [372]
Smithson, Miss, actress, [351]
Snitterfield, Richard Shakespeare rents land of Robert Arden at, [3] [6]
departure of John Shakespeare, the poet’s father, from, [4]
the Arden property at, [7]
sale of Mary Shakespeare’s property at, [12] and n 1 [186]
Snodham, Thomas, printer, [180]
Somers, Sir George, wrecked off the Bermudas, [252]
Somerset House, Shakespeare and his company at, [233] and n 2
Sonnet in France (1550-1600), the, bibliographical note on (Appendix X.), [442-5]
Sonnets, Shakespeare’s: the poet’s first attempts, [84]
the majority probably composed in 1594, [85]
a few written between 1594 and 1603 (e.g. cvii.)
their literary value, [87] [88]
circulation in manuscript, [88] [396]
commended by Meres, [89]
their piratical publication in 1609, [89-94] [390]
their form, [95] [96]
want of continuity, [96] [100]
the two ‘groups,’ [96] [97]
main topics of the first ‘group,’ [98] [99]
main topics of the second ‘group,’ [99] [100]
rearrangement in the edition of 1640, [100]
autobiographical only in a limited sense, [100] [109] [125] [152] [160]
censure of them by Sir John Davies, [107]
their borrowed conceits, [109-24]
indebtedness to Drayton, Petrarch, Ronsard, De Baïf, Desportes, and others, [110-12]
the poet’s claim of immortality for his sonnets, [113-16] cf. [114] n 1
the ‘Will Sonnets,’ [117] (and Appendix VIII)
praise of ‘blackness,’ [118]
vituperation, [120-4]
‘dedicatory’ sonnets, [125] seq.
the ‘rival poet,’ [130-6]
sonnets of friendship, [136] [138-47]
the supposed story of intrigue [153-8]
summary of conclusions respecting the sonnets, [158-60]
edition of 1640, [300]
Sonnets, quoted with explanatory comments:
xx. [93] n : xxvi. [128] n : xxxii. [128] [129] n : xxxvii. [130]
xxxviii. [129] : xxxix. [130] : xlvi.-xlvii. [112] [113] n 1
lv. [115] [116] : lxxiv. [130] (quot.) : lxxviii. [125]
lxxx. [134] : lxxxv. [133] : lxxxvi. [132] : lxxxviii. [133]
lxxxix. [133] : xciv. [1] [14] [72] [89] : c. [126]
ciii. [126] : cvii. [13] n [87] [147] [149] [380]
cviii. [130] : cx. [44] [130] : cxi. [45] : cxix. [152] and n
cxxiv. [425] : cxxvi. [97] and n : cxxvii. [118]
cxxix. [152] [153] and n 1 : cxxxii. [118]
cxxxv.-cxxxvi. [420-424] : cxxxviii. [89]
cxliii. [93] n [425] [426] and n : cxliv. [89] [153] [301]
cliii.-cliv. [113] and n 2
the vogue of the Elizabethan: English sonnettering inaugurated by Wyatt and Surrey, [83] [427] [428]
followed by Thomas Watson, [83] [428]
Sidney’s ‘Astrophel and Stella,’ [83] [428] [429] and n
poets celebrate patrons’ virtues in sonnets, [84]
conventional device of sonnetteers of feigning old age, [85] [86] n
lack of genuine sentiment, [100]
French and Italian models, [101] and n 1 [102-5] Appendices IX. and X.
translations from Du Bellay, Desportes, and Petrarch, [101] and n 4 [102] [103]
admissions of insincerity, [105]
censure of false sentiment in sonnets, [106]
Shakespeare’s scornful allusions to sonnets in his plays, [107] [108]
vituperative sonnets, [120-24]
the word ‘sonnet’ often used for ‘song’ or ‘poem,’ [427] n 2
I. Collected sonnets of feigned love, 1591-7, [429-40]
II. Sonnets to patrons, [440]
III. Sonnets on philosophy and religion, [440] [441]
number of sonnets published between 1591 and 1597, [439-41]
various poems in other stanzas practically belonging to the sonnet category, [438] n 2
Soothern, John, sonnets to the Earl of Oxford, [138] n 2
Sophocles, parallelisms with the works of Shakespeare, [13] n
Southampton, Henry Wriothesley, third Earl of, [53]
the dedications to him of ‘Venus and Adonis’ and ‘Lucrece,’ [74] [77]
his patronage of Florio, [84] n
his patronage of Shakespeare, [126-50]
his gift to the poet, [126] [200]
his youthful appearance, [143]
his identity with the youth of Shakespeare’s sonnets of ‘friendship’ evidenced by his portraits, [144] and n [145] [146]
imprisonment, [146] [147] [380]
his long hair, [146] n 2
his beauty, [377]
his youthful career, [374-381]
as a literary patron, [382-9]
Southwell, Robert, circulation of incorrect copies of ‘Mary Magdalene’s Tears’ by, [88] n
publication of “A Foure-fould Meditation’ by, [92] [400] and n [401] n
dedication of his ‘Short Rule of Life,’ [397]
Southwell, Father Thomas, [371]
Spanish, translation of Shakespeare’s plays into, [354]
Spanish Tragedy, Kyd’s, popularity of, [65] [221]
quoted in the Taming of the Shrew, [221] n
Spedding, James, [262]
Spelling of the poet’s name, [284-6]
Spenser, Edmund: probably attracted to Shakespeare by the poems ‘Venus and Adonis’ and ‘Lucrece,’ [79]
his description of Shakespeare in ‘Colin Clouts come home againe,’ [79]
Shakespeare’s reference to Spenser’s work in Midsummer Night’s Dream, [80]
Spenser’s allusion to ‘our pleasant Willy’ not a reference to the poet, [80] and n
his description of the ‘gentle spirit’ no description of Shakespeare, [81] and n 2
translation of sonnets from Du Bellay and Petrarch, [101]
called by Gabriel Harvey ‘an English Petrarch,’ [101] and cf. n 4
on the immortalising power of verse, [115]
his apostrophe to Admiral Lord Charles Howard, [140]
his ‘Amoretti,’ [115] [435] and n 5 [436]
dedication of his ‘Faerie Queene,’ [398]
‘Spirituall Sonnettes’ by Constable, [440]
Sport, Shakespeare’s knowledge of, [26] [27] and n [173]
Staël, Madame de,
Stafford, Lord, his company of actors, [33]
Stage, conditions of, in Shakespeare’s day: absence of scenery and scenic costume, [38] and n 2
the performance of female parts by men or boys, [38] and n 2
the curtain and balcony of the stage, [38] n 2
Stanhope of Harrington, Lord, [234] n
‘Staple of News, The,’ Jonson’s quotations from Julius Cæsar in, [220] n
Staunton, Howard, [311]
his edition of the poet, [323] [324]
Steele, Richard, on Betterton’s rendering of Othello, [334]
Steevens, George: his edition of Shakespeare, [320]
his revision of Johnson’s edition, [320] [321]
his criticisms, [320] [321]
the ‘Puck of commentators,’ [321]
Stinchcombe Hill referred to as ‘the Hill’ in Henry IV, [168]
Stopes, Mrs. C. C., [363]
Strange, Lord. See Derby, Earl of
Straparola, ‘Notti’ of, and the Merry Wives of Windsor, [172]
Stratford-on-Avon, settlement of John Shakespeare, the poet’s father, at, [4]
property owned by John Shakespeare in, [5] [8]
the poet’s birthplace at, [8] [9]
the Shakespeare Museum at, [8] [297]
the plague in 1564 at, [10]
actors for the first time at, [10]
and the Reformation, [10] n
the Shoemakers’ Company and its Master, [12] n 3
the grammar school, [13]
Shakespeare’s departure from, [27] [29] [31]
native place of Richard Field, [32]
allusions in the Taming of the Shrew to, [164]
the poet’s return in 1596 to, [187]
the poet’s purchase of New Place, [193]
appeals from townsmen to the poet for aid, [195] [196]
the poet’s purchase of land at, [203] [204-6]
the poet’s last years at, [264] [266]
attempt to enclose common lands and Shakespeare’s interest in it, [269] [270]
the poet’s death and burial at, [272]
Shakespeare memorial building at, [298]
the ‘Jubilee’ and the tercentenary, [334]
Suckling, Sir John, [328]
‘Sugred,’ an epithet applied to the poet’s work, [179] and n [390]
Sullivan, Barry, [298]
Sully, M. Mounet, [351] and n 1
Sumarakow, translation into Russian by, [352]
Supposes, the, of George Gascoigne, [164]
Surrey, Earl of, sonnets of, [83] [95] [101] n 4 [427] [428]
Sussex, Earl of, his company of actors, [35]
Titus Andronicus performed by, [36] [66]
Swedish, translations of Shakespeare in, [354]
‘Sweet,’ epithet applied to Shakespeare, [277]
Swinburne, Mr. A. C., [63] [71] [72] n [333] [365]
Sylvester, Joshua, sonnets to patrons by, [388] [440] and n
T
Taille, Jean de la, [445] n
Tamburlaine, Marlowe’s, [63]
Taming of A Shrew, [163]
Taming of The Shrew: probable period of production, [163]
identical with Love’s Labour’s Won, [163]
and The Taming of A Shrew, [163] [164]
the story of Bianca and her lovers and the Supposes of George Gascoigne, [164]
biographical bearing of the Induction, [164]
quotation from the Spanish Tragedy, [221] n
For editions see Section xix. (Bibliography), [305-25]
Tarleton, Richard, [81]
his ‘Newes out of Purgatorie’ and the Merry Wives of Windsor, [172]
Tasso, similarity of sentiment with that of Shakespeare’s sonnets, [152] n
‘Teares of Fancy,’ Watson’s, [428] [433]
‘Teares of the Isle of Wight,’ elegies on Southampton, [389]
‘Teares of the Muses,’ Spenser’s, referred to in Midsummer Night’s Dream, [80]
Tempest, The: traces of the influence of Ovid, [15] [25] n [43]
the shipwreck akin to a similar scene in Pericles, [244]
probably the latest drama completed by the poet, [251]
and the shipwreck of Sir George Somers’s fleet on the Bermudas, [252]
the source for the plot, [253]
performed at the Princess Elizabeth’s nuptial festivities, [254]
the date of composition, [254] and n
its performance at Whitehall in 1611, [254] n
its lyrics, [255] and n
Ben Jonson’s scornful allusion to, [255]
reflects the poet’s highest imaginative powers, [256]
fanciful interpretations of, [256] [257]
chief characters of, [256] [257] and notes 1 and 2.
For editions see Section xix. (Bibliography), [301-325]
Temple Grafton, [23] [24] and n
‘Temple Shakespeare, The,’ [325]
Tercentenary festival, the Shakespeare, [334]
‘Terrors of the Night,’ piracy of, [88] n
nocturnal habits of ‘familiars’ described in, [135] n
Terry, Miss Ellen, [339]
Theatre, The, at Shoreditch, [32]
owned by James Burbage, [33] [36]
Shakespeare at, between 1595 and 1599, [37]
demolished, and the Globe Theatre built with the materials, [37]
Theatres in London: Blackfriars (q.v.)
Curtain (q.v.)
Duke’s, [295]
Fortune, [212] [233] n 1
Globe (q.v.)
Newington Butts, [37]
Red Bull, [31] n 2
Rose (q.v.)
Swan, [38] n 2
The Theatre, Shoreditch (q.v.)
Theobald, Lewis, his emendations of Hamlet, [224]
publishes a play alleged to be by Shakespeare, [258]
his criticism of Pope, [316]
his edition of the poet’s works, [316] [317]
Thomas, Ambroise, opera of Hamlet by, [351]
Thoms, W. J., [363]
Thornbury, G. W., [363]
Thorpe, Thomas, the piratical publisher of Shakespeare’s Sonnets, [89-95]
his relations with Marlowe, [90] [135] n
adds ‘A Lover’s Complaint’ to the collection of Sonnets, [91]
his bombastic dedication to ‘Mr. W. H.’, [92-5]
the true history of ‘Mr. W. H.’ and, (Appendix V.) [390-405]
Three Ladies of London, The, some of the scenes in the Merchant of Venice anticipated in, [67]
Thyard, Ponthus de, a member of ‘La Pléiade’ [443] [444]
Tieck, Ludwig, theory respecting The Tempest of, [254] [333] [344]
Tilney, Edmund, master of the revels, [233] n 2
Timon of Athens: date of composition, [242]
written in collaboration, [242]
a previous play on the same subject, [242]
its sources, [243]
For editions see Section xix. (Bibliography), [305-25]
Timon, Lucian’s, [243]
Titus Andronicus: one of the only two plays of the poet’s performed by a company other than his own, [36]
doubts of its authenticity, [65]
internal evidence of Kyd’s authorship, [65]
suggested by Titus and Vespasian, [65]
played by various companies, [66]
entered on the ‘Stationers’ Register’ in 1594, [66]
For editions see Section xix. (Bibliography), [301-25]
Titus and Vespasian, Titus Andronicus suggested by, [65]
Tofte, Robert, sonnets by, [438] and n 2
Topics of the day, Shakespeare’s treatment of, [51] n, [52]
Tottel’s ‘Miscellany,’ [427] [428]
Tours of English actors: in foreign countries between 1580 and 1630, [42] and see n 1
in provincial towns, [39] [40-42] [65] [214]
itinerary from 1593 to 1614, [40] n 1 [231]
Translations of the poet’s works, [342] seq.
Travel, foreign, Shakespeare’s ridicule of, [42] and n
‘Troilus and Cresseid,’ [227]
Troilus and Cressida: allusion to the strife between adult and boy actors, [217]
date of production, [217] [225]
the quarto and folio editions, [226] [227]
treatment of the theme, [227] [228]
the endeavour to treat the play as the poet’s contribution to controversy between Jonson and Marston and Dekker, [228] n
plot drawn from Chaucer’s ‘Troilus and Cresseid and Lydgate’s ‘Troy Book,’ [227]
For editions see Section xix. (Bibliography), [301-25]
‘Troy Book,’ Lydgate’s, [227]
True Tragedie of Richard III, The, an anonymous play, [63] [301]
True Tragedie of Richard, Duke of Yorke, and the death of good King Henry the Sixt, as it was sundrie times acted by the Earl of Pembroke his servants, The, [59]
Turbervile, George, use of the word ‘sonnet’ by, [427] n 2
Twelfth Night: description of a betrothal, [23] n
indebtedness to the story of ‘Apollonius and Silla,’ [53]
date of production, [209]
allusion to the ‘new map,’ [209] [210] n 1
produced at Middle Temple Hall, [210]
Manningham’s description of, [210]
probable source of the story, [210]
For editions see Section xix. (Bibliography), [301-25]
Twiss, F., [364] n
Two Gentlemen of Verona: allusion to Valentine travelling from Verona to Milan by sea, [43]
date of production, [52]
probably an adaptation, [53]
source of the story, [53]
farcical drollery, [53]
first publication, [53]
influence of Lyly, [62]
satirical allusion to sonnetteering, [107] [108]
resemblance of it to All’s Well that Ends Well, [163]
For editions see Section xix. (Bibliography), [301-25]
Two Noble Kinsmen, The: attributed to Fletcher and Shakespeare, [259] and n
Massinger’s alleged share in its production, [259]
plot drawn from Chaucer’s ‘Knight’s Tale,’ [260]
Twyne, Lawrence, the story of Pericles in the ‘Patterne of Painfull Adventures’ by, [244]
Tyler, Mr. Thomas, on the sonnets, [129] n [406] n [415] n
U
Ulrici, ‘Shakespeare’s Dramatic Art’ by, [345]
V
Variorum editions of Shakespeare, [322] [323] [362]
Vautrollier, Thomas, the London printer, [32]
Venesyon Comedy, The, produced by Henslowe at the Rose, [69]
‘Venus and Adonis:’ published in 1593, [74]
dedicated to the Earl of Southampton, [74] [126]
its imagery and general tone, [75]
the influence of Ovid, [75]
and of Lodges ‘Scillaes Metamorphosis,’ [75] and n 2
the motto, [75] and n 1
eulogies bestowed upon it, [78] [79]
early editions, [79] [299] [300]
Verdi, operas by, [352]
Vere, Lady Elizabeth, [378]
Vernon, Mistress Elizabeth, [379]
Versification, Shakespeare’s, [49] and n [50]
Vigny, Alfred de, version of Othello by, [351]
Villemain, recognition of the poet’s greatness by, [350]
Virginia Company, [381]
Visor, William, in Henry IV, member of a family at Woodmancote, [168]
Voltaire, strictures on the poet by, [348] [349]
Voss, J. H., German translation of Shakespeare by, [344]
W
Walden, Lord, Campion’s sonnet to, [140]
Wales, Henry, Prince of, the Earl of Nottingham’s company of players taken into the patronage of, [231] n
Walker, William, the poet’s godson, [276]
Walker, W. Sidney, on Shakespeare’s versification, [49] n
Walley, Henry, printer, [226]
Warburton, Bishop, revised version of Pope’s edition of Shakespeare by, [318] [319]
Ward, Dr. A. W., [365]
Ward, Rev. John, on the poet’s annual expenditure, [203]
on the visits of Drayton and Jonson to New Place before the poet’s death, [271]
his account of the poet, [361]
Warner, Richard, [364]
Warner, William, the probable translator of the Menæchmi, [54]
Warren, John, [300]
Warwickshire: prevalence of the surname Shakespeare, [1] [2]
a position of the Arden family, [6]
Queen Elizabeth’s progress on the way to Kenilworth, [17]
Watchmen in the poet’s plays, [31] [62]
Watkins, Richard, printer, [393]
Watson, Thomas, [61]
the passage on Time in his ‘Passionate Centurie of Love’ elaborated in ‘Venus and Adonis,’ [77] and n 2
his sonnets, [83] [427] n 2 [428]
plagiarisation of Petrarch, [101] n 4 [102]
foreign origin of his sonnets, [103] n 1 [112]
his ‘Tears of Fancie,’ [113] n 1 [433]
‘Weak endings’ in Shakespeare, [49] n
Webbe, Alexander, makes John Shakespeare overseer of his will, [11]
Webbe, Robert, buys the Snitterfield property from Shakespeare’s mother, [12] and n
Webster, John, alludes in the White Divel to Shakespeare’s industry, [278] n
Weelkes, Thomas, [182] n
Weever, Thomas: his eulogy of the poet, [179] n
allusion in his ‘Mirror of Martyrs’ to Antony’s speech at Cæsar’s funeral, [211]
Welcombe, enclosure of common fields at, [269] [270] and n
‘Westward for Smelts’ and the Merry Wives of Windsor, [172] and n 3
story of Ginevra in, [249]
Whateley, Anne, the assumed identification of her with Anne Hathaway, [23] [24] and n
Wheler, R. B., [363]
Whetstone, George, his Promos and Cassandra, [237]
White, Mr. Richard Grant, [325]
Whitehall, performances at, [81] [82] [234] [235] and n [241] [254] n [264]
Wieland, Christopher Martin: his translation of Shakespeare, [343]
Wilkins, George, his collaboration with Shakespeare in Timon of Athens and Pericles, [242] [243]
his novel founded on the play of Pericles, [244]
Wilks, Robert, actor, [335]
Will, Shakespeare’s, [203] [271] [273-276]
‘Will’ sonnets, the, [117]
Elizabethan meanings of ‘will,’ [416]
Shakespeare’s uses of the word, [417]
the poet’s puns on the word, [418]
play upon ‘wish’ and ‘will,’ [419]
interpretation of the word in Sonnets cxxiv.-vi. and cxliii., [420-26]
‘Willobie his Avisa,’ [155-158]
Wilmcote, house of Shakespeare’s mother, [6] [7]
bequest to Mary Arden of the Asbies property at, [7]
mortgage of the Asbies property at, [12] [26]
and ‘Wincot’ in The Taming of the Shrew, [166] [167]
Wilnecote. See under Wincot
Wilson, Robert, author of The Three Ladies of London, [67]
Wilson, Thomas, his manuscript version of ‘Diana,’ [53]
Wilton, Shakespeare and his company at, [231] [232] [411] and n
‘Wilton, Life of Jack,’ by Nash, [385] and n 1
Wincot (in The Taming of the Shrew), its identification, [165] [166]
‘Windsucker,’ Chapman’s, [135] n
Winter’s Tale, A: at the Globe in 1611, [251]
acted at Court, [251] and n
based on Greene’s Pandosto, [251]
a few lines taken from the ‘Decameron,’ [251] and n
the presentation of country life, [251]
For editions see Section xix. (Bibliography), [305-25]
‘Wire,’ use of the word, for women’s hair, [118] and n 2
Wise, J. R., [363]
Wither, George, [388] [399] n 2
‘Wittes Pilgrimage,’ Davies’s, [441] n 2
Women, excluded from Elizabethan stage, [38] and n 2
in masques at Court, [38] n 2
on the Restoration stage, [334]
Women, addresses to, in sonnets, [92] [117-20] [122] n [123] [124] [154]
Woncot in Henry IV identical with Woodmancote, [168]
Wood, Anthony à, on the Earl of Pembroke, [414]
Woodmancote. See Woncot
Worcester, Earl of, his company of actors at Stratford, [10] [35]
under the patronage of Queen Anne of Denmark, [231] n
Worcester, registry of the diocese of, [3] [20]
Wordsworth, Bishop Charles, on Shakespeare and the Bible, [17] n 1
Wordsworth, William, the poet, on German and French æsthetic criticism, [344] [349]
Wotton, Sir Henry, on the burning of the Globe Theatre, [260] [261] n
Wright, Dr. Aldis, [314] n [325]
Wright, John, bookseller, [90]
Wriothesley, Lord, [381]
Wroxhall, the Shakespeares of, [3]
Wyatt, Sir Thomas, sonnetteering of, [83] [95] [101] n 4 [427]
his translations of Petrarch’s sonnets, [104] n 4
Wyman, W. H., [372]
Wyndham, Mr. George, on the sonnets, [91] n [110] n
on Antony and Cleopatra, [245] n
on Jacobean typography, [419] n
Y
Yonge, Bartholomew, translation of ‘Diana’ by, [53]
Yorkshire Tragedy, The, [180] [243] [313]
Z
Zepheria, a collection of sonnets called, [435]
legal terminology in, [32] n 2 [435]
the praise of Daniel’s ‘Delia’ in, [431] [435] [436]