tury, 227, 232; her death, 257. Ghost, the, in “Hamlet" played
English Language, the, when by Shakespeare, 90.

Shakespeare began to use it, Globe Theatre, described, 84;
104.

built by Richard Burbage, 89;
Essex. See Devereux.

“Richard II.” at the, 229;
"Euphues,” 21, 106.

“ Macbeth at the, 264; the

burning of the, 310; its re-
Fairfax, his “Tasso," 181, 234. ceipts, 316; the Globe com-
Falstaff, his fondness for East- pany, 248; alluded to, 156, 191,

cheap, 75; the humour of, 187; 299, 303
at first named Sir John Old-Gollancz, quoting Gabriel Har-
castle, 188; the character of, vey, 155.
developed in "The Merry Grammar School, the, of Strat-
Wives of Windsor," by order ford, 26, 31; described, 35-36;
of Elizabeth, 208–210.

a free school, 39; Shake-
“Ferrex and Porrex," or Gor- speare's early leaving, 39, 41;
bordoc," 18.

alluded to, 44, 125, 234.
Field, Richard, 101; publisher of Grammaticus, Saxo, 240.

the earliest of Shakespeare's Granville, 107.
publications, 77, 146, 150; of Grave, the, of Shakespeare, and

other influential works, 78, 146. the lines above it, 321-322; of
Fleay, 256.

Anne Hathaway and its inscrip-
Fletcher, John, alluded to, 189,

tion, 323.
311-314.

Gray's Inn Fields, 75.
Florio, John, his “Montaigne," Green, on the Elizabethan Thea-

234, 245, 308.
Folio, the First, alluded to, 295; Greene, Robert, one of Shake-
the editors of, 326, 327.

speare's older contemporaries,
Forest of Arden, 26, 49, 50, 57, 21, 22; a born story-teller, 22;
145, 212, 213.

credited with part authorship
Forman, Dr. Simon, 264, 299, 303; of “Henry VI.," 118; his his-

his “ Book of Plays," 303. tory, 120-121; his fight against
Fortune Theatre, 84, 89.

tre, 88.

6

Guild Chapel, the, at Stratford, | Henley Street, Stratford, Shake-
26, 35-36, 57, 205, 207.

speare's birthplace a cottage on,

29, 30; alluded to, 36, 293, 317,
Hagenbach, quoted, 6.

319.
Hall of the Middle Temple, 214. Henrietta Maria, Queen, enter-
Hall, Dr. John, 205, 318, 320, 323.

tained at New Place in 1643,
Hall, Elizabeth, 205, 318, 322. 205.
Hall, Mrs. Susannah. See Shake- "Henry IV.," 182, 185, 186, 188,
speare, Susannah.

189–190, 208; the second part,
Hall, William, 176, 191, 233. 203.
Halliwell-Phillipps quoted, 60, 71. “Henry V.," 20, 182, 186, 191,
Hamlet, the character, compared 208, 228.

to Brutus, 238; origin of his Henry VI.," Part I., 113; its
story, 240–242; aspects of his three parts, 118-120, 121, 123,
character, 245-247.

125, 142, 182, 193.
“Hamlet," 20; the Ghost, Shake- "Henry VIII.," 182, 191, 294,

speare's most notable rôle, 90; 310-312; source, 310; its first
shows traces of the older drama,

night, 310.
114; sources of, 240-243; first Herbert, Philip, Earl of Mont-
published, 243; problems of, gomery, 327.
245; alluded to, 91, 190, 197, 238, Herbert, William, Earl of Pem-
253

broke, 175, 176, 257, 327.
Hampton Lucy, the road to, 54-1 “Hero and Leander," 23, 149.
56.

Heywood, John, 15, 16.
Hampton Lucy bridge, 54. Heywood, Thomas, 179, 181.
Hart, Joan, 29. See Shake- Histories, the, among Shake-
speare, Joan

speare's plays, 180-183; the ma-
Harvey, Gabriel, 155.

terial of, III, 116, 117, 191;
Hathaway, Anne, alluded to, 25, “ Richard II.," 183 ; “ King

31, 66; her marriage bond, 66– John," 184; “ Henry IV.,” 185-
68; her husband's senior, 68 ; 190; "Henry V., "190; “Henry
her children, 66, 67, 71; her VI.," 119, 193; "Henry VIII.,"
death, 323; lines

her 191; hardly second to the
grave, 323.

Tragedies in importance, 117.
Hathaway, Richard, 66; father- Holinshed's "Chronicles," the

in-law of Shakespeare, 66. indebtedness of Shakespeare
Hazlitt, on “Much Ado About to, 117, 191, 233, 299; the
Nothing," 211.

source of “Henry VI.," 119;
Heine, Heinrich, 283, 284.

followed in "Richard II." and
Heminge, John, one of Shake- * Richard III.," 183, 184, 235;

speare's friends, 78, 323; one the source of “Henry IV.,"
of the editors of the First Folio, 186; suggested “Macbeth,"
83, 326; one of the Lord Cham- 261; and “King Lear," 265.
berlain's Men, 90.

Holy Trinity Church, Stratford,

over

36;

alluded to, 55, 57, 68, 207 ; line,” 239; the spelling of his
bust of Shakespeare in, 217, name, 320; his Eulogy of
323, 324

Shakespeare in the First Folio,
Holy Trinity Churchyard, 204, 327; alluded to, 38, 181, 189,
318, 322.

304.
“Hotspur," 20.

Jonson, Gerard, 217, 323.

Julius Cæsar,” criticised by
Inferences from a dramatist's Jonson, 225; political situation
work dangerous, 68-70.

when it was written, 232;
Interlude, the, 15, 16.

source of, in Plutarch, 234;
Italian, Shakespeare's knowledge modification of the original in,
of, 37, 38.

235; publication of, 236; anal-
Italy, the teacher of western ysis of the play, 237, 239, 272;

Europe, 17-18; its influence preserved in the First Folio,
on England in the sixteenth

327.
century, 92, 93; possible visit
of Shakespeare to, 92, 95; its Kempe, 222.
influence on Chaucer and Kenilworth Castle, 42; the enter-
others, 93; and on the English tainment of Queen Elizabeth
imagination, 102–103; its gen- at, 42-43, 45; alluded to, 46,
eral influence on Europe, 125, 51; Mervyn's Tower, 46; the
126, 164.

loveliness of its ruins, 48.

" King Johan,” 20.
Jaggard, William, 178.

King John,” the prelude of the
James I. on the growth of Lon- historical plays, 182;

don, 76; a patron of the stage, pleted about 1595, 184; a re-

257, 265; alluded to, 232. cast, 184; has no hero, 185.
Jew, the, in 1596, 201, 202.

King Lear," description of
Johnson, Robert, 310.

Dover cliff in, 37; its land-
Jonson, Ben, ridiculed for includ- scape exceptional, 49 ; the

ing plays among his “Works,” sublimest height of the poet's
109; prices paid for his plays, tragic art, 265; performed be-
109; his Irene," 147; a con- fore the King, 265; sources of,
tributor to Chester's “Love's 265, 266; analysis of, 266, 267;
Martyr," 178; a combatant in alluded to, 20, 261, 302.
the War of the Theatres," King's servants, the, 257, 258.
221–222; a sketch of the life of, Kyd, Thomas, one of Shake-
223–226; his personal appear- speare's immediate predeces-
ance, 224; his character, 224- sors as a playwright, 21, 181;
225; his criticism of Shake- his “Spanish Tragedy," 242.
speare's lack of scholarship,
225; his tribute to Shake- Landor, Walter Savage, his "Ci-
speare, 226; the “Poetaster," tation and Examination of
227; his “Sejanus " and "Cati- William Shakespeare," 65.

com-

Landscape, influence of, on the "Love's Labour's Won," men-

verse of Scott, Burns, Words- tioned by Meres, probably the

worth, 49; the Italian, 50. same as “All's Well that Ends
Latin, Shakespeare's knowledge Well," 250.
of, 36, 37.

Lucy, Sir Peter, 64.
Law, Shakespeare's knowledge Lucy, Sir Thomas, of Charlecote,
of, 38.

42, 64, 65.
Lee, Sidney, on Shakespeare's Lydgate, his Troy Book, 255.

Sonnets, 172 ; on his acting Lyly, John, a sketch of, 125-127;
before King James, 258; on

his influence on Shakespeare's
his expenditures, 317.

· Love's Labour's Lost," 125,
Leicester, the Earl of, his enter- 130, 139; one of the group in

2II.

"Henry VI.,” 118; attacked | Mimes, or players, in the Middle
by Greene, 122, 123; his influ- Ages, 4; condemned by the
ence shown in some of Shake- Church, 5.
speare's plays, 124, 139, 183, Miracle play, 9; its realism, 10;
184, 200; identified by some compared with the Moralities,
with the poet's “rival singer". 13; alluded to, 17.
of the Sonnets, 170; the paral- “Mirrour of Magistrates," 19.
lelism between his “Edward Moralities, the, 12; compared to
II." and Shakespeare's “Rich- the Mystery and Miracle plays,
ard II.," 183; his “Dr. Faus- 12; the important step in dra-
tus," 23; his “Hero and Lean- matic development marked by,
der," 149; his “ Jew of Malta," 14; gradual transition to the
200; his “Tamburlaine," 23, fully developed play from, 14.
122, 123, 183.

More, Sir Thomas, 15.
Marston, 178, 181.

“Much Ado About Nothing," the
Mass, the, a dramatization of perfection of witty dialogue and

certain fundamental ideas, 6; repartee, 21; its contrast to
of the central mystery of the "The Merry Wives of Wind-
Christian faith, 7.

sor," 210; date and sources,
Masuccio, the story of Romeo

and Juliet sketched by, 157. Mystery play, the, foreshadowed
“ Measure for Measure," Shake- in the fourth century Passion

speare's modifications of the play, 9; in the twelfth and thir-
story of, 253, 254; sources of, teenth centuries, 9; its realism
254, 259; produced about 1603, in the fifteenth century, 10;
254

compared with the Moralities,
Menæchmi of Plautus, the, prob- 13; alluded to, 17.

able source of the plot of “The
Comedy of Errors," 134; said | Nash, Thomas, one of the play-
to be like “Twelfth Night" by wrights controlling the stage
John Manningham, 214.

just before the arrival of Shake-
Meredith, George, quoted on the speare in London, 22, 181; his

comic characters of Shake- character, 22, 120; addressed
speare, 199.

by Greene in “A Groatsworth
Meres, Francis, on Shakespeare's of Wit," 121; drawn into the

poetry, 154; his “Palladia Ta. “War of the Theatres " by
mia,' 250 ; his mention of Greene, 123; his comment on

“ Love's Labour's Won," 250. “Henry VI.," 119.
Mervyn's Tower, Kenilworth Nashe, Thomas, marries Eliza-
Castle, 46.

beth Hall, the granddaughter
Middle Ages, isolation of castles of Shakespeare, 205, 322; his

and communities in the, 5. wife, 205, 318.
Middleton, Thomas, 181, 263. New Place, Stratford, Shake-
Milton, alluded to, 93.

speare's home in, 27, 72; the