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purchase of, 204, 293; now a Personification inevitable to an

garden, 206; a commodious
building, 317.

North, Thomas, his translation
of Plutarch, 78, 117, 234.
Norton, collaborator with Sack-
ville in "Gorbordoc," 19.

Old Clopton Bridge, 27, 32.
"Othello," mistakes in, 94; con-
tains traces of the older drama,
114; sources, 259; played be-
fore the king, 258; analysis of
characters, 259-261; the great
popularity of, 250.
Oxford, 71, 72.

Pageants, in the fifteenth century,

IO.

"Passionate Pilgrim, The," pi-

ratical publication of Shake-
speare's poems in, 163, 179; |
Shakespeare's name omitted
from the title-page of the second
edition of, 179.

imaginative race, 1-2.

Petrarch, the master of sonnet
form in Italy, 164; Surrey and
Wyatt's translations of sonnets
by, 164; Shakespeare's modi-
fication of the sonnet form used
by, 166.

Phillips, Augustus, 83, 90.
Plague, in London, 95.
Plautus, the source of the plot
of "The Comedy of Errors,"
134, 135, 214; Shakespeare's
acquaintance with, 36.
Player, the strolling, in the Middle

Ages, 5; condemned by the
Church, 6; his position in Eng-
land after the Conquest, 6; the
professional, created by the
Moralities, 14; in Shakespeare's
time, 32. See Actor.
Plays, in Shakespeare's time, 107;
frequently altered, 108; prop-
erty of the theatre, 107-109;
rarely published, 109.

Passion play, in the fourth cen- Plutarch, his influence on Shake-

tury, 8.

Pater, Mr., 126, 130.

64

Paynter, his Palace of Fleas-

ure," 250, 269, 305.
Peele, one of the playwrights just
preceding Shakespeare on the
Elizabethan stage, 22, 120, 181;
his characteristics, 22; credited
with part authorship in “ Henry
VI.," 118; addressed by Greene
in "A Groatsworth of Wit,"
121; Shakespeare drawn to,
139.

Pembroke, Earl of. See Herbert.
Pericles," a new note struck in,
294; sources, 294; a drama of
reconciliation, 314; omitted
from the First Folio, 327.

speare, 233, 305; North's trans-
lation of, 78, 117, 234; the story
of Timon from, 269; the story of
Antony from, 270; the story of
"Coriolanus" from, 273.
Poaching, Rowe's story of Shake-
speare's, 64.
Portraits of Shakespeare, 217,324-
326; the Stratford portrait, 31.
Puritan party, in opposition to
theatres, 82, 96, 100-103; Shake-
speare not a member of the,
287, 320.

Queen's Company of Players,
the, 32.

Quiney, Richard, 31, 207.
Quiney, Thomas, 31, 207, 319.

Raleigh, Sir Walter, 107, 127.

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Ralph Roister Doister," 16.
Ravenscroft, Edward, 113.
Register of the Stationers Com-
pany, 61, 112, 200.

Religion in the fifteenth century,
II, 12.

Renaissance influence, the, at its
height in Shakespeare's time,
36; Italy the birthplace of, 92;
surprisingly wholesome con-
sidering the moral life of Italy
at the time, 102-103; made
Europe a community in intel-
lectual interests, 125; the sug-
gestiveness of, 141; freedom
secured by, 143, 144, 276, 287;
love of beauty a characteristic
of, 149, 276.

"Richard II.," published in 1597,
115; reflects the genius of
Marlowe, 124, 182, 183; revived
at the Globe, 229; its outline
taken from Holinshed, 235.
"Richard III.," published in 1597,
115; reflects the genius of
Marlowe, 124, 183; Holinshed
followed in, 183, 235.
Richardson, Locke, 39.
Robsart, Amy, imprisoned in
Mervyn's Tower, 46.
Romances, the, 294, 296, 298, 314;

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analysis of, 157-159; affiliated
to "A Midsummer Night's
Dream" in lyric quality, 160;
alluded to, 260.

Rose, the, 89, 110, 156; produc-
tion of "Henry VI." at, 119, 193.
Rowe, his story of Shakespeare's
poaching, 63; quoted again,
79, 90, 208.

Sackville, one of the authors of
"Gorbordoc," 18.
Sandells, Fulk, 66.
Schlegel, quoted, on the historical
plays, 194.

Sea- Venture, the, 307.
Shakespeare, Edmund, 322.
Shakespeare, Gilbert, 322.
Shakespeare, Hamnet, 71; his
death, 182, 204, 231, 317; his
grave, 322.
Shakespeare, Joan, sister of Will-
iam, 29, 319, 323; the grand-
son of, 319; three sons of, 323.
See Hart.

Shakespeare, John, 27; his mar-
riage to Mary Arden, 28; his
public offices, 29; his children,
29; his means, 32; financial
embarrassments, 40, 203; al-
luded to, 77, 204; his coat-of-
arms, 27, 204; his death, 231,
318.

Shakespeare, Judith, the poet's
youngest daughter, 31, 319;
baptized, 71; married Thomas
Quiney, 31, 207, 319, 322; her
sons, 319; bequest to, in the
poet's will, 322; her death, 319;
her grave, 322.
Shakespeare, Mary, the poet's
mother, wife of John, 28; heir-
ess of Robert Arden of Wilm-
cote, 204; death of, 318.

Shakespeare, Richard, 28, 322.
Shakespeare, Susannah, first child
of William, 68, 71, 318, 319,
322; marriage of, 318; verse
written of, 318.

Shakespeare, William, develop-
ment of the English drama
before his time, 14-24; the dra-
matic form all but perfected by
his forerunners, 21; his imme-
diate predecessors and older
contemporaries, 22, 120, 181;
his birth and birthplace, 26-30;
at four years old, 32; his formal
education, 35-41; after leaving
school, 41, 59; our knowledge
of his life, 60, 62; characteris-
tics of his youth, 62, 63; his
departure from Stratford, 63,
70; his marriage and marriage
bond, 66-69; his children, 66,
68, 71, 204, 205, 207, 317-320;
his journey to London, 71, 72;
his arrival, 73; early association
with theatres a matter of tradi-
tion, 79; joins Lord Leicester's
Players, 83; in the company of
"Lord Chamberlain's Men,"
as actor and manager, 90–91;
tours of his company, 91; his
knowledge of Italy, 92-95; or-
der of composition of his plays,
112; his versification, 112;
earliest touches of his hand,
113-114; his first play in print,
115; his part in "Henry VI.,"
118, 120; attacked by Greene,
121-124; "Love's Labour's
Lost," 125-133; The Comedy
of Errors," 133-135; "The Two
Gentlemen of Verona," 136-
137; the poetic period, 138-
179; stages of his poetic growth,
143; the publication of " Venus

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and Adonis," 146, 153; of "The
Rape of Lucrece," 150-152;
culmination of the lyrical period,
156; "Romeo and Juliet," 156-
159; "A Midsummer Night's
Dream," 159-161; the Sonnets,
162-178; "The Rape of Lu-
crece," 177; "A Lover's Com-
plaint," 177, 178; "The Phoenix
and the Turtle," 178;
"The
Passionate Pilgrim," 179; the
Histories, 188-196; the Come-
dies, 197-203, 208-215; his
return to Warwickshire, 204,
232, 315; the purchase of New
Place by, 204, 293; its restora-
tion, 206, 207, 293; the ap-
proach of tragedy, 216-231;
portraits of, 217, 323–325; social
disposition of, 218; the "War
of the Theatres," 221-223, 248;
the earlier Tragedies, 232-252;
the later Tragedies, 253-275;
ethical significance of the Trag-
edies, 276-391; his view of
man's place in nature, 279; his
study of character in the Trag-
edies, 280-282; as a poet, 282-
284; the Tragedies the highest
point of his art, 284; his ethi-
cal view of life, 286; his rela-
tions to the Puritan party, 286,
320; his largeness of view, 289-
291; the Romances: "Pericles,"
294, 295; "Cymbeline," 295;
"The Winter's Tale," 301-304;
"The Tempest," 306-310; his
greatness as a poet, 305; his
share in "Henry VIII.," 312;
attitude toward life of the Ro-
mances, 314; his last years in
Stratford, 315; his income, 315;
his general circumstances, 316,
317; his family, 318, 319; the

spelling of his name, 319; his
religion unknown, 320; his will,
321-323; his death, 321; lines
over his grave, 321; the Strat-
ford bust and other portraits of,
323-325; the First Folio, 326,
327; his personal character,
327-330.

Shallow, Justice, 42, 53, 64, 65, 66.
Shaw, Julius, 206.

Shottery, 26, 48, 56, 66, 67.
Sidney, Sir Philip, his "Arcadia,"
and "Apologie for Poesie," 106,
181, 257; alluded to, 18, 212,
230, 320.

Sill, Mr., quoted, 190.
Snider, Denton, quoted, 276.
Somers, Sir George, and the Sea-

Venture, 307.

Sonnets, a favourite poetic form
in the closing decade of the six-
teenth century, 162, 163; intro-
duced from Italy by Surrey
and Wyatt, 164; their transla-
tions of Petrarch's, 164; other
collections of, 165; modern
sequences of, 166.

Sonnets of Shakespeare, the, 162;
published, 163; a sequence,
166; analysis of, 168; interpre-
tations of, 172-174; alluded to,
217, 278, 296, 328.

Sonneteers of Shakespeare's
time, 165.

thalamium," 181; alluded to,

230.
Still, John, 17.
St. Pancras, 75.

St. Paul's Cathedral, 73, 75.
St. Paul's Churchyard, 150.
Stratford-on-Avon, its charm, 25;
Shakespearean associations,25;
in 1564, 26; its population, 27;
Henley Street, 28-31; its love
of the drama, 33; the Gram-
mar School and Guild Chapel,
35, 57; the landscape between
Kenilworth and, 43, 46, 51; the
byways about, 47, 48; Warwick
from, 51; between Hampton
Lucy and, 55; events which
led to the poet's departure from,
63-66, 70; men from, among
Shakespeare's friends, 77, 78,
146; touches of, in the poems
or plays of Shakespeare, 145,
203; Shakespeare's return to,
204, 232, 315; his restoration
of New Place in, 205, 293;
later history of New Place, 205-
207, 317, 318, 322; the bust of
Shakespeare in the church at,
217; the poet's property at, 293,
317-319.

Stuart, Mary, 44.

Surrey, 93, 126, 164, 165.
Symonds, quoted, 122.

Southampton, Earl of. See Tableaux of New Testament

Wriothesley.

Spedding, Mr., 311, 312.
Spenser, Edmund, a well-known
name in Shakespeare's time,
107, 181; Shakespeare's love
of pastoral life shared by, 212,
213; his laxity in spelling of
names, even his own, 320; his
"Colin Clout," 181; his "Epi-

scenes in the fifth century, 7.
Talbot Inn, Chaucer's "Tabard,"
alluded to, 89.

Ten Brink, quoted, 298.
Thames, the principal thorough-
fare, 75.

"The Atheist's Tragedy," 102.
Theatre, the, 77, 79, 83, 89, 193;
the library of, 110, 115.

Theatre of Rome, 3; increasingly
vulgar as the populace sank, 5.
Theatres of London in Shake-

speare's time, 77, 83; their
character, 81, 87; opposition
of the Puritan element to, 82,
96; support of Queen Eliza-
beth, 82; arrangements of, 84-
86; costume and scenery, 86,
87; attendance on, 88; loca-
tion of, 98; opposition of the
City to, 100; of the Puritan
party, IOI.

"The Comedy of Errors," shows

some of the first touches of the
poet's hand, 113; first pub-
lished, 133; presented at Gray's
Inn, 133; sources of, 133; com-
parison with the play of Plautus,
135; moral sanity of, 135; hu-
mour of, 143; alluded to, 160,
198.

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wickshire in, 190, 203; based
on an older play, 202.
'The Tempest," predicted by
"Pericles," freshness of, 296;
sources, 306; the wreck of the
Sea-Venture, 307, 308; analysis
of, 309, 310; probably his last
play, 310, 313, 330; not pub-
lished before the First Folio
appeared, 327; alluded to, 48,
314.

"The True Tragedy of Richard
III.," 20.

"The Two Gentlemen of Verona,"
mistakes of locality in, 94;

"

shows some of the first touches
of the poet's hand, 113; sources
of, 136; slender in plot, 143;
in certain of its aspects of life
connected with A Midsum-
mer Night's Dream," 160;
comedy form of, 198; alluded
to, 294.

"

'The Winter's Tale," flowers of
Warwickshire in, 49; alluded
to, 294; its freshness, 296;
sources of, 301, 302; produced
about 1611, 303; its popularity,
303; analysis of, 304; alluded
to, 314, 330.

"The contention of the
famous houses of York
Lancaster," 20.
"The Duchess of Amalfi," 102.
"The Massacre at Paris," 23.
"The Merchant of Venice," evi-
dence of Shakespeare's foreign
travel, 94; produced about
1596, 200; sources of, 201;"Titus
modification of the original
material, 201; the poet's treat-
ment of the Jew in, 200-202.
"The Passionate Pilgrim," 106,
138, 179.

"The Phoenix and Turtle," 106,
138, 178.

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Andronicus," included
among Shakespeare's plays,
113, 114, 115, 139, 142; a char-
acteristic Elizabethan play, 114;
analysis of, 139.
Tourneur, Cyril, alluded to, 93,

102.

Tower of London, the, 74-
Trade-guilds, centres of organized
presentation of Miracle plays, 9.
Tragedy, English, 23.
Tragedies of Shakespeare, the,
194, 197, 216, 221, 232, 252, 257,
292, 295-299, 315; "Julius

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