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10.

purchase of, 204, 293; now a | Personification inevitable to an
garden, 206; a commodious imaginative race, 1-2.
building, 317.

Petrarch, the master of sonnet
North, Thomas, his translation forin in Italy, 164; Surrey and
of Plutarch, 78, 117, 234.

Wyatt's translations of sonnets
Norton, collaborator with Sack- by, 164; Shakespeare's modi-
ville in “ Gorbordoc," 19.

fication of the sonnet form used

by, 166.
Old Clopton Bridge, 27, 32. Phillips, Augustus, 83, 90.
“Othello," mistakes in, 94; con- Plague, in London, 95.

tains traces of the older drama, Plautus, the source of the plot
114; sources, 259; played be- of “The Comedy of Errors,"
fore the king, 258; analysis of 134, 135, 214; Shakespeare's
characters, 259–261; the great acquaintance with, 36.
popularity of, 250.

Player, the strolling, in the Middle
Oxford, 71, 72.

Ages, 5; condemned by the

Church, 6; his position in Eng-
Pageants, in the fifteenth century, land after the Conquest, 6; the

professional, created by the
“Passionate Pilgrim, The," pi- Moralities, 14; in Shakespeare's

ratical publication of Shake- time, 32. See Actor.
speare's poems in, 163, 179; Plays, in Shakespeare's time, 107;
Shakespeare's name omitted frequently altered, 108; prop-
from the title-page of the second erty of the theatre, 107-109;
edition of, 179.

rarely published, 109.
Passion play, in the fourth cen- Plutarch, his influence on Shake-

speare, 233, 305; North's trans-
Pater, Mr., 126, 130.

lation of, 78, 117, 234; the story
Paynter, his “ Palace of Fleas- of Timon from, 269; the story of
ure," 250, 269, 305.

Antony from, 270; the story of
Peele, one of the playwrights just Coriolanus" from, 273.

preceding Shakespeare on the Poaching, Rowe's story of Shake-
Elizabethan stage, 22, 120, 181; speare's, 64.
his characteristics, 22; credited Portraits of Shakespeare, 217.324-
with part authorship in" Henry 326; the Stratford portrait, 31.
VI.,” 118; addressed by Greene Puritan party, in opposition to
in "A Groatsworth of Wit," theatres, 82, 96, 100-103; Shake-
121; Shakespeare drawn to,

speare not a member of the,
139.

287, 320.
Pembroke, Earl of. See Herbert.
" Pericles," a new note struck in, Queen's Company of Players,

294; sources, 294 ; drama of
reconciliation, 314; omitted Quiney, Richard, 31, 207.
from the First Folio, 327. Quiney, Thomas, 31, 207, 319.

tury, 8.

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the, 32.

79, 90, 208.

Raleigh, Sir Walter, 107, 127. analysis of, 157-159; affiliated
“Ralph Roister Doister," 16. to "A Midsummer Night's
Ravenscroft, Edward, 113.

Dream" in lyric quality, 160;
Register of the Stationers Com- alluded to, 260.
pany, 61, 112, 200.

Rose, the, 89, 110, 156; produc-
Religion in the fifteenth century, tion of “ Henry VI." at, 119, 193.
II, 12.

Rowe, his story of Shakespeare's
Renaissance influence, the, at its poaching, 63; quoted again,

height in Shakespeare's time,
36; Italy the birthplace of, 92;
surprisingly wholesome con- Sackville, one of the authors of
sidering the moral life of Italy “Gorbordoc," 18.
at the time, 102-103; made Sandells, Fulk, 66.
Europe a community in intel- Schlegel, quoted, on the historical
lectual interests, 125; the sug- plays, 194.
gestiveness of, 141; freedom Sea-Venture, the, 307.
secured by, 143, 144, 276, 287; Shakespeare, Edmund, 322.
love of beauty a characteristic Shakespeare, Gilbert, 322.
of, 149, 276.

Shakespeare, Hamnet, 71; his
“ Richard II.," published in 1597, death, 182, 204, 231, 317; his

115; reflects the genius of grave, 322.
Marlowe, 124, 182, 183; revived Shakespeare, Joan, sister of Will-
at the Globe, 229; its outline iam, 29, 319, 323; the grand-

taken from Holinshed, 235. son of, 319; three sons of, 323.
“ Richard III.," published in 1597, See Hart.

115; reflects the genius of Shakespeare, John, 27; his mar-
Marlowe, 124, 183; Holinshed riage to Mary Arden, 28; his
followed in, 183, 235.

public offices, 29; his children,
Richardson, Locke, 39.

29; his means, 32; financial
Robsart, Amy, imprisoned in embarrassments, 40, 203; al-
Mervyn's Tower, 46.

luded to, 77, 204; his coat-of-
Romances, the, 294, 296, 298, 314; arms, 27, 204; his death, 231,

“Pericles," 294, 295; “ Cymbe- 318.
line," 295;

“The Winter's Shakespeare, Judith, the poet's
Tale,” 301-304; “The Tem- youngest daughter, 31, 319;
pest," 306–310.

baptized, 71; married Thomas
Rome, the theatre of, 4, 5.

Quiney, 31, 207, 319, 322; her
“Romeo and Juliet,” mistakes sons, 319; bequest to, in the

in, 94; shows among the first poet's will, 322; her death, 319;
touches of the poet's hand, 113; her grave, 322.
published in 1597, 115; in the Shakespeare, Mary, the poet's
front rank of English poetry, mother, wife of John, 28; heir-
143; shows the poet's develop- ess of Robert Arden of Wilm-
ment, 143; sources, 156, 157; 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

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 thalamium," 181; alluded to,
religion unknown, 320; his will, 230.
321-323; his death, 321; lines Still, John, 17.
over his grave, 321; the Strat- St. Pancras, 75.
ford bust and other portraits of, St. Paul's Cathedral, 73, 75.
323-325; the First Folio, 326, St. Paul's Churchyard, 150.
327; his personal character, Stratford-on-Avon, its charm, 25;
327-330.

Shakespearean associations,25;
Shallow, Justice, 42, 53, 64, 65, 66. in 1564, 26; its population, 27;
Shaw, Julius, 206.

Henley Street, 28-31; its love
Shottery, 26, 48, 56, 66, 67.

of the drama, 33; the Gram-
Sidney, Sir Philip, his “ Arcadia," mar School and Guild Chapel,

and “Apologie for Poesie," 106, 35, 57; the landscape between
181, 257; alluded to, 18, 212, Kenilworth and, 43, 46, 51; the
230, 320.

byways about, 47, 48; Warwick
Sill, Mr., quoted, 190.

from, 51; between Hampton
Snider, Denton, quoted, 276. Lucy and, 55; events which
Somers, Sir George, and the Sea- led to the poet's departure from,
Venture, 307.

63–66, 70; men from, among
Sonnets, a favourite poetic form Shakespeare's friends, 77, 78,

in the closing decade of the six- 146; touches of, in the poems
teenth century, 162, 163; intro- or plays of Shakespeare, 145,
duced from Italy by Surrey 203; Shakespeare's return to,
and Wyatt, 164; their transla- 204, 232, 315; his restoration
tions of Petrarch's, 164; other

of New Place in, 205, 293;
collections of, 165; modern later history of New Place, 205–
sequences of, 166.

207, 317, 318, 322; the bust of
Sonnets of Shakespeare, the, 162; Shakespeare in the church at,

published, 163; a sequence, 217; the poet's property at, 293,
166; analysis of, 168; interpre- 317-319.
tations of, 172-174; alluded to, Stuart, Mary, 44.
217, 278, 296, 328.

Surrey, 93, 126, 164, 165.
Sonneteers of Shakespeare's Symonds, quoted, 122.

time, 165.
Southampton, Earl of, See Tableaux of New Testament
Wriothesley.

scenes in the fifth century, 7.
Spedding, Mr., 311, 312.

Talbot Inn, Chaucer's "Tabard,"
Spenser, Edmund, a well-known alluded to, 89.

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name in Shakespeare's time, Ten Brink, quoted, 298.
107, 181; Shakespeare's love Thames, the principal thorough-
of pastoral life shared by, 212,
213; his laxity in spelling of “The Atheist's Tragedy," 102.
names, even his own, 320; his Theatre, the, 77, 79, 83, 89, 193;
“Colin Clout," 181; his “Epi- the library of, 110, 115.

fare, 75.

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Theatre of Rome, 3; increasingly wickshire in, 190, 203; based

vulgar as the populace sank, 5. on an older play, 202.
Theatres of London in Shake- The Tempest," predicted by

speare's time, 77, 83; their " Pericles," freshness of, 296;
character, 81, 87; opposition sources, 306; the wreck of the
of the Puritan element to, 82, Sea-Venture, 307, 308; analysis
96; support of Queen Eliza- of, 309, 310; probably his last
beth, 82; arrangements of, 84- play, 310, 313, 330; not pub-
86; costume and scenery, 86, lished before the First Folio
87; attendance on, 88; loca- appeared, 327; alluded to, 48,
tion of, 98; opposition of the 314.
City to, 100; of the Puritan "The True Tragedy of Richard
party, IoI.

III., 20.
“The Comedy of Errors,” shows “The Two Gentlemen of Verona,"

some of the first touches of the mistakes of locality in, 94;
poet's hand, 113; first pub- shows some of the first touches
lished, 133; presented at Gray's of the poet's hand, 113; sources
Inn, 133; sources of, 133; com- of, 136; slender in plot, 143;
parison with the play of Plautus, in certain of its aspects of life
135; moral sanity of, 135; hu- connected with “A Midsum-
mour of, 143; alluded to, 160, mer Night's Dream," 160;
198.

comedy form of, 198; alluded
“The contention of the two to, 294

famous houses of York and "The Winter's Tale,” flowers of
Lancaster," 20.

Warwickshire in, 49; alluded
“The Duchess of Amalfi," 102. to, 294 ;

its freshness, 296;
“ The Massacre at Paris," 23. sources of, 301, 302; produced
“ The Merchant of Venice," evi- about 1611, 303; its popularity,

dence of Shakespeare's foreign 303; analysis of, 304; alluded
travel, 94; produced about to, 314, 330.
1596, 200; sources of, 201; “Titus Andronicus," included
modification of the original among Shakespeare's plays,
material, 201; the poet's treat- 113, 114, 115, 139, 142; a char-

ment of the Jew in, 200–202. acteristic Elizabethan play, 114;
“ The Passionate Pilgrim,” 106, analysis of, 139.
138, 179.

Tourneur, Cyril, alluded to, 93,
“The Phoenix and Turtle," 106, 102.
138, 178.

Tower of London, the, 74
"The Rape of Lucrece," 77, 106, Trade-guilds, centres of organized

143, 150-155, 164, 176, 177. presentation of Miracle plays, 9.
“The Taming of the Shrew,” | Tragedy, English, 23.

allusions in, evidence of the Tragedies of Shakespeare, the,
poet's foreign travel, 94; un- 194, 197, 216, 221, 232, 252, 257,
mistakable references to War- 292, 295-299, 315; “Julius

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