26; alluded to, 55, 57, 68, 207;
bust of Shakespeare in, 217,
323, 324.

Holy Trinity Churchyard, 204,
318, 322.
"Hotspur," 20.

Inferences from a dramatist's

work dangerous, 68-70.
Interlude, the, 15, 16.
Italian, Shakespeare's knowledge
of, 37, 38.

Italy, the teacher of western
Europe, 17-18; its influence
on England in the sixteenth
century, 92, 93; possible visit
of Shakespeare to, 92, 95; its
influence on Chaucer and
others, 93; and on the English
imagination, 102-103; its gen-
eral influence on Europe, 125,
126, 164.

Jaggard, William, 178.
James I. on the growth of Lon-
don, 76; a patron of the stage,
257, 265; alluded to, 232.
Jew, the, in 1596, 201, 202.
Johnson, Robert, 310.
Jonson, Ben, ridiculed for includ-

ing plays among his " Works,"
109; prices paid for his plays,
109; his "Irene," 147; a con-
tributor to Chester's "Love's
Martyr," 178; a combatant in
the "War of the Theatres,"
221-222; a sketch of the life of,
223-226; his personal appear-
ance, 224; his character, 224-
225; his criticism of Shake-
speare's lack of scholarship,
225; his tribute to Shake-
speare, 226; the "Poetaster,"
227; his "Sejanus" and "Cati-

line," 239; the spelling of his
name, 320; his Eulogy of
Shakespeare in the First Folio,
327; alluded to, 38, 181, 189,
304.

Jonson, Gerard, 217, 323.
"Julius Cæsar," criticised by
Jonson, 225; political situation
when it was written, 232;
source of, in Plutarch, 234;
modification of the original in,
235; publication of, 236; anal-
ysis of the play, 237, 239, 272;
preserved in the First Folio,
327.

Kempe, 222.
Kenilworth Castle, 42; the enter-
tainment of Queen Elizabeth
at, 42-43, 45; alluded to, 46,
51; Mervyn's Tower, 46; the
loveliness of its ruins, 48.
"King Johan," 20.

"King John," the prelude of the
historical plays, 182; com-
pleted about 1595, 184; a re-
cast, 184; has no hero, 185.
King Lear," description of
Dover cliff in, 37; its land-
scape exceptional, 49; the
sublimest height of the poet's
tragic art, 265; performed be-
fore the King, 265; sources of,
265, 266; analysis of, 266, 267;
alluded to, 20, 261, 302.
King's servants, the, 257, 258.
Kyd, Thomas, one of Shake-

speare's immediate predeces-
sors as a playwright, 21, 181;
his "Spanish Tragedy," 242.

Landor, Walter Savage, his “Ci-
tation and Examination of
William Shakespeare," 65.

Landscape, influence of, on the
verse of Scott, Burns, Words-
worth, 49; the Italian, 50.
Latin, Shakespeare's knowledge

of, 36, 37.

"Love's Labour's Won," men-
tioned by Meres, probably the

"

same as 'All's Well that Ends
Well," 250.

Lucy, Sir Peter, 64.

of, 38.

42, 64, 65.

tainment of Queen Elizabeth,
42-43, 45, 48; his company of
players, 81-83, 88.
Leicester Hospital, 51.
Lodge, his death in 1625, 21; his
plays, 20; one of the group in
possession of the stage on the
arrival of Shakespeare, 21, 120,
181; his "Rosalynde the
source of the plot of "As You
Like It," 212; his allusion to
an early Hamlet, 242; alluded
to, 121, 213.
London, Shakespeare's journey
to, 71; in the sixteenth century,
73; streets, 74; the city, 75;
its growth, 76; alluded to, 69,
125.

London Bridge, 74.

Lyly, John, a sketch of, 125–127;
his influence on Shakespeare's
"Love's Labour's Lost," 125,
130, 139; one of the group in
possession of the stage on
Shakespeare's arrival in Lon-
don, 181; his " Euphues," 21,
106, 127.

Lyrical poetry, Shakespeare's
contribution to, 164.

"Macbeth," contrast of landscape
in this and other plays, 49; con-
tains traces of the older drama,
114; sources of, 261; analysis
of, 262; parts of, said to be by
Middleton, 263; De Quincey
on the introduction of the
comic element, 263; Dr. For-
man's account of the perform-
ance of, in 1611, 264; unprinted
until in the First Folio, 327.
Magdalen College, Oxford, 125.

90, 215.

"Love's Labour's Lost," the first
touches of the poet's hand
shown in, among others, 113;
betrays the influence of Lyly,
125, 130; played before the
Queen, 128; satirizes the times,
128, 143; betrays the youth of
the writer, 130; analysis of, 130-
133; three poems from, in
"The Passionate Pilgrim,"
179; alluded to, 160, 198.

"Henry VI.," 118.
Manningham, John, quoted, 214,
215.

Marlowe, Christopher, leader of
the group of men who con-
trolled the stage at the time of
Shakespeare's arrival in Lon-
don, 21, 107, 120, 181; a sketch
of, 23; his writings, 23; his
influence on English poetry,
104, 114; his death, 106; cred-
ited with part authorship of

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.

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.

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;
"Pericles," 294, 295;" Cymbe-
line," 295; "The Winter's
Tale," 301-304; "The Tem-
pest," 306-310.
Rome, the theatre of, 4, 5.

Romeo and Juliet," mistakes
in, 94; shows among the first
touches of the poet's hand, 113;
published in 1597, 115; in the
front rank of English poetry,
143; shows the poet's develop-
ment, 143; sources, 156, 157;

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.