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 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-
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
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.
"The contention of the two
famous houses of York and 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; 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.
"The Rape of Lucrece," 77, 106,
143, 150-155, 164, 176, 177. "The Taming of the Shrew," allusions in, evidence of the poet's foreign travel, 94; un- mistakable references to War-
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. "Titus 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,
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
Cæsar," 233-240; "Hamlet," | Walker, William, godson of 240-249; "All's Well that Ends
Well," 250-252; Measure for Measure," 253, 254; "Troilus and Cressida,' 254-257; Othello," 259-261; "Mac- beth," 261-265; "King Lear," 265-268; "Timon of Athens," 268, 269; Antony and Cleo- patra," 270-272; “Coriolanus,” 273-275; ethical significance of, 276-291; the highest point of Shakespeare's art, 284; the great insight of, due to Shake- speare's largeness of view, 289.
'Troilus and Cressida," sup- posed to have had a part in the "War of the Theatres," 222; painful and repellent, 254; belongs to the year 1603, 254; sources, 255; analysis of, 254- 256; alluded to, 278. "Twelfth Night," produced, 1601, 214; source of, 214, 215; analysis of, 215; alluded to, 294.
Twine, Lawrence, 294.
Vautrollier, Thomas, 77.
"Venus and Adonis," 77, 106,
Shakespeare, 323.
"War of the Theatres," the, 221,
223, 248, 256. Warner, William, 134. Warwick, the town of, 51. Warwick Castle, 52. Warwickshire landscape, the, 43, 46-58; Shakespeare's familiar- ity with, 46, 48, 62, 207; in mid- summer, 47; the footpaths in, 47, 48; touches of, in all Shake- speare's work, 49; its special charm, 50; along the Avon below the bridge, 52; references to, in "Henry VI.," 190; in "The Merry Wives of Wind- sor" and "The Taming of the Shrew," 203.
Webster, alluded to, 93, 102. Weever, John, 154, 155. Whitehall, the old Palace at, 215; acting before the King at, 258, 265, 303. Wilmcote, 28, 40.
Wilson, his “Cheerful Ayres and Ballads," 310. Wilton House, 257.
Wotton, on the Masque at Car. dinal Wolsey's, 311.
Wriothesley, Henry, Earl of Southampton, 146, 150, 176, 228-230, 232. Wyatt, 93, 164, 165.
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