The Complete Works of Shakespeare [4 ed.] 0673388735

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THE

COMPLETE.

WORKS

OF

SHAKESPEARE DAVID

BEVINGTON

FOURTH

EDITION —

The Complete Works of Shakespeare

Editorial Advisory Board

JANET ADELMAN University of California, Berkeley Antony and Cleopatra MICHAEL J. B. ALLEN University of California, Los Angeles The Poems DAVID M. BERGERON University of Kansas Timon of Athens STEPHEN BOOTH University of California, Berkeley The Sonnets PAUL A. CANTOR University of Virginia Coriolanus WILLIAM C. CARROLL Boston University Love’s Labor’s Lost JOHN D. COX Hope College The Third Part of King Henry VI LAWRENCE DANSON Princeton University Titus Andronicus

ALAN C. DESSEN University of North Carolina, Chapel Hill The First Part of King Henry IV JOHN DOEBLER Arizona State University As You Like It CHARLES R. FORKER Indiana University The Tragedy of King Richard II CHARLES FREY University of Washington The Tempest

BARRY GAINES University of New Mexico Editions and Editors of Shakespeare; Canon, Dates, and Early Texts MIRIAM GILBERT University of lowa The Two Gentlement of Verona

THELMA N. GREENFIELD University of Oregon Pericles

JAMES HAMMERSMITH

Auburn University Textual Consultant

RICHARD HELGERSON University of California, Santa Barbara The Life and Death of King John JEAN E. HOWARD Columbia University Macbeth ROBERT GRAMS HUNTER Southern Methodist University Much Ado About Nothing COPPELIA KAHN Brown University Cymbeline DAVID SCOTT KASTAN Columbia University General Consultant ARTHUR C. KIRSCH University of Virginia Measure for Measure

ALEXANDER LEGGATT University of Toronto Twelfth Night; or, What You Will MAYNARD MACK, JR. University of Maryland Hamlet, Prince of Denmark MICHAEL MANHEIM University of Toledo The Second Part of King Henry VI LEAH

5S. MARCUS

University of Texas, Austin Troilus and Cressida

BARBARA A. MOWAT Folger Shakespeare Library The Winter's Tale MICHAEL MULLIN University of Illinois, Urbana Shakespeare in Performance KAREN NEWMAN Brown University King Lear GAIL PASTER George Washington University The Comedy of Errors DAVID RIGGS Stanford University The First Part of King Henry VI

JEANNE ADDISON ROBERTS American University The Merry Wives of Windsor D. F. ROWAN University of New Brunswick London Theaters and Dramatic Companies

NORMAN

SANDERS University of Tennessee The Second Part of King Henry IV

MEREDITH SKURA Rice University The Merchant of Venice SUSAN SNYDER Swarthmore College The Taming of the Shrew

BERNARD SPIVACK University of Massachusetts Othello, the Moor of Venice

ROBERT

KEAN

TURNER

University of Wisconsin,

Milwaukee

Textual Consultant

RAYMOND V. UTTERBACK Western Oregon State College The Tragedy of King Richard II JOHN W. VELZ University of Texas, Austin Julius Caesar EUGENE M. WAITH Yale University The Life of King Henry V JOHN WASSON Washington State University The Famous History of the Life of King Henry VIII PAUL WERSTINE University of Western Ontario Editions and Editors of Shakespeare; Shakespeare Criticism RICHARD P. WHEELER University of Illinois, Urbana All's Well That Ends Well GEORGE WALTON WILLIAMS Duke University Romeo and Juliet

DAVID YOUNG

Oberlin College A Midsummer Night's Dream

The Complete Works of Shakespeare Fourth Edition

Edited by

David Bevington

The University of Chicago

& HarperCollinsPublishers

Sponsoring Editor: Lisa Moore

Development Editor: Marisa L. L'Heureux

Project Editor: David Nickol Art Direction: Jaye Zimet

Cover Design: Jaye Zimet Cover Photo: © Max Forsythe, London. Statue of Shakespeare in the Poets’ Corner of Westminster Abbey. Sculpted by Peter Scheemakers and erected in 1740, Based on the Chandos portrait.

Page i Photo: National Portrait Gallery, London.

Portrait of Shakespeare by an unknown artist. Photo Research: Sandy Schneider Production: Beth Maglione/Kathleen Donnelly Compositor: The Clarinda Company

The Chandos

Printer and Binder: R. R. Donnelley & Sons, Company Cover Printer:

The Lehigh Press, Inc.

The Complete Works of Shakespeare, Fourth Edition

Copyright © 1992 by HarperCollins Publishers Inc. All rights reserved. Printed in the United States of America. No part of this book may be used or reproduced in any manner whatsoever without written permission, except in the case of

brief quotations embodied in critical articles and reviews. For information address HarperCollins Publishers Inc., 10 East 53rd Street, New York, NY 10022.

Library of Congress Cataloging-in-Publication Data Shakespeare, William,

[Works. 1991]

1564-1616.

The complete works of Shakespeare / edited by David Bevington.— 4th ed. . em. Includes bibliographical references and index. ISBN 0-673-38873-5 I. Bevington,

PR2754.B4 1991 822.3’3—dc20 91 9293

David M.

II. Title.

94987654321

91-16042 CIP

and did not attempt (as does this present edition) to arrange the plays within each genre in the approximate order in which they

Preface

were written.

The claim to being a “Complete Works” is necessarily an approximate claim. No edition of Shakespeare today can hope, or even desire, to include all the plays and poems that have been attributed to him in whole or in part. The second printing of the Shakespeare Third Folio of 1664 included, along with

Pericles, the following: The London Prodigal, The History of Thomas Lord Cromwell, Sir John Oldcastle Lord Cobham, The Puritan or the

This is the fourth edition of The Complete Works of Shakespeare.

The original edition was edited by Hardin Craig, whom I never knew personally but whose work I admired. In early 1968 I was asked by Scott, Foresman

to undertake a new

edition of his

work, focusing on new and more critically oriented introductions and on a thorough review of the editing of the original texts; that second edition appeared in 1973 with both our names, leading in some quarters to the erroneous impression that my name was Craig Bevington. In 1980 Scott Foresman published a third edition with my name alone as editor, since

that edition had been completely reset with extensive reconsid-

eration of introductions, notes, stage directions, the text itself,

the organization of the volume by genres, and still more. Members of an editorial advisory board, whose names are listed in the front of that volume, carefully reviewed every aspect of the project. This present fourth edition, published by HarperCollins, has made use of the computer tapes used to print the text of the third edition in order to reduce to a minimum the opportunity for introduction of any new errors, but has also made possible a careful reconsideration of every aspect of the book, including the Shakespeare text. I have been given permission to use all the work done on the Bantam Shakespeare, issued in twentynine paperback volumes in 1988, with David Kastan, James Hammersmith, and Robert Kean Turner serving as associate editors. I am happy to acknowledge their contribution both to the Bantam

Shakespeare

(which,

in its turn, made

use of

materials from the third edition published by Scott, Foresman) and to the present undertaking, which incorporates virtually all that we did in the Bantam project, along with a thorough reexamination of what that Bantam edition managed to achieve. A new editorial advisory board, consisting of some new consultants and some who participated in the third edition, has thoughtfully gone over everything in this fourth edition; their names appear in the front of this volume. What we have, then, is an edition that has (I devoutly hope) profited from a succession of reworkings, each attempting to save what was best in the past along with the insights of new editors and consultants. There is no end to the process of finding the right phrase for a gloss, and the past decade has been a revolutionary one in terms of textual theory and of critical interpretation, so that the attempt to keep an edition like this as up to date as possible is, to say the least, a challenging one. I have been amazed at the extent to which the printer's copy has been heavily marked with corrections and revisions at every stage of the process.

As in the third edition, the arrangement here is by genres: histories,

tragedies,

romances,

Merlin and Arden of Feversham.

More serious is the claim of Edward III, an English history play

first published in 1596, attributed to Shakespeare in a bookseller’s leaflet in 1654, and actually included by Edward Capell in

his Shakespeare edition of 1760. Stronger still as a contender is the material added as a revision to a manuscript play called The Book of Sir Thomas More (c. 1595) written in a hand that many

scholars view as compatible with the surviving Shakespeare

signatures. Most important of all, the tragicomedy called The Two Noble Kinsmen, attributed in the Stationers’ Register and on

the 1634 title page to John Fletcher and William Shakespeare, appears to be a collaboration in 1613 between these two men as Shakespeare was on the verge of his retirement. These last two works certainly merit a place in a “Complete Works.” The only justification that can be offered here for their exclusion is that the first is fragmentary and the second (in the view of many readers) more predominantly Fletcherian than Shakespearean.

Since Shakespeare probably collaborated elsewhere, in Pericles, for example (which the Folio editors excluded from their edition along with The Two Noble Kinsmen), the distinction is an arbitrary one. In the last analysis, the decision made by HarperCollins not to include The Two Noble Kinsmen and Sir Thomas More was

a pragmatic one based on the physical size of an already large book. In the same spirit, this edition does not include The

Passionate

Pilgrim,

a

little

volume

of

1599

attributed

to

Shakespeare by its unscrupulous publisher but containing no new poems that are convincingly his. Nor does this present edition include various poems, including “Shall I die? Shall I fly” questionably attributed to Shakespeare. This edition does include Venus and Adonis and The Rape of Lucrece, which are unquestionably his, “The Phoenix and Turtle,” and “A Lover's

Complaint,” which was published with the Sonnets in 1609.

Text \

land various members of the editorial advisory board have tried to review in detail all the issues of textual scholarship that have

been debated in the last decade or so. I have decided against

printing two texts of King Lear (Folio and Quarto) for reasons I

argue at length in a review of the Oxford Shakespeare (Shakespeare Quarterly, 30, 1987, 501-119). Basically, my reasons

Organization of the Volume comedies,

Widow of Watling Street, A Yorkshire Tragedy, and The Tragedy of Locrine. None of these attributions has much credibility, other than that of Pericles. Nor are editors inclined to include a group of plays attributed to Shakespeare in a seventeenth-century collection found in the library of King Charles IL, including Fair Em, Mucedorus, and The Merry Devil of Edmonton. Still other attributions that are generally disregarded include The Birth of

and

nondramatic

oems. This arrangement is close to that of Shakespeare's First

Folio of 1623, though that volume did not incliide the poems

are that we cannot be at all sure that the revisions incorporated in the Folio version are not theatrical cuts and changes

motivated by considerations of performance more than by authorial design. Just as importantly, two texts of King Lear add considerably to the cost and bulk of a one-volume Shakespeare,

and perhaps ask the student reader to deal with complex textual

issues before that reader has had a chance to become acquainted with the play. For similar reasons, the revised passages in Hamlet and other two-text plays are included in a single text rather than being relegated to appendixes. Although I subscribe entirely to the view that we have texts for many of Shakespeare’s major plays rather than a single text, I regard this as a matter of stage history and of changing critical interpretation rather than as a matter to be put before the reader in a text designed primarily for classroom use. This edition takes seriously the idea of a “Complete Works” by hesitating to exclude passages indisputably written by Shakespeare until it can be shown that Shakespeare really wanted them left out. The practice of inclusion does produce, in the case of King Lear and Hamlet, for example, plays too long to have been performed in the Elizabethan theater in their entirety, but the alternative of presenting theatrically cut versions does omit Shakespearean material and may come no closer than a conflated text to representing what Shakespeare might have wanted us to read.

Since we cannot know what he intended in any event, it’s best

to give the reader substantially all that he wrote. (This should not

include,

to be

sure,

clear instances

Shakespeare simply abandoned.)

of false

starts

that

Many textual studies in the last decade, on the other hand,

have produced what seem to me clear advances in clarity and

modernization of Shakespeare’s language. This edition expands

and normalizes speech prefixes, uses modern forms of capitalization and spelling and punctuation, and generally tries to

make Shakespeare’s language as available as possible to today’s reader without altering the essential nature of that language. Porpentine sounds like a colorful Shakespearean word, but historical dictionaries (especially the Oxford English Dictionary) indicate that the word is essentially an Elizabethan variation of

porcupine.

The

same

is true

of mushrumps

for mushrooms,

apricocks for apricots, swound and sound for swoon, god-den and good-en for good e’en, wrack for wreck, winch for wince, handkercher

for handkerchief, bankrout for bankrupt, howsome’er for howsoe’er, accompt for account, and many more. Characters do sometimes speak idiosyncratically or in dialect, of course, and one must take care to distinguish between lanthorn as a perfectly normal

Elizabethan

spelling

(hence

modernized

in

this

edition)

and instances in which the word is pointedly spelled this way to make a pun on horn (as in A Midsummer Night's Dream, Act 5). Sometimes the distinction is a hard one to make: is Moth, for example, meant to indicate a winged insect, or a mote, that

is, tiny speck of dust? The spelling moth is unquestionably used to mean the latter in Elizabethan spelling, as in “A moth it

is to trouble the mindes eye” (Q2 of Hamlet, 1.1.116). What then of the characters named Moth in A Midsummer Night's Dream and Love's Labor's Lost? This edition chooses the modernized spelling Mote, though both meanings may hover about the word. Conversely, this edition chooses the older form of Ancient

instead of the modern Ensign (as in Ancient lago), since the word appears to include the meaning of “old and trustworthy.” This edition prints huswife instead of housewife to avoid the modern connotations of home-maker and to include the suggestion of hussy, as when Shakespeare refers to the bitch goddess Fortune as “the false huswife Fortune” (Antony and Cleopatra, 4.15.46). The older spelling persever is necessary for scansion in lieu of the

modern spelling persevere, since the older form makes clear the stress on the second syllable. So too with conster (accented on the first syllable) for construe. Beholding is obviously related to beholden, but has its own history as a word. Strong verbal forms like holp for helped and drave for drove are essential to the structure of Shakespeare’s language and need to be retained. Unfamiliar

forms

of

prefixes,

as

in

unauspicious,

incertain,

uncurable, and the like, cannot be changed without altering Shakespeare’s language. Proper names pose a problem, since we allow inconsisten-

cies and anachronisms;

this edition uses standard

forms like

Bolingbroke and Calpurnia, while respecting Shakespeare's tendency to anglicize foreign proper names like Biron and Rousillon. Place names like Bristol and Rouen are more easily recognized than in their usual Elizabethan forms (Bristow and Roan). In general, this edition has tried to modernize vigorously

and to avoid older spellings like strook (struck), fift (fifth), murther (murder), and Bullingbrook (Bolingbroke) that do give some flavor of Elizabethan pronunciation but contribute to inconsistency and archaism in an edition that cannot preserve all indications

of pronunciation as an old-spelling edition would. This edition

adopts modern distinctions between beside (next to) and besides (in addition), sometime (former) and sometimes (occasionally), mean (of low birth) and means (resources available), it and its,

and so on, even when Elizabethan usage is inconsistent in such matters. More replaces the Elizabethan mo, since the original

distinction between mo and more is inconsistently applied in

early texts; enough replaces enow. Hyphenation in this edition generally follows the practice of the ninth edition of Webster's

New Collegiate Dictionary.

This fourth edition goes further than did the third edition in the modernizing of contractions. Forms like lov’d and help'd

are now expanded to loved and helped; correspondingly, final -ed forms that require an extra syllable in the scansion are printed as

closéd, amazéd, finished, and the like. Contractions are sometimes

required for scansion in words like fall’n, med’cine, and heav'n as

a means of indicating an abbreviated pronunciation, but such

contractions are inconsistently applied in the early texts and there are many instances in which the contraction can be

expanded and the metrical scansion of the verse left up to the

reader; flower and flow’r, or preposterous and prepost’rous, for

example, are often nearly indistinguishable today, and the scansion often allows for extra syllables in any case. Contractions like whe’er, to ‘t, let's, th’ ignorant, o' th’ people, that's, e’en,

and on ‘t remain necessary. On the other hand, apostrophes in forms like ‘twixt and ‘Zounds are increasingly unnecessary today; this edition follows Webster's ninth edition in rendering these words as twixt and Zounds. Forms like th’ art and y’ are can,

I think,

be

modernized

to

thou’rt

and

you're

without

significant loss of meaning, especially since the varying forms of

such contractions in the original texts are likely to be the work of compositors.

Like most recent editions, this one takes care to preserve grammatical forms in Shakespeare that seem incorrect today but were evidently allowable in his day. Such forms as “‘I drunk him to his bed,” “He was contract to Lady Lucy,” “You have

swam,” and “I did not see him since” are all legitimate. Singular

forms of verbs can be paired with plural nouns,

as in “here

comes the lords” or “My old bones aches.” This edition makes no attempt, as did some nineteenth-century editions, to regu-

larize Shakespeare’s use of my and mine, showed and shown, further and farther, towards and toward. On the other hand, this edition does not preserve forms like mo (for more) or mean (for means) that are inconsistently employed in Shakespeare’s text and may be spelling variants of compositors or scribes. The

expression “for sport sake” is regarded in this edition as a

spelling variant of the more recognizable “for sport’s sake”; similarly, “for God’s sake” is the normal form in Shakespeare's text and is an allowable modernization for the occasional ‘for God sake” that may well be only a compositor’s variant form. Indications of place for each scene are provided in the interpretive notes at the foot of the column. The consultants have helped me rethink these indications in theatrical terms,

and to avoid overly specific or nontheatrical assertions based on sources or editorial tradition. Where the scene is fluid, continuous, or ambiguous, or where the implied location shifts in mid scene, I have tried to indicate as much in the notes. Providing indication of place is potentially restrictive and misleading, for “the forest of Arden” invites the reader to imagine a real forest rather than a stage, and for this reason some modern editions prefer to avoid indications of place entirely. My experience, however, is that many readers can be helped by knowing that the scene in much of King Lear moves between Albany’s palace in the north of Great Britain to Gloucester’s house in the

southwest, and eventually to Dover. References in mid scene to

“Hames Castle” or “the Tower’ can be clarified for the reader by knowing the location that Shakespeare invites us to have in mind. Perhaps our concept of place should be guided by Shakespeare’s own suggestions, in which he makes use of the theater to invite us on an imaginative journey to battlefields, distant lands, ships at sea, palaces, and banqueting halls. His scene is both fluid and imaginatively particular. A similar problem concerns act and scene division. The indications in the First Folio are boldly visible. This edition chooses, like other recent editions, to make the act and scene

markings less intrusive in order to promote a sense of fluidity from scene to scene. The act and scene numbers are in boldface to make them visible, since being able to find one’s place is essential for classroom use or play rehearsal, but they are set to one side of the column. A printer’s asterisk between scenes indicates a bare stage; absence of such a printer’s device

Cleopatra or indicate more broadly, with a sweep of his arm, an

entire Egyptian way of however, the omission some readers in the dark are not intended for the

life that he is embracing? Conversely, of any mention of stage action leaves and promotes the view that these texts theater.

One matter in which I have found the “received” editorial

tradition to be excessively timid is in the handling of short lines

of verse. In the early texts, both Folio and Quarto, short lines of

verse are almost universally printed from the left-hand margin, following the speech prefix. Although Shakespeare clearly conceived many such short lines as linked together into verse (usually iambic pentameter), the decision to arrange short lines in verse patterns by the use of indentation is essentially an editorial decision. My view is that editors, even today, are too willing to link short lines when the case for linkage is metrically unconvincing. I do not suggest printing all such short lines from the left-hand margin, since many linkings are entirely plausible and occur in passages plainly written as verse. I do, however, opt not to link short lines when the result is metrically erratic, realizing of course that this calls for an aesthetic judgment— but then so does the decision to link. I resist producing large numbers of hexameter or tetrameter or trimeter lines this way,

granting that Shakespeare does occasionally use these forms.

And, like the editors of the Oxford Shakespeare, I resist linking

when either the first two or the last two of three short lines might be linked to produce a good pentameter line; rather than choose arbitrarily between two equally suitable choices, I prefer not to link at all. The result, in my opinion, increases our sense

scene is marked in accord with editorial tradition. These divisions do not appear in most Quarto texts, are probably not Shakespearean, at times do not reflect even a plausible structuring of the play into five acts (the length of acts in Love's Labor's Lost, for example, is very uneven), and at times interrupts the

of Shakespeare's flexibility as a writer of verse and avoids a straightjacket he did not have to worry about. Line numbers in the text indicate that a gloss is to be found at the foot of the column for some word or phrase in the line thus indicated. In my opinion, this system of citation (used also by the Pelican Shakespeare) is less disfiguring than bubbles or

Juliet, Act 2, scenes

would be numerous. At the same time, this system offers more

indicates that the action is continuous, even though a new

flow from one continuous scene to another (as in Romeo and 1 and

2). The

scene divisions are often

simply those of editorial tradition. Until some international Shakespeare congress legislates a new standard, however, the traditional scene division of the Globe text represents a standard for reference, and I have retained it as the most universal available. I have tried in the notes and through the system of printer’s asterisks to indicate when the conventional system is theatrically misleading, and I have provided through line numbers (TLN) at the top of each page to give the reader a more reliable and truly universal key, though not yet widely in use except by textual scholars. These through line numbers, inclusive for each column of text, are keyed to Charlton Hinman’s

facsimile edition of the First Folio (New York, Norton, 1968).

Where the text is based on a Quarto edition, the equivalent line numbers in the First Folio are provided, with parenthetical

additions where the Quarto text provides material not included in the Folio version. With the help of the editorial advisory board, I have made an effort to provide helpful and consistent stage directions. All editorially added stage directions are in square brackets so that the reader can know at all times when the language is from the original text and when it has been provided subsequently. Because the early texts tend to be sparse in their provision of stage directions, many of the directions here are in fact added. I have tried to avoid the manifold dangers of intruding on the text, such as insulting the reader with stage directions that spell

out the obvious, or speculating about matters that can’t be reliably determined (such as when a character rises after having kneeled), or specifying an action for which the actor has various options. When Antony says that “The nobleness of life / Is to do thus,” for example (Antony and Cleopatra, 1.1.38-39), does he kiss

footnote numbers next to the word or phrase in question, which

guidance than one in which no indication is provided that a

gloss is available to the reader. The textual notes at the back of this book alert the reader to all substantive changes from the chosen copy text for each play or poem. This system is, I think, less disfiguring to the text than

the square brackets I used in the third edition to indicate passages that were added from some authority other than the copy text.

Introductions and other supportive materials I have carefully gone over all introductory material with the assistance of the editorial advisory board, attempting especially to raise issues that have been brought forward in the critical debate of the last twelve years or so, such as race and

colonialism in The Tempest, conflict between the sexes in Othello and The Taming of the Shrew (among many others), issues of

power and subversion in the history plays, and the like. My

hope has been to conduct a forum on matters of critical concern,

and to make room for new and controversial perspectives as

well as more traditional ones. Introductions should open up as many topics as time and space permit, rather than providing dogmatic interpretations from a particular bias. I have extensively revised and updated the bibliographies (Suggestions for Reading and Research) in order to reflect as much as possible the extraordinary developments in Shakespeare criticism in recent times. | have worked hard on the commentary notes, both in

the Bantam edition and in this present edition, incorporating here whatever I have been able to learn from the endless and wonderful task of contemplating the richness and ambiguity of Shakespeare’s language. In all of this I’ve been helped more than I can say by the editorial board members, by my colleagues at the University of Chicago and elsewhere, by my wife Peggy, and by the editorial staff of HarperCollins. To complement this edition, and to provide the kind of visual experience necessary for fuller appreciation of Shakespeare as a dramatist, HarperCollins is prepared to supply a full array of high-quality videos of Shakespeare's plays in production. You may, if you wish, order through HarperCollins any or all of the BBC Television productions of Shakespeare’s plays. In addition, this HarperCollins video option offers a number of plays in more than one production (including, for example, Franco Zeffirelli's Romeo and Juliet, 1968), to make possible a comparison of contrasting interpretations. Some interpretations available in this way depart from the Shakespeare text in ways that provide unusually challenging and imaginative insights; Akira Kurosawa’s Ran (1986), for example, transforms King Lear into the tragic story of a Japanese warlord and his three sons, while his Throne of Blood (1957) is an

equally bold translation of Macbeth in terms of Japanese history and folklore. HarperCollins is also ready to provide supportive and interpretive materials on video as supplements for reading and

for

classroom

use,

including

commentaries

that

set

Shakespeare in the perspective of his theater, provide other background for his writings, explore his scripts in rehearsal, examine multiple perspectives of Hamlet, and the like. If you would like to learn more about the HarperCollins Shakespeare Library of Videotapes, or The Complete Shakespeare on Disk, you are invited to do so through your HarperCollins representative or write HarperCollins Publishers, 10 East 53rd Street, New York, NY 10022.

David Bevington

Contents General

Introduction

Life in Shakespeare’s England The Drama Before Shakespeare

xii — xxx

London Theaters and Dramatic Companies _xliii Shakespeare’s Life and Work ii Shakespeare’s Language: His Development as Poet and Dramatist Editions and Editors of Shakespeare Shakespeare Criticism = xcv

—_Ixxxiv

Ixxvii

The Comedies THE COMEDY OF ERRORS 2 LOVE’S LABOR’S LOST 31 THE TWO GENTLEMEN OF VERONA 75 THE TAMING OF THE SHREW 108 A MIDSUMMER NIGHT’S DREAM 150 THE MERCHANT OF VENICE 178 MUCH ADO ABOUT NOTHING 216 THE MERRY WIVES OF WINDSOR 252 AS YOU LIKE IT 288 TWELFTH NIGHT; OR, WHAT YOU WILL ALL’S WELL THAT ENDS WELL 362 MEASURE FOR MEASURE = 404 TROILUS AND CRESSIDA = 4444

326

The Histories THE THE THE THE THE THE THE THE THE THE

FIRST PART OF KING HENRY THE SIXTH 496 SECOND PART OF KING HENRY THE SIXTH 540 THIRD PART OF KING HENRY THE SIXTH 584 TRAGEDY OF KING RICHARD THE THIRD 628 LIFE AND DEATH OF KING JOHN 682 TRAGEDY OF KING RICHARD THE SECOND 721 FIRST PART OF KING HENRY THE FOURTH 763 SECOND PART OF KING HENRY THE FOURTH 804 LIFE OF KING HENRY THE FIFTH 849 FAMOUS HISTORY OF THE LIFE OF KING HENRY THE EIGHTH

893

The Tragedies TITUS ANDRONICUS 938 ROMEO AND JULIET 977 JULIUS CAESAR 1021 HAMLET, PRINCE OF DENMARK 1060 OTHELLO, THE MOOR OF VENICE 1117 KING LEAR 1167 MACBETH 1219 TIMON OF ATHENS 1256 ANTONY AND CLEOPATRA 1293 CORIOLANUS 1345

The Romances PERICLES 1398 CYMBELINE 1434 THE WINTER’S TALE THE TEMPEST 1526

1484

The Poems VENUS AND ADONIS 1559 THE RAPE OF LUCRECE 1578 THE PHOENIX AND TURTLE 1604 A LOVER’S COMPLAINT 1606 SONNETS 1612 Appendix 1 Canon, Dates, and Early Texts = A-1 Appendix 2 Sources A-22 Appendix 3. Shakespeare in Performance = A-57 The Royal Genealogy of England A-68 Maps A-70

Bibliography

Suggestions for Reading and Research

A-72

Textual Notes A-102 Glossary Shakespearean Words and Meanings of Frequent Occurrence Index I-1

A-125

General Introduction

Life in Shakespeare’s England The Drama Before Shakespeare London Theaters and Dramatic Companies Shakespeare’s Life and Work Shakespeare’s Language: His Development as Poet and Dramatist Editions and Editors of Shakespeare Shakespeare Criticism

xii

LIBRARY

England during Shakespeare’s lifetime (1564— 1616) was a proud nation with a strong sense of national identity, but it was also a small nation by modern standards. Probably not more than five million people lived in the whole of England, considerably fewer than now live in London. England’s territories in France were no longer extensive, as they had been during the fourteenth century and earlier; in fact, by the end of Queen Elizabeth’s reign (1558-1603), England had virtually retired from the territories she had previously controlled on the Continent, especially in France. Wales was a conquered principality. England’s overseas empire in America had scarcely begun, with the Virginia settlement in the 1580s. Scotland was not yet a part of Great Britain; union with Scotland would not take place until 1707, despite the fact that King James VI of Scotland assumed the English throne in 1603 as James | of England. Ireland, although declared a kingdom under English rule in 1541, was more a source of trouble than of economic strength. The last years of Elizabeth’s reign, especially from 1597 to 1601, were plagued by the rebellion of the Irish under Hugh O'Neill, Earl of Tyrone. Thus, England of the sixteenth and early seventeenth centuries was both small and isolated.

SHAKESPEARE

Life in Shakespeare’s England

prosperity of many Londoners. A problem throughout the sixteenth century was that of “enclosure”: the conversion by rich landowners of croplands into pasturage. Farmers and peasants complained bitterly that they were being dispossessed and starved for the benefit of livestock. Rural uprisings and food riots were common, to the dismay of the authorities. Some Oxfordshire peasants arose in 1596, threatening to massacre the gentry and march on London; other riots had occurred in 1586 and 1591. There were thirteen riots in Kent alone during Elizabeth’s reign. Unrest continued into the reign of James |, notably the midlands’ rising of 1607. Although the government did what it could to inhibit enclosure, the economic forces at work were too massive and too inadequately understood to be curbed by governmental fiat. Pasture used large areas with greater efficiency than crop farming, and required far less labor. The wool produced by the pasturing of sheep was needed in ever increasing amounts for the manufacture of cloth. The wool industry also experienced occasional economic difficulties, to be sure; overexpansion in the early years of the sixteenth century created a glutted market that collapsed

OF THE FOLGER

General . Introduction

and people who lived off the land did not share in the

The Social and Economic Background

England. Crop lands were converted into pasturage. The livelihood of

part of the economy was generally in a bad way, however,

growing production of wool.

England’s chief means of livelihood was agriculture. This

BY PERMISSION

By and large, England was a rural land. Much of the kingdom was still wooded, though timber was being used increasingly in manufacturing and shipbuilding. The area of the midlands, today heavily industrialized, was still at that time a region of great trees, green fields, and clear streams.

“Enclosure” was a problem throughout the sixteenth century in

the plowman was threatened by the pasturing of sheep and the

weg ey,

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Sixteenth-century London was a city teeming with activity. Pedestrians were often forced to make way for the livestock being driven through the streets.

disastrously in 1551, producing widespread unemployment. Despite such fluctuations and reversals, however, the wool industry at least provided handsome profits for some landowners and middlemen. Mining and manufacture in coal, iron, tin, copper, and lead, although insignificant by modern standards, were also expanding at a significant rate. Trading companies exploited the rich new resources of the Americas, as well as of Eastern Europe and the Orient. Queen Elizabeth aided economic development by keeping England out of war with her continental enemies as long as possible, despite provocations from those powers and despite the eagerness of some of her advisers to retaliate. Certainly England’s economic condition was better than the economic condition of the rest of the Continent; an Italian called England “the land of comforts.” Yet although some prosperity did exist, it was not evenly distributed. Especially during Shakespeare's first years in London, in the late 1580s and the 1590s, the gap between rich and poor grew more and more extreme. Elizabeth’s efforts at peacemaking were no longer able to prevent years of war with the Catholic powers of the Continent. Taxation grew heavier, and inflation proceeded at an unusually rapid rate during this period. A succession of bad harvests compounded the miseries of those who dwelled on the land. When the hostilities on the Continent ceased for a time in about 1597, a wave of returning veterans added to unemployment and crime. The rising prosperity experienced by Shakespeare and other fortunate Londoners was undeniably real, but it was not universal. Nowhere was the contrast between rich and poor more visible than in London.

London

Sixteenth-century London was at once more attractive and less attractive than twentieth-century London. It was full of trees and gardens; meadows and cultivated lands reached in some places to its very walls. Today we can perhaps imagine the way in which it bordered clear streams and green fields, when we approach from a distance some noncommercial provincial city such as Lincoln, York, or Hereford. Partly surrounded by its ancient wall, London was

by no means a

large metropolis. With 190,000—200,000

inhabitants in the city proper and its suburbs, it was nonetheless the largest city of Europe, and its dominance among English cities was even more striking; in 1543— 1544, London paid thirty times the subsidy of Norwich, then the second largest city in the kingdom (15,000 inhabitants). Although London’s population had expanded into the surrounding area in all directions, the city proper stretched along the north bank of the Thames River from the old Tower of London on the east to St. Paul’s Cathedral and the Fleet Ditch on the west—a distance of little more than a mile. Visitors approaching London from the south bank of the Thames (the Bankside) and crossing London Bridge could see virtually all of this exciting city lying before them. London Bridge itself was one of the major attractions of the city, lined with shops and richly decorated on occasion for the triumphal entry of a king or queen. Yet London had its grim and ugly side as well. On London Bridge could sometimes be seen the heads of executed traitors. The city’s houses were generally small and

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corner. The suburbs also housed various con games and

illegal operations, some of them brilliantly illustrated (and no doubt exaggerated) in Ben Jonson’s The Alchemist

(1610).

Roughly half of London’s total population, perhaps one

eg

Pry

Travel

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LIBRARY

hundred thousand people, lived within its walls, and as many more in the suburbs. The royal palace of Whitehall, Westminster Abbey (then known as the Abbey Church of St. Peter), the Parliament House, and Westminster Hall were well outside London, two miles or so to the west on the Thames River. They remain today in the same location, in Westminster, although the metropolis of London has long since surrounded these official buildings.

London Bridge, lined with shops, houses, and severed heads on poles,

provided a colorful route for those traveling between the north and

south banks of the Thames. A number of Elizabethan theaters, including the Globe, were located on the south bank.

crowded; its streets were often narrow and filthy. In the absence of sewers, open ditches in the streets served to collect and carry off refuse. Frequent epidemics of the bubonic plague were the inevitable result of unsanitary conditions and medical ignorance. Lighting of the streets at night was generally nonexistent, and the constabulary was notoriously unreliable. Shakespeare gives us unforgettable satires of night watchmen and bumbling police officials in Much Ado About Nothing (Dogberry and the night watch) and Measure for Measure (Constable Elbow). Prostitution thrived in the suburbs, conveniently located, although beyond the reach of the London authorities. Again, we are indebted to Shakespeare for a memorable portrayal in Measure for Measure of just such a demimonde (Mistress Overdone the bawd, Pompey her pimp, and various customers). Houses of prostitution were often to be found in the vicinity of the public theaters, since the theaters also took advantage of suburban locations to escape the stringent regulations imposed by London’s Lord Mayor and Council of Aldermen. The famous Globe Theatre, for example, was on the south bank of the Thames, a short distance west of London Bridge. Another theatrical building (called simply “The Theatre”), used earlier by Shakespeare and the Lord Chamberlain’s players, was located in Finsbury Fields, a short distance across Moorfields from London’s northeast

Travel was still extremely painful and slow because of the poor condition of the roads. Highway robbers were a constant threat. (The celebrated highway robbery in Shakespeare’s 7 Henry IV takes place at Gads Hill, on the main road between London and Canterbury.) English inns seem to have been good, however, and certainly much better than the inns of the Continent. Travel on horseback was the most common method of transportation, and probably the most comfortable, since coach building was a new and imperfect art. Coaches of state, some of which we see in prints and pictures of the era, were lumbering affairs, no doubt handsome enough in processions, but springless, unwieldly, and hard to transport..Carts and wagons were used for carrying merchandise, but packsaddles were safer and quicker. Under such difficulties, no metropolitan area such as London could possibly have thrived in the interior. London depended for its commercial greatness upon the Thames River and its access to the North Sea. Commerce

When Elizabeth came to the English throne in 1558, England’s chief foreign trade was with Antwerp, Bruges, and other Belgian cities. Antwerp was an especially important market for England’s export of wool cloth. This market was seriously threatened, however, since the Low Countries were under the domination of the Catholic King of Spain, Philip Il. When Philip undertook to punish his Protestant subjects in the Low Countries for their religious heresy,

many of Elizabeth’s counselors and subjects urged her to

come to the defense of England’s Protestant neighbors and trading allies. Elizabeth held back. Philip’s armies attacked Antwerp in 1576 and again in 1585, putting to an end the commercial ascendancy of that great northern European metropolis. Perhaps as many as one-third of Antwerp’s merchants and artisans settled in London, bringing with them their expert knowledge of commerce and manufacture. The influx of so many skilled workers and merchants

REPRODUCED BY COURTESY OF THE TRUSTEES OF THE BRITISH MUSEUM

LIFE IN SHAKESPEARE’ S ENGLAND

The taverns of Cheapside in London were popular and occasionally rowdy. into London produced problems of unemployment and overcrowding but contributed nevertheless to London's emergence as a leading port of trade. English ships assumed a dominant position in Mediterranean trade, formerly carried on mainly by the Venetians. In the Baltic Sea, England captured trade that had previously been controlled by the Hanseatic League. Bristol thrived on commerce with Ireland and subsequently on trade with the Western Hemisphere. Boston and Hull increased their business with Scandinavian ports. The Russia Company was founded in 1555; the Levant Company became the famous East India Company in 1600; and the Virginia Company opened up trade with the New World in the Western Hemisphere. Fisheries were developed in the North Sea, in the waters north of Ireland, and off the banks of Newfoundland. Elizabeth and her ministers encouraged this commercial expansion. The Poor Laws and Apprenticeship

Despite the new prosperity experienced by many Elizabethans, especially in London, unemployment remained a

serious problem. The suppresssion of the monasteries in 1536-1539, as part of Henry VIII’s reformation of the Catholic Church, had dispossessed a large class of persons who were not easily reemployed. Other causes of unemployment, such as the periodic collapse of the wool trade, dispossession of farm workers by enclosure of land, the sudden influx of skilled artisans from Antwerp, and the return of army veterans, have already been mentioned. Elizabethan Parliaments attempted to cope with the problem of unemployment but did so in ways that seem unduly harsh today. Several laws were passed between 1531, when the distinction between those poor needing charity and those unwilling to work first became law, and 1597-1598. The harshest of the laws was that of 1547, providing that vagabonds be branded and enslaved for two years; escape was punishable by death or life enslavement. This act was repealed in 1549, but subsequent acts of 1572 and 1576 designated ten classes of vagrants and required municipal authorities to provide work for the healthy unemployed of each town or parish. This localization of responsibility laid the basis for what has been known historically as the “poor rate” (a local tax levied for the support of the poor) and for that sinister

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Social Change

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YY,

Although some Elizabethans rose to great wealth, poverty and unemployment were widespread.

institution, the workhouse. The provisions of this act remained in force for centuries. The most comprehensive laws were those of the Parliament of 1597—1598, which repeated many provisions of earlier acts and added harsh, punitive penalties intended to send vagabonds back to the parishes in which they had been born or had last worked. After 1597, no begging was permitted; the poor were supposed to be provided for by the “poor rate” already established. Regulations for apprentices were no less strict. An act of Parliament of 1563, known as the Statute of Artificers, gave the craft trades of England—still organized as medieval guilds— virtually complete authority over the young persons apprenticed to a trade. The law severely limited access to apprenticeship to sons of families with estates worth at least forty shillings of income. Apprenticeship usually began between the ages of fourteen and seventeen, and lasted for a period of not less than seven years. During this time, the young worker lived with the family of the employer. Without such an extensive apprenticeship, entry into the skilled crafts was virtually impossible. Apprenticeships were not open, however, in all guilds, and the law courts subsequently ruled that apprenticeship rules did not apply to crafts developed after 1563, so that exceptions did exist. All able-bodied workers not bound to crafts were supposed to work in agriculture. Acting companies, such as the company Shakespeare joined, were not technically organized as guilds, though the boys who played women’s parts did serve out an apprenticeship. We do not know whether Shakespeare actually served such an indenture before becoming a full member of his acting company.

The opportunities for rapid economic advance in Elizabethan England, though limited almost entirely to those who were already prosperous, did produce social change and a quality of restlessness in English society. “New men” at court were an increasing phenomenon under the Tudor monarchs, especially Henry VIl and Henry VIII, who tended to rely on loyal counselors of humble origin rather than on the once-too-powerful nobility. Cardinal Wolsey, for example, rose from obscurity to become the most mighty subject of Henry VIII’s realm, with a newly built residence (Hampton Court) rivaling the splendor of the King’s own palaces. He was detested as an upstart by old aristocrats, such as the Duke of Norfolk, and his sudden fall was as spectacular as had been his rise to power. The Earl of Leicester, Queen Elizabeth’s first favorite, was a descendant of the Edmund Dudley who had risen from unpretentious beginnings to great eminence under Henry VII, Queen Elizabeth’s grandfather. Although Queen Elizabeth did not contribute substantially to the new aristocracy—she created only three peers from 1573 onward—new and influential families were numerous throughout the century. Conversely, the ancient families discovered that they were no longer entrusted with positions of highest authority. To be sure, the aristocracy remained at the apex of England’s social structure. New aspirants to power emulated the aristocracy by purchasing land and building splendid residences, rather than defining themselves as a rich new “middle class.” Bourgeois status was something the new men put behind them as quickly as they could. Moreover, social mobility could work in both directions: upward and downward. Many men were quickly ruined by the costly and competitive business of seeking favor at the Tudor court. The poor, in a vast majority, enjoyed virtually no rights at all. Nonetheless, the Elizabethan era was one of greater opportunity for rapid social and economic advancement among persons of wealth than England had heretofore known. Increased economic contacts with the outside world inevitably led to the importation of new styles of living. Such new fashions, together with the rapid changes now possible in social position, produced a reaction of dismay from those who feared the destruction of traditional English values. Attitudes toward Italy veered erratically between condemnation and admiration: on the one hand, Italy was the home of the Catholic Church and originator of many supposedly decadent fashions, whereas, on the other hand, Italy was the cradle of humanism and the country famed for Venice’s experiment in republican government. To many conserva-

tive Englishmen, the word Italianate connoted a whole range of villainous practices, including diabolical methods

of torture and revenge: poisoned books of devotion that

would

kill the unsuspecting

victims who

kissed them,

ingeniously contrived chairs that would close upon the

person who sat in them, and the like. The revenge plays of

My !

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Shakespeare’s contemporaries, such as Antonio’s Revenge by John Marston, The Revenger’s Tragedy perhaps by Cyril Tourneur or Thomas Middleton, and The White Devil by John Webster, offer spectacular caricatures of the so-called Italianate style in murder. The name of Italy was also associated with licentiousness, immorality, and outlandish fashions in clothes. France, too, was accused of encouraging such extravagances in dress as ornamented headdresses, stiffly pleated ruffs, padded doublets, puffed or double sleeves, and richly decorated hose. Rapid changes in fashion added to the costliness of being up to date and thereby increased the outcry against vanity in dress. Fencing, dicing, the use of cosmetics, the smoking of tobacco, the drinking of imported wines, and almost every vice known to humanity were attributed by angry moralists to the corrupting influence from abroad. Not all Englishmen deplored continental fashion, of course. Persons of advanced taste saw the importation of European styles as a culturally liberating process. Fashion thus became a subject of debate between moral traditionalists and those who welcomed the new styles. The controversy was a bitter one, with religious overtones, in which the reformers’ angry accusations became increasingly extreme. This attack on changing fashion was, in fact, an integral part of the Puritan movement. It therefore stressed the sinfulness, not only of extravagance in clothing, but also of the costliness in building great houses and other such worldly pursuits. Those whose sympathies were Puritan became more and more disaffected with the cultural values represented by the court, and thus English society drifted further and further toward irreconcilable conflict. Shakespeare's personal views on this controversy are hard to determine and do not bear importantly on his achievement as an artist. Generally, however, we can observe that his many references to changes in fashion cater neither to the avant-garde nor to reactionary _ traditionalists. Shakespeare’s audience was, after all, a broadly national

This brothel scene, featuring gambling or dicing, illustrates some of the vices that were attributed to the corrupting influence from abroad. one. It included many well-informed Londoners who viewed “Italianate” fashion neither with enthusiasm nor with alarm, but with satiric laughter. Such spectators would certainly have seen the point, for example, in Mercutio’s witty diatribe at the expense of the new French style in fencing. The object of his scorn is Tybalt, who, according to Mercutio, “fights as you sing prick-song’” and fancies himself to be ‘the very butcher of a silk button.” ‘Is not this a lamentable thing,” asks Mercutio

rhetorically, ‘that we

should be thus afflicted with these strange flies, these fashionmongers, these pardon-me’s, who stand so much on the new form that they cannot sit at ease on the old bench?” (Romeo and Juliet, 2.4.20—35). In a similar vein, Shakespeare’s audience would have appreciated the joking in The Merchant of Venice about England’s servile imitation of continental styles in clothes. ‘“What say you, then, to Falconbridge, the young baron of England?’’ asks Nerissa of her mistress Portia concerning one of Portia’s many suitors. Portia replies, ‘How oddly he is suited! | think he bought his doublet in Italy, his round hose in France, his bonnet in Germany, and his behavior everywhere” (1.2.64—74). Court butterflies in Shakespeare’s plays who bow and scrape and fondle their plumed headgear, like Le Beau in As You Like It and Osric in Hamlet, are the objects

of ridicule. Hotspur in 7 Henry IV, proud northern aristocrat that he is, has nothing but contempt for an effeminate courtier, ““perfuméd like a milliner,” who has come from King Henry to discuss the question of prisoners (1.3.36). Throughout Shakespeare’s plays, the use of cosmetics generally has the negative connotation of artificial beauty used to conceal inward corruption, as in Claudius’ reference to “the harlot’s cheek, beautied with plastering art’ (Hamlet, 3.1.52). Yet Shakespeare’s treatment of newness in fashion is never shrill in tone. Nor does he fail in his dramas to give an honorable place to the ceremonial use of wealth and splendid costuming. His plays thus avoid both extremes in the controversy over changing fashions, though they give

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plentiful evidence as to the liveliness and currency of the topic. Shakespeare also reflects a contemporary interest in the problem of usury, especially in The Merchant of Venice. Although usury was becoming more and more of a necessity, emotional attitudes toward it changed only slowly. The traditional moral view condemned usury as forbidden by Christian teaching; on the other hand, European governments of the sixteenth century found themselves increasingly obliged to borrow large sums of money. The laws against usury were alternatively relaxed and enforced, according to the economic exigencies of the moment. Shakespeare’s plays capture the Elizabethan ambivalence of attitude toward this feared but necessary practice (see Introduction to The Merchant of Venice). Similarly, most Englishmen had contradictory attitudes toward what we today would call the law of supply and demand in the marketplace. Conservative moralists complained bitterly when merchants exploited the scarcity of some commodity by forcing up prices; the practice was denounced as excessive profit taking and declared to be sinful, like usury. In economic policy, then, as in matters of changing fashion or increased social mobility, many Englishmen were ambivalent about the perennial conflict between the old order and the new.

Elizabethan Houses Those fortunate Englishmen who grew wealthy in the reign of Elizabeth took special pleasure in building themselves fine new houses with furnishings to match. Chimneys were

increasingly common,

so that smoke no longer had to

escape through a hole in the roof. Pewter, or even silver dishes, took the place of the wooden spoon and trencher. Beds, and even pillows, became common. Carpets were replacing rushes as covering for the floors; wainscoting, tapestries or hangings, and pictures appeared on the walls; and glass began to be used extensively for windows. Despite the warnings of those moralists who preached against the vanity of worldly acquisition, domestic comfort made considerable progress in Elizabethan England. Many splendid Tudor mansions stand today, testifying to the important social changes that had taken place between the strife-torn fifteenth century and the era of relative peace under Elizabeth. The battlement, the moat, the fortified gate, and the narrow window used for archery or firearms generally disappeared in favor of handsome gardens and terraces. At the lower end of the social scale, the agricultural laborers who constituted the great mass of the English population were generally poor, malnourished, and uneducated, but they seem to have enjoyed greater physical

Tudor mansions were often splendid, with impressive gardens and terraces. Shown here ts Old Moreton Hall, in Cheshire, built in 1559.

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security than did their ancestors in the fifteenth century, and no longer needed to bring their cows, pigs, and poultry into

their dwellings at night in order to protect them from thieves.

City houses, of which many exist today, were often large and imposing structures, three or four stories in height, and framed usually of strong oak with the walls filled in with brick and plaster. Although the frontage on the streets of London was usually narrow, many houses had trees and handsome gardens at the rear. Of course London also had its plentiful share of tenements for the urban poor. With the finer houses owned by the fortunate elite came features of privacy that had been virtually unknown to previous generations. Life in the household of a medieval lord had generally focused on the great hall, which could serve variously as the kitchen, dining hall, and sitting room for the entire family and its retainers. The men drank in the hall in the evenings and slept there at night. The new dwellings of prosperous Elizabethans, on the other hand, featured private chambers into which the family and the chief guests could retire. The Elizabethans built well. Not only do we still admire their houses, but also we can see from their oriel windows and stained glass, their broad staircases, their jewels, and their costumes that they treasured the new beauty of their lives made possible by the culture of the Renaissance. Although the graphic and plastic arts did not thrive in England to the same extent as in Italy, France, and the Low Countries, England made lasting achievements in architecture, as well as in music, drama, and all forms of literature.

The Political and Religious Background England under the Tudors suffered from almost unceasing religious conflict. The battle over religion affected every aspect of life and none more so than politics. At the very beginning of the Tudor reign, to be sure, England’s problem was not religious but dynastic. Henry VII, the first of the Tudor kings, brought an end to the devastating civil wars of the fifteenth century by his overthrow of Richard III at the battle of Bosworth Field in 1485. The civil wars thus ended were the so-called Wars of the Roses, between the Lancastrian House of Henry VI (symbolized by the red rose) and the Yorkist House of Edward IV (symbolized by the white rose). Shakespeare chose these eventful struggles as the subject for his first series of English history plays, from Henry V1 in three parts to Richard III. The House of Lancaster drew its title from John of Gaunt, Duke of Lancaster, father of Henry IV and great-grandfather of Henry VI; the House of York drew its title from'Edmund Langley, Duke of York, great-grandiather of Edward IV and Richard Ill. Because John of Gaunt and Edmund Langley had been brothers, virtually all the noble contestants in this War of the Roses were cousins of one another, caught in a remorseless dynastic struggle for

control of the English crown. Many of them lost their lives in the fighting. By 1485, England was exhausted from civil conflict. Although Henry VII’s own dynastic claim to the throne was weak, he managed to suppress factional opposition and to give England the respite from war so desperately needed. His son, Henry VIII, inherited a throne in 1509 that was more secure than it had been in nearly a century.

Henry VIIl’s notorious marital difficulties, however, soon brought an end to dynastic security and civil accord. Moreover, religious conflict within the Catholic Church was growing to the extent that a break with Rome appeared inevitable. Henry’s marriage troubles precipitated that momentous event. Because he divorced his first wife, Katharine of Aragon, in 1530 without the consent of Rome, he was excommunicated by the Pope. His response in 1534 was to have himself proclaimed ‘Protector and only Supreme Head of the Church and Clergy of England.’”” This decisive act signaled the beginning of the Reformation in England, not many years after Martin Luther’s momentous break with the Papacy in 1517 and the consequent beginning of Lutheran Protestantism on the Continent. In England, Henry’s act of defiance split the Church and the nation. Many persons chose Sir Thomas More’s path of martyrdom rather than submit to Henry’s new title as supreme head of the English church. Henry's later years did witness a period of retrenchment in religion, after the downfall of Thomas Cromwell in 1540, and indeed Henry’s break with Rome had had its origin in political and marital strife rather than in matters of dogma and liturgy. Nevertheless, the establishment of an Anglican church was now an accomplished fact. The accession of Henry’s ten-year-old son Edward VI in 1547 gave reformers an opportunity to bring about rapid changes in English Protestantism. Archbishop Cranmer’s forty-two articles of religion (1551) and his prayer book laid the basis for the Anglican Church of the sixteenth century. The death of the sickly Edward VI in 1553 brought with it an intense crisis in religious politics and a temporary reversal of England’s religious orientation. The Duke of Northumberland, Protector and virtual ruler of England in Edward's last years, attempted to secure a Protestant succession and his own power by marrying his son to Lady Jane Grey, a granddaughter of Henry VII, whom Edward had named heir to the,throne, but the proclamation of Lady Jane as queen ended in failure. She was executed, as were her husband and father-in-law. For five years, England returned to Catholicism under the rule of Edward’s elder sister Mary, daughter of the Catholic Queen Katharine of Aragon. The crisis accompanying such changes of government during this midcentury period was greatly exacerbated by the fact that all three of Henry VIII's living children were considered illegitimate by one faction or another of the English people. In Protestant eyes, Mary was the daughter of the divorced Queen Katharine, whose marriage to Henry had never been valid because she had previously been the spouse of Henry

GENERAL

INTRODUCTION

The Knights of the Garter belonged to the highest order of knighthood; many were influential courtiers and favorites of Queen Elizabeth. A masterful politician, Elizabeth remained unmarried throughout her life. A marriage would have upset the political balance and

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would have committed her to one foreign nation or to one constituency at home.

VIII's older brother Arthur. This Arthur had died at a young age, in 1502, shortly after his state marriage to the Spanish princess. If, as the Protestants insisted, Arthur had consummated the marriage, then Katharine’s subsequent union with her deceased husband’s brother was invalid, and Henry was free, instead, to marry Anne Boleyn—the mother-to-be of Elizabeth. In Catholic eyes, however, both Elizabeth and her brother Edward VI (son of Jane Seymour, Henry VIIl’s third wife) were the bastard issue of Henry’s bigamous marriages; Henry’s one and only true marriage in the Catholic faith was that to Katharine of Aragon. Edward and Elizabeth were regarded by many Catholics, at home and abroad, not only as illegitimate children, but also as illegitimate rulers, to be

disobeyed and even overthrown by force. Thus, dynastic and marital conflicts became matters of grave political

consequence.

Because of these struggles, Elizabeth’s accession to the throne in 1558 remained an uncertainty until the last

moment. Once she actually became ruler, England returned

once more to the Protestant faith. Even then, tact and moderation were required to prevent open religious war. Elizabeth’s genius at compromise prompted her to seek a

middle position for her church, one that combined an

episcopal form of church government (owing no allegiance to the Pope) with an essentially traditional form of liturgy and dogma. As much as was practicable, she left matters up to

individual conscience; she drew the line, however, where matters of conscience tended to “exceed their bounds and grow to be matter of faction.” In practice, this meant that she did not tolerate avowed Catholics on the religious right or Brownists and Unitarians (who denied the doctrine of the Trinity) on the religious left. The foundation for this so-called Elizabethan compromise was the thirty-nine articles, adopted in 1563 and based in many respects upon Cranmer’s forty-two articles of 1551. The compromise did not please everyone, of course, but it did achieve a remarkable degree of consensus during Elizabeth’s long reign. Queen Elizabeth and Tudor Absolutism Elizabeth had to cope with a religiously divided nation and with extremists of both right and left who wished her downfall. She was a woman, in an age openly skeptical of women’s ability or right to rule. Her success in dealing with such formidable odds was in large measure the result of her personal style as a monarch. Her combination of imperious will and femininity and her brilliant handling of her many contending male admirers have become legendary. She remained unmarried throughout her life, in part, at least, because marriage would have upset the delicate balance she maintained among rival groups, both foreign and domestic. Marriage would have committed her irretrievably

LIFE IN SHAKESPEARE S ENGLAND

to either one foreign nation or to one constituency at home. She chose instead to bestow her favor on certain courtiers,

notably Robert Dudley (whom she elevated to be the Earl of

Leicester) and, after Leicester’s death in 1588, Robert Devereux, second Earl of Essex. Her relationship with these men, despite her partiality to them, was marked by her outbursts of tempestuous jealousy. In addition, she relied on the staid counsel of her hard-working ministers: Lord Burghley, Sir Francis Walsingham, Burghley’s son Robert Cecil, and a few others. In her personal style as monarch, Elizabeth availed herself of the theory of absolute supremacy. Under all the Tudors, England was nominally at least an absolute monarchy in an age when many of England’s greatest rivals— France, Spain, the Holy Roman Empire—were also under absolutist rule. The rise of absolutism throughout Renaissance Europe was the result of an increase of centralized national power and a corresponding decrease in autonomous baronial influence. Henry VII's strong assertion of his royal authority at the expense of the feudal lords corresponded roughly in time with the ascendancy of Francis | of France (1515) and Charles V of the Holy Roman Empire (1519). Yet England had long enjoyed a tradition of rule by consensus. When Elizabeth came to the throne, England was already in some ways a “limited” monarchy. Parliament, and especially the members of the House of Commons, claimed prerogatives

of their own and were steadily gaining in both experience and power. In the mid-1560s, for example, the Commons made repeated attempts to use parliamentary tax-levying authority as a means of obliging Elizabeth to name a Protestant successor to the throne. The attempt, despite its failure to achieve its immediate goal, was significant; the Commons had shown that they were a force to be reckoned with. Even though Elizabeth made skillful rhetorical use of the theory of absolutism, portraying herself as God’s appointed deputy on earth, her idea of absolutism should not be confused with despotism. To be sure, Elizabeth learned to avoid Parliamentary interference in her affairs whenever possible; there were only thirteen sessions of Parliament in her forty-five years of rule. Still, Parliament claimed the right to establish law and to levy taxes on which the monarchy had to depend. Elizabeth needed all her considerable diplomatic skills in dealing with her Parliaments and with the English people, who were self-reliant and proud of their reputation for independence. Elizabeth had more direct authority over her Privy Council, since she could appoint its members herself, yet even here she consulted faithfully with them on virtually everything she did. Nor were her closest advisers reluctant to offer her advice. Many vocal leaders in her government, including Walsingham and Leicester, urged the Queen during the 1570s and 1580s to undertake a more active military role on the Continent against the

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Catholic powers. So did her later favorite, the Earl of Essex. With remarkable tact, she managed to retain the loyalty of her militant and sometimes exasperated counselors, and yet to keep England out of war with Spain until that country actually launched an invasion attempt in 1588 (the Great Armada). Catholic Opposition During her early years, Elizabeth sought through her religious compromise to ease the divisions of her kingdom and attempted to placate her enemies abroad (notably Philip of Spain) rather than involve England in a costly war. For about twelve years, while England’s economy gained much-needed strength, this policy of temporizing succeeded. Yet Elizabeth’s more extreme Catholic opponents at home and abroad could never be reconciled to the daughter of that Protestant “whore,” Anne Boleyn. England’s period of relative accommodation came to an end in 1569 and 1570, with Catholic uprisings in the north and with Papal excommunication of the English Queen. As a declared heretic, Elizabeth’s very life was in danger; her Catholic subjects were encouraged by Rome to disobey her and to seek means for her violent overthrow.

Conspirators did, in fact, make attempts on the Queen’s life, notably in the so-called Babington conspiracy of 1586. This plot, brought to light by Secretary of State Walsingham, sought to place Mary Queen of Scots on the English throne in Elizabeth’s stead. Mary was Elizabeth’s kinswoman; Mary’s grandmother, sister to Henry Vill, had been married to James IV of Scotland. So long as Elizabeth remained childless, Mary was a prominent heir to the English throne. Catholics pinned their hopes on her succession, by force if necessary; Protestant leaders urged Elizabeth to marry and give birth to a Protestant heir or at least to name a Protestant successor. Mary had abdicated the Scottish throne in 1567 after the sensational murder of her Catholic counselor David Rizzio, the murder of Mary’s husband, the Earl of Darnley (in which Mary was widely suspected to have taken part), and her subsequent marriage to Darnley’s slayer, the Earl of Bothwell. Taking refuge in England, Mary remained a political prisoner and the inevitable focus of Catholic plotting against Elizabeth for approximately two decades. She, in fact, assented in writing to Babington’s plot against Elizabeth. All that long while Elizabeth resisted demands from her Protestant advisers that she execute her kinswoman and thereby end a constant threat to the throne; Elizabeth was reluctant to kill a fellow monarch and agreed fully with

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Along with the defeat of the Spanish Armada in 1588, the 1587 beheading of Mary, Queen of Scots, shown holding a crucifix and surrounded by official witnesses in this contemporary illustration, virtually ended any serious Catholic challenge to Elizabeth's throne.

LIFE IN SHAKESPEARE S ENGLAND

Mary’s son James that ‘‘anointing by God cannot be defiled

by man.”” Nonetheless, Mary’s clear involvement in the Babington conspiracy led to the so-called Bond of Associa-

tion, in which thousands of Englishmen pledged to prevent the succession of any person plotting Elizabeth’s death, and then at last to Mary’s execution in 1587. By that time, Spain was mounting an invasion against England, the Great Armada of 1588, and Elizabeth’s temporizing tactics were no longer feasible. The long years of peace had done their work, however, and England was considerably stronger and more resolute than thirty years before. With Elizabeth's tacit approval, Sir Francis Drake and other naval commanders carried the fighting to Spain’s very shore and to her American colonies. The war with Spain continued from 1588 until about 1597. Elizabeth’s great compromise dealt not only with the political dangers of opposition but also with the more central religious issues. England was sorely divided, as was much of Europe, on such matters as whether Christ’s body was transubstantially present in the Mass, as Catholic faith maintained; whether good works were efficacious in salvation or whether people could be saved by God's grace alone, as the Reformers insisted; whether a portion of humankind was predeterminately damned, as the Calvinists believed; and the like. During the turbulent years of the Reformation, many people died for their faith. In general, the Elizabethan compromise insisted on allegiance to the English throne, church, and ecclesiastical hierarchy but allowed some latitude in matters of faith. The degree of elaboration in vestments and ritual was also an explosive issue on which the English church attempted to steer a central and pragmatic course, although conflicts inevitably arose within the church itself. Protestant Opposition The threat from the religious left was no less worrisome than that from the right. Protestant reformers had experienced their first taste of power at the time of Henry VIII’s break with Rome in 1534. Under Thomas Cromwell, Cardinal Wolsey’s successor as the King’s chief minister, the monasteries were suppressed and William Tyndale’s English Bible was authorized. The execution of Cromwell introduced a period of conservative retrenchment, but the accession of Edward VI in 1547 brought reform once more into prominence. Thereafter, Mary’s Catholic reign drove most of the reformers into exile on the Continent. When they returned after 1558, many had been made more radical by their continental experience. To be sure, ‘reform covered a wide spectrum, from moderation to radicalism. Some preferred to work within the existing hierarchical structure of church and state, whereas others were religious separatists. Only the more radical groups, such as the Brownists and Anabaptists,

endorsed ideas of equality and communal living. The abusive epithet “Puritan,” applied indiscriminately to all reformers, tended to obscure the wide range of difference in the reform movement. The reformers were, to some extent, united by a dislike for formal ritual and ecclesiastical garments, by a preference for a simple and pious manner of living, and by a belief in the literal word of the Bible rather than the patristic teachings of the church. They stressed personal responsibility in religion and were Calvinist in their emphasis on human depravity and the need for grace through election. Yet at first only the more radical were involved in a movement to establish an entirely separate church. The radicals on the religious left, even if they represented at first only a minority of the reformers, posed a serious threat to Elizabeth’s government. Their program bore an ironic resemblance to that of the Catholic opposition on the religious right. In their theoretical writings, the extreme reformers justified overthrow of what they considered to be tyrannical rule, just as Catholic spokesmen had absolved Elizabeth’s subjects of obedience to her on the grounds that she was illegitimate. Both extremes appealed to disobedience in the name of a higher religious law. Among the . reforming theoreticians was John Ponet, whose Short Trea-

tise of Politic Power (1556) argued that a monarch is subject to a social contract and must rule according to laws that are equally subscribed to by Parliament, the clergy, and the people. The Doctrine of Passive Obedience

Elizabeth’s government countered such assaults on_ its authority, from both the right and the left, with many arguments, of which perhaps the most central was that of passive obedience. This doctrine condemned rebellion under virtually all circumstances. Its basic assumption was that the king or queen is God’s appointed deputy on earth. To depose such a monarch must therefore be an act of disobedience against Gad’s will. Since God is all-wise and all-powerful, his placing of an evil ruler in power must proceed from some divine intention, such as the punishment of a wayward people. Rebellion against God’s “scourge’”, merely displays further disobedience to God’s will. A people suffering under a tyrant must wait patiently for God to remove the burden, which he will surely do when the proper time arrives. This doctrine was included in the official book of homilies of the Church of England and was read from the pulpit at regular intervals. The best-known such homily, entitled Against Disobedience and Willful Rebellion, had been preceded by such tracts as William Tyndale’s Obedience of a Christian Man (1528); a book of homilies, published in 1547, including an ‘Exhortation Concerning Good Order and Obedience”; Thomas Cranmer’s Notes for a Sermon

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on the Rebellion of 1549; and Hugh Latimer’s Sermon on the Lord’s Prayer (1552). Shakespeare heard such homilies often, and he expresses their ideas through several of his characters, such as John of Gaunt and the Bishop of Carlisle in Richard I! (1.2.37—41, 4.1.115—150). This is not to say that he endorses such ideas, for he sets them in dramatic opposition to other and more heterodox concepts. We can say, nevertheless, that Shakespeare’s audience would have recognized in Gaunt’s speeches a clear expression of a familiar and officially correct position. The Political Ideas of Machiavelli

The orthodoxies of the Elizabethan establishment were under attack, not only from the Catholic right and the Protestant left, but also from a new and revolutionary point of view that set aside all criteria of religious morality. Tudor defense of order was based, as we have seen, on the assumption that the monarch rules in accord with a divine plan, a higher Law of Nature to which every just ruler is attuned. Political morality must be at one with religious morality. Catholic and Protestant critiques of the Tudor establishment made similar assumptions, even though they appealed to revolution in the name of that religious morality. To Niccolé Machiavelli, on the other hand, politics was a manipulative science best governed by the dictates of social expediency. His philosophy did not, as many accusingly charged, lead necessarily to the cynical promotion of mere self-interest. Nevertheless, he did argue, in his Discourses and The Prince, that survival and political stability are the first obligations of any ruler. Machiavelli regarded religion as a tool of the enlightened ruler rather than as a morally absolute guide. He extolled in his ideal leader the quality of virtu—a_ mixture of cunning and forcefulness. He saw history as a subject offering practical lessons in the kind of pragmatic statecraft he proposed. Machiavelli was a hated name in England, and most of his works were never available in an English printed edition during Shakespeare’s lifetime. (The Florentine History was translated in 1595.) Nevertheless,

his writings were avail-

able in Italian, French, and Latin editions, and in manuscript English translations. His ideas certainly had a profound impact on the England of the 1590s. Marlowe caricatures the Italian writer in his The Jew of Malta, but he clearly was fascinated by what Machiavelli had to say. Shakespeare, too, reveals a complex awareness. However much he may lampoon the Machiavellian type of conscienceless villain in Richard II, he shows us more plausible pragmatists in Richard If and 1 Henry IV. Conservative theories of the divine right of kings are set in debate with the more heterodox ambitions of Henry Bolingbroke (who then adopts the most orthodox of political vocabularies once he is king). Bolingbroke is not a very attractive figure, but he does succeed politically where Richard has failed.

Shakespeare thus reveals himself as less a defender of the established order than as a great dramatist able to give sympathetic expression to the aspirations of all sides in a tense political struggle. His history plays have been variously interpreted as defenses of monarchy and as subtle pleas for

rebellion, but the consensus today is that the plays use

political conflict as a way of probing the motivations of social behavior. To be sure, the plays do stress the painful consequences of disorder and present, on the whole, an admiring view of monarchy (especially in Henry V), despite the manifest limitations of that institution. Certainly, we can sense that Shakespeare’s history plays were written for a generation of Englishmen who had experienced political crisis and who could perceive issues of statecraft in Shakespeare's plays that were relevant to England’s struggles in the 1580s and the 1590s. The play of King John, for example, deals with a king whose uncertain claim to the throne is challenged by France and the Papacy in the name of John’s nephew, Arthur; Elizabeth faced a similar situation in her dilemma over her kinswoman, Mary Queen of Scots. Elizabeth also bitterly acknowledged the cogency of a popular analogy comparing her reign with that of King Richard Il, and, when Shakespeare’s play about Henry IV’s overthrow of Richard was apparently revived for political purposes shortly before the Earl of Essex’s abortive rebellion against Elizabeth in 1601, Shakespeare’s acting company had some explaining to do to the authorities (see Introduction to Richard II). Nevertheless, Shakespeare’s attitudes toward the issues of his own day‘are ultimately unknowable and unimportant, since his main concern seems to have been with the dramatization of political conflict, rather than with the urging of a controversial position. Shakespeare on Religion Our impressions of Shakespeare’s personal sympathies in religion are similarly obscured by his refusal to use his art for polemical purposes. Although various attempts have been made to prove him a Catholic sympathizer or a loyal moderate Anglican, we see in his plays a spectrum of religious attitudes portrayed with an extraordinary range of insight. In matters of doctrine, his characters are at various

times acquainted with Catholic theology (like the Ghost of Hamlet's father) or with the controversy concerning salvation by faith or good works (see Measure for Measure, 1.2.24—25), but a consistent polemical bias is absent. Some Catholic prelates are schemers, like Pandulph in King John. Ordinarily, however, Shakespeare’s satirical digs at ecclesiastical pomposity and hypocrisy have little to do with the Catholic question. Cardinal Beaufort in 7 Henry VI is a political maneuverer, but so are many of his secular rivals. Cardinal Wolsey in Henry VIII is motivated by personal ambition, rather than by any sinister conspiracy of the international church. Many of Shakespeare’s nominally

LIFE IN SHAKESPEARE’ S ENGLAND

Catholic clerics, such as Friar Laurence in Romeo and Juliet or Friar Francis in Much Ado About Nothing, are gentle and well-intentioned people, even if occasionally bumbling. We can certainly say that Shakespeare consistently avoids the chauvinistic anti-Catholic baiting so often found in the plays of his contemporaries. The same avoidance of extremes can be seen in his portrayal of Protestant reformers, though the instances in this case are few. Malvolio in Twelfth Night is fleetingly compared with a ‘Puritan’ (2.3.139—146), although

Shakespeare insists that no extensive analogy can be made.

Angelo in Measure for Measure is sometimes thought to be a critical portrait of the Puritan temperament. Even if this were so, Shakespeare’s satire is extremely indirect compared with the lampoons written by his contemporaries Ben Jonson and Thomas Dekker. Stuart Absolutism Queen Elizabeth's successor, James | of the Scottish house of Stuarts, reigned from 1603 to 1625. Like Elizabeth, he was a strong believer in the divine right of kings. The English people did not take to this northerner, with his eccentric personal habits, however, in part because of long-standing enmities between England and Scotland. As a result, James was less successful in dealing with the heterogeneous and antagonistic forces that Elizabeth had kept in precarious balance. At the Hampton Court Conference of 1604, relations quickly broke down between James and the Puritan wing of the Church, so that even its more moderate adherents joined forces with the separatists. James had similar difficulties with an increasingly radical group in the House of Commons. In the widening rift between the absolutists and those who defended the supremacy of Parliament, James’ court moved toward the right. Catholic sympathies at court became common. Civil war was still a long way off and by no means inevitable; the beheading of King Charles | lames’ son) would not occur until 1649. Still, throughout James’ reign, the estrangement between the right and the left was becoming more and more uncomfortable. The infamous Gunpowder Plot of 1605, in which Guy Fawkes and other Catholic conspirators were accused of having plotted to blow up the houses of Parliament, raised hysteria to a new intensity. Penal laws against papists were harshly enforced. The Parliament of 1614 included in its membership John Pym, Thomas Wentworth, and John Eliot—men who were to become turbulent spokesmen against taxes imposed without Parliamentary grant, imprisonment without the stating of specific criminal charges, and other purported abuses of royal power. The polarization of English society naturally affected the London theaters. Popular London audiences (often Puritan in sympathy) eventually grew disaffected with the stage, while even the popular acting companies came under the increasing dom-

ination of the court. Shakespeare’s late plays reflect the increasing influence of a courtly audience.

The Intellectual Background Renaissance Cosmology In learning, as in politics and religion, Shakespeare's England was a time of conflict and excitement. Medieval ideas of a hierarchical and ordered creation were under attack but were still widely prevalent, and were used to justify a hierarchical order in society itself. According to the so-called Ptolemaic system of the universe, formulated by Ptolemy of Alexandria in the second century a.o., the earth stood at the center of creation. Around it moved, in nine concentric spheres, the heavenly bodies of the visible universe, in order as follows (from the earth outward): the moon, Mercury, Venus, the sun, Mars, Jupiter, Saturn, the fixed stars on a single plane, and lastly the primum mobile, imparting motion to the whole system. (See the accompanying illustration.) Some commentators proposed alternate arrangements or speculated as to the existence of one or two additional spheres, in particular a “crystalline sphere” between the fixed stars and the primum mobile. These additional spheres were needed to cope with matters not adequately explained in Ptolemaic astronomy, such as the precession of the equinoxes. More troublesomely, the seemingly erratic retrograde motion of the planets— that is, the refusal of Mars and other planets to move around the earth in steady orbit—called forth increasingly ingenious theories, such as Tycho Brahe’s scheme of epicycles. Still, the conservative appeal of the earth-centered cosmos remained very strong. How could one suppose that the earth was not at the center of the universe? The primum mobile was thought to turn the entire universe around the earth once every twenty-four hours. Simultaneously, the individual heavenly bodies moved more slowly around the earth on their individual spheres, constantly changing position with respect to the fixed stars. The moon, being the only heavenly body that seemed subject to change in its monthly waxing and waning, was thought to represent the boundary between the unchanging universe and the incessantly changing world. Beneath the moon, in the “sublunary” sphere, all creation was subject to death as a result of Adam’s fall from grace; beyond the moon lay perfection. Hell was imagined to exist deep within the earth, as in Dante’s Inferno, or else outside the primum mobile and far below the created universe in the realm of chaos, as in Milton’s Paradise Lost. Heaven or the Empyrean stood, according to most Ptolemaic systems, at the top of the universe. Between heaven and earth dwelled the nine angelic orders, each associated with one of the nine concentric spheres. According to a work attributed to Dionysius the Areopagite, On the

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Heavenly Hierarchy (fifth century a.p.), the nine angelic orders consisted of three hierarchies. Closest to God were

the contemplative orders of Seraphim, Cherubim, and Thrones; next, the intermediate orders of Dominions, Powers, and Virtues; and finally the active orders of Principalities, Archangels, and Angels. These last served as God’s messengers and intervened from time to time in the affairs of mortals. Ordered life among humans, although manifestly imperfect when compared with the eternal bliss

BY PERMISSION OF THE HUNTINGTON LIBRARY, SAN MARINO, CALIFORNIA

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of the angelic orders, still modeled itself on that platonic idea of perfect harmony. Thus the state, the church, and the family all (however expression Hooker's

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1597).

resembled one distantly) the of the order of Of the Laws

another because they resembled kingdom of God. An eloquent creation is to be found in Richard of Ecclesiastical Polity (1594—

The devils of hell were fallen angels, with Satan as their leader. Such evil spirits might assume any number of shapes, such as demons, goblins, wizards, or witches. Believers in evil spirits generally made no distinction between orthodox Christian explanations of evil and the more primitive folklore of witchcraft. Belief in witchcraft was widespread indeed; King James | took the matter very seriously. So did Reginald Scot’s The Discovery of Witchcraft (1584), though its author also attempted to confute what he regarded as ignorant superstition and charlatanism. Throughout Shakespeare’s lifetime, belief and skepticism about such matters existed side by side. A similar ambiguity pertained_to belief in the Ptolemaic universe itself. All major poets of the Renaissance, including Shakespeare, Spenser, and Milton (who completed Paradise Lost after 1660), represented the universe in cosmic terms essentially as described by Ptolemy. Yet Nicolaus Copernicus’ revolutionary theory of a sun-centered solar system (De revolutionibus orbium coelestium, published on the Continent in 1543) and the discovery of a new star in Cassiopeia in 1572 stimulated much new thought. Galileo

Galilei, born in the same year as Shakespeare (1564),

published in 1610 the results of his telescopic examinations of the moon, thereby further confirming Copernicus’ hypothesis. Although the news of Galileo’s astounding discov-

ery came too late to affect any but the latest of Shakespeare’s

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plays, a sense of excitement and dislocation was apparent throughout most of the years of his writing career. Thomas

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Nashe, in 1595, referred familiarly to Copernicus as the

Ptolemy's earth-centered system of the universe (top) was challenged by the sun-centered system of Copernicus (bottom) with the publishing of De revolutionibus orbium coelestium in 1543. Shakespeare, like other major poets of the English Renaissance, poetically represents the universe in cosmic terms as described by

Ptolemy, but also reflects uncertainties generated by the new

cosmology.

author “who held that the sun remains immobile in the center of the world, and that the earth is moved about the sun’’ (Nashe, Works, ed. R. B. McKerrow, 1904-1910, 3.94). John Donne lamented in 1611—1612 that the “new philosophy” (i.e., the new science) “calls all in doubt.” Skeptical uncertainty about the cosmos was on the rise. The poetic affirmations in Renaissance art of traditional ideas of the cosmos can best be understood as a response to uncertainty—a statement of faith in an age of increasing doubt.

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Alchemy and Medicine In all areas of Renaissance learning, the new and the old science were confusedly juxtaposed. Alchemy, for example, made important contributions to learning, despite its superstitious character. Its chief goal was the transformation of base metals into gold, on the assumption that all metals were ranked on a hierarchical scale and could be raised from lower to higher positions on that scale by means of certain alchemical techniques. Other aims of alchemy included the discovery of a universal cure for diseases and of a means for preserving life indefinitely. Such aims encouraged quackery and prompted various exposés, such as Chaucer's “The Canon’s Yeoman’s Tale” (late fourteenth century) and Jonson’s The Alchemist (1610). Yet many of the procedures used in alchemy were essentially chemical procedures, and the science of chemistry received a valuable impetus from constant experimentation. Queen Elizabeth was seriously interested in alchemy throughout her life. In physics, medicine, and psychology, as well, older concepts vied with new. Traditional learning apportioned all physical matter into four elements: earth, air, fire, and water. Each of these was thought to be a different combination of the four “qualities” of the universe: hot, cold, moist, and dry. Earth combined cold and dry; air, hot and moist; fire, hot and dry; and water, cold and moist. Earth and water were the baser or lower elements, confined to the physical world; fire and air were aspiring elements, tending upward. Humans, as a microcosm of the larger universe, contained in themselves the four elements. The individual’s temperament, or “humor’ or “complexion,” depended on which “humor’ predominated in that person. The four humors in humans corresponded to the four elements of physical matter. The blood was hot and moist, like air; yellow bile or choler was hot and dry, like fire; phlegm was cold and moist, like water; and black bile was cold and dry, like earth. A predominance of blood in an individual created a sanguine or cheerful temperament (or humor), yellow bile produced a choleric or irascible temperament, phlegm produced a phlegmatic or stolid temperament, and black bile produced a melancholic temperament. Diet could affect the balance among these humors, since an excess of a particular food would stimulate overproduction of one humor. The stomach and the liver, which converted food into humors, were regarded as the seat of human passions. The spleen was thought to be the seat of laughter, sudden impulse, or caprice, and also melancholy. (Hotspur, in 7 Henry IV, is said to be “governed by a spleen,” 5.2.19.) Strong emotional reactions could be explained in terms of the physiology of the humors: in anger, the blood rushed to the head and thereby produced a flush of red color and staring eyes; in fear, the blood migrated to the heart and thus left the face and liver pale, and so on. Sighs supposedly cost the heart a drop of blood, while wine could refortify it (as

Falstaff insists in 2 Henry IV, 4.3.90—123). The signs of

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Alchemists employed relatively sophisticated equipment in their futile search for the ‘‘philosopher's stone,” a reputed substance supposed to possess the property of changing other metals into gold and silver. youth were warmth and moisture, as in Desdemona’s “hot and moist’ hand (Othello, 3.4.39); those of age were “a moist eye, a dry hand, a yellow cheek, a white beard, a decreasing leg, an increasing belly” (2 Henry IV, 1.2.179181). A common remedy for illness was to let blood and thereby purge the body of unwanted humors. The name traditionally associated with such theories was that of Galen, the most celebrated of ancient writers on medicine (c. 130 a.p.). A more revolutionary name was that of Paracelsus, a famous German physician (c. 1493-1541) who attacked the Aristotelianism of his time and urged a more unfettered pragmatic research into pharmacy and medicine. Such experimentalism bore fruit in the anatomical research of Vesalius and in William Harvey’s investigations of the circulation of the blood (c. 1616). Nevertheless, the practice of medicine in Renaissance times remained under the influence of the “humors” theory until quite late, and its ideas are to be found throughout Shakespeare's writings. Learning In learning generally, and in theories of education, new ideas conflicted with old. The curriculum of schools and

colleges in the Renaissance was inherited largely from the

Middle Ages and displayed many traditional characteristics. The curriculum consisted of the seven Liberal Arts: a lower division, called the trivium, comprised of grammar,

rheto-

ric, and logic, and an upper division, called the quadrivium, comprised of arithmetic, geometry, astronomy, and music. In addition, there were the philosophical studies associated chiefly with Aristotle: natural philosophy, ethics, and metaphysics. Aristotle’s name had a towering influence in medieval times and remained important to the Renaissance as well.

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(1515—1572), defiantly proclaiming that “everything that Aristotle taught is false,” argued for rules of logic as derived

The four humors of black bile, blood, yellow bile or choler, and

phlegm, as shown in this illustration from an illuminated manuscript, were believed to govern the human personality by producing a disposition toward melancholic, sanguine, choleric, or phlegmatic temperaments. Even among his Renaissance admirers, however, Aristotle proved more compelling in practical matters than in the abstract scholastic reasoning associated with his name in the Middle Ages. The Italian Aristotelians whose work made its way into England were interested primarily in the science of human behavior. Aristotelian ethics was for them a practical subject, telling people how to live usefully and well and how to govern themselves politically. Rhetoric was the science of persuasion, enabling people to use eloquence for socially useful goals. Poetry was a kind of rhetoric, a language of persuasion which dramatists, too, might use for morally pragmatic ends. At the same time, new thinkers were daring to attack Aristotle by name as a symbol of traditional medieval thought. The attack was not always fair to Aristotle himself, whose work had been bent to the a priori purposes of much medieval scholasticism. Nevertheless, his name had assumed such symbolic importance that he had to be confronted directly. The Huguenot logician Petrus Ramus

from observation. He urged, for example, that his students learn about rhetoric from observing in detail Cicero’s effect on his listeners, rather than by the rote practice of syllogism. Actually, Ramus’ thought was less revolutionary in its concepts of logic than in the tremendous ferment of opinion caused by his iconoclastic teaching. A basic issue at stake in the anti-Aristotelian movement was that of traditional authority versus independent observation. How do people best acquire true knowledge— through the teachings of their predecessors or through their own discovery? The issue had profound implications for religious truth as well: should individuals heed the collective wisdom of the earthly church or read the Bible with their individual perceptions as their guide? Is “reason” an accretive wisdom handed down by authority or a quality of the individual soul? Obviously, a middle ground exists between the two extremes, and no new thinker of the Renaissance professed to abandon entirely the use of ancient authority. For men like Henricus Agrippa (1486— 1535) and Sir Francis Bacon (1561—1626), however, scholastic tradition had exerted its oppressive influence far too long. Authority needed to be examined critically and scientifically. Bacon, in his The Advancement of Learning (1605), fought against the blind acceptance of ancient wisdom and argued that “knowledge derived from Aristotle, and exempted from liberty of examination, will not rise again higher than the knowledge of Aristotle.” Sir Walter Ralegh and others joined in the excited new search for what human “reason” could discover when set free from scholastic restraint. Such belief in the perfectibility of human reason owed some of its inspiration to Italian Neoplatonic humanists like Giovanni Pico della Mirandola (1463-1494), who, in his Oration on the Dignity of Man, celebrated a human race ‘constrained

by no limits” in accordance with the potential of its own free

will. The new learning did not seem to trouble these men in their religious faith, although a tension between scientific observation and faith in miracles was to become plentifully evident in the seventeenth century. The Nature of Humankind

Medieval thought generally assigned to humankind a uniquely superior place in the order of creation on earth. That assumption of superiority rested on biblical and patristic teachings about the hierarchy of creation, in which humanity stood at the apex of physical creation nearest God and the angels. Humankind was thus supreme on earth in the so-called chain of being. Human reason, though subject to error because of sinfulness, enabled humans to aspire toward divinity.

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LIFE IN SHAKESPEARE’S

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alienation and loss. The rewards were great for those who found new faith in God’s infinite goodness, but the hazards of predestinate damnation were fearsome to those who were less sure of their spiritual welfare. Luther’s God was inscrutable, majestic, and infallible. Luther's God decreed salvation for the elect and damnation for all others, and his will could not be challenged or questioned. The individual was to blame for sin, even though God hardened the hearts of the reprobate. John Calvin (1509-1564) placed even greater stress on predestinate good and evil and insisted that the grace of salvation was founded on God's freely given mercy that humans could not possibly deserve. Salvation was God's to give or withhold as he wished; humans might not repine that in his incomprehensible wisdom God has “barred the door of life to those whom he has given over to damnation.” Faced with such a view of human spiritual destiny, the individual Christian’s lot was one of potential tragedy. The human sou! was a battleground of good and evil. Michel de Montaigne (1533-1592), Shakespeare’s great French contemporary, provided a very different and heterodox way of thinking about human imperfection. In his

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This guide, graphically setting forth the ideals to which every English gentlewoman and gentleman should aspire, illustrates the Renaissance concept that outward deportment and accomplishments should correctly and invariably mirror a

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promised eternal salvation through Christ’s atonement. Right reason, properly employed, could lead to the truths of revealed Christianity and thus give humankind a glimpse of the heavenly perfection one day to be ours. Renaissance Neoplatonism, as expounded, for example, in Castiglione’s The Courtier (translated by Sir Thomas Hoby, 1561), offered humanity a vision of a platonic ladder, extending from the perception of a woman’s beauty to the experiencing of God’s transcendent love. Protestant thought of the Renaissance did not wholly disagree with this formulation, but it did place a major new emphasis on human reprobation. The idea was not new, for Saint Augustine (354—430) had insisted on human depravity and our total dependence on God’s inscrutable grace, but, in the years of the Reformation, this theology took on a new urgency. Martin Luther (1483— 1540), by rejecting veneration of the Virgin Mary and the saints, and by taking away the sacraments of confession and penance, by which individual Christians could seek the institutional comforts of

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doomed by Adam’s fall to misery and death in this life but

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“Apology for Raymond Sebond” and other of his essays, Montaigne questioned the assumption of humanity’s superiority to the animal kingdom, and in doing so gave Shakespeare a fundamentally different way to consider the nature of humankind—a way that reflects itself, for example, in Hamlet's observations on humans as “quintessence of dust.” Montaigne stressed humans’ arrogance, vanity, and frailty. He was unconvinced of humanity’s purported moral superiority to the animals and argued that animals are no less endowed with a soul. Montaigne undermined, in other words, the hierarchy in which the human race was the unquestioned master of the physical world, just as Copernican science overturned the earth-centered cosmos and Machiavelli’s political system dismissed as an improbable fiction the divinely constituted hierarchy of the state. Montaigne’s very choice of the essay as his favorite literary form bespeaks his commitment to attempts and explorations, rather than to definite solutions. Montaigne was not alone in his skepticism about human nature; his ideas had much in common with Bernardino Telesio’s De Rerum Natura and with the writings of the Italian Giordano Bruno. Montaigne was followed in the seventeenth century by that overpowering iconoclast, Thomas Hobbes, who extended the concept of mechanical laws governing human society and human psychology. Hobbes postdates Shakespeare, to be sure, but one has only to consider lago’s philosophy of the assertive individual will (in Othello) or Edmund's contempt for his father Gloucester’s astrological pieties (in King Lear) to see the enormous impact on Shakespeare of the new heterodoxies of his age. Shakespeare makes us aware that skeptical thought can be used by dangerous men like lago, Edmund, and Richard Ill to promote their own villainies in a world no longer held together by the certitudes of traditional faith, but he also shows us the gullibility of some traditionalists and the abuses of power that can be perpetrated in the name of ancient and divine privilege by a king like Richard Il. Above all, Shakespeare delights in the play of mind among competing ideas, inviting us to wonder, for example, if Caliban in The Tempest is not invested with natural qualities that Prospero, his Christian colonizer, does not sufficiently understand, and whether some of the other supposedly civilized Europeans who come to Caliban’s island do not have a great deal to learn from its uncivilized beauty.

The Drama Before Shakespeare When William Shakespeare made his first acquaintance with the professions of acting and playwriting in the late 1580s, the English theater was already a flourishing institution with a long and complex history. In order to understand what opportunities it offered Shakespeare, we need to look

briefly at that history.

The Liturgical Drama

The sixth-century Catholic Church had been largely responsible for closing down the late Roman theater, with its bloody gladiatorial contests and its pervasive moral decadence. Thereafter, for about four centuries the theater officially did not exist in Western Europe. Paradoxically, it was the Church in the tenth century that sponsored the beginnings of a new dramatic form within the liturgy (the prescribed form of worship) of the Church itself. This dramatic activity perhaps began as an insertion into the regular service of a “trope” or musical composition designed to be sung antiphonally by members of a monastic community. The earliest of these may have been composed for Easter morning, at the supremely important moment of Christ’s resurrection. The Mass itself had long displayed semidramatic characteristics, and the first Easter expansions must not have seemed particularly revolutionary to anyone involved. The simplest of the early tropes (though perhaps not the first), composed at St. Gall in Switzerland some time early in the tenth century, consists merely of a chanted interrogation, ‘““Quem quaeritis in sepulchro, Christicolaee’’ (“Whom do you seek in the sepulcher, O followers of Christ?’), and a chanted response, “Jesum Nazarenum crucifixum, o caelicolae”’ (“Jesus of Nazareth who was

crucified, O heaven-dwellers”’), followed by an announcement that Christ is risen as he had predicted. From other early texts of this sort, we can guess that this simple antiphon was accompanied by some stylized semidramatic assignment of roles to members of the religious community as the three Marys visiting Christ’s tomb and as the angels guarding the tomb. At any rate, tenth-century tropes of Easter soon included use of simple costume, physical movement toward the tomb, and appropriate gestures. Other actions were appropriate to such a dramatic representation of the Resurrection: the visit of the disciples to the sepulchre, the appearance of Christ as a gardener to Mary Magdalene, and his appearance to the disciples on the

road to Emmaus.

Moreover, other seasons of the year

afforded similar opportunities, especially Christmas; the créche was already a venerable custom, and Christmas tropes may have originated as early as Easter tropes or possibly even earlier. In any event, Christmas liturgical dramatic activity grew apace, perhaps more rapidly than at Easter because of the sacred inhibitions associated with the Resurrection. By the

twelfth century, Christmas liturgical drama had become

lengthy and complex, including not only the visit of the shepherds and the Magi but also the slaughter of the innocents and the flight into Egypt. Simultaneously, liturgical plays were developed for other festivals in the liturgical calendar. Some were in the vernacular: by the end of the twelfth century, an Anglo-Norman poet had written a play of Adam featuring the creation of humankind, the expulsion from the garden of Eden, the slaughter of Abel by Cain, and

THE

a lengthy procession of prophets announcing the advent of Christ. Such early vernacular plays may well have influenced the development of Latin liturgical drama. The twelfth century also saw a play about Daniel in the lions’ den, various Saint Nicholas plays in which that popular saint performed miracles, a play at Tegernsee about the Antichrist, a play about the conversion of Saint Paul, and many others. In other words, by 1200 or thereabouts, the liturgical drama had produced plays of considerable length and complexity for numerous religious festivals throughout the year. Montecassino in Italy had a complex Passion play by this date. The late twelfth or early thirteenth century saw the performance at Benediktbeuren in Germany of the impressive ‘Carmina Burana” plays for Easter and Christmas. The Corpus Christi Play

BEFORE

XXxi

SHAKESPEARE

history of the world, compilations of this sort do not seem generally to have taken place. Liturgical plays continued to be performed individually at appropriate times in the Church calendar. Most religious communities owned and produced one or two such plays year after year, but no communities owned or produced very many such plays. The plays were numerous but scattered throughout Western Europe. What appears to have happened instead of the forming of liturgical plays into a cycle is that the various craft guilds of certain towns, especially in England, banded together with the ecclesiastical authorities to produce a summer festival that would be both civic and religious in nature. One impetus was the institution of the feast of Corpus Christi in the early fourteenth century. The feast was designed to honor the Eucharist (the sacrament of the Lord’s Supper) in a joyous mood, uninhibited by the somber reflections on Christ’s crucifixion that are appropriate to Passion Week. The date chosen, the Thursday after Trinity Sunday, came

VICTORIA

AND

ALBERT

MUSEUM,

LONDON/ART

RESOURCE,

NY

Although one might suppose that these liturgical plays would be gathered together into larger cycles of the divine

DRAMA

Corpus Christi plays were often performed either in procession on moving pageant wagons or in arena theaters with scaffolds located around the

acting area. This illustration shows a procession around a square in Brussels in 1615, using staging methods perhaps not unlike those in use in England during the fifteenth and sixteenth centuries.

GENERAL

INTRODUCTION

during a slack period in the liturgical calendar in very late spring. In May or June the days of the year are longest, and the English weather is generally cooperative. The cycles that thus originated were perforried on other festivals of the early

summer season besides Corpus Christi day, but that festival has given its name to the genre. The feast of Corpus Christi regularly featured elaborate processions through town, and, indeed, these processions may have preceded the plays themselves. Various guilds were usually assigned events in the divine history of the world for which they undertook to present dramatized renditions. The plays written for such guilds had to be numerous in most towns, since there were many guilds: the York cycle, for example, had forty-eight plays; the Towneley cycle (probably acted at Wakefield), thirty-two; the socalled N-Town or Ludus Coventriae cycle (perhaps acted in the vicinity of Lincoln), forty-three. The texts were evidently not translations from the Latin liturgical drama but were English compositions often based on medieval narrative accounts of the divine history of the world. Such versions contained much patristic and legendary material, as well as straightforward biblical narrative; for example, the account of Christ’s harrowing of hell, based on the apocryphal Gospel of Saint Thomas rather than on the Bible itself, had become an accepted part of the story. More noncanonical still are accounts of Mary’s childhood and of her marriage to Joseph. The cycles varied somewhat as to content, but they tended to choose many of the same traditional stories embodied in Church liturgy. The main figures in these favorite stories— Abel, Noah, Abraham, and Isaac— were often seen as “typological,” that is, prefiguring by their piety and suffering the advent of Christ himself. The common core of most cycles included the following: the creation, the fall of Adam and expulsion from Paradise, Cain’s slaying of Abel, Noah’s flood, Abraham and Isaac, Moses, the prophets, the annunciation, the visit of the shepherds and the Magi, the flight into Egypt, the slaughter of the innocents, the baptism, the temptation in the wilderness, the raising of Lazarus, the entry into Jerusalem and the entire Passion sequence, the burial, the harrowing

of hell, the Resurrection, Christ’s appearances to the disciples, his Ascension, and the day of doom. Other subjects were often added, such as the story of Pentecost, the assumption of the blessed Virgin Mary, and the coming of Antichrist. Sometimes these medieval ‘‘pageants” were acted by individual craft guilds on pageant wagons before a series of audiences gathered at fixed locales throughout the town. Recent investigations have shown, however, the formidable difficulties involved in performing a complete cycle of plays in narrow streets, with each pageant having to wait in line until the preceding pageant had finished. Street processions remained common

but may, in some cases, have involved

displays in tableau vivant rather than a full performance of each play. Certainly, in some towns the plays themselves

were acted, not on pageant wagons, but in the round, in arena theaters with several scaffolds on the periphery or even in the center of the acting area. Scaffolds variously

represented Heaven and hell, Pilate’s judgment hall, the house of the Last Supper, and the like. In the marketplace or

in the cathedral close, the pageants may have been ranged in order about the open space so that the spectators

themselves could staging certainly England, and was on the Continent.

called “mystery”

move from scene to scene. Multiple-place existed in London and in the south of the regular form of the mystery-play stage (The Corpus Christi plays are sometimes

plays, since they were acted by the

“mystery” or trade guilds.) As many as twenty full-scope plays, mostly of the Corpus Christi type, may have existed at one time in England, though the complete texts of only four have been preserved. The York, Towneley, and N-Town cycles have already been mentioned; a fourth extant cycle was acted at Chester. In addition, two fragments exist of a cycle acted at Coventry, one each from Norwich and Newcastle-on-Tyne, and several other single scenes from places not located. A Cornish cycle, written in Celtic, presents some Old Testament episodes and a Passion sequence more like certain continental religious dramas than the English plays we have been discussing. Shakespeare probably saw Corpus Christi plays in his youth, before they were suppressed by Protestant authorities, and he appears to recollect them at times in his plays. When Hamlet says disparagingly of bombastic acting that “it out-herods Herod” (Hamlet, 3.2.14), he is thinking of the stage bully of the slaughter of the innocents who, in the

Coventry version, “ragis in the pagond [pageant] and in the strete also.” Herod was indeed legendary for his rant. The

Porter in Macbeth is surely alluding to Christ’s harrowing of

hell when he complains, “But this place is too cold for hell.

/ V'll devil-porter it no further” (2.3.16—17). The medieval heritage adds a remarkable dimension to this scene: Mac-

beth’s castle becomes a kind of hell, as the Porter jokingly observes, and Macduff’s arrival takes on an aspect of deliverance through which

Macbeth

and

his “fiend-like

queen” (5.8.70) will be brought to account. Henry V has Herod in mind again in his speech to the beleaguered citizens of Harfleur, when he bids them surrender lest they

see their naked infants “spitted upon pikes’ and the childrens’ mothers howling in grief “as did the wives of Jewry / At Herod's bloody-hunting slaughtermen” (3.3.38—

41). More broadly, the cosmic structure of the cycle plays,

bound together in their many episodes by an overarching narrative of divine history, offered a model of construction

that Shakespeare would apply in modified form to his writing of English history plays.

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FROM SHAKESPEARE

THE RSC COLLECTION,

OF THE ROYAL

THEATRE

WITH PERMISSION

OF THE GOVERNORS

LONDON

BOROUGH

OF TOWER

HAMLETS

This seventeenth-century painting by an unknown artist shows London as a thriving metropolis. The many boats

on the Thames are evidence of the vital role the river played in the city’s emergence as a center for international as well as national trade.

MUSEUM OF THE TRUSTEES OF THE BRITISH BY COURTESY REPRODUCED

A seventeenth-century watercolor based on Claes

Janszoon de Visscher’s View of London shows

the Globe theater on the south bank of the Thames, a short distance west of London Bridge. In the vicinity were the competing Rose and Swan, making this area the leading theater district of London.

BY PERMISSION

Social classes and fashions in Shakespeare's England were clearly defined. People were required by law to dress according to their station. Shown here are an artisan, carrying a tool; a gaudily dressed woman, attired beyond her appointed stalion; and a “gentleman,” privileged to wear his apparel.

OF THE FOLGER

SHAKESPEARE

LIBRARY

This picture of the life of Sir Henry Unton (1557?-1596), probably commissioned by his widow,

shows the important events of his life: his birth (we see him in his mother’s arms, lower right); his

life as a student at Oxford (above right); his travels to Europe and his expedition to the Netherlands under the command of the Earl of Leicester (top center); various scenes in Wadley House, his residence, including a feast with masquers in festive dress led in procession by Diana and Mercury;

NATIONAL

PORTRAIT

GALLERY,

LONDON

and finally his death and burial (lower left).

PANIVA

ROB TALBOT/TALBOT-WHITEMAN

Shakespeare presumably studied at Stratford grammar school, though the records have not survived. The school is shown here with the Pedagogue’s House on the right.

TATE GALLERY,

LONDON/ART

RESOURCE,

NY

The many conceptions of A Midsummer Night’s Dream through the years attest to the play's continual popularity. William Blake, the famous Romantic poet and artist, catches the fanciful and dreamlike flavor of the play in his engraving of the meeting of Oberon, Titania, Puck, and attendant fairies.

In Peter Brook’s famous production of A Midsummer Night’s Dream, the fairy queen Titania, under the spell of a love potion,

Zz

. . . scandal

75—78 The very

2.17 Whether . . . thus 217 except my life 363 very 366 ‘Sblood (and some other profanity passim) 371 then 444~445 as wholesome . . . fine 521-522 of this 589 Hum

TEXTUAL

3.2. 169-170 Where . . . there 216-217To... scope 3.4. 72-77 Sense . . . difference 79-82 Eyes . . . mope 168-172 That monster . . . puton 174-177 the next... potency 187 One word . . . lady 209-—217 There’s . . . meet 4.1.4 Bestow . . . while 41-44 Whose... air 4.2. 4 But soft 4.3. 26-29 kinc Alas . . . worm 4.4, 9-67 Enter Hamlet . . . worth 4.5. 33 Oho

4.7. 68—82 Larrtes My lord . . . graveness 101-103 Th’ escrimers... them 115-124 There . . . ulcer 5.1. 154 There 5.2. 106-142 here is . . . unfellowed (replaced in F by ‘you are not ignorant of what excellence Laertes is at his weapon”) 154-155 Horatio [to Hamlet] |knew . . . done 193-207 Entera Lord . . . lose, my lord (replaced in F by “You will lose this wager, my lord’) 222 Let be

Othello Copy text: the First Folio. The adopted readings are from the Quarto of 1622 [Q1], unless otherwise indicated; [eds.] means that the adopted reading was first proposed by some editor subsequent to the First Folio. Act and scene divisions are marked in the Folio with the exception of 2.3. 1.1. 1 Tush, never Neuer 4 ‘Sblood, but But 16 And, in conclusion {Q1; not in F] 26 togaed Tongued 30 other others 34 God bless blesse 68 full fall thick-lips Thicks-lips 74 changes chances 75 [and elsewhere] lose [eds.] loose 81 Thieves, thieves, thieves Theeues,

Theeues

83 s.d. Brabantio above [in F,

printed as a speech prefix to line 84] 88 Zounds, sir Sir [also at line 111] 103 bravery knauerie 119 are now are 158 pains apines 161 sign. That [eds.] signe) that 186 night rnight 50 carrack Carract 64 her! [eds.] her 69 1.2. 34 Duke Dukes darlings Deareling 891 do do 1.3.1 There is There’s these this 61 s.p. Duke and Senators [Al/ 108 upon vp on s.p. Duke [Q1; 101 maimed main’d Q1] Sen. notin F] 109 overt ouer 112 s.p. {and elsewhere] First Senator 124 till tell 132 battles Battaile fortunes Fortune Sen. 143 rocks, and Rocks heads head 141 travels’ Trauellours 149 thence hence 145 other others 147 Do grow Grew 157 intentively instinctiuely 161 sighs kisses 204 Into your favor [Q1; not in F]

227 sovereign more souer-

222 ear eares

aigne 230 appetite, loveliness appetite. Louelinesse 233 237 These [eds.] This 244 [eds.] Coach [F] Cooch [Q1] would not Nor would | 251 did love loue 267 me {eds.] 273 instruments Instrument 281 Desdemona. Tonight, my Duke. This night {Q1; not in F}

285 With And

couch Nor lL. 1 my lord?

294 s.p. First

Senator Sen. 296 s.d. Exeunt Exit 302 matters matter 303 the 333-334 our the the 329 beam feds.] braine [F] ballance [Q1] unbitted or vnbitted 335 scion [eds.] Seyen (F] syen [Q1] 353 error errors 354She . . . she must [(Q1; not in F] 358a super-subtle super-subtle 378-382 Roderigo. What . . . purse [(Q1; not in F] 386 a snipe Snpe 389 He’s (Ha’s Q1j She ha’s 396 ear eares

2.1. 35 prays praye 36 heaven Heauens 42 s.p. Third Gentleman Gent. 44 arrivance Arriuancie 45 this the 58 s.p. Second Gen72 clog enclogge tleman Gent. [also at lines 61, 68, and 95] 84 And

. . . comfort

[(Q1; not in F]

90 tell me tell

94 the sea

Sea 96 their this 107 list leaue 111 doors doore 156 [and elsewhere] ne’er neu’r 158 such wight such wightes 170 gyve 175 courtesy Curtsie 176 clyster pipes feds.) giue 174Anand Cluster-pipes 214 s.d. Exeunt [eds.] Exit 216 hither thither. 229 239 fortune Forune 241-242 compassing comagain a game has passe 243-244 finder out finder 244 occasions occasion he’s 263 mutualities mutabilities 300 for wife for wift 307

rank right

308 nightcap Night-Cape

2.2. 6 addiction [eds.] addition

10 Heaven bless Blesse

NOTES

2.3. 27 stoup [eds.] stope 38 unfortunate infortunate 52 lads else 57 to put put to 61,71 God heauen 76 Englishman Englishmen 91 Then... auld (Then . . . owd Qi] And take thy awl’d 93 ‘Fore God Why 97 God’s heau’ns 106 God forgive Forgiue 110 speak | speake 123 the his 138 s.d. Cry within: Help! Help (from Q1: “Helpe, helpe, within’] 139 Zounds, you You 152 God’s will Alas 153 Montano—sir Montano 156 God's will, Lieutenant, hold Fie, fie Lieutenant

158 Zounds, ||

161 sense

of place [eds.] place of sense 177 breast breastes 184 wont be wont to be 201 Zounds, if | if | once 212 leagued {eds.] league 218 Thus This 227 the then 246 well now well 250 vile vil’d 255 God Heauen 260 thought had thought 283 O God Oh 308 VI | 311 denotement {eds.] deuotement 325-326 me here me 337 were ’t were 356 s.d. Enter Roderigo (after line 356 in F] 369hast hath 372 By the Mass Introth 378 on; [on QT) on 379 the while [eds.} a while 3.1. s.d. Musicians [eds.] Musicians, and Clowne 5 s.d. [and at lines 7,9, and 15] A Musician Mus, 21.d. Exeunt [eds.] Exit 22 hear heare me 26 General’s wife Generall 31 Cassio. Do, good my friend [Q1; not in F] 42 s.d. Exit at line 41 in F] 52 To... front {Q1; not in F] 3.3. 16 circumstance Circumstances 41 you your 55 Yes, faith | sooth 660ron 80 By’ r Lady Trust me 103 youhe 118 By heaven Alas 124 In Of 148 that all that: All free to free 152 But some Wherein 160 oft of (161 wisdom then wisdome 175 By heaven, WI Ile 183 fondly [eds.} soundly (F] strongly [Qi] 188 God Heauen 194 Is once is 196 blown blow’d 199 dances well Dances 216 God Heauen 218 keep 't [eds.] faith Trust me 232 my your 2301 keepe [Q1] kept [F] 249 disproportion disproportions 264 to hold to 275 qualities 2940, then heaven mocks Heauen Quantities 289 0fto 305 s.d. Exit [at line 304 in F] 301 Faith Why mock’d 328 faith but 345 s.d. Enter Othello [after “I did say so” in F] 354 of her in her 385 remorse; [remorce. Q1] remorse 407 see, sir see 411 supervisor super-vision 439 then laid laid 440 Over ore sighed sigh kissed kisse 441 Cried cry 455 any that was [eds.] any, it was 468 mind perhaps minde 471 Ne’er feels [eds.] Neu’r keepes 3.4. 23 that the 37 It yet It 56 faith indeed 77 I’ faith Indeed 79 God Heauen 83 Heaven bless Blesse 88 can, sir can 94-95 Desdemona. | pray . . . Cassio. Othello. The handkerchief! (Q1; not in F] 991 faith Insooth 100 Zounds Away 164 that the

1721 faith Indeed

182 friend. (eds.] friend,

183 absence [eds.] absence, [Q1] Absence: [F] in good troth

4.1. 32 Faith Why

36 Zounds, that’s that’s

188 by my faith

45 work workes

52

No, forbear (Q1; not in F] 72 couch [Coach Q1] Cowch; 79 unsuiting [(Q1 corrected] vnfitting {Q1 uncorrected] resulting (F] 81 ’scuse scuses 97 clothes Cloath 103 conster conserue 105

you now you

109 power dowre

113.a woman

woman

71 ne’er neuer

83 Impudent strumpet [Q1; not in F]

114i’

faith indeed 121 Do you Do ye 122 marry her marry 125 win (eds.] winnes 126 Faith Why shall marry marry 133 beckons becomes 137:by this hand, she (Q1; not in F] 163 Faith, I | 165 Faith Yes 212 s.d. [after line 210 in F] 215 God save Saue 238 By my troth Trust me 251 Truly, an Truely 284 denote deonte [F uncorrected] deuote [F corrected] 4.2.32 Nay May 33 knees knee 35 But not the words [Q1; not in F] 51 kinds kind 56A The 66 Ay, there [eds.] | heere 96 keep

feds.] keepes s.d. Enter Emilia {after line 94 in F] 162 then in (eds.] them: or 174 And... you [Q1; not in F] 177 you to to 190 Faith,!| for and 201 By this hand Nay 232 takes taketh 236 of {Q1; not in F]

4.3. 10 s.d. Exit [after line 9 in F]

22 favor in them fauour

25 faith

Father 26 before thee before 43 sighing [eds.] singing [F corrected] sining [F uncorrected] 73 Good troth Introth 74 By my troth introth 78 Uds pity why 107 God Heauen 5.1. 1 bulk Barke 22 Be ’t But hear heard 36 Forth For 50 Did Do 910 heaven Yes, ‘tis 106 out o’ 0’ 113 ‘Las, what’s . . « What’s Alas, what is . . . What is 116 dead quite dead 126 Faugh! Fie Fie

A-117

A-118

TEXTUAL

NOTES

5.2. 34 heaven Heauens 37 say so say 56 Yes, presently Presently 61 Then Lord O Heauen 96here high 104 Should Did 108 s.d. Enter Emilia [after line 108 in F]) 121 O Lord Alas 131 heard heare 148 Nay, had had 225 O God! O heavenly God Oh Heauen! oh heauenly Powres 226 Zounds Come 248 have here haue 317 not. Here [not: here Q1] not) heere 357 Indian ludean

King Lear Copy text: the First Folio, except for those 300 or so lines found only in the First Quarto of 1608 [Q1]}. Unless otherwise indicated, adopted readings are from the corrected state of Q1. A few readings are supplied from the Second Quarto of 1619 [Q2]. All readings subsequent to 1619 are marked as supplied by “eds.’” Act and scene divisions are as marked in F, except that F does not mark 2.3 and 2.4, and omits 4.3 entirely, so that 4.4 is marked “Scena Tertia” and similarly with 4.5 and 4.6 (though 4.7 is marked “Scena Septima”). 1.1. 5 equalities qualities 20-22 account . . . yet [eds.] account, though . . . for: yet 35 liege Lord 55 words word 66 issue issues 68 Speak [Q1; not in F] 74 possesses professes 85 interessed [eds.] interest 104 [Q1; not in F] 110 mysteries [eds.] miseries {F] mistresse (Q1] 135 turns turne 156 as a as 157 nor nere 161 s.d. Lear Kear 162s.p. Kent Lent 165 s.p.

Cornwall [eds.] Cor. 166 the thy 173 sentence sentences 191 s.p. Gloucester Cor. 217 best object obiect 229 weil will 252 respects of fortune respect and Fortunes 272 Ye [eds.] The 286 s.d. Exeunt [eds.] Exit 285 shame them with shame 293 hath not hath 306 hit sit 1.2, 1 s.p. [and elsewhere] Edmund Bast. 21 top [eds.] to’ 56 waked wake 97-99 Edmund. Nor . . . earth (Q1; not in F]

134 Fut, 11

136 Edgar [Q1; not in F]

137 and pat {eds.] Pat (F]

and out [(Q1] 147—155 as . . . come, (Q1; not in F] 182s.d. {at line 181 in F] 1.3. 3 s.p. [and elsewhere] Oswald [eds.] Ste. 17-21 [Q1; not in F} 26-27 1 would . . . speak [Q1; not in F] 28 very [Q1; not in F] 1.4. 1 well will 32 canst canst thou 43 s.d. Enter steward [eds.; after line 44 in F] 50daughter Daughters 76 s.d. Enter steward feds.; after line 77 in F] 96s.p. Kent Lear Fool my boy 135 Dost Do’st thou 138-153 That . . . snatching [Q1; not in F] 158 crown Crownes 175 fools Foole 195 nor crumb not crum 214 it had it’s had 229-232 (Q1; not in F] 2550... come [(Q1; not in F] 303 Yea... this [Q1; not in F] 343 You’re Your are attasked at task 1.5. s.d. Kent Kent, Gentleman

51s.d. Exit Exeunt”

2.1. 2 you your 19s.d. [after line 18 in F] should should | 70 ay, though though not in F]

39 stand ’s stand 691 78 I never got him [Q1;

78 s.d. [at line 76 in F, after ‘‘seeke it’”]

79 why wher

87 strange news strangenesse 100 spoil wast 122 poise prize 125 least thought best though 132 Flourish. Exeunt [eds.} Exeunt. Flourish 2.2. 22 clamorous clamours 45 an if 52 What’s What is 66 you’ll you will 78 Bring ... their Being . . . the 79 Renege Reuenge 80 gale gall 84 anif 101 take ’t take it 109 flickering flicking 124 dread dead 127 their there 132 respect respects 142 s.d. [at line 140 in F]

144-148 His

. . . with (Q1; not in F]

146 contemned’st [eds.] temnest [Q1] 148 King King his Master, needs 153 [Q1; notin F] 154 Come. . . away [assigned in F to Cornwall] good [Q1; not in F] s.d. Exeunt [eds.] Exit 155 Duke’s Duke 2.3. 18 sheepcotes Sheeps-Coates 2.4. 2 messenger Messengers

9man’s man

18-19

[Q1; not in F]

30 panting painting 33 whose those 56 Hysterica {eds.] Historica 62 the the the 74have hause 128 you your 130 mother’s Mother 183 s.d. [after line 182 in F] 185 s.d. [at line 183 in F, after “‘stocks’’] 187 fickle fickly 190 s.d. [after line 188 in Fj 213 hot-blooded hot-bloodied 297 s.d. [after line 296 in F] 302 bleak high 3.1. 7-15 tears . . . all [Q1; not in F] 10 outstorm {eds.] outscorne [Q1] 30—42 [Q1; not in F] 3.2. 3 drowned drown 38 s.d. [after line 36 in F] 85-86 {these lines follow line 92 in F]

3.3. 17 for ’t for it 3.4. 7 skin. So ’tis skinso: ‘tis 10 thy they 12 This the 27 s.d. [at line 26 in F}_ 31 looped lop’d 38 s.d. Enter Fool [F, after line 36: “Enter Edgar, and Foole’} 44 s.d. [after line 36 in F] 46 blows the cold wind blow the windes 51 through fire though Fire 52 ford Sword 57,58 Bless Blisse 90 deeply deerely 99 sessa [eds.} Sesey 112 .d. [after line 108 in F] 114 fiend (Q1; not in F] 115 till the at 116 squinnies (eds.] squints [F] squemes [Q1] 134 stock-punished stockt, punish’d hath had hath 173 in th’ into th’ 3.5. 11 he which hee 26 dearer deere 3.6. 5 s.d. Exit [at line 3 in F] 17-55 (Q1; not in F] 21 justicer feds.] lustice [Q1] 22 Now [Q2] no [Q1} 24 eyes at trial, madam? eyes, at tral madam 25 burn [eds.] broome [Q1] 34 cushions {eds.] cushings [Q1} 36 robéd robbed 51 joint {eds.] ioyne (Q1] 53 0n [eds.] an [Qi] 67 mongrel grim Mongrill, Grim lym [eds.] Hym 69 Bobtail tike or trundle-tail Or Bobtaile tight, or Troudle taile 73 Sessa sese 76 makes make 85 s.d. [after line 80 in F] 97-101 Kent. Oppresséd . . . behind [Q1; not in F} in F]

101 s.p. Gloucester

{not in F]

102-105

[Q1; not

3.7. 10 festinate [eds.] festiuate 18 lord’s dependents Lords, dependants 23s.d. Exeunt [eds.] Exit [after line 22 in F] 61 rash sticke 66dern sterne 75 s.p. First Servant Seru. [also at lines 79, 82, 84) 83 [F provides a stage direction: “Killes him’’] 102-110 (Q1; not in F] 102 s.p. Second Servant Seruant [and called ‘1 Ser’ at line 106 in Q1] 103 s.p. Third Servant 2 Seruant [Q1] 107 Roguish (Qa; not in Qb] 109 s.p. Third Servant 2 Ser. 110 s.d. Exeunt Exit 4.1. 2 flattered. To be worst flatter’d, to be worst: 41 Then... gone Get thee away

57-62

Five

. . . master {(Q1; not in F]

60 Flibbertigibbet [eds.] Stiberdigebit [Q1] 60—61 mopping and mowing [eds.] Mobing, & Mohing (Q1} 4.2. s.d. Bastard Bastard, and Steward 2 s.d. steward (Q1; placed at beginning in F] 30 whistling whistle 32-511 fear... deep [Q1; not in F] 33 its feds.] ith [Q1] 48 these [eds.] this [Q1] 54-60 that . . . so [Q1; notin F] 58 to threat thereat [Q1 corrected] 61 shows seemes 63-69, 70 [Q1; notin F] 76 thereat enraged threat-enrag’d 80 justicers [Q1 corrected] lustices 4.3. 1-57 [scene omitted in F] 11 sir [eds.] say [Q1] 16 strove feds.} streme [Q1] 20 seemed [eds.] seeme [Q1] 22 dropped. In dropt in 32 then her, then 44 benediction, turned her benediction turnd her,

57 s.d. Exeunt

4.4. [F reads “Scena Tertia’’] (eds.] femiter {Q1] Fenitar Gent. 18 distress desires 4.5. [F reads “Scena Quarta’; things 27 oeillades [eds.} 4.6. [F reads “Scena Quinta]

[eds.] Exit [(Q1]

s.d. Doctor Gentlemen 3 fumiter [F] 6 century Centery 11 s.p. Doctor 28 right Rite 8 letters Letter 23 Somthing Some Eliads 41 meet him meet 17 walk walk’d

57 summit Somnet

66-67 strangeness. / Upon . . . cliff what [eds.] strangenesse, / Vpon . . . Cliffe. What 71 enridgéd enraged 83 coining crying 97 white the white 124 they’re they are 161 thine thy 164 Through Thorough small great 165 Plate sin [eds.] Place sinnes 197 Ay... dust [Q1; notin F] 2050nea 218s.d. Exit [after “moved on” in line 218 in F] 235 Durst Dar’st 238 ‘cagion ‘casion 263-264 not./Tonot/To 269 done if . . » Conqueror. Then [eds.] done. if . . . Conqueror then 274 and . . . venture [Q1; not in F] 275 indistinguished indinguish’d 288 s.d. Drum afar off [after line 286 in F]

4.7. 0s.d. Kent Kent, and Gentleman 13 s.p. Doctor Gent. [also at lines 18, 44, 52, 82] 24s.p. Doctor [not in F; Q1 assigns to

“Gent.”] 25 doubt not doubt 25-26 Cordelia. Very. . . there (Q1; not in F] 33 warring iarring 34~—37 To stand. . . helm [Q1; not in F} 59hands hand 60 No, sir (QI; not in F]) 83-

84 and . . . lost [Q1; not in F] 91-103 [Q1; not in F} 5.1. 12-14 [Q1; not in F] 18 me not not 19-20 (Q1; not in F]

24-29 Where . . . nobly (Q1; not in F] 35 (Q1; not in F] s.d. Exeunt . . . armies [after line 39 in F] 48 love loues

41

TEXTUAL

5.3. 13 and hear poor rogues and heare (poore Rogues) 39-40 (Q1; not in F] 49 and appointed guard [Q1 corrected; not in F] 56—61 At... place (Q1; not in F} 57 We [Q1 corrected] mee [Q1 uncorrected] 59 sharpness [Q1 corrected} sharpes [Q1 uncorrected] 72s.p. Goneril Alb. 85 attaint arrest 86 sister Sisters 87 bar [eds.] bare 100 he is hes 105 Edmund. A herald, ho, a herald [(Q1; not in F} s.d. Enter a Herald {after line 104 in F) 106 s.p. Albany [not in F] 112 Captain. Sound, trumpet [Q1; not in F) 118 Edmund. Sound (Q1; not in F] 124~—125 lost, / By . . canker-bit. lost / By Treasons tooth: bare-gnawne, and Canker-bit, 132 the my priuiledge, The 135 Despite Despise 146 tongue some say of tongue (some say) of 149 those these 151 scarcely scarely 153 s.d. Fight [eds.] Fights. [“Alarums. Fights’’ is opposite ‘““Saue him, save him,” in line 154 in F.) 155 arms Warre 158 stopple stop 163 s.p. Goneril Bast. 163 s.d. Exit fat line 162 after ‘for ‘t’”’ in F! 208-225 This . slave (Q1; not in F]

217 him

[eds.}] me

[(Q1]

241 s.d. { af-

ter line 234 in F; F reads ‘‘Gonerill’’] 255 The captain {Q1; not in F] 262 you your 280s.p. Captain Gent. 282 them him 294 You are [eds.] Your are ({F] You’r (Q1] 299 s.d. [after ‘‘to him’ in line 299 in F}

The above textual notes list all instances in which material not in F is included from Q1. To enable the reader to compare further the F and Q1 texts, a list is here provided of material not in Q1 that is to be found in F. There are some 100 lines in all. 1.1.

40-45 while . . . now 49-50 Since... state 64-65 and . rivers 83-85 to whose .. . interested 88—89 LEAR Nothing? corpetia Nothing 165 aLgany, CORNWAil Dear sir, forbear.

1.2. 112-117 This . . . graves 169-175 | pray . . . brother 1.4. 260 aipaNy Pray . . . patient 273 Of... you 321-333 This. . . unfitness 2.4. 6 KENT No, my lord 21 Kent By Juno . . . ay 45-54 Foor Winter's . . . year 96—97 GLoucesteR Well. . . man 101-102

Are they.

. . Fiery? The

139-144

...

Tom

85 Fool And

tear Say

. . . noon

accurst accust

they nor

124 detraction, here detraction.

5.3. 78 Dispose . . . thine 91 Gonern. An interlude 147 What... delay 226 Albany Speak, man 316-317 Do you . . . look there

237 tune time

5.1. 37 fear who feare? who 5.3. 41 Cure her Cure 54 pristine pristiue {at line 64 in F] 5.4. 16 s.p. Siward Sey.

Macbeth Copy text: the First Folio. Act and scene divisions follow the Folio text, except that 5.8 is not marked in the Folio. 1.1. 9 s.p. Second Witch Al! 10s.p. Third Witch [not in F] 11 s.p. All [at line 9 in Fi 1.2. 1 s.p. {and elsewhere} Duncan King 13 gallowglasses Gallowgrosses 14 quarrel Quarry 21 ne’er neu’r 26 thunders break Thunders 1.3. 32 Weird weyward [elsewhere in F spelled “weyward” or “we39 Forres Soris

97 death. As death, as

2.2. 13 s.d. [at line 8 in F, after ““die’’]

98 Came Can

:

134 thy

161 not

57 senna Cyme

62 s.d.

Timon of Athens Copy text: the First Folio. Act and scene divisions missing in the Folio, are editorially supplied. The Actor’s Names [F lists also Varro and Lucius as “Seruants to Vsurers,” and the order of names has been changed for Apemantus and Ventidius] conceived to scope. conceyu’d, to scope 92 hands hand slip sit 116 s.p. [and subsequently} Old Athenian O/dm. 160 s.d. Exeunt Exit 184 s.d. Enter Apemantus Enter Apermantus [after line 182 in F] 222 cost cast 227 s.p. Apemantus pe. 234 feigned fegin‘d 259 there! their 286 Come Comes 287 taste raste 296 s.p. First Lord [not in F] 1.2. s.d. {and elsewhere} Ventidius Ventigius 30 ever verie 41 their there 91 thousands, did thousands? Did 98 ‘em. and ‘em? And 105 O, joy’s e’en Oh ioyes, e’‘ne 107 To forget their faults, to forget their Faults. 113 s.d. Sound tucket [F continues: “Enter with Lutes in their hands, dauncing and

playing’] 114 s.d. Enter Servant 120 s.d. Enter Cupid [F continues: 124 Th’ ear There 125 and smell s.d. [see notes at lines 113 an 120 single 1515.p. First Lady 1 Lord 176, after “welcome,”

in F]

181

(after “How now?” in F] “with the Maske of Ladies” all 129 s.p. First Lord Luc. above] 144.d. singles 167 s.d. Enter Flavius (at line s.p. Second Servant Ser.

211 rode rod 213 s.p. Third Lord. 1. 2.1. 34 Ay, go, sir. | go sir? 35 in compt 2.2. 1 s.p. [and elsewhere] Flavius Stew. (and elsewhere] Varro’s Servant Var.

111 lose loose 1.4. | Are Or 1.5. 1 s.p. and elsewhere] Lady Macbeth Lady 12 lose loose hit 1.6. 4 martlet Barlet 9 most must 1.7. 6 shoal Schoole 48 do no 2.1. 56 strides sides 57 sure sowre 58 way they they may

Heere

144 essay assay 146 s.d. [after “amend” in F]

the Maskers of Amazons

4.6. 165-170 Plate . . . lips 5.2. 11 Gloucester And . . . too

yard]

3.4. 79 time times 122 s.d. Exeunt Exit 3.6. 24 son Sonnes 38 the their 4.1. 34 cauldron Cawdron 38 s.d. to and 59 germens Germaine 93 Dunsinane Dunsmane 94s.d. Descends Descend 98 Birnam Byrnan [also spelled “‘Byrnam” at line 93 and ‘““Birnan,” “Byrnane,”” and “‘Birnane” in Act 5} 119 eighth eight 4.2. 1s,.p. {and throughout] Lady Macduff Wife 22 none moue 70~—71 ones . . . methinks, ones / To fright you thus. Me thinkes 80 s.d. Enter Murderers [after “What are these faces” in F} 81 s.p. [and throughout scene] First Murderer Mur. 84 shag-haired shagge-ear'd 4.3. 4 downfall’n downfall 15 deserve discerne 35 Fare Far 108

1.1. s.d. and Merchant Merchant, and Mercer 23 gum Gowne oozes vses 27 chafes chases 43 man men 50 tax wax 77

... blame 298-299 cornwaL. Whither . . . horse 3.1. 22-29 Who . . . furnishings 3.2. 79—96 Foor This . . . time. Exit 3.4.17-18 In... endure 26-27 In... sleep 37-38 Fathom 3.6. 12-14 roo. No. . . him) 4.1. 6-9 Welcome . . . blasts 4.2.26 O, the... man

NOTES

47 it

2.3. 415.d. [after line 40 in F] 142 nea’er neere 116 Both Murderers Murth. {also at 3.1. 76 s.p Murderers Murth. line 141] 142 s.d. Exeunt [at line 144 in F] 3.3. 7 and end

L. in. Come 4 resumes resume 11 s.p. 13 s.p. [and elsewhere] Isi-

64 s.p. [and else41 broken debt, broken dore’s Servant Isid. 75, 104 mistress’ Masters where] All the Servants Al. {or All]

132 proposed propose 81s.p. Page Boy 96 Ay. Would | would 160 of or 191 Flaminius Flavius 211 trea139 found sound sure, cannot Treature cannot 3.1. s.d. Enter enters 1 s.p. [and elsewhere] Lucullus’ Servant Ser. 3.2. 27 s.p. [and elsewhere] Lucius Lucil. 61 s.d. [at line 60 in F] 15 [and elsewhere] He’s Has 23 | ’mongst 3.3. 5 Owes Owes ‘mong’st 25 He’d Had 15.p. [and elsewhere} Varro’s First Servant Var. 3.4. s.d. Men man mam 2 s.p. [and elsewhere] Titus’ Servant Tit. [and elsewhere] Hortensius’ Servant Hort. 3 s.p. [and elsewhere] Lucius’ Servant Luci. 6s.p. [and elsewhere] Philotus’ Servant Phil. 14 recoverable. | fear recouerable, | feare: 15-16 purse; / That is, purse, that is:

45 s.p. {and elsewhere]

Varro’s Second Servant 2. Varro

59 If if't 78 an answer answer 88 s.p. Hortensius’ Servant 1. Var. 89s.p. Both Varro’s Servants 2 Var. 112 Sempronius Sempronius Vilorxa 51 lion, Lyon? _ felon fellow 23 behave behooue 3.5.18 An And 52 judge, ludge? 53 suffering. suffering, 66 Why, I Why 70’em him 85 honors Honour

A-119

A-120

TEXTUAL

NOTES

3.6. 1 s.p. First Lord 1 [and so throughout scene] 19 here’s heares 54 s.p. First and Second Lords Both 80 tag legge 87 s.p. Others other 91 with your you with 115 s.p. Third Lord 2 116 s.p. Second Lord 3 4.1. 6 steads! To generall filths steeds, to generall Filthes. 8 fast; fast 9 back, backe; 13 Son Some 4.3. 10 senator Senators 12 pasture Pastour 13 lean leaue 16 grece grize 41 at, this at. This 88 tub-fast Fubfast 119 bars Barne 124 thy the 135 s.p. {and throughout scene] Phrynia and Timandra Both 158 scolds scold’st 187 thy human the humane 206 fortune future 225 mossed moyst 246 Outlives Out:liues: 254 clasped claspt: 255 swathe, proceeded swath proceeded, 257 drudges drugges 258 command, command’st: 287 my thy 314 meddlers Medlars 368-369 thee. I’d beat thee, but thee, Ile beate thee; But 387 son and sire Sunne and fire 401 s.d. [after line 402 in F] 402 them then 414 s.p. [and throughout scene] Banditti A// 439 villainy Villaine 439-440 do ‘t, Like workmen. doo’t. Like Workemen, 458 us, not vs not 462 s.d. Exeunt Exit 479 grant’st grunt’st_ man, | man. | 4824; all | all 497 mild

wilde 514A If nota 5.1. 5—6 Phrynia and Timandra Phrinica and Timandylo 50 worship worshipt 66 go naked; men go, / Naked men 70 men man 115 in vain vaine 125 chance chanc’d 132 cauterizing Cantherizing 146 sense since 147 its own fail it owne fall 181 reverend’st reuerends 194 through thorow 5.2. 1s.p. [and throughout scene] Third Senator 1 5 s.p. [and throughout scene] Fourth Senator 2. 14 s.p. First Senator 3 5.3.2 Who’s Whose 5.4. 27 out. out,

28Shame

cunning in excesse)

. . . excess (Shame that they wanted,

55 Descend Defend

65 s.p. Soldier Mes.

Antony and Cleopatra Copy text: the First Folio. Act and scene divisions, missing in the Folio, are editorially supplied.

1.1.41 On One 52 whose who 1.2. 4 charge change 41 fertile foretell 64-65 Alexas [printed in F as s.p.] 83 Saw Saue 90 Alexas Alexias 93 s.p. [and through line 118] First Messenger Messen. (or Mess.) 116 minds windes 119ho how 120s.p. Second Messenger 1. Mes. 121 s.p. Third Messenger 2. Mes.

124s.p. Fourth Messenger 3. Mes.

126 s.p.

Fourth Messenger Mes. 137 s.d. Enter Enobarbus [after “hatch,” line 137, in F] 144 occasion an occasion 186 leave loue 191 Hath Haue 200 hair heire 202 place is places requires require 1.3. 2 who’s Whose 20 What, says What sayes 43 services Seruicles 63 vials Violles 80 blood. No more. blood no more? 82 by my by 1.4.3 Our One 8 Vouchsafed vouchsafe 9 abstract abstracts 34 s.p. First Messenger Mes. 44 deared fear'd 46 lackeying lacking 48 s.p. Second Messenger Mes. 57 wassails Vassailes 58 Modena Medena 59 Pansa Pausa 77 we me 1.5. 3 mandragora Mandragoru 5 time time: 35 s.d. Alexas Alexas from Caesar 52 dumbed dumbe 53 What, was What was 64 man mans 2.1. 2s.p. [and throughout scene] Menas Mene. 22 joined ioyne 39 ne’er neere

42 warred wan’d

44-45 greater...

. all,

greater, . . . all: 2.2. 77 Alexandria; you Alexandria you 113 soldier only. Speak Souldier, onely speak 128s0 say 129 reproof proofe 180 s.d. Exeunt Exit omnes Manent Manet 204 lovesick . . . The Louesicke. / With them the 214 glow gloue 216 gentlewomen Gentlewoman 233 heard hard 2.3. 23 afeard a feare 225 thee; . . . to thee. thee no more but: when to thee, 31 away alway 32 [and elsewhere] Ventidius Ventigius 41s.d. Enter Ventidius [after ““Ventigius,” line 41, in F]

2.4. 6 the Mount Mount

9 s.p. Maecenas, Agrippa Both

2.5. 2.s.p. All Omnes 10 river. There River there 11 off, I off. | 12 finned fine 23 s.d. Enter a Messenger [after “Italy,” line 23, in F] 28him, there him. / There 44 is ‘tis 85 s.d. Enter . . again

[after “sir” line 85, in F]

2.6. s.d. Agrippa Agrippa, Menas 16 th’ all-honored all honor'd 19 is his 39s.p. Caesar, Antony, Lepidus Omnes 42-43 impatience. Though . . .;telling, impatience: though . . . telling. 58 compostion composion 67 meanings meaning 71 more of more 83s.p. Caesar, Antony, Lepidus A/i 83 s.d. Manent Manet 2.7. 1 their th’ their 4 colored Conlord 39 s.d. whispers in ’s ear (at line 41 in F] 93 is he is 101 grows grow 113 bear beate 115 s.p. Boy [not in F] 119s.p. All (not in F] 122 off. Our of our 126 Splits Spleet’s 130 father’s Father 132 s.p. Menas {not in F]

3.1. 5 s.p. [and throughout scene] Silius Romaine 8 whither whether 3.2. 10 s.p. Agrippa Ant. 16 figures Figure 49 full the full 60 wept weepe

3.3. 2 s.d. Enter . . . before [after “sir,” line 2, in F} 19 lookedst look’st 3.4. 8 them, then 9 took ’t look’t. 24 yours your 20 Your You 38 has he’s 3.5. 13 world would hast hadst 15 grind the one grind 3.6. 13 he there hither the kings the King 30 being, that being that, 73 Adallas Adullas 74 Manchus Mauchus 76 Comagene Comageat Polemon Polemen 77 Lycaonia Licoania 3.7. 4 it is it it. 14 Photinus, an Photinus an 19 s.d. Canidius Camidias {also spelled “Camidius” in this scene and elsewhere] 21 Brundusium Brandusium 23 Toryne Troine 29 s.p. [and elsewhere] Canidius Cam. 36 muleteers Militers 52 Actium Action 57 impossible; impossible 67 s.d. Exeunt exit 70 leader’s led Leaders leade 73 s.p. Canidius Ven. 80 Well! Well, | 82 in with 3.8.6 s.d. Exeunt exit 3.9.4 s.d. Exeunt exit 3.10 s.d. Enobarbus Enobarbus and Scarus 14 June Inne 28 he his 3.11. 6s.p. All Omnes 19 that them 46 seize cease 50 led lead 57 tow stowe. 58 Thy The 3.12. 0s.d. Dolabella Dollabello 13 lessens Lessons 3.13. 26 caparisons Comparisons 34 alike. That alike, that 55 Caesar Caesars 74 deputation disputation 76 kneel / Till kneele. / Tell him,

94:s.d. Enter a Servant

[after “him,”

in line 94, in F]

104 This the 114-115 eyes,/In ... filth eyes /in . . . filth, 133 s.d. Enter . . . Thidias [after “whipped,” in line 133, in F] 140 whipped . . . Henceforth whipt. For following him, henceforth 165 smite smile 168 discandying discandering 171 sits sets 2020nin 204s.d. Exit Exeunt 4.2.1 Domitius Domitian 10s.d. Enter . . servitors [after line 10 in F] 20s.p. All Omnes 4.3. 8s.p. Third 1 25, 31s.p. All Omnes 4.4. 5 too too, Anthony 6s.p. Antony [not in F, or mistakenly placed in line 5 as part of Cleopatra’s speech] 8 s.p. Cleopatra [notin F] 24s.p. Captain Alex. 32-33 compliment ... Now Complement,

Ile leaue thee.

/ Now

4.5. 1, 3, 6s.p. Soldier Eros 17 Dispatch.— Enobarbus Dispatch Enobarbus s.d. Exeunt Exit 4.6. 37-38 do 't . . . I doo’t. | feele | 4.7 3s.d. Exeunt exit 8 s.d. [after “heads,” line 6, in F] 4.8. 2 gests guests 18 My Mine 23 favoring sauouring 4.12. 3s.d. Alarum . . . fight [at 0. s.d. in F] 4 augurer Auguries 21 spanieled pannelled 4.13. 10 death. To death to’ 4.14. 4 towered toward 10 dislimns dislimes 19 Caesar Caesars 104ho how 119s.p. Dercetus Decre. 145 s.d. Exeunt Exit 4.15. 26-27 me. If . . . operation, me, if . . . operation. 56 lived the liued. The 78e’enin 965s.d. off of 5.1. s.d. Maecenas Menas 3 s.d. Dercetus Decretas 5, 13, 19s.p. Dercetus Dec. 26 you sad, friends? you sad Friends, 28, 31 s.p. Agrippa Dol. 48 s.d. [after “says,” line 51, in F] 54 intents desires intents, desires,

5.2. 26 dependency dependacie Varlotarie

800,

the o’ th’

59 live leaue

35 [F repeats s.p. Pro.}

86 autumn

‘twas Anthony

55 varletry it was

102 success but successe: But 103 smites suites 144 seal seele 156 soulless villain Soule-lesse, Villain 178 merits in our name, merits, in our name 207 s.d. Exit [at line 206 in F] 216 Ballad Ballads 223 my mine 228 Cydnus Cidrus 318 awry away 319 s.d. in in, and Dolabella 342-343 diadem . . . mistress; Diadem; . . . Mistris

TEXTUAL

Coriolanus Copy text: the First Folio. Act divisions are from the Folio; scene divi-

sions are from subsequent editorial tradition. 1.1. 7 [and throughout play] Marcius Martius 15 0none 33 s.p. Second Citizen Al! 42-43 accusations, He Accusations he 55 s.p. First Citizen 2 Cit. [and so throughout scene] 64 you. For your wants, you for your wants. 90 stale ‘t scale’t. 105 you.

With you with

108 tauntingly taintingly

125 awhile, awhile;

123 you. you,

171 geese. You are no Geese you are: No

214 Shouting Shooting 218 unroofed vnroo’st 227 s.d. Junius Annius 240 Lartius Lucius 242 s.p. [and at 1.1.246 and 1.5.21] Lartius Tit.

245, 249

[and elsewhere}

First Senator Sen.

252 s.d. Manent Manet 1.2. s.d. Corioles Coriolus 40n one 16 Whither Whether 27-28 Corioles. . . . before ‘s Corioles / If . . . before’s: 1.3. 37 that’s that 44 sword, contemning.— Tell sword. Contenning, tell 82 s.p. Virgilia Vilug. 84 yarn yearne 85 Ithaca Athica 105 lady. . . . now, Ladie, as she is now: 1.4. 13 s.d. Corioles Coriolus 18 up. Our vp our 20s.d. Alarum far off {after line 20 in F] 32 herd of—Boils Heard of Byles 43 trenches. Follow ‘’s Trenches followes 46 s.d. gates Gati and is shut in [in F, this is part of the s.d. at line 43]

57 left, Marcius.

left Marcius, 58 entire, intire; 59 Were Weare 60 Cato’s Calues 1.5. 7 them, them. 8up.vp, 9 him! him 1.6. 9s.d. [after line 9 in F] 21 Who’s Whose 22 flayed Flead 30 wooed, in heart woo’d in heart; 53 Antiates Antients 70 Lesser Lessen

73 alone, or alone: Or

841 foure

1.7. 4 lose loose {and sometimes elsewhere] 7 s.d. Exeunt Exit 1.8. 11 masked. For maskt, for 12 Wert Wer’t

1.9. 32 good . . . all good, and good store of all, 41 may [F provides a s.p., “Mar.”1 49 shout shoot 64, 66 [and elsewhere]

Caius Marcius Marcus Caius 66s.p. All Omnes 67, 78, 81, 89 s.p. Coriolanus Martius 93 s.d. A flourish. Cornets. [at the beginning of line 10 in F] 1.10. 19 itself. Nor it selfe, nor 2.1. 18 with all withall 24 how are ho ware 51 upon too vppon, to 57 cannot can 61 you you you 62 faces. If faces, if 64 bisson beesome 70-71 faucet-seller Forcet-seller 85 are. When . . » purpose, are, when . . . purpose. 106 s.p. Valeria, Virgilia 2. Ladies 122 pocket, the Pocket? the 123 brows, Menenius. Browes: Menenius, 155 s.d. [after line 155 in F] 160 s.d. fand elsewhere] Lartius Latius 164 Coriolanus Martius Caius Coriolanus 177 wear were 179s.p. Coriolanus Com. 185 You Yon 203 s.d. Brutus Enter Brutus Sicinius Scicinius [and sometimes elsewhere] 233 napless Naples 254 touch teach 2.2. 25 ascent assent 67 s.p. [and elsewhere] First Senator Senat. 81 one on ’s on ones 91 chin Shinne 92 bristled brizled 108 took; from face to foot tooke from face to foote: 155 s.d. Manent Manet 160 here. On the marketplace heere on th’ Market place, 2.3. 28 wedg’d wadg’d 38-39 it. I say, if it, | say. If 39 all together altogether 52 tongue tougne 67 but not but 88, 91, 106 s.p. Fourth Citizen 1 104 s.p. Fifth Citizen 2. 11s.p. Both Citizens Both 114 hire higher 115 toge tongue 118 do ’t, doo’t? 132 s.p. Sixth Citizen 1. Cit. 134 s.p. Seventh Citizen 2. Cit.

3.1. 46 suppliants for Suppliants: for 60 abused, set on. This abus’d: set on, this 94 good God! 129 Their There 137 poll pole 146 Where one Whereon 164 He’s Has [also at line 165] 169 bench? In a rebellion. Bench, in a rebellion: 176 s.d. Enter an Aedile [after line 175 in F] 181 s.p. All Patricians Al! 187 s.p. [and elsewhere] All Plebeians A/! 189 s.p. All [at line 191 in F] 219s.p. All Plebeians A// Ple. 233 s.d. [preceded in F by “Exeunt’”] 234 your our 235 s.p. Coriolanus Com. 242s.p. Cominius Corio. 243 s.p. Coriolanus Mene. 245 s.p. Menenius [not in F] 283 comes’t com’st 315 s.p. Sicinius Menen. 334 bring him bring him in peace 14 s.d. Enter Volumnia [after line 6 in 3.2. 7 s.p. A Patrician Noble F] 23 thwartings things 34 herd heart 67 son, these . . . no103 bear? Well, I beare well? | bles; Sonne. These . . . Nobles, 104 plot to lose, Plot, to loose 115 drum, into a pipe Drumme into a Pipe, 117 lulls lull

NOTES

3.3 5 s.d. [after line 5 in F} 34 for th’ fourth 38 Throng Through 59 accents Actions 73 hell fold hell. Fould 76 clutched clutcht: 77 numbers, numbers’ 107 it; in it. in 1148 for from 143-144 blows! Despising . . . city, thus blowes, despising . . . City. Thus 145s.d. Cominius Cominius, with Cumalijs 147 Hoo! Hoo! Hoo, oo $147 s.d. {after line 145 in F] 4.1. 5 chances chances. 24 thee the 34 wilt will 37 s.p. Virgilia Corio. 4.2. 23 words, words.

46 s.d. Exeunt Exit

55 {F has s.d., “Exeunt’]

56 s.d. Exeunt Exit 4.3. 9 approved appear’d 32 will well 4.4. 6s.d. [after line 6 in F] 23 hate haue 4.5. 75 requited requitted: 83 Whooped Hoop’d o’re-beate

152s.d. Two

Enter two

1690none

136 o’erbear ’t

181, 185 s.p.

First and Second Servingmen Both 194 him, directly him directly, 195 Corioles; Coricles 209 sowl sole 211 polled poul’d 233 sleepy sleepe 4.6. 10 s.d. [after line 9 in F] 21.p. [and elsewhere] All citizens Al! 36 lamentation Lamention 61 come comming 78 s.p. Second Messenger Mes. 127 s.p. Both Tribunes Tri. 144 0ne oue 146 s.p. All citizens Omnes 151 us. That vs, that 165 s.d. Exeunt Exit

4.7.19 him. Although him, although 21 fairly fairely: 34 osprey Aspray 37 ‘twas ‘was 39 defect detect 49 virtues Vertue, 55 falter fouler 5.2.65 by my my 76 our your 88 pity note how much. pitty: Note how much, 95 s.d. Manent Manet 5.3. 15 accept. To accept, to 16 more, amore:

A

48 prate pray

63 holp hope 66 curded curdied 127 s.p. Young Marcius Boy 149 fine fiue 152 charge change 163 clucked clock’d 169 with our with him with our 192 stead steed 5.4. 40 s.p. [and throughout scene] Second Messenger Mess. 49 s.d. all together altogether 51 cymbals Symboles 5.5. 4 Unshout Vnshoot 5.6. 33 projects to accomplish, proiects, to accomplish 43-44 it / For...

him. it:/ For...

him,

46 lies, he Lies; he

56 sec-

ond. When second, when 57 way his way. His 63 s.p. All Lords Ail! 104 other others 117 pieces, Volsces. Men peeces Volces men 121 Fluttered Flatter’d 136 s.d. Draw Draw both kill. kils

Pericles Copy text: the First Quarto of 1609. Act and scene divisions, missing in the Quarto, are derived from subsequent editorial tradition. 1.0. 1s.p. Gower (not in Q; also in subsequent choruses throughout, 11 6 holy-ales Holydayes except at 4.4, 5.2, and epilogue] these those 39a of 1.1. 8 For th’ For 18 razed racte 23 the th’ 25 boundless bondlesse 57 s.p. Antiochus [not in Q; also at line 170] 63 advice advise 100-101 clear... them. The cleare: . . . them, the 106 know; . . . fit, know, . . . fit; 1120ur your 114 cancel 137 ’schew shew 160.d. Enter a counsell 128 you’re you Messenger [after ‘‘done’’ in line 160 in Q] 1.2. 3 Be my By me 5 quiet? quiet, 16 me: the me the 20 honor him honour 25 th’ ostent the stint 30am once 41 blast sparke 69-70 me . . . thyself. me: . . . thy selfe, 72 Where, as Whereas 80 seem seemes 84 Bethought me Bethought 85

87 doubt—as . . . he doth doo’t, as no doubt he fears feare 123 will 122 word for faith, word, for faith 93 call ‘t call doth

sure will 124 we'll will 126 s.d. Exeunt Exit 1.3. 1.p. Thaliard [not in Q] 27 ears it seas please please: 28 seas Sea 30.p. Helicanus [not in Q] 34 betaken betake 39 s.d. Exeunt Exit 14 lungs toungs 13 deep deepe: 1.4, 5 aspire aspire? 13, 14doto 17 helps helpers 36 they thy 39 two summers too sauers 44 loved. lou’de,

58 thou thee

67 Hath That

these the

69

74him’s himnes 77 fear leaue 78 lowest, lowest? men mee 97 s.p. All Omnes 196 ne’er neare 2.0. 11 Tarsus Tharstill 12 speken spoken 22 Sends word Sau’d one 24 intent in Tent murder murdred [some corrected copies of Q have “had . . . murder]

A-121

A-122

TEXTUAL

NOTES

2.1. 6 left me left my 12hoto Pilch pelch 31-32 deve--1.s deuowre 39s.p. Third Fisherman 1 48 finny fenny 53 that? that, 55 it. it? 78 quotha ke-tha 82 holidays all day 83 more o’er more; or

yeat

all thy all

may

91 your you

130 it. it

100is!

122 pray pary

123

yet

131 thee from !—may ’t thee, Fame

148d’ ye di’e [Q uncorr.} do’e [Q corr.]

157 rapture rup-

ture 160 delightful delight 167 equal a Goale 2.2. 1 s.p. [and elsewhere] Simonides King 4 daughter daughter heere 27 Pile . . . forza Pue Per doleera kee per forsa 28 what's with 29 chivalry Chiually 30 pompae Pompey 33 Quod Qui 2.3.3 To! 1423 yours your 27 Envied Enuies 39 Yon You 40 tells me tels 45 son’s sonne 52 stored stur’'d 53 you do do you 109 s.d. They dance [after “unclasp’’ in Q] 113 to be be 115 s.p. Simonides [not in Q] 2.4. 22 welcome. Happy welcome happy. 34 death’s death 40s.p. All) Omnes 2.5. 74 s.d. Aside [after line 75 in Q] 76, you, not you not, 78 s.d. Aside [after line 79 in Q] 92s.p. Both Ambo 3.0. 2 the house about about the house 6 ‘fore from 7 crickets Cricket 13 eche each 17 coigns Crignes 21 stead steed quest. At last from Tyre, quest at last from Tyre: 29 appease oppresse 35 Yravishéd Iranyshed 46 Fortune’s mood fortune mou'd

57not...

told. not?.

..

told,

58 hold hold:

3.1. 1 Thou The 7 Thou stormest then storme 8 spit speat 11 midwife my wife 14 s.d. Enter Lychorida [after ‘“Lychorida” in Q) 34 Poor . . nature (Wilkins; not in Q] 38 s.p. Master 1. Sayl {also in lines 43 and 47] 45s.p. Sailor 2. Sayi 51 s.p. Master 1 52 custom easterne 53 for . . straight (printed in Q as part of the next line, after “As you think meet,” the line assigned to Pericles] 60 in the ooze in oare 62 And aye- The ayre 65 paper Taper 70s.p. Sailor 2 73 s.p. Master 2 [also in line 76) 81 s.d. Exeunt Exit 3.2. 6 ne’er neare 19 quit quite 51 s.p. [and elsewhere] First Servant Seru. 58 bitumed bottomed 61-62 open. / Soft! open soft; 68-69 too! / Apollo to Apollo, 79 even euer 87 lain lien 95 breathes breath 3.3. s.d. at Tarsus Artharsus 6 haunt hant 31 Unscissored vnsisterd hair heyre 32 ill will 37s.p. Cleon Cler. 41 (and elsewhere} Lychorida Lycherida 3.4. s.d. Thaisa Tharsa 45.p. Thaisa Thar. 5 eaning learning 9 vestal vastall 115.p. Cerimon Cler. 17 s.d. Exeunt Exit 4.0. 8 music, letters Musicks letters 10 her hie heart art 14 Seeks Seeke 15 hath our Cleon our Cleon hath 16 wench full grown full growne wench 17 ripe right rite sight 21 she they 25 to the

too’th

26 bird bed

29 Dian; still Dian still,

32 With

[after

“might” in Q] 35 given. This giuen, this 38 murder murderer 47 carry carried 48 on one 4.1. 5 inflaming love i’ thy in flaming, thy loue 11 nurse’s Mistresse 25 me. me? 27 On... . margent ere the sea marre it 36 here. When

here, when

40 courses. Go courses, g0

66 stem sterne

76-77 killed? / Now kild now? 99 :s.d. Exeunt Exit 105 aboard. If aboard, if 4.2.4 much much much 42 s.p. First Pirate Sayler 73 was like was 88-89 men must stir must stir 103i’ the ethe 117-118 lovers; seldom but Louers seldome, but 124 s.p. Bawd Mari. 150 s.d. Exeunt Exit

4.3.1 areere to foster it, thorow -

4.4.3 your our

6A0O 12 fact face 14-15 Fates; / To foster is fates 27 prime prince 33 Marina’s Marianas 35 through 7 seem seemes

8 i’ the with

9 story. storie

10

the thy 13 along. Behind along behind, 14 govern, if gouerne it, mind, mind. 18 his this 19 grow on grone 20 gone. gone 23 See [Q adds ans.p. here: Gowr.] 24 true-owed true olde

26 o’ershowered, ore-showr'd 27 embarks. He imbarques, hee 29 puts put to sea. He bears to Sea he beares, 48 scene Steare

4.5. 9 s.d. Exeunt. Exit 4.6. s.d. three bawds Bawdes 3. 17 loon Lowne 22 may may, So 37 dignifies dignities 69 name ’t name 88 130 ways way 132s.d. Bawd Bawdes 137 She He way 167 Coistrel custerell 195 women woman 5.0. 7 roses: Roses 8 twin Twine 13 lost left 20 fervor former {Q uncorr.]

so; aloof aloft 154 ways [Q corr.]

5.1. 1 s.p. Tyrian Sailor 1. Say 7 s.p. Tyrian Sailor 2. Say 12 s.p. Tyrian Sailor 1. Say [Q corr.] Hell [Q uncorr.] 36 s.p. Lysimachus [not in Q] 37 Behold . . . person [assigned to Lysimachus inQ] 38 Til Hell. Till night wight 43 s.p. First Lord Lord 48 deafened ports defend parts 51 with her her is now now 60 gods God 68 presence present 72!’d|do wedtowed 73 one on bounty beautie 75 feat fate 83 Marked Marke 91 weighed. wayde, 105 You’re your countrywoman Countrey women 106 Here heare shores . . . shores shewes .. . shewes 114 cased caste 124 palace Pallas 126 make my make 129 say stay 134 thought’st thoughts 143 thou them? thou 166 dull duld 182 imposter imposture 185 s.p. Pericles Hell. 205 me but that, me, but that 212 life like 228-229 music? / Tell Musicke tell, 230 doubt doat 249 life like 264 suit sleight 5.2. 8 Mytilin Metalin. 9 King. So King, so 14 interim, pray you, all Interim pray, you all 15 filled fild 16 willed wild 5.3.6 who whom 15 nunmum 22 one in 29-30 look! / If looke if 38 Immortal !,mortall 51 s.p. Pericles Hell. 71 U bless blesse 79 credit, sir, credit. Sir,

98 deed to deede,

91 preserved preferd

79 credit, sir, credit. Sir

92 Led Lead

Cymbeline Copy text: the First Folio. Act and scene divisions are as in the Folio except as indicated below. 1.1. 2 courtiers’ Courtiers: 30 [and elsewhere] Cassibelan Cassibulan 59 swaddling-clothes the other, swathing cloathes, the other 70 [F begins “Scena Secunda” here] 98 Philario’s Filorio’s 118 cere seare 160s.d. Enter Pisanio [after Exit, line 160, in F] 1.2. {F labels ‘Scena Tertia”’] 1.3. {F labels “Scena Quarta’} 1.4 [F labels “Scena Quinta’’]

9 this his 28 Briton Britaine

47 offend not of-

fend 72 Britain. Brittanie; others others. 74 but believe beleeue 84 purchase purchases 128 thousand thousands 137 preserve preseure 1.5 [F labels “Scena Sexta”] 3.d. Exeunt Exit 77 s.d. Exit Pisanio {at line 76 in F] 87 s.d. Exeunt Exit 1.6 [F labels “Scena Septima’”’|] 7 desire desires 28 takes take 36 th’ unnumbered the number’d 67 Briton Britaine [and so elsewhere for nominative form] 72 be, will . . . languish be: will . . . languish: 104 Fixing Fiering 109 illustrous illustrious 169 men’s men 170 descended defended 2.1. 27 your you § 34 tonight night 51s.d. Exeunt Exit 61 husband, than Husband. Then 62 divorce he’d make! diuorce, heel’d make 63 honor, keep Honour. Keepe 65 s.d. Exit Exeunt 2.2 1s.p. Helen La. [also at line 2} 49 bare beare 51 s.d. Exeunt Exit

2.3. 20 s.p. Musician [not in F] 29 s.p. Cloten (not in F] 30 vice voyce 32amend amed 48 solicits solicity 130 envy, if Enuie. If 139 garment Garments 147 am am. 156 you your 2.4. 6 hopes hope 18 legions Legion 24 mingled wing-led 34 through thorough 37 s.p. Philario Post. 48 not note 58 you yon 60 loses looses 61 leaves leaue 63 near nere 127 lose loose 138 the her 2.5. [scene not marked in F] 16 German one larmen on 27 have a name name 3.1. 20 rocks Oakes 53 be. We do say be, we do. Say 3.2. 2 monster’s her accuser Monsters her accuse 67 score store ride rid

78 here, not heere, not

3.3. 2 Stoop Sleepe 23 bauble Babe 28 know knowes 31 known, well knowne. Well 34 for or 83 wherein they bow, whereon the Bowe 86 Polydore Paladour 106 Morgan Mergan 3.4. 79 afore ‘t a-foot 90 make makes 102 blind first first 3.5. 17 s.d. Exeunt Exit 32 looks looke 40 strokes stroke;, 42 S.p. Attendant Mes. 44 loud’st lowd 55 s.d. Exit (after “days” in F] 141-—142 insultment insulment 3.6. 27 [F begins “Scena Septima” here] 3.7. [F labels “Scena Octaua’] 9 commends commands 4.1. 18 her face thy face

TEXTUAL

4.2. 50-52 He . . . dieter [assigned in F to Arviragus] 58 him them 59 Grow, patience Grow patient 124 thanks, ye thanks the 134 humor Honor 172 how thou 188 ingenious ingenuous 207 crare care 208 Might Might’st 226 ruddock Raddocke 293 is are

294 s.p. Imogen awakes

[as stage direction in F]

339 are are

heere 393 wild-wood leaves wild wood-leaves 4.3. 40 betid betide 4.4 2 find we we finde 17 the their 27 hard heard 5.1. 1 wished am wisht 32-33 begin / The fashion: begin, / The fashion 5.3. 24 harts hearts 42 stooped stopt 43 they the 47 before, some before some 5.4. 1 s.p. [and throughout scene] First Jailer Gao. 15 constrained. To constrain’d, to 50 deserved d seru’d 81 look looke, looke 165 Oh, Oh, of 169 sir Sis 197 s.d. Exeunt [at line 206 in F] 5.5. 54 fine time 62 s.p. Ladies La. 65 heard heare 128 saw see 136 On, One 207 got it got 264 from fro 315 on’s one’s 319 leave. leaue

338 mere neere

339 treason; Treason

382 ye

we 390 brothers Brother 391 whither? These, whether these? 392 battle, Battaile?, 395 chance; chance? 409sono 439s.p. Soothsayer [not in F] 473 this yet yet this

Copy text: the First Folio. Characters’ names are groups at the heads of scenes throughout the play. Act and scene divisions are as marked in the Folio. The Names of the Actors [printed in F at the end of the play] Archidamus [after Autoclycus in F] 1.1. 9 us, we vs: we

1.2. 104 148 folly, . . .

And A 137-138 be?— / Affection, thy be / Affection? thy What . . . brother [assigned in F to Leontes] 151-153 . . . tenderness, . . . bosoms! folly? . . . tendernesse? bosomes? 158dodo’s 202-203 powerful, think it,

. . . south. Be powrefull: thinke it: . . . South, be

208 you,

they you 253 forth. In... lord, forth in . . . (my Lord.) 275 hobbyhorse Holy-Horse 386 How? Caught How caught 461 off. Hence! off, hence:

2.1. 2 s.p. [and throughout scene] First Lady Lady 91 fedarie Federarie 2.2. 32-33 me. / If... blister me, /If . . . blister. 2.3. 2 thus, mere weakness. If thus: meere weaknesse, Who_ 61 good, so good so,

if

39 What

3.2. 10 Silence [printed in F as as.d.] _s.d. Hermione, as to her trial . . « Ladies [at start of scene in F, as generally with the s.d. in this play} 33 Who Whom 99 Starred Star’d 156 woo woe 3.3. 64 scar’d scarr'd 116 made mad 4.2. 13 thee. Thou thee, thou 4.3. 1s.p. Autolycus [not in F]}_ 7on an 10 With heigh, with heigh With heigh 38 currants Currence 4.4. 12 Digest it Digest 13 swoon sworne 60a fire o’fire 83 bastards. Of bastards) of 98 you you 160 out on’t 218 s.p. Autolycus [not in F] 244 kilnhole kill-hole 297 s.p. Autolycus [in F, appears at line 298] 299 Whither Whether [and similarly throughout song] 310 gentleman Gent. 316 cape Crpe 339 square squire 355 reply, at least reply at least, 361 who whom 421 acknowledged acknowledge 425 who whom 430 see neuer see 441 hoop hope 470 your my 473 sight as yet, 1 fear. sight, as yet | fear; 485-486 fancy. If . . . obedient, I fancie, if . . . obedient: | 503 our her 614 could would _ filed fill’d 738 to at 833 s.d. off of 644 flayed fled 708 know not know Exeunt [at 845 in F] 5.1. 6 Whilst Whilest (also at line 169] 59 Where . . . appear (Where we Offendors now appeare) 61 just just such 75 I have 84 s.d.Gentleman Servant done [assigned in F to Cleomenes] 85 s.p. (and through line 110} Gentleman Ser. 114 s.d. Exit [after "us" in line 115 in F] 160 his, parting his parting 5.2. 113 s.d. Exeunt Exit 5.3. 18 Lonely Louely 67 fixture fixure a

The Tempest Copy text: the First Folio. Characters’ names are groups at the heads of fcenes throughout. Act and scene divisions are as marked in the Folio. Names of the Actors [printed in F at the end of the play] 1.1. 8s.d. Ferdinand Ferdinando 34 s.d. Exeunt Exit 36 [and elsewhere] wi’ the with 38 s.d. {at line 37 in F] 1.2. 99 exact, like exact. Like 166 steaded much. steeded much, 201 bowsprit Bore-spritt 213 me. The me the 230 Bermudas Bermoothes 263, 267 Algiers Argier 284 she he 288 service. Thou service, thou 330 forth at for that 377, 399, s.d. Ariel’s Ariel (or Ariell} 385 s.d. Burden, dispersedly [before “Hark, hark!” in line 384 in F] 387 [F provides a speech prefix, Ar.] 400 s.p. Ariel [not in F] 2.1. 38 s.p. Antonio Seb. 39 s.p. Sebastian Ant. 232 throes throwes 2.2.9 mow moe 116 spirits sprights 3.1. 2 sets set 3.2. 26 debauched debosh’d 51-52 isle; From me he Isle / From me, he 123 scout cout 3.3. 15 travel trauaile 17 s.d. Solemn . . . invisible (after “they are fresh” in F, and followed by the s.d. at line 19, Enter . . . depart 28 me me?

The Winter’s Tale

NOTES

29 islanders? Islands;

33 human

our 249 business. At businesse, at

250 Which

humaine

65 plume plumbe 4.1. 9 off of 13 gift guest 25 love as ‘tis now, the loue, as ‘tis now the 61 vetches Fetches 68 poll-clipped pole-clipt 74 Her here 110 s.p. Ceres [not in F] 123 wife wise 124 s.d. {after line 127 in F] 163 s.d. Exeunt Exit 193 s.d. Enter Ariel . . . etc. {after “on this line” in F; and followed by Enter Caliban . . . all wet] 193 them on on them 232 Let ’t let’s 5.1. 60-boiled boile 72 Didst Did 75 entertained entertaine 82 lies ly 88 s.p. Ariel {not in F} 236 horrible, horrible. 238 her (Which shall be shortly single)

..

. single

259-260 Coragio Corasio

Venus and Adonis Copy text: the Quarto of 1593. 185 Souring So wring 208 Speak, fair, Speake fair where woes

304 whe’er

457 marketh. marketh, 458 raineth, raineth: 570 woos 621 shine when .. . fret; shine, when . . . fret 680

overshoot ouer-shut stories stories, had

748 th’ the th’

873 twine twin’d

1027 falcon Faulcons

1031 as are

1013

1054 was

The Rape of Lucrece Copy text: the corrected Quarto of 1594 [Q corr.] A number of corrected readings are however rejected as sophistications; see text notes below at lines 31, 50, 125, 126. 24 morning’s [Q corr., mornings]

morning

[Q uncorr.]

31 apology

[Q uncorr.} Apologies [Q corr.] 50 Collatium (Q uncorr., Colatium] Colatia [Q corr.] 57 beauty, in . . . entituléd Beautie in _ entituled,

58 doves, doth

..

. field. doues doth.

. . field,

125 himself betakes (Q uncorr.} themselues betake [Q corr.] 126 wakes [Q uncorr.] wake [Q corr.] 555 panteth pateth 560 wear were 650 sovereign, with . . . haste soueraigne with 922 in_. . hast, 688 lose loose [also at lines 979 and 1158] clination inclination. 1126 Relish Ralish 1129 hair heare 1249 remain remaine. 1229 eyne, enforced eien inforst, 1263-1264 ensue / By . . . wrong. insue. / 1251 peep peepe,

1350 this pattern of 1312 schedule Cedule By .. . wrong, the the pattern of this [in four copies of Q; it is uncertain which is the corrected state] 1386 far-off farre of 1475 Thine Thy 1543 travail trauaile 1544 too to 1580 Losing Loosing 1648 forbade forbod 1652 robbed rob’d 1660 here heare 1713 in it it 1680 one woe on woe 1662 wreathéd wretched in 1768 faltering foultring

A-123

A-124

TEXTUAL

NOTES

A Lover’s Complaint Copy text: the Sonnet Quarto of 1609 [Q). 7 sorrow’s sorrowes, 14 lattice lettice 37 beaded bedded 51 ‘gan gaue 95 wear were 103 breathe breath 112 manage mannad’g 118 Came Can 131 Consents Consent’s 164 forbade forbod 182 woo vovv 198 pallid palyd 204 hair heir 205 metal mettle 228 Hallowed Hollowed 251 immured enur’d 252 procured procure 260nun Sunne 2930 Or 303 strange straing

The Sonnets Copy text: the Quarto of 1609 [Q]. 2.14 tattered totter’d [also at 26.11] cold could 6.4 beauty’s beautits 8.10 Strikes Strike 12.4 all or 13.7 Yourself You selfe 15.8

wear were

17.12 meter miter

twice, in it and twice in it,

and 18.10 [and elsewhere] lose loose 19.3 jaws yawes 20.2 Hast Haste 22.3 furrows forrwes 23.6 rite right 23.14 with wit wit wiht 24.1 stelled steeld 25.9 fight worth 26.12 thy their (also at 27.10, 35.8 (twice), 37.7, 43.11, 45.12, 46.3, 46.8, 46.13, 46.14, 69.5, 70.6, 85.3, 128.11, 128.14]

27.2 travel trauaill 28.12 gild’st the guil’st th’ 28.14 strength length 31.8 thee there 34.2 travel trauaile 34.12 cross losse 34.13 sheds sheeds 38.2 pour’st poor’st 38.3 too to 39.12 doth dost 41.7 woos woes 42.10 losing loosing 44.12 attend time’s attend, times 44.13 naught naughts 45.9 life’s liues 46.9 ‘cide side 46.12 the he 47.2 other. other, 47.4 smother, smother; 47.11 no nor 50.6 dully duly 51.10 perfect’st perfects 55.1 monuments monument 56.3 [and elsewhere] today too daie 58.7 patience-tame to suffrance, patience tame, to sufferance

59.6 hundred hundreth

59.11 whe’er

where 61.14 off of too to 62.10 chapped chopt 63 traveled trauaild 65.12 of or 67.6 seeming seeing 69.3 due end 69.14 soil solye 71.13 Lest Least [also at 72.1, 72.9, and elsewhere} 73.4 ruined rn’wd_ choirs quiers 76.7 tell fel 77.1 wear were 77.10 blanks blacks 82.8 these the 83.7 too to 85.3 Reserve Reserne 88.8 losing loosing 90.11 shall stall 91.9 better bitter 93.5 there their 98.11 were weare 99.4 dwells dwells? 99.9 One Our 99.13 ate eate 102.8 her his 106.12 skill still 111.1 with wish 112.14 are y’are 113.6 fatch lack 113.13 more, replete with more repleat, with 113.14 mine eye mine

117.10 surmise accumulate; surmise, ac-

cumilate 118.5 ne’er-cloying nere cloying 118.10 were not, grew were, not grew 119.4 losing loosing 121.11 bevel. beuel 125.6 rent, rent 125.7 sweet forgoing sweet: Forgoing 126.2 sickle hour; sickle, hower: 126.8 minutes mynuit 127.2 were weare’ 127.10 brows eyes 129.9 Mad Made 129.10 quest to have, quest, to haue 129.11 proved, a proud and 132.6 the east th’ East 132.9 mourning morning 138.12 to have t’ haue 140.5 were weare 144.6 side [adopted from The Passionate Pilgrim] sight 144.9 fiend adopted from The Passionate Pilgrim\ finde 146.2 Thrall to My sinfull earth 147.7 approve approoue.

153.14 eyes eye

A-125

Glossary Shakespearean Words

and Meanings

of Frequent Occurrence

°

Blood: nature, vigor; supposed source of emotion; passion; spirit, animation; one of the four humors (see humor).

A ‘A: he (unaccented form). Abate: lessen, diminish; blunt, reduce; deprive; bar, leave out of account, except; depreciate; humble. Abuse (ny): insult, error, misdeed, offense, crime; imposture, deception; also the modern sense. Abuse (v): deceive, misapply, put to a bad use; maltreat; frequently the modern sense. Addition: something added to one’s name to denote rank; mark of distinction; title.

Admiration: wonder; object of wonder. Admire: wonder at. Advantage (n): profit, convenience, benefit; opportunity, favorable opportunity; pecuniary profit; often shades toward the modern sense. Advantage (v): profit, be of benefit to, benefit; augment. Advice: reflection, consideration, deliberation, consultation. Affect: aim at, aspire to, incline toward; be fond of, be inclined; love; act upon contagiously (as a disease). (past part.) Affected: disposed, inclined, in love, loved. Affection: passion, love; emotion, feeling, mental tendency,

disposition; wish, inclination; affectation. Alarum: signal calling soldiers to arms (in stage directions).

An:

somewhat like a cock. It was the offspring of a cock’s egg hatched under a toad or serpent. Bate: blunt, abate, reduce; deduct, except. Battle: army; division of an army. Beshrew: curse, blame; used as a mild curse, “Bad or ill luck to.” Bias: tendency, bent, inclination, swaying influence; term in bowling applied to the form of the bowl, the oblique line in which it runs, and the kind of impetus given to cause it to run obliquely.

if; but; an if: if, though, even if.

Anon:

Answer:

at once, soon; presently, by and by.

return, requite; atone for; render an account of,

account for; obey, agree with; also the modern sense. Apparent: evident, plain; seeming. Argument: subject, theme, reason, cause; story; excuse. As: according as; as far as; namely; as if; in the capacity of; that; so that; that is, that they. Assay: try, attempt; accost, address; challenge. Atone:

reconcile; set at one.

Attach: arrest, seize. Aweftul, awful: commanding reverential fear or respect; profoundly respectful or reverential.

B Band: bond, fetters, manacle (leash for a dog). Band and bond are etymologically the same word; band was formerly used in both senses. Basilisk: fabulous reptile said to kill by its look. The basilisk of popular superstition was a creature with legs, wings, a serpentine and winding tail, and a crest or comb

Boot (x): advantage, profit; something given in addition to the bargain; booty, plunder. Boot (v): profit, avail. Brave (a0).): fine, gallant; splendid, finely arrayed, showy; ostentatiously defiant. Brave (v): challenge, defy; make splendid. Brook: tolerate, endure.

C Can: can do; know; be skilled; sometimes used for did. Capable: comprehensive; sensible, impressible, susceptible; capable of; gifted, intelligent. Careful: anxious, full of care; provident; attentive. Carry: manage, execute; be successful, win; conquer;

sustain; endure. Censure (nN): judgment, opinion; critical opinion, unfavorable Opinion.

Censure (v): judge, estimate; pass sentence or judgment. Character (nN): writing, printing, record; handwriting; cipher; face, features (bespeaking inward qualities). Character (v): write, engrave,

inscribe.

Check (n): reproof; restraint. Check (v): reprove, restrain, keep from; control.

Circumstance: condition, state of affairs, particulars; adjunct details; detailed narration, argument, or discourse;

formality, ceremony. Clip: embrace; surround. Close:

secret, private; concealed;

uncommunicative;

enclosed. Cog: cheat. Coil: noise, disturbance, turmoil; fuss, to-do, bustle. Color: appearance; pretext, pretense; excuse. Companion: fellow (used contemptuously). Complete: accomplished, fully endowed; perfect, perfect in quality; also frequently the modern sense. Complexion: external appearance; temperament, disposition; the four complexions— sanguine, choleric, phlegmatic, and melancholy —corresponding to the four humors (see humor); also the modern sense. Composition: compact, agreement, constitution. Compound: settle, agree. Conceit: conception, idea, thought; mental faculty, wit; fancy, imagination; opinion, estimate; device, invention,

design.

Condition:

temperament,

disposition; characteristic,

property, quality; social or official position, rank or status; covenant, treaty, contract.

A-126

GLOSSARY

Confound: waste, spend, invalidate, destroy; undo, ruin; mingle indistinguishably, mix, blend. Confusion: destruction, overthrow, ruin; mental agitation. Continent: that which contains or encloses; earth, globe; sum, summary. Contrive: plot; plan; spend or pass (time). Conversation: conduct, deportment; social intercourse, association.

Converse: hold intercourse; associate with, have to do with. Cope: encounter, meet; have to do with. Copy: model, pattern; example; minutes or memoranda. Cousin: any relative not belonging to one’s immediate family. Cry you mercy: beg your pardon. Cuckold: husband whose wife is unfaithful. Curious: careful, fastidious; anxious, concerned; made with care, skillfully, intricately, or daintily wrought; particular. Cursed, curst: shrewish, perverse, spiteful.

D Dainty: minute; scrupulous, of); refined, elegant; also Date: duration, termination, of a term or period, term. Dear: precious; best; costly;

particular; particular about (with the modern sense. term of existence; limit or end important; affectionate; hearty;

grievous, dire; also the modern sense.

Debate: discuss; fight. Decay (x): downfall, ruin; cause of ruin. Decay (v): perish, be destroyed; destroy. Defeat (x): destruction, ruin. Defeat (v): destroy, disfigure, ruin. Defy: challenge, challenge to a fight; reject; despise. Demand (x): inquiry; request. Demand (v): inquire, question; request. Deny: refuse (to do something); refuse permission; refuse to accept; refuse admittance; disown. Depart (x): departure. Depart (v): part; go away from, leave, quit; take leave (of one another); depart with, withal: part with, give up. Derive: gain, obtain; draw upon, direct (to); descend; pass by descent, be descended or inherited; trace the origin of. Difference: diversity of opinion, disagreement, dissension, dispute; characteristic or distinguishing feature; alteration or addition to a coat of arms to distinguish a younger or lateral branch of a family. Digest: arrange, perfect; assimilate, amalgamate; disperse, dissipate; comprehend, understand; put up with (ric. from the physical sense of digesting food). Discourse (x): reasoning, reflection; talk, act of conversing, conversation; faculty of conversing; familiar intercourse; relating (as by speech). Discourse (v): speak, talk, converse; pass (the time) in talk; say, utter, tell, give forth; narrate, relate. Discover: uncover, expose to view; divulge, reveal, make known; spy out, reconnoiter; betray; distinguish, discern; also the modern sense. Dispose (x): disposal; temperament, bent of mind, disposition; external manner.

Dispose (v): distribute, manage, make use of; deposit, put or stow away; regulate, order, direct; come to terms. (Past part.) Disposed: in a good frame of mind; inclined to be merry.

Dispute:

discuss, reason; strive against, resist.

Distemper (v): disturb; (x): disorder, ill humor; illness. Doit: old Dutch coin, one-half an English farthing. Doubt (n): suspicion, apprehension; fear, danger, risk; also the modern sense. Doubt (v): suspect, apprehend; fear; also the modern sense. Doubtful: inclined to suspect, suspicious, apprehensive; not to be relied on; almost certain.

Duty:

reverence,

respect, expression of respect; submission

to authority, obedience; due.

E Earnest: money paid as an installment to secure a bargain; partial payment; often used with quibble in the modern sense. Ease: comfort, assistance, leisure; idleness, sloth, inactivity; also the modern sense. Ecstasy: frenzy, madness, state of being beside oneself, excitement,

bewilderment;

swoon;

rapture.

Element: used to refer to the simple substances of which all material bodies were thought to be composed; specifically earth, air, fire, and water, corresponding to the four

humors (see humor); atmosphere, sky; atmospheric agencies or powers; that one of the four elements which is the natural abode of a creature; hence, natural surroundings, sphere. Engage: pledge, pawn, mortgage; bind by a promise, swear to; entangle,

involve; enlist; embark on an enterprise.

Engine: mechanical contrivance; artifice, device, plot. Enlarge: give free scope to; set at liberty, release. Entertain: keep up, maintain, accept; take into one’s service; treat; engage (someone’s) attention or thoughts; occupy,

while or pass away pleasurably; engage (as an enemy); receive.

Envious: malicious, spiteful, malignant. Envy: ill-will, malice; hate; also the modern sense. Even: uniform; direct, straightforward; exact, precise; equable, smooth, comfortable; equal, equally balanced. Event:

outcome;

affair, business; also frequently the modern

sense. Exclaim: protest, rail; accuse, blame (with on), reproach. Excursion: stage battle or skirmish (in stage directions). Excuse: seek to extenuate (a fault); maintain the innocence of; clear oneself, justify or vindicate oneself; decline.

F Fact: deed, act; crime. Faction: party, class, group, set (of persons); party strife, dissension; factious quarrel, intrigue. Fail: die, die out; err, be at fault; omit, leave undone. Fair (x): fair thing; one of the fair sex; someone beloved; beauty (the abstract concept). Fair (ao).): just; clear, distinct; beautiful; of light complexion or color of hair.

GLOSSARY

Fair (apv): fairly. Fairly: beautifully, handsomely; courteously, civilly; properly, honorably, honestly; becomingly, appropriately;

favorably, fortunately; softly, gently, kindly.

Fall: let fall, drop; happen, come to pass; befall; shades frequently toward the modern senses. Falsely: wrongly; treacherously; improperly. Fame: report; rumor; reputation. Familiar (x): intimate friend; familiar or attendant spirit, demon associated with, and obedient to, a person. Familiar (a0).): intimate, friendly; belonging to household or family, domestic; well-known; habitual, ordinary, trivial; plain, easily understood. Fancy: fantasticalness; imaginative conception, flight of imagination; amorous

taste.

Fantasy:

fancy,

inclination or passion,

love; liking,

imagination; caprice, whim.

Favor: countenance, face; complexion; aspect, appearance; leave, permission, pardon; attraction, charm, good will; in favor: benevolently. Fear (x): dread, apprehension; dreadfulness; object of dread or fear. Fear (v): be apprehensive or concerned about, mistrust, doubt; frighten, make afraid. Fearful: exciting or inspiring fear, terrible, dreadful; timorous, apprehensive, full of fear. Feature: shape or form of body, figure; shapeliness, comeliness. Fellow: companion; partaker, sharer (of); equal, match; customary form of address to a servant or an inferior (sometimes used contemptuously or condescendingly). Fine (x): end, conclusion;

in fine: finally.

Fine (ao).): highly accomplished or skillful; exquisitely fashioned, delicate; refined, subtle; frequently the modern sense. Flaw: fragment; crack, fissure; tempest, squall, gust of wind; outburst of passion. Flesh: reward a hawk or hound with a piece of flesh of the game killed to excite its eagerness of the chase; hence, to inflame by a foretaste of success; initiate or inure to bloodshed (used for a first time in battle); harden, train. Flourish: fanfare of trumpets (in stage directions). Fond: foolish, doting; fond of: eager for; also the modern sense. Fool: term of endearment and pity; frequently the modern sense. For that, for why: because. Forfend: forbid, avert. Free: generous, magnanimous; candid, open; guiltless, innocent.

Front: forehead, face; foremost line of battle; beginning. Furnish: equip, fit out (furnish forth); endow; dress, decorate, embellish.

G Gear:

apparel, dress; stuff, substance, thing, article;

discourse, talk; matter, business, affair.

Get: beget. Gloss: specious fair appearance; lustrous surface.

Go to: expression of remonstrance,

impatience,

disapprobation, or derision. Grace (x): kindness, favor, charm, divine favor; fortune, luck; beneficent virtue; sense of duty or propriety; mercy, pardon; embellish; do grace: reflect credit on, do honor to, do a favor for. Grace (v): gratify, delight; honor, favor. Groat: coin equal to four pence.

H Habit: dress, garb, costume; bearing, demeanor, manner; occasionally in the modern sense. Happily: haply, perchance, perhaps; fortunately. Hardly: with difficulty. Have at:

[ shall come at (you) (i.e., listen to me), | shall

attack (a person or thing); let me at. Have with: | shall go along with; let me go along with; come along. Having: possession, property, wealth, estate; endowments, accomplishments. Head: armed force. Hind: servant, slave; rustic, boor, clown. His: its. His was historically the possessive form of both the masculine and neuter pronouns. Its, although not common in Shakespeare’s time, occurs in the plays occasionally. Holp: helped (archaic past tense). Home: fully, satisfactorily, thoroughly, plainly, effectually; to the quick. Honest: holding an honorable position, honorable, respectable; decent, kind, seemly, befitting, proper; chaste; genuine; loosely used as an epithet of approbation. Humor: mood, temper, cast of mind, temperament, disposition; vagary, fancy, whim;

moisture (the literal

sense); a physiological and, by transference, a psychological term applied to the four chief fluids of the human body— phlegm, blood, bile or choler, and black bile or melancholy. A person’s disposition and temporary state of mind were determined according to the relative proportions of these fluids in the body; consequently, a person was said to be phlegmatic, sanguine, choleric, or melancholy.

Image: likeness; visible form; representation; embodiment, type; mental picture, creation of the imagination. Influence: supposed flowing from the stars or heavens of an ethereal fluid, acting upon the characters and destinies of men (used metaphorically). Inform: take shape, give form to, imbue, inspire; instruct, teach; charge (against). Instance:

evidence,

proof, sign, confirmation;

motive, cause.

Invention: power of mental creation, the creative faculty; work of the imagination, artistic creation, premeditated design; device, plan, scheme.

A-127

A-128

GLOSSARY

J

Jar (x): discord in music; quarrel, discord. Jar (v): be out of tune; be discordant, quarrel. Jump: agree, tally, coincide, fit exactly; risk, hazard.

K Keep: continue, carry on; dwell, lodge, guard, defend, care for, employ, be with; restrain, control; confine in prison. Kind (x): nature, established order of things; manner, fashion, respect; race, class, kindred, family; by kind:

naturally.

Kind (ap).): natural; favorable; affectionate.

Kindly (a0;.): natural, appropriate; agreeable; innate; benign. Kindly (apv): naturally; gently, courteously.

L Large: liberal, bounteous, lavish; free, unrestrained; at large: at length, in full; in full detail, as a whole, in general. Late: lately. Learn: teach; inform (someone of something); also the modern sense. Let: hinder. Level: aim; also shades toward the modern sense. Liberal: possessed of the characteristics and qualities of weilborn persons, genteel, becoming, refined; free in speech; unrestrained by prudence or decorum; licentious. Lie: be in bed; be still; be confined, be kept in prison; dwell, sojourn, reside, lodge. Like: please, feel affection; liken, compare. List (x): strip of cloth, selvedge; limit, boundary; desire. List (v): choose, desire, please; listen to. Liver: the seat of love and of violent passions generally (see also spleen). ‘Long of: owing to, on account of. Look: power to see; take care, see to it; expect; seek, search for.

confine. Mind (vn): thoughts, judgment, opinion, message; purpose, intention, desire; disposition; also the modern sense of the mental faculty. Mind (v): remind; perceive, notice, attend; intend. Minion: saucy woman, hussy; follower; favorite, favored person, darling (often used contemptuously). Misdoubt (x): suspicion. Misdoubt (v): mistrust, suspect. Model: pattern, replica, likeness. Modern: ordinary, commonplace, everyday. Modest: moderate, marked by moderation, becoming; characterized by decency and propriety; chaste. Moiety: half; share; small part, lesser share; portion, part of. Mortal: fatal; deadly, of or for death; belonging to mankind; human, pertaining to human affairs. Motion: power of movement; suggestion, proposal; movement of the soul; impulse, prompting; also the modern sense. Move:

make angry; urge, incite, instigate, arouse,

Muse:

wonder,

do; have to do (with); consider; go; be effective,

make up, complete; also the modern sense.

Manage: management, conduct, administration; action and paces to which a horse is trained; short gallop at full speed. Marry: mild interjection equivalent to ‘‘Indeed!”’ Originally, an oath by the Virgin Mary. May: can; also frequently the modern sense to denote probability; might has corresponding meanings and uses. Mean, means (n): instrument, agency, method; effort; opportunity (for doing something); something interposed or intervening; money, wealth (frequently in the plural form); middle position, medium;

tenor or alto part in

station, or position; undignified,

base.

singing (usually in the singular form). Mean (ap).): average, moderate, middle; of low degree,

prompt;

propose, make a proposal to, apply to, appeal to, suggest; also the modern sense. marvel; grumble,

complain.

N Napkin: handkerchief. Natural: related by blood; having natural or kindly feeling; also the modern sense. Naught: useless, worthless; wicked, naughty. Naughty: wicked; good for nothing, worthless. Nerves:

sinews.

Nice: delicate; fastidious, dainty, particular, scrupulous; minute, subtle; shy, coy; reluctant, unwilling; unimportant,

insignificant, trivial; accurate,

wanton, lascivious. Nothing: not at all.

M Make:

Measure (x): grave or stately dance, graceful motion; tune, melody, musical accompaniment; treatment meted out; moderation, proportion; limit; distance, reach. Measure (v): judge, estimate; traverse. Mere: absolute, sheer; pure, unmixed; downright, sincere. Mew (up): coop up (as used of a hawk), shut up, imprison,

precise;

O Of: from, away from; during; on; by; as regards; instead of; out of: compelled by; made from. Offer:

make an attack; menace;

venture, dare, presume.

Opinion: censure; reputation or credit; favorable estimate of oneself; self-conceit, arrogance; self-confidence; public opinion,

reputation; also the modern

sense.

Or: before; also used conjunctively where no alternative is implied; or. . . or: either. . . or; whether. . . or. Out (apv.): without, outside; abroad; fully, quite; at an end, finished; at variance, aligned the wrong way. Out (inteR).): an expression of reproach, impatience, indignation, or anger. Owe: own; also the modern sense.

GLOSSARY

P Pack (v): load; depart, begone; conspire. Pageant: show, spectacle, spectacular-entertainment; device on a moving Carriage.

Pain: punishment, penalty; labor, trouble, effort; also frequently the modern sense. Painted: specious, unreal, counterfeit. Parle: parley, conference, talk; bugle call for parley. Part (v): depart, part from; divide.

Particular (x): detail; personal interest or concern; details of a private nature; single person. Party: faction, side, part, cause; partner, ally.

Pass (v): pass through, traverse; exceed; surpass; pledge. Passing (ao). and apv.): surpassing, surpassingly, exceedingly. Passion (x): powerful or violent feeling, violent sorrow or grief; painful affection or disorder of the body; sorrow; feelings or desires of love; passionate speech or outburst. Passion (v): sorrow, grieve. Peevish: silly, senseless, childish; perverse, obstinate, stubborn; sullen. Perforce: by violence or compulsion; forcibly; necessarily. Phoenix: mythical Arabian bird believed to be the only one of its kind; it lived five or six hundred years, after which it burned itself to ashes and reemerged to live through another cycle. Physic: medical faculty; healing art, medical treatment; remedy, medicine, healing property. Pitch: height; specifically, the height to which a falcon soars before swooping on its prey (often used figuratively); tarlike substance. Policy: conduct of affairs (especially public affairs); prudent management;

stratagem, trick; contrivance; craft, cunning.

Port: bearing, demeanor; state, style of living, social station; gate. Possess: have or give possession or command (of something);

inform, acquaint; also the modern sense. Post (x): courier, messenger; post-horse; haste.

Post (v): convey swiftly; hasten, ignore through haste (with over or off). Practice (x): execution; exercise (especially for instruction); stratagem, intrigue; conspiracy, plot, treachery.

Practice (v):

perform, take part in; use stratagem, craft, or

artifice; scheme, plot; play a joke on.

Pregnant:

resourceful; disposed,

inclined; clear, obvious.

Present (a0).): ready, immediate, prompt, instant. Present (v):

represent.

Presently: immediately, at once. Prevent: forestall, anticipate, foresee; also the modern sense. Process: drift, tenor, gist; narrative, story; formal command, mandate.

Proof:

test, trial, experiment; experience;

issue, result;

proved or tested strength of armor or arms; also the modern sense. Proper: (one’s or its) own; peculiar, exclusive; excellent; honest, respectable; handsome, elegant, fine, good-looking. Proportion: symmetry; size; form, carriage, appearance, shape; portion, allotment; rhythm.

Prove: make trial of; put to test; show or find out by experience. Purchase (x): acquisition; spoil, booty. Purchase (v): acquire, gain, obtain; strive, exert oneself; redeem, exempt.

Q Quaint:

skilled, clever; pretty, fine, dainty; handsome,

elegant; carefully or ingeniously wrought or elaborated. Quality: that which constitutes (something); essential being; good natural gifts; accomplishment, attainment, property; art, skill; rank, position; profession, occupation, business; party, side; manner, style; cause, occasion. Quick: living (used substantively to mean “living flesh’’); alive; lively, sharp, piercing; hasty, impatient; with child. Quillets: verbal niceties, subtle distinctions. Quit:

requite, reward; set at liberty; acquit, remit; pay for,

clear off.

R Rack (v): stretch or strain beyond normal extent or capacity to endure; strain oneself; distort.

Rage (x): madness, insanity; vehement pain; angry disposition; violent passion or appetite; poetic enthusiasm; warlike ardor or fury. Rage (v): behave wantonly or riotously; act with fury or violence; enrage; pursue furiously. Range: extend or lie in the same plane (with); occupy a position; rove, roam;

be inconstant; traverse.

Rank (ap): coarsely luxuriant; puffed up, swollen, fat, abundant; full, copious; rancid; lustful; corrupt, foul. Rate (x): estimate; value or worth; estimation, consideration;

standard, style.

Rate (v): allot; calculate, estimate, compute; reckon, consider; be of equal value (with); chide, scold, berate;

drive away by chiding or scolding. Recreant (x): traitor, coward, cowardly wretch (also as a9:.). Remorse: pity, compassion; also the modern sense. Remove: removal, absence; period of absence; change. Require: ask, inquire of, request. Resolve: dissolve, melt, dissipate; answer; free from doubt or uncertainty, convince; inform; decide; also the modern sense. Respect (x): consideration,

reflection, act of seeing, view;

attention, notice; decency, modest deportment; also the modern sense. Respect (v}: esteem, value, prize; regard, consider; heed, pay attention to; also the modern sense. Round: spherical; plain, direct, brusque; fair; honest. Roundly: plainly, unceremoniously. Rub: obstacle (a term in the game of bowls); unevenness; inequality.

S Sack: generic term for Spanish and Canary wines; sweet white wine. Sad: grave, serious; also the modern

sense.

A-129

A-130

GLOSSARY

Sadness: seriousness; also the modern sense. Sans: without (French preposition). Scope: object, aim, limit; freedom, license; free play. Seal: bring to completion or conclusion, conclude, confirm, ratify, stamp; also the modern sense. Sennet: a series of notes sounded on a trumpet to herald the approach or departure of a procession (used in stage directions). Sense:

mental faculty, mind; mental perception,

import,

rational meaning; physical perception; sensual nature; common sense: ordinary or untutored perception, observation or knowledge. Sensible: capable of physical feeling or perception, sensitive; capable of or exhibiting emotion; rational; capable of being perceived. Serve: be sufficient; be favorable; succeed; satisfy the need for; serve a turn; answer the purpose. Several: separate, distinct, different; particular, private; various, Shadow:

shade, shelter; reflection; likeness, image; ghost;

representation, picture of the imagination, phantom; also the modern sense. Shift: change; stratagem, strategy, trick, contrivance, device to serve a purpose; make shift: manage. Shrewd: malicious, mischievous, ill-natured; shrewish; bad, of evil import, grievous; severe. Sirrah: ordinary or customary form of address to inferiors or servants; disrespectful form of address.

Sith: since. Smock: woman's undergarment; used typically for “a woman.” Something: somewhat. Sometime: sometimes, from time to time; once, formerly; at times, at one time.

Speed (n): fortune, success; protecting and assisting power; also the modern sense. Speed (v): fare (well or ill); succeed; be successful; assist, guard, favor. Spleen: the seat of emotions and passions; violent passion; fiery temper; malice; anger, rage; impulse, fit of passion; Caprice; impetuosity (see also liver). Spoil: destruction, ruin; plunder; slaughter, massacre. Starve: die of cold or hunger; be benumbed with cold; paralyze, disable; allow or cause to die. State: degree, rank; social position, station; pomp, splendor, outward display, clothes; court, household of a great person; shades into the modern sense. Stay: wait, wait for; sustain; stand; withhold, withstand; stop. Stead: assist; be of use to, benefit, help. Still: always, ever, continuously or continually, constant or constantly; silent, mute; also modern

senses.

Stomach: appetite, inclination, disposition; resentment; angry temper, resentful feeling; proud spirit, courage. Straight: immediately. Strange: belonging to another country or person, foreign, unfriendly; new, fresh; ignorant; estranged. Success:

issue, outcome (good or bad); sequel, succession,

descent (as from father to son).

Suggest: tempt; prompt; seduce. Suggestion: temptation.

T Table: memorandum, tablet; surface on which something is written or drawn. Take: strike; bewitch; charm; infect; destroy; repair to for refuge; modern senses. Tall: goodly, fine; strong in fight, valiant. Target: shield. Tax: censure, blame, accuse. Tell: count; relate.

Thorough: through. Throughly: thoroughly.

Toward: in preparation; forthcoming, about to take place; modern senses. Toy: trifle, idle fancy; folly. Train: lure, entice, allure, attract. Trencher: wooden dish or plate. Trow: think, suppose, believe; know.

U Undergo: undertake, perform; modern sense. Undo: ruin. Unfold: disclose, tell, make known, reveal; communicate. Unhappy: evil, mischievous; fatal, ill-fated; miserable. Unjust: untrue, dishonest; unjustified, groundless; faithless, false. Unkind: unnatural, cruel, faulty; compare kind. Use (x): custom, habit; interest paid. Use (v): make practice of; be accustomed; put out at interest.

V Vail:

lower,

Vantage: Virtue:

let fall.

advantage; opportunity; benefit, profit; superiority.

general excellence; valor, bravery; merit, goodness,

honor; good accomplishment, excellence in culture; power; essence, essential part.

W Want: lack; be in need of; be without. Watch: be awake, lie awake, sit up at night, lose sleep; keep from sleep (trans.). Weed: garment, clothes. Welkin: sky, heavens. Wink: close the eyes; close the eyes in sleep; have the eyes closed; seem not to see. Withal: with; with it, this, or these; together with this; at the same time.

Wot:

know.

I-1

Index

Alonso, King of Naples (Temp.), 1526-1527 Althaea, mother of Meleager, 544 n., 818 n. Amiens, lord attending the banished Duke (A.Y.L.), 292 Amis and Amiloun (fourteenth century), A-23

The letter n. following a reference indicates a footnote

Amphion, harper and ruler of Thebes, 1538 n.

Amyot, Jacques (1513--1593), translater French, A-43 Anchises, father of Aeneas, 474 n., 582 Andromache, wife of Hector (T. and C.), Andromeda, rescued by Perseus, 454 n., Angelo, a merchant (Com. Er.), 5

Aaron, a Moor, beloved of Tamora (Tit. And.), xxxv, lix, 938--941, 1119 Abbess (Com. Er.), see Emilia Abbott, E. A., nineteenth-century scholar, Ixxxi Abergavenny, George Neville, Lord (Hen. Vill), 897 Abhorson, an executioner (Meas. Meas.), 407 Abraham, servant of Montague (R. and ].), 980 Achilles, Greek prince (T. and C.), 70 n., 316 n., 338 n., 444-446,

578

n., 579

n., 947

n., 1322

n., 1334

Angelo (Meas.

n.

A-29

Adam, servant of Orlando (A.Y.L.), Ixv, 288-290 Adams, John Cranford (b. 1903), scholar, xcix Adams, joseph Quincy, scholar, liii Addison, Joseph (1672—1719), as Shakespeare critic, xcvi Addison, Laura (d. 1852), actress, A-62 Adelman, Janet, critic, cii, cvi, 1221 Adlington, William, translater (1566) of Apuleius, 147, A-26 Admiral’s men, The Lord, xlv, I—Iii, Iviii-lix, Ixiv, lxxi, 288, A-40,

A-44

Adonis (Venus and Adonis), 113 n., 508 n., 1560-1561, 1626

n.

Adrian, a lord (Temp.), 1529 Adrian, a Volscian (Cor.), 1348 Adriana, wife of Antipholus of Ephesus (Com. Er.), 3-4 Aemilius, a noble Roman (Tit. And.), 942 Aeneas, Trojan commander (T. and C.), and lover of Dido,

153 n., 181, 211 n., 448, 563 n., 582 n., 619 n., 938 n., 951 n., 975 n., 1021, 1028 n., 1984 n., 1295, 1335 n., 1459 n., 1538 n.

Aeolus, god of the winds, 563 n., 1391 n., 1416 n. Aeschylus (525—456 8.c.), Greek tragedian, xcv Aesculapius, god of medicine, 268 n., 1418 n. Aesop (ff. 6th c. 8.c.), lv, 70 n., 374 n., 561 n., 624 n. Agamemnon, Greek general (T. and C.), 445, 599 n., 823 n., 871

n.

:

Agrippa, friend of Caesar (Ant. and Cleo.), 1296

Agrippa, Henricus (14852-1535), German writer and physician, Xxviil

Aguecheek, Sir Andrew (12th Night), 328

Ajax, Greek prince (T. and C.), 69 n., 128 n. 445-446, 938,

947

n.,

1187

n.,

1334

n., 1468

578 n.,

n.

Alabaster, William (1567—1640), Roxana, xlv Alarbus, son of Tamora (Tit. And.), 939 Alcestis, story of, 1508 n. Alcibiades, Athenian general (Timon), 1257-1258 Alencon, Duchess of (mentioned in Hen. Vil), 895, 909 n. Alencgon, Duke of (1 Hen. VI), 499 Alexander, Peter, editor, xciv—xcv, A-2, A-8, A-10 Alexander, servant of Cressida (T. and C.}, 448 Alexander the Great (356-323 8.c.), 33, 59.n., 69 n., 508 n., 823 n., 854 n., 866 n., 883 n., 1062, 1392 n., 1449 n., n.

Alice, lady attending Princess Katharine (Hen. V), 851 Allen, Michael, scholar, xcv, 1614 Alleyn, Edward (1566-1626), actor, xly, li

404-406

n.,

628-629

Antenor, a Trojan (T. and C.), 448 Anthony, servant of Capulets (R. and J.), 980 Antigonus, a Lord of Sicilia (W.T.), 1485 Antiochus, King of Antioch (Per.), 1398-1400 Antiochus’ Daughter (Per.), 1398-1400 Antiopa, Queen of the Amazons, 156 n. Antipholus of Ephesus, twin (Com. Er.), 3~—4

Antipholus of Syracuse, twin (Com. Fr.), 3

Antonio, Antonio, Antonio, Antonio, Antonia, Antonio, Antonius, Julius 1254

Don, pretender to the Portuguese crown, 180 brother of Leonato (Much Ado), 219 brother of Prospero (Temp.), 1526-1528 father of Proteus (Two Gent.), 75 friend of Sebastian (12th Night), 328 a merchant of Venice (Mer. Ven.), 178-182, 328 Marcus (Mark Antony), a triumvir after the death of Caesar (J.C., Ant. and Cleo.), Ixxiii, 1022-1024,

n., 1293-1296,

1453

n.

Antony and Cleopatra, \xxiii, Ixxviii, xci, cv, 1021, 1256, 1293-1344, 1345, 1347, A-18—19, A-50—51, A-60—63

1398,

1453

1024, 1219,

n., A-1,

Apemantus, churlish philosopher (Timon), 1257-1258

Apollo (Phoebus), 74 n., 113 n., 158 n., 186 n., 450 n., 456 n., 461 n., 474 n., 490 n., 492 1418 n., 1500 n., 1508 n., 1562 n.

n., 966

.n., 1070

n.,

Apollodorus, story of (Ant. and Cleo.), 1313 n. Apollonius of Tyre, story of, 3, 1398, A-22, A-52; see also Gower, John; Twine, Laurence

Apothecary (R. and ].), 980

Appian of Alexandria (902-140), Roman historian, author Chronicle of the Romans’ Wars, 1044 n., A-43, A-51 Appius and Virginia, anon. play, xxxvi, A-26 Apuleius (ff. c. 4.0. 155), The Golden Ass, 147, A-26 Aquilano, Serafino (1466—1500), Italian poet, 1614 Aquilon, the north wind, 479 n. Arabian Nights, The, 108, A-25

1436,

Aragon, the Prince of (Mer. Ven.}, 179

Aran en Titus, play by Jan Vos, 938, A-41

Archidamus, lord of Bohemia (W.T.), 1486 Arden, Mary (d. 1608), Shakespeare’s mother, liii, Ixx, 288

Arden, Robert, Shakespeare’s maternal grandfather, liii

Arden of Feversham, anon. play, |xxi Argus, mythological monster, 47 n., 214 n., 450 n., 833 n., 873 n. Ariadne, deserted by Theseus, 103 n., 156 n. Ariel, an airy spirit (Temp.j, 1526-1529 Arion (7th c. 8.c.), Greek poet, 330 n. Ariosto,

All Is True, see Henry VIII All’s Well That Ends Well, Ixvii, Ixxii, lxxxv, Ixxxviii, xci, Cil, 1434,

364,

Ariodante and Genevora, lost play, A-28

Alexas, an Egyptian (Ant. and Cleo.), 1296

76, 362—403, 404, 444, 1399-1400, A-6-7, A-21, A-31-33, A-57, A-65

362,

Arachne, story of, 487 n.

Albany, Duke of (K. Lear), 1168-1171

1518

Ixxii, 76,

n., 1028 n. 446 873 n.

Angus, a nobleman (Macb.), 1223 Anna, sister of Dido, Queen of Carthage, 116 n. Anne, Lady, afterwards married to Richard Il! (Rich. Ill), 611

Achilles Tatius (4th c. a.o.), Greek romance writer, xl Actaeon, story of, Ixxx, 263 n., 271 n., 330 n., 938, 952 n.,

A-3, A-15,

Meas.), xxv,

of Plutarch’s Lives into

A-1,

Lodovico

(1474-1533),

2; | Suppositi,

108,

143

n.,

1614, A-24; Orlando Furioso, 216, A-27—28 Aristophanes (c. 448—380 8.c.), comic dramatist, A-49—50

Aristotle (384-322 857 n., 1345

8.c.), xxvii, xxvii,

115

n., 320

n., 462

n.,

Armado, see Don Armado Armin, Robert (fl. c. 1600-1610), comedian and playwright, Ixvii, lxix, 289, A-6—7, A-19, A-57 Armstrong, Edward, scholar, xcix, ci Artaud, Antonin, critic, citi, 939 Artemidorus of Cnidos (J.C.), 1025

Arthur, nephew of King John (K. John), xxiv, 682-684

Arthur, brother of Henry VIII (d. 1502), xx, 909 n. Arthur, King, 49 n., 786 n., 823 n., 829 n., 1187 n., 1195 n.

Arviragus, son of Cymbeline (Cymb.), 1434-1436

Ascanius, son of Aeneas, 563 n. Ascham, Roger (1515—1568), The Schoolmaster, 734 n. Ashcroft, Peggy, twentieth-century actress, A-64 Asnath, a spirit (2 Hen. VI), 540 Aspley, William (ff. 1599-1604), publisher, xc, A-5, A-11, A-21 Astraea, goddess of justice, 508 n., 966 n., 967 n. As You Like It, xvii, xi, Ixv, Ixvii, xxviii, Ixxix, Ixxxvii, xci, 216, 288-325,

326—328,

362,

444,

978,

1021,

1092

n., 1169,

1484, 1517 n., 1526, A-1, A-5, A-29~30, A-50, A-60-61 Atalanta, huntress, 308 n., 309 n. Ate, goddess of discord, 71 n., 227 n., 690 n., 1043 n. Atlas, divinity who held up the heavens, 620 n., 1304 n. Aubrey, John (1626-1697), antiquary, lvi, Ivii, 2 Audrey, a country wench (A.Y.L.), 288-289 Aufidius, Tellus, general of the Volscians (Cor.), 1347 Augustine,

Saint (354-430),

xxix

Aumerle, Edward, son of the Duke of York (Rich. Il), 588 n., 723

Aurora, goddess of the dawn, 168 n., 456 n., 982 n., 1562 n., 1573 n. Austin, Warren, philospher, cvi Austria, Duke of, see Limoges (K. John) Autolycus, a rogue (W.T.), Ixxix, 1484-1485 Auvergne, Countess of (7 Hen. VI), 499 Ayliff, H. K., twentieth-century director, A-65 Ayrer, Jacob (fl. 16th c.), Die Schéne Sidea, A-56 Bacchus, god of wine, 57 n., 1315 n. Bacon, Anthony, Ixi Bacon, Delia (1811-1859), Ixi Bacon, Francis, Lord Verulam and Viscount St. Albans (1561 —1626), xxviii, xxxviii, Ixi— {xii

Bagot, follower of King Richard Il (Rich. I), 725

Baker, George Pierce (1866-1935), writer on drama, xcix Bakhtin, Mikhail, critic, civ Baldwin, T. W. (b. 1890), scholar, Ixii, xcix Bale, John (1495-1563), King Johan, xxxiv, 682, A-36 Balthasar, attendant on Don Pedro (Much Ado), 219 Balthasar, servant of Portia (Mer. Ven.), 182 Balthasar, servant of Romeo (R. and J.), 980 Balthasar, a merchant (Com. Er.), 5 Bamber, Linda, critic, cii Bandello, Matteo (1480— 1561), Novelle (1554), 216, 326, 977, A-27—28,

A-31,

A-42

Banquo (Macb.), 1219-1222 Baptista Minola, gentleman of Padua (Tam. Shrew), 108-109 Barber, C. L., critic, cii Bardolph, follower of Falstaff (7 and 2 Hen. IV, Mer. Wives, and Hen.

V), 252~253,

764, 807,

850,

A-11-12

Bardolph, Thomas, Lord (2 Hen. !V), 807 Barentz, William, arctic voyager, 347 n., A-6 Barker, Henry (f!. 1605), Stratford citizen, Ixx Barlaam and Josophat, Greek Romance, A-27

Barnardine,

a prisoner (Meas.

Meas.), 407

Barnes, Barnabe (1569? 1609), The Devil’s Charter, 1612, A-18 Barnet, Sylvan, critic and editor, xcv Barnfield, Richard (1574—1627), poet, Ixii, 1560, A-1, A-20 Barry, Elizabeth (1658—1713), actress, A-58

Barry, Spranger (1719-1777), actor, A-60 Bassanio, suitor of Portia (Mer. Ven.), ciii, 178-182, 291, 328 Basset, of the Lancastrian faction (1 Hen. Vi), 499 Bassianus, son of the Roman emperor (Tit. And.), 939 Bastard, see Faulconbridge (K. John) Bastard of Orleans (7 Hen. VI), 499 Bates, a soldier (Hen. V), 852 Battenhouse, Roy, scholar and critic, ciii Baucis and Philemon, story of, 225 n., 311 n. Bawd (Per.), 1401 Baylis, Lilian, twentieth-century director, A-63 Beatrice, niece of Leonato (Much Ado), Ixxix, 31, 109, 147, 216-218,

Beaumont,

254

Francis (1584-1616),

and Fletcher, John

(1579-1625), The Maid’s Tragedy, Philaster, The Knight of

the Burning Pestle, The Woman Hater, The Coxcomb, A King and No King, etc., Ixx, Ixxii, Ixxiv—Ixxv, Ixxvii, Ixxxvii, xcv, 76, 893,

1399,

1434,

A-18—19,

A-54,

A-56,

A-62

Beauvais, Vincent of, Speculum Historiale, A-27 Beckerman, Bernard, scholar and critic, xcix Bedford, John, Duke of, brother of Henry V (1 Hen. Vi and Hen. V), 499, 852 Beeston, Christopher (fl. 15912-16382), actor, lvi Beeston, William (d. 1682), actor and manager, Ivi Belarius, banished lord (Cymb.), 1434-1436 Belch, Sir Toby, uncle of Olivia (12th Night), 326-328 Bellamy, George Anne (17312-1788), actress, A-61 Belleforest, Francois de (1530-1583), Histoires Tragiques, 216, 326,

1064,

A-27,

147,

216-218

A-31,

A-44

Bellerophon, rider of Pegasus, 454 n. Bellona, goddess of war, 793 n., 1224 n. Belott, Stephen (ff. 1612), litigant, Ixxv Belsey, Catherine, critic, cv Bembo, Pietro, Cardinal (1470—1547), Italian writer, 1614 Benedick, a young lord of Padua (Much Ado), Ixxix, 31, 109, Ben Greet, Philip (1844-1919), actor, 63 Benoit de Sainte Maure (fl. 12th c.), Le Roman de Troie, 445, A-33-—34 Benson, Frank (1858— 1939),

actor-manager,

Benson, John, publisher, A-21 Bentley, Gerald Eades (b. 1901), scholar, xcix Benvolio, friend of Romeo (R. and J.), 980 Berkeley, Lord (Rich. I), 725

A-63—64

Berkeley, gentleman with the Lady Anne (Rich. Il), 632 Bernard, Lady Elizabeth, Shakespeare’s granddaughter, Ixv

Bernardo, an officer (Ham.), 1065 Berners, John Bourchier, second Lord (1467— 1533), translator of Froissart and of Huon of Bordeaux, A-25, A-37 Bernstein,

Leonard,

Betterton,

Thomas

composer,

A-65

Berowne, lord attending the King (L.L.L.), 31-33, 216, A-3 Berri, Duke of (Hen. V), 852 Berry, Herbert, critic, xcix Bertram, Count of Rossillion (All’s Well), Ixxii, 362-365, 404 Bestrafte Brudermord, Der, 1064, A-45 Bethell, S. L., critic, c (1635?—1710),

actor-manager,

893,

A-58

Beverly, Peter (ff. 1566), The Historie of Ariodanto and leneura, 216 Bevington, David, editor, xcv, ci Bevis, George, follower of Cade (2 Hen. VI), 541 Bevis of Hampton, 14th-century romance, 898 n.

Bianca, daughter of Baptista (Tam. Shrew), 108—109

Bianca, mistress of Cassio (Oth.), 1120-1121 Bible; Genesis, 21 n., 50 n., 186 n., 193 n., 202 n., 323 n., 420

n., 505

n., 647 n., 727

n., 762

n., 783

n., 818

n.,

961 n., 1060, 1154 n., 1535 n.; Exodus, 198 n., 303 n., 354 n., 375 n., 554 n., 691 n., 790 n.; Leviticus, 554 n., 672 n.; Numbers, 856 n.; Judges, 39 n., 504 n., 621 n.,

1083 n.; 1 Samuel, 284 n.; 2 Samuel, 284 n., 811 n.; 1 Kings, 939 n.; Job, 284 n., 286 n., 1252 n.; Psalms,

269

n., 300

886

n.,

1111

n., 308 n., 462 n., 731 n., 758 n., 790 n., n., 1136 n., 1252 n., 1287 n., 1327 n.,

1475 n.; Proverbs, 768 n.; Ecclesiastes, 52 n., 650 n.; Song of Solomon, 1390 n.,; Isaiah, 921 n.; Ezekiel, 212 n.,

1095 n.; Daniel, 396 n.; the Apocryphal Book of Daniel and

Susanna, 208 n.; the Apocryphal

Book of Daniel, Bel, and

the Dragon, 236 n.; the Apocryphal Book of Ecclesiasticus, 52 .n., 235 n., 782 n., 1266 n.; Matthew, 21 n., 35 n., 55.n., 184 n., 188 n., 208 n., 333 n., 397 n., 407 n.,

461 868

n., 550 n., 753 n., 760 n., 780 n., 782 n., 817 n., n., 1067 n., 1170, 1207 n., 1260 n., 1270 n., 1272

Mark,

n.;

186 n., 209 n., 349 _n., 752 n., 1224 n.; Luke, 21 n.,

55 n., 186 n., 193 n., 281 n., 292 n., 300 n., 306 n., 520 n., 550 n., 573 n., 601 n., 667 n., 752 n., 790 n., 794 n., 811 n., 816 n., 863 n., 1170; John, 752 n.; the

Passion story generally, 1207 n., 1263 n.; Acts Romans, 57 n., 410 n.; 21 n., 812 n., 1207 n.;

865

n.; Hebrews,

193

69 n., 180, 209 n., of the Apostles, 504 1 Corinthians, 204 Ephesians, 430 n.;

n., 790 n.,

1161

752 n., 753 n., n., 1263 n.; n.; 2 Corinthians, Philippians,

n.; James,

1207

n.;

1 Peter, 38 n., 301 n., 862 n., 980 n.; 2 Peter, 873 n.; Revelation, 863 n., 1067 n. Bigot, Lord (K. John), 685 Bion (c. 100 8.c.), Greek pastoral poet, 289 Biondello, servant of Lucentio (Tam. Shrew), 110 Blackfriars, The, playhouse, xlix—1, lxviii, bxxiii, Ixxiv, xcix, 893, 894, A-16 Blanche, niece of King John (K. John), 683 Blayney, Peter, textual scholar, Ixxxviii, xciv Blenerhasset, Thomas (15502-16252), contributor to the Second Part of The Mirror for Magistrates, A-53 Bloom, Claire, twentieth-century actress, A-64 Blount, Edward (ff. 1604-1623), printer and publisher, xc, A-18—19,

1624-1625

Blunt, Sir James (Rich. I), 631 Blunt, of the King’s party (2 Hen. 1V), 807 Blunt, Sir Walter (7 Hen. IV), 766 Boaistuau, Pierre (d. 1566), French translator, 977, A-42 Boccaccio, Giovanni (1313-1375), Italian humanist, 126 n.; Decameron,

363-364,

1435,

A-24,

A-27,

A-31,

A-53-54;

De Casibus Virorum Ilustrium, xxxviii, A-51; Il Filostrato,

445,

A-34

.

Boece, Hector (14652-1536), chronicler of Scotland, A-48 Boethius (480-524), Roman philosopher, 1171 Bogdanov, Michael, modern director, A-65—66 Boiardo, Matteo (14412— 1494), Italian poet, A-50 Boleyn, Anne, mother of Queen Elizabeth (Hen. VIII), xx, xxii, 822

n., 893-896

Bolingbroke, Roger, a conjurer (2 Hen. VI), 540 Bolt, servant (Per.), 1401 Bona, sister of the French Queen (3 Hen. Vi), 586, 660 n., 662 n. Bonian, Richard (fl. 1603— 1609), publisher, xc, 446-447, A-7 Boose, Lynda, critic, civ Booth, Barton (1681-1733), actor, A-58 Booth,

Edwin

(1833-1893),

actor,

1663,

A-62

Booth, Wayne, critic, ci Borachio, follower of Don John (Much Ado), 216 Boswell, James (1778-1822), son of the biographer of Johnson, xciii

Bothwell, Earl of (15362-1578), husband of Mary Queen of

Scots, xxii Bottom, a weaver (Mids. Dr.), Ixvii, Ixxix, 147-150 Bourbon, Duke of (Hen. V), 852 Bourbon, Lord, French admiral (3 Hen. VI), 586 Bowdler, Thomas (1782-1856), editor, xciii Bowers, Fredson, editor, Ixxxiv, xciv

Boyet, lord attending Princess of France (L.L.L.), 32 Brabantio, a Senator of Venice (Oth.), 1117-1121 Bracegirdle, Anne (1663?— 1748), actress, A-58 Bradbrook, M. C., critic, c Bradley,

A. C. (1851-1935),

critic, xcviii, c

Brackenbury, Sir Robert, Lieutenant of the Tower (Rich. Il), 632 Brahe, Tycho (1546-1601), astronomer, xxv Branagh, Kenneth, actor and director, 852, A-64—66 Brando, Marlon, twentieth-century actor, 1022 Brandon (Hen. Vill}, 897 Brandon, Sir William (Rich. I), 631 Braunmuller, A. R., editor, xcv Brecht, Bertolt (1898-1956), German dramatist, A-64 Briareus, mythological monster, 450 n. Bridges, Robert (1844-1930), poet laureate, xcviii Bridges-Adams, W., twentieth-century manager, A-64 Bristol, Michael, critic, civ Brittany, Duke of (Hen. V), 852 Brockbank, Philip, editor, xcv Brook, Peter, modern director, 1167, A-64, A-66—67 Brooke, Arthur (d. 1563), The Tragical History of Romeus and Juliet, 977, 982 n., A-35, A-42 Brooks, Cleanth (b. 1906), critic, c Brooks, Harold, editor, xcv Brown, John Russell, critic, xcix Brown, Norman O. (b. 1913), critic, cti Browne, Robert, founder of the Brownists, 347 n. Bruno, Giordano (1548-1600), Italian philosopher, xxx Brut (or Brutus), legendary great-grandson of Aeneas, 619 n., 1021,

A-46,

A-53

Brutus, Decius, conspirator against Caesar (/.C.), 1023 Brutus, Lucius Junius (ff. 510 8.c.), founder of Roman Republic

(Lucrece, Cor.), 864 n., 962 n., 1021-1022, 1028 n., 1032 n., 1324 n., 1345-1346, 1562 n. Brutus, Marcus, conspirator against Caesar (J.C.), Ixxiii, 569 n., 962 n., 1021-1024, 1090 n., 1254 n., 1310 n., 1312 4., 1345

Bryan, George (ff. 1586— 1613), actor, li Bryant, J. A., Jr. (b. 1919), critic, ciii Buc, Sir George (d. 1623), Master of the Revels, Ixxxvii, A-7, A-20 Buchanan,

George

(1506-1582),

Rerum

Scoticarum

Historia

and Jephthes, xxxvi, A-49 Buckingham, Edward Stafford, third Duke of (Hen. VII), 893-896

Buckingham,

Henry Stafford, second Duke of (Rich. Ill),

Buckingham,

Humphrey Stafford, first Duke of (2 Hen. VI), 538

628—631,

903

n.

Bugbears, The, play of 1553-1565, xxxvii; see also Grazzini

Bullcalf, recruit (2 Hen. 1V), 807 Bullen, Anne, see Boleyn Bullough, Geoffrey, editor, A-24 Buonaccorso of Pistoia, fifteenth-century Italian humanist, xxxvi Burbage, Cuthbert (d. 1636), theater manager, xlv, Ixiv, Ixvii Burbage, James (d. 1597), actor, xliv, xlvi, xlix—I, Ixiv, Ixxiii Burbage, Richard (1567-1619), actor, xly, |, lii, Ixiv-lxv, Ixvii—Ixx, Ixxiii, Ixxvi, 628, 1110 n., A-57—58 Burby, Cuthbert (ff. 1593-1607), bookseller, A-2, A-14 Burghley, William Cecil, Lord (1520-1598), xxi, lvii, 1613 Burgundy, Duke of (7 Hen. VI), 499 Burgundy, Duke of (Hen. V), 851 Burgundy, Duke of (K. Lear), 1169 Burnaby, Charles (fl. 1700), adapter of Shakespeare, A-59 Burton, Richard, twentieth-century actor, A-64 Busby, John (ff. 1600), printer, A-12, A-17 Bushy, follower of King Richard II (Rich. I), 725 Butter, Nathaniel (fl. 1604— 1609), publisher, xc, A-17 Butts, Doctor, physician to the King (Hen. VIII), 897

504 n., 569 n., 653 n., 754 n., 822 n., 823 n., 835 n.,

Chaereas and Callirrhoe, 4th or 5th c. Greek romance, A-27 Chamberlain’s men, The Lord, xxxv, xiv, |—lii, Iviii—lix, Ixiv—Ixv, Ixviii, Ixxi, 288-289, 446, 721, A-3—5, A-7, A-

876 n., 1022—1024, 1062, 1312 n., 1313 n., 1316 n.,

Chambers,

Cade, Jack, rebel leader (2 Hen. VI), 538-539,

Caesar, Julius (/.C.), Ixxiii, 48 n., 59 n., 415

1021

n., 426

1295, 1304 n., 1309 1337 n., 1345

n., 446, n.,

Cagney, James, actor, A-66

Humorous Day’s Mirth, May Day, Hero and Leander, The

Calchas, Trojan priest (T. and C.), 446

Calderwood, James, critic, cvi Calhern, Louis, twentieth-century actor, 1022 Caliban, a deformed savage (Temp.), xxx, Ixxix, 1526-1529 Calpurnia, wife of Caesar (J.C.), 1022-1024 Calvin, John (1509-1564), Protestant Reformer, xxix see Preston, Thomas

Cambridge, Richard Langley, Earl of (Hen. V), 513 n., 514 n., n., 757 n., 850

Camden, William (1551—1623), Remains, lii, Ixx, A-19, A-47 Camillo, a lord of Sicilia (W.T.), 1484-1485

Campbell, Lily Bess (b. 1883), scholar and critic, c

Campbell, Oscar James (b. 1879), scholar and critic, c Campeius, Cardinal (Hen. VIII), 896 Canidius, lieutenant-general of Antony (Ant. and Cleo.), 1296

Canterbury, Archbishop of (Hen. V), 849-850

Canterbury, Thomas Cardinal Bourchier, Archbishop of (Rich. Il), 631 Capell, Edward (1713~—1781), editor, xciii Caphis, servant of a usurer (Timon), 1258

Capulet, head of the house of Capulet (R. and J.), 978-979 Capulet’s Wife (R. and J.), 980

Capucius, Ambassador from the Emperor (Hen. VIIl), 897 Carey, Lady Elizabeth (fl. 1600), patroness, 1613, A-4 Carlisle, Bishop of (Rich. Il), xxiv, 722—723 Casca, conspirator against Caesar (J.C.), 1025 Case, R. H., editor, xcv Cassandra, a prophetess (T. and C.), 446, 1024 Cassibelan, mythical King of Britain, 1438 n., 1455 n. Cassio, Michael, Othello’s lieutenant (Oth.), 1117-1121 Cassius, conspirator against Caesar (/.C.), 1022-1024, 1310n., 1312

n., 1324

n.

Castellani, Renato, film director, A-67 Castiglione, Baldassare (1478-1529), I! Cortegiano, xxix Castle of Perseverance, The, morality play, xxxiii-—xxxv Catesby, follower of Richard (Rich. Ill), 628-630 Cato, Dionysius (3rd c.), Disticha de Moribus, lv Cato,

Marcus

Porcius, the Censor (234—149

s.c.),

1355

A-40

Caxton, William (14222-1491), printer, 445, A-22, A-34 Cecil, Robert (15632-1612), statesman, xxi, A-10 Celia, daughter of Frederick (A.Y.L.), 289—291 173

n., 973

n.

Cephalus and Procris, story of, 168 n., 174 n.

Phoenix and Turtle, Homer's Iliad, etc., 1, Ixvi, Ixviii, Ixx—Ixxiii, Ixxv, Ixxvii, 31, 253, 289, 444-445, 952 n., 1560, 1613, A-3, A-8, A-18, A-21, A-33, A-56; see also Eastward Ho Chappuys, Gabriel (1546-1611), translator of Cinthio, A-45 Charlemagne, 59 n., 374 n., 503 n., 823 n., 855 n., 1197 Charles, wrestler to Frederick (A.Y.L.), 289 Charles, Dauphin (1 Hen. Vi), later Charles VII of France, 499, 547 n.

Charles |, King of England, Scotland, and Ireland (reigned 1625-1649), xxv

Charles V of Holy Roman Empire, King of Spain (1516-1556),

xxi, 900 n., 909 n., 910 n., 927 n. Charles VI of France (Hen. V), 501 n., 727 n., 852 Charmian, attendant on Cleopatra (Ant. and Cleo.), 1293-1294 Charney, Maurice, critic, !xxx, ci Charon, ferryman to Hades, 468 n., 643 n. Chatillon, French ambassador (K. John), 685 Chatterton, F. B., theater manager, A-62 Chaucer, Geoffrey (13402— 1400), xxxvi, Ixiii, Ixiv, Ixxx, xev, 1021, A-16; Canterbury Tales, 288 n., 1578, A-29; “Canon Yeoman’s Tale,” xxvii; ‘““Clerk’s Tale,” 126 n.; “Knight's Tale,” 147, A-23, A-25; “Merchant's Tale,” A-25; ““Monk’s Tale,”” xxxvii—xxxviii, A-43, 1198 n.; “Nun’s Priest’s Tale,” 1498 n.; ‘Tale of Sir Thopas,”” 354 n.; “Wife of Bath’s Tale,” 119 n., 216; Hous of Fame, 950 n.; Legend of Good Women, 147, 1578, A-25-—-26, A-51, A-56; Parlement of Fowles, A-56; Troilus and Criseyde, 445, 1578, A-34 Chester, Robert (1566?— 16402), poet, author Loves Martyr, A-21, A-56

Chettle, Henry (15602-16072), dramatist, |, lviii, Ixi, Ixvii, Ixxi, A-1, A-9,

A-34

Chief Justice (2 Hen. IV), 805-806 Children of the Chapel Royal, The, xt, xlix—I, Ixviii, Ixxiii, A-16;

after 1603 of the Queen's Revels, |

Children of Paul’s, The, xl, xlix—l, Ixviii, Ixxii, Ixxiii, A-2 Chiron, son of Tamora (Tit. And.), 938—940 Chorus (Hen. V), 849-851, A-13 Chorus (R. and J.), 980 Cibber, Colley (1671--1757), actor and dramatist, A-58, A-60—64

n.

Cato, Marcus Porcius, of Utica (95—46 8.c.), uncle and fatherin-law of Marcus Brutus, 1024, 1036 n., 1055 n. Cato, Young (J.C.), 1025 Catullus, Gaius Valerius (c. 84—54 s.c.), Roman poet, 2 Cavell, Stanley, philosopher and critic, cvi Cavendish, George (1500-15612), biographer of Wolsey, 895,

Centaurs,

A-44

Revenge of Bussy D’Ambois, Charles Duke of Byron, A

Cairncross, Andrew, editor, A-35 Caithness, nobleman (Macb.), 1223 Caius, Doctor, French physician (Mer. Wives), 253 Caius, kinsman of Titus (Tit. And.), 942 Caius Lucius, Roman general (Cymb.), 1437

587 n., 588

A-15,

E. K. (b. 1866), scholar, xciv, xcix

Chapman, George (15592-16342), dramatist and poet, The Blind Beggar of Alexandria, All Fools, Bussy D’Ambois, The

Caesar, Octavius, see Octavius Caesar Caesar’s Revenge, anonymous play, A-43

Cambises,

11-12,

Cerberus, three-headed dog, 69 n., 459 n., 822 n., 956 n. Ceres, goddess of harvest (Temp.), 544 n., 1509 n., 1527 Cerimon, a lord of Ephesus (Per.), 1400 Cervantes (1547—1616), Don Quixote, 327, 1169

Cibber, Susanna Maria (1714-1766), actress, A-61 Cicero, Marcus Tullius (106—43 8.c.), Roman statesman (J.C.), xxvilil, 320 n., 569 n., 625

n., 961

n., 1025

Cinna the conspirator (J.C.), 1025 Cinna the poet (.C.), 1025 Cinthio, see Giraldi Cinthio Circe, sorceress, 28 n., 147, 499, 532 n. Clarence, George Duke of, brother of Richard III (3 Hen VI, Rich, Il), Ixxviii, 584, 628—630 Clarence, Lionel Duke of, progenitor of the Yorkist kings, 496, 513

n., 514 n., 515

n., 561

n., 763

Clarence, Thomas Duke of, brother of Henry V (2 Hen. IV, Hen,

V), 807,

362,

364, 404

852

Clark, William, and William A. Wright, editors, xciii Clarke, Charles and Mary Cowden, editors, xciii Clarke, Charlotte, twentieth-century editor, xciv Claudio, a young gentleman (Meas. Meas.), 404—406 Claudio, a young lord of Florence (Much Ado), Ixvii, 216-218,

Claudius, King of Denmark (Ham.), xvii, Ixxix, ci, 629, 1060-1064, 1119 Claudius, a solider (J.C.), 1025 Clemen, Wolfgang (b. 1909), scholar, Ixxx, c Clemens, Samuel L. (Mark Twain) (1835-1910), Ixi, A-63 Cleomenes, lord of Sicilia (W.T.), 1486 Cleon, Governor of Tarsus (Per.), 1398

Cleopatra, Queen of Egypt (Ant. and Cleo.), Ixxiii, 996 n., 1293-1296,

1453

n.

VHD, xix, xxiii, 895-896

Clown, the Old Shepherd’s son (W.T.), 1486

Eleanor, see Eleanor, Duchess of Gloucester Henry Brooke, eighth Lord (d. 1619), 252, 848 n.,

A-11—12

1119

Coleville, of the rebels’ party (2 Hen. IV), 804—805

Collatinus, husband of Lucrece (Lucrece), 1578, 1584 n., 1601

n.

John Payne (1789-1883), editor, xciii, A-6 Francis (fl. 1616), Shakespeare’s lawyer, Ixxv John and William (fl. 1602—1614), Stratford citizens, Ixxv Thomas (ff. 1616), Stratford citizen, Ixxvi of Errors, The, xxxvii, xlix, |, lii, Iv, lvi, Iviii, lix—ix,

Ixii, Ixix, Ixxxv, 2+30, 31, 75, A-30, A-52, A-58, A-63

108,

326,

A-1—2,

A-22—24,

Cominius, general against the Volscians (Cor.), 1348

Condell, Henry, see Heminges, John and Henry Condell

Congreve, William (1670—1729), dramatist, 216 Conrade, follower of Don John (Much Ado), 219 Constable, Henry (1562-1613), poet, 1612 Constable of France (Hen. V), 852 Constance, mother of Arthur (K. fjohn), 682—683 Constantine, Roman emperor (280?- 337), 504 n. Cook, Ann Jennalie, scholar, xcix Cooke, Alexander, actor, A-57 Copernicus, Nicolaus (1473-1543), astronomer, xxvi, xxx, C Cophetua, King, ballad of, 39 n., 48 n., 759 n., 845 n., 991 n.

Copland, Robert, translator Appolyn of Thyre (1510), A-52 Cordelia

(K. Lear),

Ixxii—Ixxiii, xcviti, ciii, 1118,

Corin, a shepherd (A.Y.L.), 288-289 Coriolanus, xliii, Ixxiii, xxix, Ixxxv, 938, 1021,

1167-1171

1024,

991

n., 221 n., 378

n., 234 n., 285 n., 409 n., 563

n., 315 n., 891

1256, 1345-1395, A-1, A-18—20, A-51-52, A-59, A-64 Coriolanus, Caius Marcius (Cor.), Ixxiii, 938, 968 n., 1345-1347

.n., 317 n., 983

n., 330 n., n., 987 n.,

n., 995 n., 1282 (appears as a character in Timon), n.

Curio, attending Duke Orsino (12th Night), 329

Coleridge, Samuel Taylor (1772-1834), poet and critic,

Collier, Collins, Combe, Ixix, Combe, Comedy

219 368

1551 n., 1565 n., 1566 n., 1644 Curan, a courtier (K. Lear), 1172

Cobweb, a fairy (Mids. Dr.), 150 Coincy, Gautier de, author of a miracle play, A-53 1062,

860 n.

Crowne, Henry, adapter of Henry VI plays, A-59 Cupid, 40 n., 43 n., 54n., 60n., 77, 78n., 152 n., 170 n.,

Cloten, son of the Queen (Cymb.), 1434-1436

ci, 629,

n.

Crews, Frederick, critic, cii Cromwell, Thomas (14852-1540), successor to Wolsey (Hen.

Clopton, Sir Hugh (d. 1496), Mayor of London, lii

xcvit—xcviii,

1316

Creed, Thomas (ff. 1594-1599), printer, A-5, A-8, A-12, A-14 Cressida, daughter of Calchas (T. and C.), Ixxit, 181, 211 n., 248 n., 260 n., 374 n., 444-446,

Clifford, John, Lord (2 and 3 Hen. Vi), 540, 584-585 Clifford, Thomas, Lord (2 Hen. Vi), 540, 585, 592 n. Clitus, a solider (/.C.), 1025

Cobham, Cobham,

Crane, Ronald S. (1886-1967), scholar and critic, ci Cranmer, Thomas, Archbishop of Canterbury (Hen. VIII), xix, xx, xxiii, 895-896 Crashaw, Richard (d. 1649}, poet, 1579 Crassus, Marcus (d. 52 8.c.), member of the first triumvirate,

1219,

A-61,

Corneille, Pierre (1606— 1684), tragedian, xcvii Cornelia, mother of the Gracchi, 938, 961 n. Cornelius, a courtier (Ham.), 1065 Cornelius, a physician (Cymb.), 1434 Cornwall, Duke of (K. Lear), 1169-1171 Corpus Christi play, xxxi-—xxxiii, xxxv, xlviii Costard, a clown (L.L.L.), 32-33, 289 Cotes, Thomas (fl. 1734-1739), printer, xcii Countess of Rossillion (All’s Well), 363 Court, a soldier (Hen. V), 852 Courtesan, a (Com. Er.), 5 Cowley, Richard (d. 1619), actor, Ixix, A-5, A-57 Craig, Hardin (1875-1968), scholar and editor, xcix, c Craig, W. J., editor, xciv—xcv Crane, Ralph (ff: 1616), scrivener, Ixxxvii, xci, A-3, A-5, A-7, A-19—20

Cursor Mundi, Middle English epic, A-26 Curtain, The, playhouse, 853 n., A-13 Curtis, servant of Petruchio (Tam. Shrew), 110 Cyclopes, 1085 n. Cymbeline, xl, Ixxiii—Ixxiv, Ixxix, Ixxxvii, xcv, 288, 362, 894, 1168, 1399, 1434-1483, 1484-1485, A-19, A-53—54, A-59-—60, A-62

1527,

1578,

A-1,

Cymbeline, King of Britain (Cymb.), 1434-1437 Cyrus, ruler of Persia (6002-529 .c.), 511 n. Daedalus and Icarus, story of, 528 n., 534-n., 625 n. Dagonet, Sir, Arthur’s fool, 829 n. Damon and Pythias, story of, 1092 n. Daniel, Samuel (1562—1619), Philotas, Cleopatra, The First Four

Books of the Civil Wars, The Complaint of Rosamond, Delia,

etc., Ixxii,

1293,

1578,

A-56

1612,

Dante Alighieri (1265-1321), 1021,

1614,

A-10,

A-18,

Divine Comedy,

A-43

A-37—39,

A-51,

Vita Nuova, xxv,

Danter, John (ff. 1594), printer, A-13—14, A-41 Daphne, nymph beloved by Apollo, 113 n., 158 n., 450 n. Dardanius, a solider (/.C.), 1025 Darius, King of Persia, 508 n. Darnley, Henry Stewart, Lord (1545-1567), husband of Mary Queen of Scots, xxii Dauphin, Charles, see Charles, Dauphin Dauphin, Lewis, see Lewis, Dauphin Davenant, William (1606—1668)), poet and dramatist, A-58—-59 Davenport, Robert (fl. 1624-1640), poet, 1671 David Il, King of Scotland, 856 n. Davies, John, of Hereford (1565? 1618), poet, Ixxiv Davies, Richard (ff. 1700), antiquary and divine, vii Davy, serving Shallow (2 Hen. IV), 807 Day, John (c. 1574— 1640), playwright, Ixxi Deiphobus, son of Priam (T. and C.), 448 Dekker, Thomas (15702-1632), dramatist and pamphleteer, The Shoemakers’ Holiday, Satiromastix, The Honest Whore, etc. xxv, xh, Ixvi—lxvii, Ixviii, Ixx, Ixxii, 444, A-16, A-34 Delius, Nikolaus (1813-1888), German scholar, xciii De Man, Paul, critic, cv Demetrius, matched with Helena (Mids. Dr.), 147-148 Demetrius, a Roman (Ant. and Cleo.), 1293-1294 Demetrius, son of Tamora (Tit. And.), 940 Democritus (b. 400 8.c.2), the “laughing philosopher,” 185 n. Dench, Judi, modern actress, A-67 Dennis, John (1657-1734), critic, author The Invasion of His Country, xcvi,

252, A-59

Dennis, servant of Oliver (A.Y.L.), 292

Duke of Venice (Oth.), 1117-1118 Duke Vincentio of Vienna (Meas. Meas.), Ixxii, ciii, 404-406,

Denny, Sir Anthony (Hen. VIII), 897

De Quincey, Thomas (1785-1859), critic, xcvii

Derby, William Stanley, Earl of, A-4

968 n., A-7

Derby's men (Lord Strange’s men), see Strange’s men Dercetus, a follower of Antony (Ant. and Cleo.), 1296 Derrida, Jacques, critic, cv, cvi Desdemona, wife of Othello (Oth.), xxvii, xxiii, 1117-1121, 1436

Desportes, Philippe (1546-1605), French sonneteer, 1614 Dessen, Alan, critic and scholar, xcix Deucalion, story of, 1028 n., 1360 n., 1513 n. De Witt, Johannes (fl. 1596), Dutch traveler, xlv—xlvi Diana, goddess of chastity, the hunt, the moon, etc. (Cynthia, Artemis, Phoebe, Luna), 113 n., 147, 157 n., 177 n., 186 n., 212 n., 263 n., 306 n., 312 n., 316 n., 330 n., 371 n., 372 983

n., 378 n.,.992

n., 486 n., 492 n., 619 n., 768 n., 946 n., n., 1007 n., 1146 n., 1285 n., 1334 n.,

951

n., 996 n., 1295,

1335

n.,

Roman

emperor

(245-313),

551

n.

Diogenes the Cynic philosopher (4th c. 8.c.), 1257

Diomedes, an Egyptian (Ant. and Cleo.), 1296 Diomedes, Greek prince (T. and C.), Ixxii, 448, 614 n., 860 n. Dion, a Sicilian lord (W.T.), 1486 Dion Cassius (155— 2302), historian of Rome, 1044 n. Dionysius the Areopagite (5th c.), On the Heavenly Hierarchy, XXV Dionyza, wife of Cleon (Per.), 1398-1401 Dogberry, a constable (Much Ado), xiv, Ixvii, 32, 216-218, 405

Dolabella, friend of Caesar (Ant. and Cleo.), 96 Doll Tearsheet, a whore (2 Hen. IV), xiv, 805-806 Dollimore, Jonathan, critic, civ Donalbain, son of Duncan (Macb.), 1222 Don Armado, a fantastical Spaniard (L.L.L.), xl, Ixxxv, 32-33, A-2 Don John, bastard brother of Don Pedro (Much Ado), Ixvii, 217-218, 941, 1119-1120, 1135 Donne, John (1571 or 1572--1613), poet,

1612

Don Pedro, Prince of Aragon (Much Ado), 216-218 Doran, Madeleine (b. 1905), scholar and critic, xciv, A-8 Dorcas, shepherdess (W.T.), 1486 Dorset, Marquess of, son of the Queen (Rich. Il), 612 n., 631 Douglas, Archibald, Earl of (1 Hen. IV), 764—765, 807 n. Dowdall, John (1563-16362), traveler, {vii Dowden, Edward (1843-1913), critic and editor, xcviii Drakakis, John, critic, civ Drake, Sir Francis (15402-1596), naval commander, xxiii, 1526 Drayton, Michael (1573-1631), Endimion and Phoebe, Idea’s Mirror, Sir John Oldcastle, Ixvii, 1560, 1612, 1614, A-20, A-56

Droeshout, Martin, engraver, Ixxvi, xc Dromio of Ephesus, twin (Com. Er.), xxix, 2—4 Dromio of Syracuse, twin (Com. Er.), Ixxix, 2-4 Drummond, William, of Hawthornden (1585-1649), xcv Dryden, John (1631-1700), A-59-—61

Ivi, xcvi, xcviii, 447,

1293,

Du Bellay, Joachim (c. 1522—1560), French sonneteer, Duke, living in banishment (A.Y.L.), 288-291 Duke of Ephesus (Com. Er.), 3 Duke of Florence (All’s Well), 365 Duke of Milan (Two Gent.), 75~77 Duke of Venice (Mer. Ven.), 182

Edgar, son of Gloucester (K. Lear), 1167-1171 Edmund, bastard son of Gloucester (K. Lear), xxx, xxxv, C, 218, 629,

684,

941,

1119,

1167-1171,

1435

Edward Ill, King of England (reigned 1327-1377), 513 n., 604 838 n., 864

n., 726n., n., 884 n.

728n.,

729

n., 736

396 n.,

n., 742

n.,

Edward Ill, The Reign of King, anonymous play, Ixvi, 1635 n.

Edward the Black Prince, son of Edward Ill, 396 n., 742 n., 864 n. Edward IV, King (2 and 3 Hen. VI and Rich. Ill), xix, 496, 499,

Digges, Leonard (1558-1635), poet and translator, A-57 Diocletian,

Eagleton, Terry, critic, civ Eastward Ho, by Chapman, Marston, and Jonson, {xxii, A-18 Echo, see Narcissus Eden, Richard (15212-1576), History of Travel, 1526, 1535 n., A-55

1361 n., 1364 n., 1367 n., 1390 n., 1401 (as a character in Pericles), 1414 n., 1423 n., 1454 n., 1571 n., 1613, 1647 n. Diana, daughter of the Widow (All’s Well), 364 Dick the Butcher (2 Hen. VI), 541 Dido, Queen of Carthage, deserted by Aeneas, 116 n., 153 n., 181, 211 n., 563 n., 938, 1459 n., 1538 n.

Dull, a constable (L.L.L.), 32, 216 Dumaine, lord attending on King (L.L.L.), 31 Duncan, King of Scotland (Macb.), Ixxii—Ixxiii, c, 1219-1222 Durfey, Thomas (1653-1723), dramatist, A-59 Dusinberre, Juliet, critic, cv Duthie, G. |., editor and scholar, xciv Dyce, Alexander (1798-1869), editor, xciii, A-50

1614

540,

584-585,

628-630,

826

n.

Edward, Prince of Wales, afterwards Edward V (Rich. III), 586, 630 Edward, Prince of Wales, son of Henry VI (3 Hen. VI), 496, 584—585,

630,

634

n., 643

n., 645

n., 668

n.

Edward VI, King of England (reigned 1547-1553), xix, xx, liii Edward the Confessor (1002?— 1066), King of England, 1222, 1242

n., 1248

n.

1015

n., A-23,

A-26

Edwards, Philip, editor, A-19 Edwards, Richard (15232-1566),

Damon

and Pythias, xxxvi, 76,

Egeon, merchant of Syracuse (Com. Er.), 2—3 Egeus, father of Hermia (Mids. Dr.), 148 Eglamour, agent for Sylvia’s escape (Two Gent.), 78 Elbow, a constable (Meas. Meas.), xiv, 32, 405 Eld, G., printer, A-21 Eleanor, Duchess of Gloucester (2 Hen. VI), 500 n., 538-539 Eleanor, Queen, mother of King John (K. John), 682 Eliot, John, Orthoepia Gallica, 822 n. Eliot, Sir John (1592— 1632), member of Parliament, xxv Eliot, T. S. (1888-1965),

poet, ci, 938-939,

1527

Elizabeth, Princess (1465-1503), daughter of Edward IV and Queen of Henry VII, 629, 665 n. Elizabeth, Princess, daughter of James |, 894, 1528, A-20 Elizabeth 1, Queen of England (reigned 1558-1603), the infant Elizabeth in Henry VII, xii—xxv passim, xxvii, xxxviii—xl, xliv, |, Ix, Ixii, Ixiv, Ixviii, xx, 148, 157 n., 180, 252, 326, 356 n., 444, 496, 499, 683, 721, 763—765, 800 n., 804-806, 849, 887 n., 894-896, 1180 n., 1613, 1637 A-2, A-6, A-31, A-38, A-54

n.,

Elizabeth, Queen of Edward IV, formerly Lady Grey (3 Hen. VI

and Rich. ti), 586, 630 Ellis-Fermor, Una, scholar, xev Ely, Bishop of (Hen. V), 852 Ely, John Morton, Bishop of, later Cardinal (Rich. Il), xxxvi, 631 Elyot, Sir Thomas (14992-1546), The Governor and The Image of Governance, 76, 857 n., A-24, A-33, A-39 Emilia, wife of Egeon (Com. Er.), 3 Emilia, lady waiting on Hermione (W.T.), 1486 Emilia, wife of lago (Oth.),

Empson, William, critic, c Encedalus, a Titan, 964 n.

1117-1121

Endymion, story of, 213 n.; see also Lyly, John

Enobarbus, Domitius, officer of Antony (Ant. and Cleo.), 1294—1295 Ephesiaca (by the 5th c. a.o.), Greek romance, 977

Epicurus (341-270 b.c.), Greek philosopher, 1055 n. Erasmus (1466-1536), humanist, 327, 1169, A-25 Erickson, Peter, critic, cv Erikson, Eric, psychologist, cii Erlich, Avi, critic, ci Eros, follower of Antony (Ant. and Cleo.), 1296

Erpingham, Sir Thomas (Hen. V), 852

Escalus, an old lord (Meas. Meas.), 404—405 Escalus, Prince of Verona (R. and J.), 978-979 Escanes, lord of Tyre (Per.), 1401 Essex, Earl of (K. John), 685 Essex, Robert Devereux, second Earl of (1567-1601), xxi, xxii, xxiv,

Ixx, 444,

721,

887

n., 1613,

A-12,

A-16

Estienne, Charles (1504-1564), French printer and dramatist, author Les Abusés, A-30 Euripides (4802-406 6.c.), Greek tragedian, xcv Europa, lover of Jupiter, 116 n., 250 n., 284 n., 484 n., 819 n., 1508 n. Eurydice, 1587 n., see also Orpheus Evans, Edith, modern actress, A-63—64 Evans, G. B., editor, xev

Evans, Sir Hugh, Welsh parson (Mer. Wives), 253 Evans, Malcolm, critic, civ Evans, Maurice, modern actor, A-64

Everyman, morality play, xxxiii

Exeter, Duke of, uncle of Henry V (7 and 3 Hen. VI, Hen. V), 499,

586,

852

of Olivia (12th Night), 327, A-6 (d. 1513), chronicler, 496, A-36 (7 and 2 Hen. IV and Mer. Wives), xxvii, xxxv, Ixxix, xevii, 252-254, 363, 763-765,

804—806, A-38—39;

849-851, 863 n., 888 in? Hen. VI, 498

804,

A-11—12,

Famous

n., A-5, A-10—12,

Victories of Henry V, The, anonymous

805,

A-36,

Fang, officer (2 Hen. IV), 807

play, Ixi, 498,

A-38—40

Farnham, Willard, critic, xcix Farrell, Kirby, critic, ci Faucit, Helen (Lady Martin) (1817-1898),

Faulconbridge, Lady (K. john), 685

son of Banquo (Macb.), 1223 Francis, traveler, 1526 Giles (1588?—1623), poet, Ixxvii, 1612 John, see Beaumont and Fletcher; also, A-13, A-56—57 Lawrence (fl. 1595-1608), actor, Ixix Phineas (1582—1650), poet, Ixxvii

Flora, goddess of flowers, 1507 n.

Florio, John (15532-1625), translator of Montaigne, 31, A-16, A-43 Florizel, Prince of Bohemia (W.T.), 362, 1486 Florus, Lucius, Roman Histories, A-52 Fluellen, Welsh captain (Hen. V), 850—851 Flute, a bellows-mender (Mids. Dr.), 150 Foakes, R. A., scholar, ci Fool (K. Lear), Ixvii, 1167-1170 Fool (Timon), 1257 Forbes-Robertson, Sir Johnston (1853-1937), actor, A-63 Ford, John (15862 16392), dramatist, Ixxvii, 894 Ford, Master (Mer. Wives}, 253-254 Ford, Mistress (Mer. Wives), 252—254 Forde, Emmanuel (ff. 1595-1607), Parismus, 326, A-31 Fordun, John of (14th century), A-48 Forman, Simon (1552—1611), astrologer, quack doctor, and diarist, Ixxiii, A-18—20 Forrest, Edwin (1806-1872), actor, A-62 Fortinbras, Prince of Norway (Ham.), 1062-1065 Fortune, The, playhouse, xlv Foster, Donald, critic, 1613 Foucault, Michel, linguist, cv Foxe, John (1516— 1687), martyrologist, Acts and Monuments, 496,

682, A-34,

A-37,

A-40

France, King of (K. Lear), 1167-1170 France, King of (All’s Well), 363-364

Exton, Sir Pierce of (Rich. II), 724 Fabian, servant Fabyan, Robert Falstaff, Sir John xl, Ixiii, Ixiv,

Fleance, Fletcher, Fletcher, Fletcher, Fletcher, Fletcher,

Francis, a tapster (1 Hen. IV), 764 Francis 1, King of France (reigned 1515-1547), Francisca, a nun (Meas. Meas.), 407

Francisco, a lord (Temp.), 1529 Francisco, a soldier (Ham.), 1065

Frederick, usurping brother (A.Y.L.), 288-289 Frederyke of Jennen, prose work, A-54

Freeman, Barbara, critic, 4 Freeman, Thomas (ff. 1614), epigrammatist, Ixxv Freud,

actress, A-62

Faulconbridge, Philip, bastard son of Richard Coeur-de-Lion (K. John), 682—684 Faulconbridge, Robert (K. John), 683 Feeble, a recruit (2 Hen. IV), 807 Fenton, a gentleman (Mer. Wives), 253 Fenton, Geoffrey (15392-1608), translator, 326 Ferdinand, King of Navarre (L-L.L.), Ixxxv, 32-33, A-2-3, A-23 Ferdinand, Prince of Naples (Temp.), xlvi, 362, 1484,

xxi, 898 n.

Sigmund

(1856—

1939),

Ixi, ci-cii, 1062,

Friar Francis (Much Ado), xxv, 218 Friar John (R. and J.), 978 Friar Laurence (R. and J.}, xxv, 977-979 Friar Peter (Meas.

1121,

1615

Meas.), 407

Friar Thomas (Meas. Meas.), 405 Froissart, Jean (13382-14102), chronicler, 503 n., A-37—38 Froth, a foolish gentleman (Meas. Meas.), 407 Frye, Northrop, critic, cit, 77 Frye, Roland M., critic, ciii Fulman, William (1632— 1688), antiquary, {vii Fulvia, wife of Antony, 1294, 1297 n., 1299 n., 1301 n. Furness, H. H. (1833-1912), editor, xciii

1526-1528

Fergusson, Francis, critic, ci Feste, a clown (12th Night), xxxv, ixvii, 326-329, A-6 Field, Nathan (1587— 16192), actor and dramatist, Ixviii, Ixxvii, 1578

Field, Richard (fl. 1590-1600), printer, Ivii, 1578, A-20 Fiorentino, see Giovanni Fiorentino, Ser Fisher, Thomas (fl. 1607), publisher, A-4 Fitton, Mary (ff. 1600), maid of honor to Queen Elizabeth, 1613 Fitzwater, Lord (Rich. I), 725 Flaminius, servant of Timon (Timon), 1258 Flavius, steward of Timon (Timon), 1257-1258 Flavius, a soldier (/.C.), 1025 Flavius, a tribune (/.C.), 1025

Gadshill, a highwayman (1 Hen. IV), 766

Gair, W.. Rearley, scholar, xcix Galen (1302-201), Greek physician, xxvii, 268 n., 377 n., 812

n., 840 n., 1361

n.

Galileo Galilei (1564—1642), xxvi Gallus, follower of Caesar (Ant. and Cleo.), 1296 Gamelyn, The Cook’s Tale of, 288, A-29—30 Garber, Marjorie, critic, cv, 1221 Gardiner, Stephen, Bishop of Winchester (Hen. Vill), 895-896 Gardiner, William (ff. 1596), Justice of the Peace, lvii, Ixvi, 252 Gargrave, Sir Thomas (7 Hen. VI), 499 Garnet,

Henry (1555-1606),

Jesuit martyr,

1232

n.

Garnier, Robert (15442-1590), Marc Antoine, A-51 Garrick, David (1717—1779), actor and manager, 1167, A-58, A-60-—64,

A-66

Garson, Greer, twentieth-century actress, 1022 Gascoigne, George (15252-1577), Supposes, xxxvii, 108-109, 143 n., 1614, A-24 Gaskell, Philip, editor, xciv Gaunt, John of, Duke of Lancaster (Rich. I), xix, xxiv, 516 n., 553

n., 586

n., 596n.,

722—724,

763,

775

n., 797 n.,

827 n. Geertz, Clifford, anthropologist, ciii Geoffrey (1158-1186), brother of Richard | and John, 682, 690 n., 691 n.

Geoffrey of Anjou, 512 n. Geoffrey of Monmouth Britanniae,

520

(11002-1154), Historia Regum

n., 1167, A-7—8,

A-53

Gertrude, Queen of Denmark (Ham.), 1060-1064 Gervinus, G. Gottfried (1805-1871), editor and historian, xcviii Gesta

Romanorum,

1398,

A-22,

A-26—27,

A-52

Ghost of Hamlet’s father (Ham.), xxiv, Ixv, 1060—1063 Gibbons, Brian, critic and editor, Ixxi, xcv Gibson, Mel, modern actor, A-67 Gielgud, John, modern actor, 1022, A-63 Gilburne, Samuel (d. 1605), actor, A-57 Giovanni Fiorentino, Ser (fl. 13782), 11 Pecorone, 253, A-26—28 Giraldi Cinthio, G. B. (1504-1573), Hecatommithi and Epitia, 406,

1117,

A-32—33,

A-45—46

853

n., 893,

906

n., 1021,

1083

n.,

Gloucester

Gloucester, widowed Duchess of (Rich. fl), 723-724 Gloucester, Earl of (K. Lear), 1167-1171

Gloucester, Humphrey, Duke of, brother of Henry V and uncle

of Henry VI (2 Hen. IV, Hen. V, 1 and 2 Hen. VI), 497-499, 538-540, 588 n., 807, 852 Gloucester, Richard, Duke of (3 Hen. VI and Rich. Ill), see Richard, Duke of Gloucester Gloucester, Thomas of Woodstock, Duke of, uncle of Richard Il, 604

n., 722—724,

727 n., 728 n., 729 n., 740 n., 751

n.

Godfrey of Bouillon or Boulogne, a worthy, 59 n., 823 n. Godfrey of Viterbo (12th c.), Pantheon, 1398, A-52 Godly Queen Hester, anonymous play, xxxvi

n., 1554

n., 1560,

Gorgons, monsters of Greek mythology, 1233 n., 1312 n.

Gosson, Stephen (1554-1624), The School of Abuse, xliv, A-27 Gower, English captain (Hen. V), 849-851 Gower, loyal to Henry IV (2 Hen. IV), 807 Gower, John (13302— 1408), author Confessio Amantis, chorusfigure in Pericles, ixiv, 119 n., 1398-1401, 1485, A-19, AA-52

XXX, Pope, 800 n. suitor of Bianca (Tam. Shrew), 109—110 Fulke (1554— 1628), Caelica, 1612 Jacques (15382-1570), César, A-43

Grey, Lady Jane, granddaughter of Henry Vil, xix Grey, Sir Thomas, conspirator (Hen. V), 850 Griffin, Bartholomew (d. 1602), poet, 1612 Griffith, gentleman usher of Queen (Hen. Vill), 895 Griffith, William (ff. 1562), poet, A-26 Grotowski, Jerzy, director, ciii Grumio, servant of Petruchio (Tam. Shrew), 110 Guarini, G. B. (1537-1612), Italian writer, 289, A-56 Guiderius, son of Cymbeline (Cymb.), 1434-1436 Guido delle Colonne (fl. 1287), Historia Trojana, 445, A-34 Guildenstern, courtier (Ham.), Ixxix, 1060-1064 . Guildford, Sir Henry (Hen. VIII), 897 Guiness, Alec, modern actor, A-64 Guinevere,

Queen,

49 n.

Gurney, James, servant of Lady Faulconbridge (K. John), 685 Guthrie, Tyrone, modern director, A-63, A-65

Guy of Warwick, slayer of Colbrand, 688 n., 934 n.

Gwyn,

Nell, Restoration actress, A-58

588 n., 629-630,

Goldman, Michael, critic, xcix Gollancz, Sir Israel, editor, xciv Goneril, daughter of Lear (K. Lear), xxxv, 941, 1167-1171 Gonzaga, Curzio (b. 1536), Gl’Inganni, 327, A-30 Gonzalo, an honest old counselor (Temp.), 1527-1528 Gorboduc, see Norton and Sackville Gorgeous Gallery of Gallant Inventions, A-26

22, A-27,

Gregory Gremio, Greville, Grévin,

Hall, Edward (14992-1547), chronicler, 496-497,

Goldberg, Jonathan, critic, cii, civ Golding, Arthur (15362-1605), translator of Ovid’s n., 263

Gregory, servant of Capulet (R. and j.), 977-978

Hakluyt, Richard (1552—1616), geographer, 347 n.

Goethe, Johann Wolfgang von (1749-1832), xcvii Metamorphoses, 50 n., 147, 225 A-26, A-29, A-41, A-56

England (with Lodge), lviii, 1256

Greg, W. W. (1875-1959), scholar, Ixxxiv—Ixxxviii, xciv—xcv

Grey, Lord, son of the Queen (Rich. Ill), 631

1552 n., A-6, A-13, A-15, A-18, A-20 Gloucester, Duchess of (2 Hen. VI), see Eleanor, Duchess of

Glyn, Isabel (1823-1889), actress, A-62 Gobbo, Old (Mer. Ven.), 181

682, A-34, A-37

Grandpré, a lord (Hen. V), 853 Granville, George, Baron Lansdowne (1667-1735), The Jew of , Venice, A-59 Granville-Barker, Harley (1877— 1946), actor, dramatist, critic, xcix, A-63--64 Gratiano, friend of Bassanio (Mer. Ven.), 178-182 Gratiano, kinsman of Brabantio (Oth.), 1122 Grazzini, Antonio Francesco (1503-1584), La Spiritata, xxxvii Green, follower of King Richard (Rich. II), 725 Greenblatt, Stephen, critic, civ Greene, Robert (15602-1592), xxxix—xli, xliii, li, Ivi, lix, Ix—Ixii, Ixvi-lxvii, Ixx, Ixxxiv, 497—498, 938-939, 1256, 1434, A-47; Friar Bacon and Friar Bungay, x\, lviii; Groatsworth of Wit, xli, 1, lvii—Iviii, A-1, A-9; James IV, xl, 147, A-26; Menaphon, A-44; Orlando Furioso, lviii; Pandosto, x|, 1398, 1484-1485, 1500 n., 1503 n., A-54—55; George a Greene, xli; Selimus, 1669; A Looking-Glass for London and

Grey, Sir John, 605 n., 633 n., 639 n.

Gismond of Salerne, see Wilmot, Robert Glasdale, Sir William (1 Hen. Vi), 499 Glendower, Owen (7 Hen. IV), 553 n., 743 n., 763-765 Globe, The, playhouse, xiv, xlv, xlvi, Ixiv, Ixvii, Ixviii, Ixxiii—Ixxiv, 444,

Grafton, Richard (d. 1572), printer and chronicler, 496, 629,

855

n., A-34—39,

A-41

Hall, John (1575-1635), physician, Shakespeare’s Ixx, Ixxvi Hall, Peter, twentieth-century director, A-64, A-67 Hall, William, publisher, 1613 Halliwell-Phillips, J. O., nineteenth-century editor, Hamlet, xxxii, xli, xliii, xlvi, £, lvii, lviii, xiii, Ixv, Ixxii, Ixxix, Ixxx, Ixxxv, Ixxxvili-xc, xci, xciii,

541

n., 584,

son-in-law,

87 Ixviii, Ixxi, xciv, xcvii-

xcix, Ci, cii, cv, 45 n., 404, 444, 938-939, 977, 1021, 1060—1116, 1117, 1119, 1219, 1256, 1295, 1345, A-7-8, A-15—16, A-19, A-21, A-43—45, A-57—58, A-60, A-62—67;

pre-Shakespearean Hamlet, Iviii, Ixxi, A-15, A-44—45; see also Bestrafte Brudermord, Der Hamlet, Prince of Denmark (Ham.), xvii, xxiv, xxxii, xlvi, Ixviii, Ixxix, xcvii, ci, 940, 1060-1065 Hands, Terry, modern director, A-64 Hanmer, Sir Thomas (1677— 1746), editor, xciii Hannibal (247-182 s.c.), Carthaginian general, 415 n., 508 n., 822 n.

Harbage, Alfred (b. 1901), scholar and editor, xcv, xcix

and Hen. V), xxxii, xxxiii, xxxv, ciii, cvi, 252, 271 n., 496,

Harcourt, of the King’s party (2 Hen. IV), 807

505 n., 514 n., 518 n., 519 n., 599 n., 623 763—765, 804—806, 849-852, 968 n.

Hardwicke, Cedric, twentieth-century actor, A-64 Harington, Sir John (1560—1612), translator Ariosto’s Orlando Furioso, 216,

Henry V, The Life of King, xxiv, Ixix, Ixxx, lxxxvili, Ixxxix—xci,

A-27

xciv, Cill, Cvi, 216, 252, 328, 444, 445, 496, 762, 848, 849-892, 893, 1021, 1023, 1399, A-10, A-12—13, A-38—40, A-64—65

Harriot, Thomas, A-55 Harrison, John (fl. 1593), bookseller, A-20 Harsnett, Samuel (1561-1631), A Declaration of Egregious

538-540, 584-585, 668 n., 678 n., 851,

A-17, A-48—49

Hartman, Geoffrey, critic, cii, cv Harvey, Gabriel (15452-1630), poet and controversialist, Ixiii, 31, 51.n., 1560, 1578, A-16, A-20, A-23 investigator of circulation of

n., 823

n., 938

Hecuba, Queen of Troy (T. and C.), 461 944

n., 961

n., 1085

n., 1353

n., 962

n., 1353

n., 818 n., 938,

n., 1469

n., 1598

Hegel, Georg (1770—1831), critic, xcvii Heilman, Robert (b. 1906), critic and scholar, ci

n.

445-446,

537

n., 754

n., 846 n., 1626

Helenus, bastard son of Priam (T. and C.), 448 Helgerson, Richard, critic, civ

n.,

1002

n., 1028

n., 1627

n.

n., 1070

n.

Heminges or Heminge, John (fl. 1588-1634), and Henry

Condell (fl. 1598-1635), actors, sponsors of the First Folio, li, Ixiv, Ixvii, xix, lxxvi, Ixxxiv, Ixxxviii, xc, xciv, 498, A-1, A-57 Heneage, Sir Thomas (d. 1595), councilor, A-4 Henry, Prince, later Henry Ill (K. John), 684

Henry Bolingbroke, afterwards King Henry IV (Rich, fl, 1 and 2 Hen. IV), xvii, xxiv, Ixiv, 496, 515 n., 554 n., 609 n., 629,

683,

721-725,

763—765,

804-806,

850

Henry IV, The First Part of King, xvii, xxiv, xxvii, xl, Ixii, Ixvi—Ixvii, Ixxix, Ixxxix, xc, xciv, evi, 216, 254, 271 n., 281 n., 444, 498, 553 n., 763-803, 811 n., 812.n., 824 n., 831 n., 851, A-10—12, A-38—40, A-57, A-60

804, 807 n., 809 n., 893, 1021, 1575 n.,

Henry IV, The Second Part of King, xxvii, xxxv, lvii, xiv, Ixxix, Ixxxix, xc, xci, xciv, 253-254, 271 n., 281 n., 788 n., 804-848, 849, 850, A-11—12, A-38—40, A-62 Henry IV Parts | and Il, Ixiii, Ixxxv, 252, 444, 501 n., 762, 849, A-1, A-11, A-36, A-39, A-64, A-66-—67

Henry IV, Kingof France, Henry of Navarre (reigned 1589-1610),

2, 31, A-23

n., 628,

584,

586 n., 588

n., 599 n.,

Henry VI, Parts I, Il, and Ill, xix, xxxv, xliti, |, Iviii, Ix, xci, xciv, 496-498, 628, 629, 682, 684, A-8—10, A-34—35, A-37, A-59

804,

892

n., A-1, A-3,

Henry VIII, King of England (reigned 1509-1547) (Hen. VII), xv, xvi, xix—xxiii, xxxiv, Ixii, 496, 699, 893-896, A-13 Henry Vill, The Famous History of the Life of King, xxiv, xlv, Ixxiv, Ixxix, ixxxv, 849, 893-936, A-1, A-13, A-40—41, A-60—62

Henryson, 345

Robert (14302-15062),

n., 445,

860 n., A-34

The Testament of Cresseid,

Vi and Rich. Ill), xvi, xix, xxi, 496,

497,

Philip (d. 1616), theater owner and manager, xlv, li, A-14,

A-41,

A-44,

A-47

Heraclitus of Ephesus (c. 500 8.c.), the weeping philosopher, 185 n. Herbert, Sir Henry (1595-1673), Master of the Revels after 1622, Ixxxvii, A-20 Herbert, Sir Walter (Rich. Hi), 631

Helicanus, ford of Tyre (Per.), 1398-1399 n., 994

n., 587

xciv, 497, 499, 539, 549 n., 584-627, 628, 630, 636 n., 639 n., 640 n., 645 n., 647 n., 660 n., 671 n., 678 n., A-1, A-35

Iviii, Ixiv, xciii, 938, A-3, A-9,

Heliodorus (4th c. a.p.), Ethiopica, 30, 357 n. Helios, a descendant of the Titans, a sun god, 93 n., 492 n., 945

xciv, 497, 500 n., 538-583, 604 n., 1021, A-35

Henslowe,

Helena, in love with Demetrius (Mids. Dr.j, 147~—148 Helen of Troy (T. and C.), Ixxii, 121 n., 172 n., 308 n., n., 599

n., 561

Henry VI, The Second Part of King, lii, Ixxix, Ixxxix—xe, xci,

1485—1509) (3 Hen. 586, 628-631, 721

Helen, mother of Constantine, 504 n. Helena, in love with Bertram (All’s Well), Ixxii, cii, 76, 1436

n., 666 n.,

Henry Tudor, Earl of Richmond, later King Henry VII (reigned

n.

Helen, a lady (Cym.), 1437 362-365,

634 n., 636

Henry VI, The Third Part of King, |, li-lii, lvii, Ixxix—xc, xci,

Hastings, William, Lord (3 Hen. VI and Rich. II), 586, 630 Hatcliffe, William, lawyer, 1613 Hathaway, Anne (15572-1623), wife of William Shakespeare, Ilv—lvi, ixxvi Hathaway, Richard, Anne’s father, Iv Hathway, Richard (f1. 1600), dramatist, Ixvii Haughton, William (c. 1575-1605), dramatist, Ixvi, Ixxi, 331 n. Hazlitt, William (1778-1830), critic, xcvii, A-6 Hecate, goddess of night and witchcraft, 177 n., 306 n., 568 n., 1092 n., 1173 n., 1231 n.; as a character in Macbeth, 1223 Hector, son of Priam (T. and C.), 59 n., 70 n., 231 n., 268 n., n., 619

630,

496-537, 538, 542 n., 548 n., 553 636 n., A-1, A-34—35, A-57

Hastings, Lord (2 Hen. IV), 807

595

628, 1021

Henry VI, The First Part of King, xxiv, Iviii, Ix, lxxix, Ixxxvii, xci,

Harvey, William, husband of Mary, Lady Southampton, 1613

444-446,

587 n., 682, A-1, A-5-6,

Henry VI, King of England (1, 2, and 3 Hen. VI), xix, 496-499,

Popish Impostures, 1167, 1196-1199 nn., 1202 n., 1221,

Harvey, Sir William (1578-1657), blood, xxvii Hassel, R. Chris, critic, citi

n., 674 n.,

Henry V, King of England, formerly Prince Hal (7 and 2 Hen. IV

Hercules, 48 n., 57 n., 59n., 69._n., 121 n., 154 n., 173 n., 189 n., 199 n., 227 n., 236n., 385 n., 394 n., 461 n., 482 n., 529 n., 854 n., 938, 965 n., 1074 _n., 1083 n., 1294-1295, 1302 n., 1333 n., 1370 n., 1378 n., 1385 n., A-22

Herford, C. H., editor, xciv

Hermaphroditus and Salmacis, story of, 1560 Hermia, in love with Lysander (Mids. Dr.), 147—148 Hermione, Queen of Leontes (W.T.), cli, 1118, 1484-1485

1400,

Hero, daughter of Leonato (Much Ado), Ixvii, 76, 216-218, 362 Hero and Leander, story of, 78 n., 93 n., 174 n., 248 n., 291, 316 n., 996 n.

Herod, King of Judea (73?—4 8.c.), ranting figure of the Corpus Christi play, xxxii, 262 n., 868 n., 1088 n., 1222, 1318

1298 n.,

n.

Hesiod (8th c. 8.c.), Greek poet, 1540 n. Hesione, sister of Priam, 445, 461 n. Hesperides, the, 57 n., 308 n., 1385 n., 1402 n.

Hester and Ahasuerus, lost play, lviii Heyes, Thomas (fl. 1600), publisher, xc, A-4

Heywood, Jasper (1535-1598), translator of Seneca, A-41 Heywood, John (14972-15802), dramatist, xxxvi, xlviii Heywood, Thomas (15742-1641), Edward IV, The Fair Maid of the West, The Four Prentices of London, A Woman Killed with Kindness, etc., Ixvi—Ixvii, Ixx, lxxi—Ixxii, Ixxxviii, 1398 Hickescorner, anonymous play, xxxtii—xxxiv Higgins, John (ff. 1570--1602), contributor to the Mirror for Magistrates,

1167,

A-53

I-10 Hiller, Wendy, twentieth-century actress, A-64 Hinman, Charlton, textual scholar, xci—-xcii, xcv

Inns of Court,

Hippocrates (b. about 460 8.c.), Greek physician, 270 n. Hippolyta, Queen of the Amazons (Mids. Dr.), 147-150

Hobbes, Thomas (1588-1679), Leviathan, xxx Hoby, Sir Thomas (1530-1566), translator of The Courtier, xxix Hodges, C. Walter (b. 1909), author and illustrator, xcix Holinshed, Raphael (d. 15802), chronicler, Ixxi, 496, 520 n., 629, 667 n., 680 n., 682, 738 n., 785 n., 786 n., 804, 838 n., 855 892 n., 895-896, 898 n., 899 n., 908 n., 1167, 1220-1222, 1434, A-34—40, A-47—49, A-53

743 n., 757 n., n., 871 n., 883 901 n., 903 n., 1436, 1438 n.,

764, n., 886 n., 907 n., 1455 n.,

n., 963

n.,

1353

n., 1468

1263

Hotson,

Leslie (b. 1897),

scholar,

Ivii, Ixvi, 252,

326,

1612,

A-14

Hunter,

Henry Carey, 1st Lord (15242-1596),

R. G., critic, cvi, 76

1603-1625),

A-6

li, 1613

Huon of Bordeaux, 147, A-25 Huxley, Aldous, modern novelist, 1526 Huxley, Thomas (1825-1895), Social Darwinian, xcix Hydra, many-headed monster slain by Hercules, 801 n., 833 n., 854

n.,

1139

n., 1370

n.

god of marriage (A.Y.L.), 249 n., 292, 946 n., 1090 n.,

1285

n.,

1282

n.

1415

n., 1550

n.

Hyperion, sun god, a Titan, 465 n., 878 n., 971 n., 1096 n.,

lachimo, a villain (Cymb.), 1435-1436 | lago, a villain (Oth.), xxx, xxxv, xcvii, c, 218, 629, 941, 1117-1121,

1435

Iden, Alexander, Kentish gentleman (2 Hen. VI), 539 imogen, daughter of the King (Cymb.), 76, 1400, 1434-1437, 1484,

1485,

1578

Ingannati, Inganni, Italian comedies, 326, 327, A-30—31

A-8,

A-17

xii, xxiii, xxv, xxvi, xlv, Ixviii—lxx, Ixxiii,

160 n., 404, 894, 896, 936 n., 1180 n., 1221, 1244 n., 1248 n., 1345, 1437, 1528, 1613, 1638 n., A-7, A-17, A-20, A-49

Huntingdon, Earl of (Hen. V), 852

Hymen,

A-5,

James |, King of England, Scotland, and Ireland (reigned

Hotspur, see Percy, Henry Houseman, John, modern filmmaker, 1021 Howard, Jean, critic, cv Howard, Trevor, twentieth-century actor, A-64 Hubaud, Ralph (ff. 1605), Stratford citizen, Ixix Hubert de Burgh (K. John), 683-684 Hudson, H. N., nineteenth-century editor, xciii Hughes, Thomas (fl. 1587), author with others The Misfortunes of Arthur, xxxviii, 498 Hume, John, a priest (2 Hen. Vi), 540 Hundred Merry Tales, A, published by Rastell, 225 n. Hunsdon, George Carey, 2nd Lord (1547-1603), 252, A-11, Hunsdon,

A-4,

James, D. G. (b. 1905), critic, ciii

1219

1613,

Isis, Egyptian fertility goddess, 1298 n.

Jaggard, William (ff. 1599-1623), publisher, Ixvi, Ixxxix—xcii,

n., A-33

n.

404-406

Isidore’s servant (Timon), 1258

Jaggard, Isaac (d. 1627), publisher, xc—xcii

Honigmann, E. A. J., editor, A-10, A-36—37 Hooker, Richard (15542-1600), Of the Laws of Ecclesiastical Polity, xxvi Horace (65—8 s.c.), Roman poet, lv, 2, 290, 938, 963 n., Horatio, friend of Hamlet (Ham.), Ixxix, 1060—1065, Horner, Thomas, an armorer (2 Hen. VI), 538 Homey, Karen, psychologist, cii Hortensio, suitor of Bianca (Tam. Shrew), 110 Hortensius’ servant (Timon), 1258 Hosley, Richard, scholar, xcix, A-25 Host of the Garter Inn (Mer. Wives), 253

n.,

Jacob and Esau, anonymous play, xxxvi

A-52

Hollar, Wenceslaus, illustrator, Ixxiv Holloway, John, critic, cii Holofernes, a schoolmaster (L.L.L.), Ixxxv, 32—33, A-2 Homer, Iliad, Odyssey, 76, 204 n., 445, 508 n., 563 n., n., 952

826

2, 108,

Inn, xxxviii,

Jackson, Barry, twentieth-century producer, A-65 Jack Straw, anonymous play, A-35, A-37 Jackson, William (fl. 1782), critic, xcvii

Holland, john, follower of Cade (2 Hen. Vi), 541 Holland, Norman, critic, cii Holland, Philemon (1552-1637), translator of Pliny and Livy,

614

Gray’s

n., 1612;

574

A-2—3; Inner and Middle Temples, xlviii, Ixxvii, 326, 512 n., 513 n., 792 n. Iras, attending Cleopatra (Ant. and Cleo.), 1294 Iris, goddess of the rainbow (Temp.), 567 n., 1527 Irving, Henry (1838-1905), actor-manager, A-62—63 Isabel, Queen of Richard Il, see Queen (Rich. I) Isabella, sister of Claudio (Meas. Meas.), !xxii, 76, 362,

James IV of Scotland, xxii Jamy, Scots Captain (Hen. V), 851 Janssen, Gherrart (ff. 1623), stonecutter, Ixxvi Janus, Roman god of beginnings, 183 n., 1125 n. Jaquenetta, a country wench (L.L.L.), 32, 289 Jaques, a malcontent (A.Y.L.), 289-290 Jardine, Lisa, critic, cv Jason and Medea, story of, 181, 185 n., 211 n., 582 n. Jenkins, Harold, editor, xcv Jessica, daughter of Shylock (Mer. Ven.), 178-182 Jeweler (Timon), 1257 Joan of Arc (1 Hen. VI), cii, 498-499 Jodelle, Etienne (1552-1573), Cléopatre Captive, A-51 John, King of England (K. John), 682-684, 894 Johnson, Arthur (ff. 1600), publisher, xc, A-5 Johnson, Richard, The Golden Garland, A-41 Johnson,

Dr. Samuel

1167, A-8

(1709-1784),

xciii, xciv, xcvi, xcviii,

Jones, Ernest (1899-1958), disciple of Freud, ci, 1062 Jones,

Inigo (1573-1652),

894

Jonson, Ben (1572-1637), xxxiii, |, Ixi, Ixviii, Ixx, xxvii, Ixxxiv, xc, 2, 289,

444,

852,

936

n.,

1021,

1485,

1560,

A-21,

A-56, A-58; The Alchemist, xiv, xxvii, Ixxi—Ixxii; Bartholomew Fair, |xxii, Ixxv, 938; The Case is Altered, Ixvi: Catiline, Ixxii, Ixxvii; Cynthia’s Revels, \xviii; Eastward Ho, Ixxii, A-18; Epicoene, A-19; Every Man in His Humor, Ixv, Ixxv, 253, A-5, A-6, A-15; Every Man Out of His Humor, Ixvi, Ixxi; Masque of Oberon, A-20; The Poetaster, Ixviii, A-8; Sejanus, Ixxii, Ixxiv; Tale of a Tub, Ixvi; Timber, or Discoveries, xcv—xcvi; Volpone, Ixxi, 1256 Jorgensen, Paul, critic, c, cvi, 806 Jourdain, Sylvester (d.1650), A Discovery of the Bermudas, 1526,

A-20,

A-55

Judas Maccabaeus, a worthy, 33, 59 n., 69 n. Julia, in love with Proteus (Two Gent.), 75—77 Juliet, beloved of Claudio (Meas. Meas.), 404-405

Juliet, daughter of Capulet (R. and J.), 977-979 Julio und Hyppolita, German play, A-24

Julius Caesar, Ixxiii, Ixxxvii, 185 n., 444, 445, 849, 938, 962 n., 977, 1021-1059, 1219, 1222, 1256, A-1, A-14—15, A-42—43, A-60-—61, A-67 Juno, 59 n., 298 n., 324 n., 385 n., 567 n., 833

1299 n.,

n., 1361

1380 n., 1390 n., 1402 n., 1475 n.; in The Tempest,

1345, n.,

1527

I-11 Jupiter Jove, Zeus), 93 n., 113 n., 116 n., 225 n., 250 n., 291 n., 311 n., 448 n., 455 n., 484 n., 593 n., 819 _n., 943 n., 949 n., 966 n., 1361 n., 1391 n., 1508 n., 1570 n., 1591 n., A-22; in Cymbeline, 1435-1437 Kahn, Coppélia, critic, cit, civ—cv, 1578 Kames, Henry Home, Lord (1692-1782), critic, xcvii Katharina, daughter of Baptista (Tam. Shrew), 108-110, Katharine, French Princess (Hen. V), 674 n., 849-851

216

Katharine, attending on the Princess (L.L.L.), 32-33

Katharine of Aragon (1485-1536), first queen of Henry VIII (Hen. VIll), xix, xx, xxxvi, 893-896 Kean, Charles (1811?— 1868), actor, 893, A-62 Kean, Edmund (1787-1833), actor, A-61—62 Keast,

W.

R., critic, ci

Keats, John (1795-1821),

poet, xcvii

Kelly, Henry A. (b. 1934), critic, c, A-38 Kemble, John Philip (1757-1823), actor-manager, 893, A-61-—62

Kempe, Will (fl. 1590-1600), comic actor, |-li, Ixiv, Ixvii, Ixix, n., A-5, A-57

Kent, Ear! of (K. Lear), xxxv, 1167-1170, 1258 Kerr, Deborah, modern actress, 1022 Killigrew, Thomas (1612-1683), dramatist and manager, A-59 King, T. J. (b. 1925), scholar, xcix King John, xxiv, xxxiv, lviii, Ixii, Ixxix, ixxxv, xci, 682-720, A-1,

A-10,

A-36—37,

A-60,

A-63—64

King Lear, xxx, xxxv, lii, Ixvii, [xxii, Ixxiii, Ixxxv, Ixxxix—xc, xci, xciv—xcvi, xcviii, ciii, cv, cvi, 111 n., 216, 327, 404, 629, 782 n., 938, 940-941, 1021, 1117-1119, 1167—1218, 1219, 1221, 1256, 1258, 1293, 1295, 1345, 1398-1399, 1434-1435, 1484, A-17-18, A-22--23, A-46—48, A-57, A-59—61, A-64, A-66-—67

King of France (All’s Well), 363-364 King’s Majesty’s Servants, the, xxxv, Ixviii—Ixix, Ixxiii, 894, 1117,

A-7,

A-16,

A-19

Kirkman, Francis (fl. 1662), printer, Ixiii

Kirsch, Arthur, critic, 1120 Kittredge, G. L. (1860-1941), scholar, xciv—xcv Knack to Know a Knave, A, anonymous play, lviii, A-13 Knight, Charles, nineteenth-century editor, xciii Knight, G. Wilson (b. 1897), critic, c—ci Knights, L. C. (b. 1906), critic, c Knolles, Richard, History of the Turks, A-16 Komisarjevsky, Theodore, modern director, A-65 Kott, lan (b. 1914), critic, ciii, A-64, A-67 Kozintsev, Grigori, modern film director, A-67 Kurosawa, Akira, modern film director, A-66

Kyd, Thomas (1558-1594), dramatist, author The Spanish

Tragedy, Cornelia; possible author ur-Hamlet, Solyman and Perseda, xli, xliii, li, Iviii, lix, Ixvi, Ixx, Ixxi, xcv, 111 n.,

222

n., 688

n., 938-940,

1064,

A-9, A-41,

A-44,

A-47

Labeo, soldier (J.C.), 1025 Lacan, Jacques, psychologist, cii Lacy, John, Restoration actor, A-59 Laelia, Latin drama, A-30 Laertes, son of Polonius (Ham.), 1060-1064 Lafew, an old lord (All’s Well), 363-364 Lamb, Charles (1775-1834), critic, xcvii, A-61 Lancaster, Prince John of (7 and 2 Hen. IV), 766, 804-806 Lance,

servant to Proteus (Two

Gent.),

75—77

Lancelot Gobbo, clown (Mer. Ven.), Ixvii, 178, 181 Landau, Jack, modern director, A-65

Laneman or Lariman, Henry (fl. 1557), manager of The Curtain, xlv

683,

699 n.

Lanier, Emilia, 1613 Laomedon, King of Troy, 482 n. Lartius, Titus, general (Cor.), 1348 n. Latimer, Hugh (14852-1555), preacher, xxiv Laughton, Charles, twentieth-century actor, 893, A-64 Laura, beloved of Petrarch, 996 n., 1614 Laurence,

Friar, see Friar Laurence (R. and J.)

Lavatch, clown (All’s Well), Ixvii, 363, A-7 Lavinia, daughter of Titus (Tit. And.), 938-940, Law, Matthew (ff. 1603), publisher, xc, A-10

1579

Lazarillo de Tormes, Spanish rogue story, 226 n. Lear, King of Britain (K. Lear), xxxv, 1434, 1484, 1661

724,

1167-1171,

1257,

Leavis, F. R., critic, ¢

Keightley, Thomas, editor, xciii

1014

Langley, Francis (fl. 1596), owner Swan playhouse, Ixvi Langton, Stephen (11502-1228), Archbishop of Canterbury,

Le Beau,

a courtier (A.Y.L.), xvii, 289

Leda, mother of Helen of Troy, 121 n., 284 n. Lee, Sidney, editor, xciv—xcv Leech, Clifford, critic, ciii Le Fer, a French soldier (Hen. V), 853 Lefevre, Raoul (fl. 1460), Receuil des Histoires de Troyes, 445, A-34

Legenda Aurea, A-27 Legge, Thomas (1535~1607), Richardus Tertius, A-36 Legh, Gerald (d. 1563), Accidence of Armory, 109, A-25, A-47 Leicester, Robert Dudley, Earl of (15322-1588), favorite of Queen Elizabeth, xvi, xxi Leicester’s men, acting company, |—li

Leigh, Vivien, twentieth-century actress, A-64 Leir and his Three Daughters, The True Chronicle History of

King, 1167, A-17, A-47

Lennox, a nobleman (Macb.), 1222 Lentricchia, Frank, critic, cvi Leonardo,

servant of Bassanio (Mer.

Ven.), 182

Leonato, Governor of Messina (Much Ado), 216—218 Leonine, servant of Dionyza (Per.), 1401 Leontes, King of Sicilia (W.T.), 404, 1399-1400, 1435, 1484-1485,

1527

Lepidus, M. Aemilius, triumvir (/.C. and Ant. and Cleo.), 1023, 1293-1294

Lévi-Strauss, Claude, anthropologist, civ Lewis, Dauphin (K. john), later Lewis VIII|, 683-684 Lewis, Dauphin, later King Lewis XI (3 Hen. Vi and Hen. V), 584,

660n.,

849-851

Lewis IX of France, 855 n.

Ligarius, Caius, conspirator (.C.),

Lilly, William (14682-1522), 116 n., 277 n., 338

1025

Grammatica Latina, xxxix, lv,

n., 696 n., 963

Limoges, Duke of Austria (K. john), 683 Lincoln, Bishop of (Hen. VIII), 897 Ling,

Nicholas (fl. 1596-1602),

Lingua, academic play, A-18

n.

publisher,

xc, A-15

Lionel, Duke of Clarence, see Clarence, Lionel Duke of

Liturgical drama, xxx—xxxi

Livy (59 B.c.—17 a.0.), History of Rome, 974 n., 1578, A-52, A-56

Locrine, anonymous tragedy, xcii

Lodge, Thomas (c. 1557-1625), A Looking Glass for London

and England (with Greene), Phyllis, Rosalynde, Scilla’s Metamorphosis, Wit’s Misery, etc., xxxix, 288-289, 1256,

1560,

1612,

A-29-—30,

A-44,

A-47,

298 n.,

A-56

Lodovico, kinsman of Brabantio (Oth.), 1117-1119 London Prodigal, The, anonymous play, xcii Long, William B, textual scholar, xciv

Longaville, lord attending on the King (L.L.L.), 32-33, A-3

Longer Thou Livest the More Fool Thou Art, The, late morality

play, see Wager, William

I-12 Lope de Rueda (d. 1565), Los Engafios, A-30

Lopez, Roderigo (d. 1594), Portuguese Jewish physician,

180,

A-4—5

Lorenzo, in love with Jessica (Mer. Ven.), 178-182 Lovell, Sir Francis (Rich, Ill), 631 Lovell, Sir Thomas (Hen. VIII), 897 Lovejoy, A. O. (b. 1873), scholar, c Lover’s Complaint, A, 1606-1611, A-21 tove’s Labor’s Lost, x!, |, lii, Iv, tvi, Iviii, lix—lx, Ixii, Ixvi, txix, Ixxviii, Ixxix, Ixxxv, Ixxxvii-lxix, 31-74, 216, 289, 362, 1090

n., A-2—3,

A-23,

A-28,

A-58

Love’s Labor’s Won, lviii, Ixiit, A-1—3, A-7 Lowin, John (fl. 1602—1624), actor, xviii, A-57 Lucan (39-65), Pharsalia, A-43 Luce,

servant of Adriana

(Com.

n., 960 n.,

Lucy, Lady Elizabeth, betrothed to Edward IV, 660 n., 662 n. Lucy, Sir Thomas (1532— 1600), of Charlecote Hall, Ivii, 252 Lucy, Sir William (1 Hen. Vi), 499

Lud, mythical King of Britain, 1438 n., 1455 n.

Lupton, Thomas (ff. 1577— 1584), All for Money and Too Good to be True, 1256, A-33 Lusty Juventus, anonymous play, xxxiv Luther, Martin (1483-1546), xix, xxix Lychorida, nurse (Per.), 1401

Lycurgus, legendary Spartan lawgiver, 1360 n.

Lydgate, John (13702-14512), The Fall of Princes, The Troy Book, etc., xxxviii, 445, 1578, A-31, A-51

Lyly, John (15542-1606), Campaspe, Endymion, Euphues,

Gallathea, Love’s Metamorphosis, Midas, Mother Bombie, Sappho and Phao, The Woman in the Moon, etc., xxxix—x\li, xliii, xlix, liv, lix, Ixvi, Ixx, 31-33, 76, 354.n., 734 n., 1614,

A-3, A-22—23,

A-25,

A-29,

Lysander, matched with Hermia (Mids. Dr.), 147-148 Lysimachus, Governor of Mitylene (Per.), 1400 Macbeth, xxxii, xxxiv, xliti, Ixxti—Ixxiii, Ixxxvii, xevii, c, 404, 539, 894, 1021, 1117, 1167, 1219-1255, 1256, 1293, 1345, 1398, A-1, A-18, A-48—49, A-53, A-58, A-60—67 Macbeth (Macb.), ixxii, c, 629, 1219-1222

Macbeth, Lady (Macb.), c, 1219-1222 Macduff, nobleman of Scotland (Macb.), xxxii, 1221-1222 Macduff, Lady (Macb.), 1222 Macduff’s son (Macb.), 1222 Machiavelli, Niccolé (1469— 1527), Discourses, The Prince; also, Machiavellianism as a stage convention, xxiv, xxx, C, 270 n., 535

n., 585,

608

n., 628,

941,

Mack, Maynard (b. 1909), critic, cvi, 1168 Macklin, Charles (16972-1797), actor, A-60

1119,

Irish Captain

(Hen.

V), 851

Macready, W. Charles (1793-1873), actor, A-61—62 Maecenas, friend to Caesar (Ant. and Cleo.), 1296 Magellan, Ferdinand, explorer, 1526 Mahood, M. M., critic, ci Malcolm, son of Duncan (Macb.), 1222 Malone, Edmund (1741-1812), editor, !vii, Ixxvi, xcifi Malvolio, steward to Olivia (12th Night), xxv, 254, 326-329, 363, 444,

A-6

Mamillius, Prince of Sicily (W.T.), 1485 Mankiewicz, Charles, modern filmmaker,

1021, A-67

326, A-6, A-30

Lucullus, a flattering lord (Timon), 1258

1560,

Norman, critic, ci

Manningham, John (d. 1622), law student, barrister, diarist, Ixx,

Er.), 2

Lucretia (Lucrece), 126 n., 308 n., 343 n., 938, 950 962 n., 1021, 1231 n., 1449 n., 1578-1579

n.,

Macmorris,

Mankind, anonymous morality play, xxxiii—xxxv

Lucentio, son of Vincentio (Tam. Shrew), 108-109 Lucetta, waiting-woman to Julia (Two Gent.), 75 Lucian of Samosata (c. 115—200), Greek satirist, author Dialogues, Timon, 1256, A-50 Luciana, sister of Adriana (Com. Er.), 2-4 Lucianus, nephew of Player King (Ham.), Ixxviii, 1063, A-15 Lucilius, friend of Brutus (/.C.), 1025, A-14 Lucilius, servant of Timon (Timon), 1258 Lucina, goddess of childbirth, 1402 n., 1416 n., 1475 n. Lucio, a fantastic (Meas. Meas.), 363, 404-405 Lucius Antonius, brother of Mark Antony, 1294, 1305 n. Lucius, a boy serving Brutus (/.C.), 1025, A-14 Lucius, a flattering lord (Timon), 1258 Lucius, son of Titus (Tit. And.), 939 Lucius, Young, a boy, son of Lucius (Tit. And.), 940 Lucrece, The Rape of, see Rape of Lucrece, The

782 n., 857 A-50

Maclean,

1171

Mantuanus, Baptista Spagnuoli (1448-1516), Neo-Latin pastoral poet, lv, 51 n. Manuel, Don Juan (ff. 1350), El Conde Lucanor, 109, A-25 Marcade, lord attending on the princess (L.L.L.), 32 Marcellus, officer (Ham.), Ixxviii, 1065, A-15 Marcius, son of Coriolanus (Cor.), 1248 Marcus, brother of Titus (Tit. And.), 939-940 Mardian, a eunuch (Ant. and Cleo.), 1294 Margaret, gentlewoman (Much Ado), 216 Margareton, bastard son of Priam (T. and C.), 448 Margaret of Anjou, Queen of Henry VI (1, 2, and 3 Hen. Vi and Rich. I), cii, 499,

538-540,

584—585,

628-630

Margery Jordan, a witch (2 Hen. VI), 540 Margeson, J. M. R., scholar, xcix Maria, lady attending the Princess (L.L.L.), 32—33 Maria, Olivia’s woman (12th Night), 254, 328, A-6 Mariana, betrothed to Angelo (Meas. Meas.), 405—406 Mariana, friend of the Widow (All’s Well), 365 Marina, daughter of Pericles (Per.), 327, 1398-1401, 1484 Markham, Gervase (ff. 1593), author, 129 n. Marlowe, Christopher (1564-1593), xli—xliii, li, lvi-lxii, Ixvi, Ixx, 311 n., 497, 938—939, 1613, A-3, A-9; Dido Queen of Carthage, 1084 n.; Doctor Faustus, xxxiv, xxxviii, xli, 256 282 n., 461 n., 754 n., 1219; Edward Il, xli, 684, A-37;

n.,

Hero and Leander, |xxix, 314 n., 1560, A-6, A-56; The Jew of Malta, xxiv, xli, lviti_lix, 180, 209 n., 938, 941, 1119, A-5, A-27, A-41; Tamburlaine, xl, xlii—xliit, Ix, Ixxi, 498, 822

n., 938,

A-35,

A-41

Marot, Clément (1495-1544), French poet, 1614 Mars, god of war, 374 n., 483 n., 499, 502 n., 879 n., 950 n., 966 n., 1221, 1285 n., 1294-1295, 1551 n., 1563 n., 1627 n.

1354

n.,

Marshall, F. A., nineteenth-century editor, xciv Marston,

John

(1576-1634),

I, Ixviii, Ixx, 289,

1390

444,

n.,

A-21;

Antonio’s Revenge, xvii, Ixxi, A-16; The Dutch Courtesan, Ixxii; Eastward Ho, Ixxii, A-18; Histriomastix, 1256; The Insatiate Countess, Ixxvii; The Malcontent, xxi, A-16; The Metamorphosis of Pygmalion’s Image, Ixxi, A-56; The Scourge of Villainy, Ixxi; Satiromastix, Ixviii Martius, son of Titus (Tit. And.), 942

Martyr,

Peter (1500—1562),

De

Novo

Orbe,

A-55

Marullus, a tribune (j.C.), 1023 Mary, Queen of Scots (1543-1587), xxii-xxiv, 683 Mary |, Queen of England (reigned 1553-1558), xix, xxxiv, 913n.,

927

n.

Mary Magdalene, saint's play, xxxiv

Mason,

James,

modern

actor,

:

1022

Massinger, Philip (1583— 1640), dramatist, xxvii, A-62 Masuccio of Salerno (fl. 1476), Il Novellino, 977, A-27, A-42 Matchett, William, critic, A-10 Maxwell, J. C., editor, A-14_ McKellan, lan, modern actor, A-67

McKeon, Richard (b. 1900), scholar and critic, ci McKerrow,

R. B. (1872-1940),

scholar, Ixxxiv—Ixxxv, xciv

I-13 Measure for Measure, xiv, xxv, xxxiii, xxxviii, Ixix, Ixxii, Ixxxv, Ixxxvii, xci, ciii, 4, 32, 76, 362, 364, 404-443, 444, 894, 968 n., 1399, 1434-1435, A-1, A-7, A-32—33, 59, A-61, A-65-—67 Medea, see Jason and Medea, story of Medusa, 454 n., 1233 n.; see also Gorgons Medwall, Henry (fl. 1497), Fulgens and Lucrece and Nature, xxxvi, xl, xlviii, 3 Meleager, son of Althaea, 544 n., 1334 n. Melun, a French lord (K. John), 684

Menas, friend of Pompey (Ant. and Cleo.), 1296

Mendelssohn, Feliz (1809-1849), composer, 147 Menecrates, friend of Pompey (Ant. and Cleo.), 1296 Menelaus, brother of Agamemnon (T. and C.), 121 n., 445, 599 n.

Menenius Agrippa, friend of Coriolanus (Cor.), 1346-1347, A-19 Menteith, Merchant Merchant Ixxix, 218,

nobleman (Macb.), 1223 (Timon), 1257 of Venice, The, xvii, xviii, xxxviii, Ix, Ixii, Ixvii, Ixix, Ixxxv, Ixxxviii—Ixxxix, xc, citi, 109, 178-215, 216,

288,

291,

326,

328,

1021,

A-4—5,

A-26—28,

A-58-61, A-65 Mercury (Hermes), 74 n., 311 n., 317 n., 334 n., 460 n., 463 n., 647 n., 833 n., 858 n., 873 n., 1096 n., 1506 n., A-22 Mercutio, friend of Romeo (R. and J.), xvii, 977-979 Meres, Francis (1565-1647), Palladis Tamia, Iviii, Ixii, xcv, 75, 180, 362, 1064, 1560, 1612, A-1—21 passim Merlin, magician, 786 n., 1195 n. Merry Wives of Windsor, The, Wii, Ixvi, Ixix, Ixxix, Ixxx, Ixxxvii,

Ixxxix, xci, 252-287, A-5—6, A-12, A-25, A-28—29, A-61

Messala, officer (J.C.), 1025 Metellus Cimber, conspirator (J.C.), 1025 Michael, a rebel (2 Hen. VI), 541 Michael, Sir, of Archbishop’s household (7 Hen. !V), 766 Middleton, Thomas (1580—1627), The Changeling (with Rowley), A Mad World, My Masters, Michaelmas Term, A Trick to Catch the Old One, The Witch, Women Beware Women, The Honest Whore (with Dekker), etc., xvii, Ixx, Ixxii, Ixxvii, Ixxxvii, 936 n., 1221, 1241 n., 1243 n., A-7, A-18

Midsummer Night’s Dream, A, lv, lviii—lx, Ixii, Ixvii, Lxxii, Ixxix, Ixxxv, Ixxxix, xc, ciii, 2, 4, 75, 108, 116:n., 147-177, 211 n., 216, 288, 326, 444, 724, A-4, A-14, A-25--26, A-57, A-60,

954 n., 977, 1021, 1526, A-63—64, A-66-—67

Miller, J. Hillis, critic, cv Miller, Jonathan, director, A-65 Millington, Thomas, printer, A-8, A-12—13 Milo, famous athlete of 6th c. 8.c., 466 n. Milton, John

(1608-1674),

xxv, xxvi,

1219-1220,

A-18

Moldy, a recruit (2 Hen. IV), 807

Montague, head of household (R. and J.), 978-979 Montague’s Wife (R. and J.), 980 Montague, Marquess of (3 Hen. VI), 586

1527-1528,

A-16,

A-55~56

Montano, Governor of Cyprus (Oth.), 1122 Montemayor, Jorge de (15202-1561), Diana, 75, 289, A-23, A-25,

A-29

Montgomery,

Sir John (or Thomas) (3 Hen. Vi), 586, 618 n.

Montjoy, French herald (Hen. V), 851

Montreuil, Gerbert de, Roman de la Violette, A-53 Montrose, Louis, critic, civ Mopsa, shepherdess (W.T.), 1486

Morality play, xxxiii-xxxv, 882 n., 941

More, Sir Thomas (1478-1535), The History of Richard Ill and Utopia, etc., xix, xxxvi, 290, 629, 654 n., 896, A-35—36; in Henry

VIII, 924 n., 1526

Morgan, Appleton, nineteenth-century editor, xciv

Morgann, Maurice (1726-1802), critic, xcvii Morocco, Prince of (Mer. Ven.), 179 Mortimer, Anne, wife of Richard Earl of Cambridge, 514 n., 850 n.

Mortimer, Edmund (a character who is conflatedly both the fifth

Earl of March, d. 1425, and his uncle Edmund, d. 1409, who married Glendower’s daughter, 1 Hen. VI and 1 Hen. IV),

497,513

n., 514 n., 515

n., 553

Mortimer, Sir Hugh (3 Hen. VI), 586

n., 763,

771

n., 862

n.

Mortimer, Sir John (3 Hen. VI), 586 Mortimer, Lady, daughter of Glendower (Hen. IV), 763-765 Morton, John, see Ely, Bishop of (Rich. Ill) Morton, opposed to King Henry (2 Hen. IV), 807 Moseley, Humphrey (d. 1661), bookseller, !xxxvii Mosse, Miles (fl. 1595), A-5 Mote, page to Armado (L.L.L.), 31 Mote, a fairy (Mids. Dr.), 150 Mountjoy, Charles Blount, eighth Baron, later Earl of Devonshire (1563-1606),

A-12

Mountjoy, Christopher (ff. 1602—1612), wigmaker, Ixxv Mowbray, Thomas, see Norfolk, Duke of (Rich. I) Mowbray, Lord, son of Thomas Mowbray, above (2 Hen. IV), 807

Mozart, Wolfgang, composer, 4

Much Ado About Nothing, xiv, xxv, |x, xvii, Ixxix, Ixxxv, Ixxxviii, Ixxxix, xc, cv, 31, 32, 76, 109, 147, 216-251, 288, 326, 327, 362, 364, 404, 405, 941, 1434—1435, A-1, A-5—6, A-27—28, A-65

1119-1120, A-31, A-57, A-59—60,

Muir, Kenneth, scholar, Ixxxiii, xcv, xcix, A-26, A-48, A-53 Mulcaster, Richard (15302-1611), Ariodante and Genevora, 216, A-28

Mullaney, Steven, critic, civ

Munday, Anthony (1553-1633), The Downfall of Robert Earl of

1294

Minerva (Athene), goddess of wisdom, 115 n., 487 n., 962 n., 966 n., 1479 n. Miranda, daughter of Prospero (Temp.), xlvi, 1526-1528 Miriam Joseph, Sister, scholar, Ixxxiii, c Mirror for Magistrates, A, xxxviii, 496, 1578, A-35—38, A-47, A-53 Miseries of Enforced Marriage, The, by George Wilkins, Ixxi, Misfortunes of Arthur, The, see Hughes, Thomas Mistress Overdone, see Overdone, Mistress Mistress Quickly, see Quickly, Mistress Mollineux, Emmeric, mapmaker, 347 n. Mohammed, 504 n.

Montaigne, Michel de (1533-1592), xxix—xxx, c, 328,

Huntington, Fedele and Fortunio, John a Kent and John a Cumber, Zelauto, The Book of Sir Thomas More, Sir John Oldcastle, etc., xli, Ixvii, Ixxi, 288, A-26—28 Munro, John, editor, xcv Muret, Marc-Antoine (1526-1585), Julius Caesar, A-43 Murray, Gilbert (1866-1957), scholar, cii Mustardseed, a fairy (Mids. Dr.), 150 Mutius, son of Titus (Tit. And.), 939 Narcissus, story of, 993 n., 1311 n., 1560, Nashe, Thomas (1567—1601), Dido Queen Marlowe), Epistle to Greene’s Menaphon, etc., xxvi, lvii, xii, Ixvi, 31, 51 n., 497,

44

1584 n. of Carthage (with Pierce Penniless, A-1, A-9, A-23, A-

Nathaniel, a curate (L.L.L.), 32—33 Navarre, Ferdinand, King of, see Ferdinand, King of Navarre Navarre, Henry of, see Henry IV of France Neely, Carol, critic, cv Neilson, W. A., editor, xciv

1-14 Nemean Neptune 1373 Nerissa, Nero,

lion, overcome by Hercules, (Poseidon), 199 n., 461 n., n., 1416 n., 1428 n., 1508 waiting-maid to Portia (Mer.

Roman

emperor

(54-68

48 n., 691 n., 1074 n. 1067 n., 1292 n., 1370 n., n., 1533 n. Ven.), xvii, 178-182

a.0.), 507

n., 604 _n., 716

n.,

1093 n., 1198 n. Nessus, a centaur, 394 n., 1333 n. Nestor, Greek chieftain (T. and C.), 55 n., 183 n., 445, 514 n., 585,

608

n.,

1598

n.

New Custom, anonymous morality play, xxxiv Newington Butts, playhouse at, lii, Iviii, A-3, A-44 Newman, Karen, critic, civ—cv Nicanor,

a Roman

(Cor.),

1348

Nice Wanton, anonymous boys’ play, xxxvi

Nicolai, Otto (1810-1849), operatic composer, 252 Niobe, story of, Ixxx, 492 n., 1070 n. Norfolk, John Howard, first Duke of the Howard family (3 Hen. Vi and Rich. I), 586, 631 Norfolk, Thomas Howard, second Duke of the Howard family (Hen. VIIl), 897 Norfolk, Thomas Mowbray, first Duke of (Rich. I), 722-724, 796 n., 813

n., 826

n., 831

North, Sir Thomas (1535? (1579), see Plutarch

n.

1601), translator of Plutarch’s Lives

Northumberland, Henry Percy, first Earl of (Rich. il, 1 and 2 Hen.

IV), 723-724,

763—765,

804

Northumberland, Henry Percy, second Earl of, killed 1461; mentioned in 3 Hen. VI, 585 Northumberland, third Ear! of (3 Henry VI), 586 Northumberland’s Wife (2 Hen. IV), 807 Norton, Thomas (1532—1584), author with Thomas Sackville, Gorboduc, xxxviii, xxxix, xliti, 354 n., 498 Novy, Marianne, critic, cv

Numa, legendary King of Rome, 1368 n.

Nunn, Trevor, twentieth-century director,, A-64, A-67 Nurse to Juliet (R. and J.), 977-978, A-14 Nym (Mer. Wives and Hen. V), 252-253, 851, A-6 Oberon, King of the fairies (Mids. Dr.), 147-150 Octavia, sister of Caesar (Ant. and Cleo.), 1024, 1293-1295 Octavius Caesar, triumvir, later Emperor Augustus (J.C. and Ant. and Cleo.),

1021-1024,

Oedipus, King of Thebes, ci

1236

n., 1293-1295

Okes, Nicholas, printer, A-16—17

Old Lady (Hen. VIII), 895 Old Shepherd (W.T.), 1485

Oldcastle, Sir John (13772-1417), 768

n., 826

Ixiii, Ixvii, Ixxxix, xcii,

n., 848 n., A-5, A-11—12,

Night),

1021, 1117-1166, 1167-1168, 1219-1220, 1256, 1295, 1345, 1399, 1434-1436, 1548 n., A-16, A-45—46, A-57, A-60—61, A-63, A-67

Othello,

a Moor (Oth.), Ixxii, xcix, 218, 1117-1121,

1434~1436,

A-38—39

326-328

Olivier, Sir Laurence, modern actor and director, 851-852, 938, A-60, A-63, A-65—67 Olson, Elder (b. 1909), critic, ci

Omphale, Queen of Lydia, 227 n., 236 n.

Ophelia, daughter of Polonius (Ham.), 35, 1061-1064

Orestes, son of Agamemnon, cii

Orgel, Stephen, critic, civ Orlando, in love with Rosalind (A.Y.L.), 288-291 Orleans, Duke of (Hen. V), 852 Orodes, King of Parthia, 1299 n., 1316 n. Orpheus, 97 n., 173 n., 212 n., 916 n., 938, 956 n., 1587 n.

Orsino, Duke of Illyria (12th Night), 327—328

Osric, a courtier (Ham.), xvii, 1065 Ostler, William (d. 1614), actor, A-57 Oswald, steward to Goneril (K. Lear), 1169-1171 Othello, xxvii, xxx, xxxv, xxxviii, xlili, Ixix, Ixxii, Ixxiii, xxv,

1220,

1484

Otway, Thomas (1652-1685), dramatist, A-59 Overdone, Mistress, a bawd (Meas. Meas.), xiv, 405, A-7 Ovid (43 B.c.—18 a.p.), xl, Ivi, lix, Ixii, 2, 50 n., 52.n., 115 n., 212 n., 298 n., 805, 938-939, 1606, 1612; Amores, 1562 n.; Ars Amatoria, 135 n., 1560 n.; Fasti, 1578, A-56;

Heroides, 128 n., 592 n., Metamorphoses, Iv, 113 n., 147 n., 158 n., 173 n., 225 n., 263 n., 293 n., 311 0n.,

330 n., 454 n., 805, 873 n., 938, 950 n., 952 n., 966 n., 993 n., 1508 n., 1509 n., 1554 n., 1560-1561, 1564 n., 1591 n., A-25—26, A-29, A-33, A-41—42, A-55-—56

Oxford, Edward de Vere, seventeenth Earl of (1550-1604), Oxford, John de Vere, thirteenth Earl of (3 Hen. VI, 586, 624 n., 647

Ixi

n.

Oxford, Earl of (Rich. Hl), 631

Oxford’s acting company, |

Pacorus, Parthian prince, 1316 n.

Page, Anne (Mer. Wives), 253 Page, Master (Mer. Wives), 253-254

Page, Mistress (Mer. Wives), 252—254 Page, William, a boy (Mer. Wives), 255

Painter (Timon),

1256

Painter, William (15402-1594), 1578, A-31—32,

A-42,

A-49,

The Palace of Pleasure, 363, A-56

Palsgrave, John (c. 14832-1554), translator Acolastus, xxxvi Pan,

1026

n.

Pandarus, uncle of Cressida (T. and C.), 260 n., 248 n., 345 n., 374 n., 444-446

Pander (Per.), 1401 Pandion, father of Philomela and Procne, 158 n. Pandulph, Cardinal (K. John), xxiv, 683—684 Panecia, lost play, A-28 Panthino (Two Gent.), 78 Papp, Joseph, modern director, A-65 Paracelsus (c. 1493—1541), xxvii, 377 n. Paris, Count, suitor of Juliet (R. and J.), 978 Paris, Matthew (d. 1259), Historia Maior, A-37 Paris, son of Priam (T. and C.), Ixxii, 121 n., 371 n., 445, 537 n., 818

Oliver, hero of Charlemagne romances, 503 n. Oliver, elder brother of Orlando (A.Y.L.), 289 Oliver Mar-text, Sir, a vicar (A.Y.L.), 292 Olivia (12th

Ixxxix, xci, xciv, xcvi, xcvii, xcix, cv, 4, 218, 404, 629, 941,

n., 1579,

A-14

Parker, Patricia, critic, cii Parnassus plays, Ixiii-Ixiv, Ixviii, 1256 Parolles, follower of Bertram (All’s Well), 363—364 Parzival, hero of medieval romance, 1436

Pasqualigo, Luigi (ff. 1579), Il Fedele, A-28

Passionate Pilgrim, The, Ixvi, 51 n., 1612, A-21 Paster, Gail, critic, civ—cv Pasternak, Boris, A-67 Patch, Henry VIII's fool, 897 n. Patience, attendant to Queen (Hen. Vill), 897 Patroclus, Greek prince (T. and C.), 446 Paulina, wife of Antigonus (W.T.), 1400, 1485 Pavier, Thomas (fl. 1600-1619), printer and publisher, Ixxxix—xc, xciii, A-4, A-5, A-12, A-17 Peaseblossom, a fairy (Mids. Dr.), 150 Pedant, A (Tam. Shrew), 108

Peele, George (1556-1596), The Arraignment of Paris, The

Battle of Alcazar, Edward |, The Old Wives’ Tale, David and Bethsabe, etc., xl—xli, lvii—Ixii, Ixvi, Ixvii, Ixx, 682, 822 n.,

938-939,

A-9, A-14

Pegasus, winged horse, 139 n., 454 n., 793 n., 873 n. Pembroke, Earl of (K. John), 685 Pembroke, Earl of (3 Hen. VI), 586

1-15 Pembroke, Jasper Tudor, Earl of (14312-1495), 675 n.

Pembroke, Lady Mary Sidney, Countess of (1561-1621), A-51 Pembroke, William Herbert, third Earl of (1580-1630), Pembroke’s men, li-lii, lix, Ixiv, 938, A-3, A-13

1613

Amphitruo, 3; Captivi, 108, A-24; Menaechmi, 3, 326, A-2, A-22,

A-30

Penelope, wife of Ulysses, 1353 n.

Player King (Ham.), 1063 Player Queen (Ham.), 1063 Pléiade, French poets, 1614 Pliny (23—79}, the Elder, author Historia Naturalis, xxxix,

Pequigney, Joseph, critic, 1615

Plutarch (462-1202), Lives of the Noble Grecians and Romans, translated by Thomas North, xxxix, 69 n., 147, 156 n.,

Penthesilea, Queen of the Amazons, 340-n. Pepin, French king of 8th century, 49 n., 374 n., 904 n. Pepys, Samuel (1633~1703), diarist, A-59 Percy, Sir Charles (d. 1628), Ixiii Percy, Henry (‘Hotspur’) (Rich. ff and 725,

763-765,

804,

806,

807

316

-n.

Percy, Lady, wife of Hotspur, called Kate (7 and 2 Hen. IV), 764-765,

807,

1021

Percy, William, Elizabethan sonneteer, 1612 Perdita, princess of Sicilia (W.T.), 327, 1400, 1485 Pericles, xl, Ixxiii—Ixxiv, Ixxviii, Ixxxiv, Ixxxix, xcii, xciii, xcvi, 3, 327, 362, 1168, 1398-1433, A-18-—19, A-52—53, A-57, A-62

1434,

1484-1485,

A-1,

IV), 764,

126 n., 290,

978,

Petrarch (1304-1374), 328,

807,

n.,

A-11-12 1578,

1606,

1612,

1614,

n.

Philip the Bastard, see Faulconbridge, Philip

291,

Philip Il, King of France (K. John), 683

Phillips, Augustine (d. 1605), actor, li, Ixiv, Ixvii—Ixix, 57 Philo, a Roman (Ant. and Cleo.), 1293-1294 Philomela, story of her rape, 158 n., 938, 952 n., 956 n., n.,

1449

n., 1579,

1593

n., 1509

n., 1551

n., 1587

n.

IV), Ixiv, 271

n., 764,

804—805

n., 1637

Pompey the Great (106-48 B.c.), 59 n., 569 n., 876 n., 1023, 1026 n., 1032 n., n., 1301 n., 1304 n., 1312 n., 1316 n., n,.

328,

1021

Portia, wife of Brutus (/.C.), 1021-1024 Porto, Luigi da (1486-1529), Historia novellamente ritrovata di due Nobili Amanti, 977, A-42 Posthumus Leonatus, husband of Imogen (Cymb.), 362, 1399,

Philip Hl, King of Spain (reigned 1556-1598), xiv

n., 973

n., 1355

Pompeius, Sextus, see Sextus Pompeius Pompey, a pimp (Meas. Meas.), xiv, 405 Ponet, John (15142-1556), Short Treatise of Politic Power, xxiii Pope, Alexander (1688-1744), xcii—xciti, xcvi, xeviii Pope, Thomas (ff. 1586—1603), actor, li, Ixiv, Ixvii, A-57 Popilius Lena, senator (J.C.), 1025 Porter, A (Macb.), xxxii, 1220 Porter, Cole, composer, A-65 Porter, Helen, editor, xciv Porter, Henry (ff. 1596—1599), dramatist, Ixxi Porter, Joseph, critic, cvi Portia, a rich heiress (Mer. Ven.), xvii, citi, 109, 178-182, 254,

Phelps, Samuel (1804-1878), actor-manager, A-62 Philario, friend of Posthumus (Cymb.), 1436 Philemon, see Baucis and Philemon Philemon, servant of Cerimon (Per.), 1401 Philharmonus, a soothsayer (Cymb.), 1437

962

1050

Plutus, god of wealth, 400 n., 473 n., 1050 n. Poel, William (1852-- 1934), actor, manager, A-63-—64, A-66 Poet (Timon), 1256

Pompeius, Cneius, 415 n., 426 n., 1055 n., 1300 1319 n., 1333

A-30 Petruchio, Capulet’s kinsman (R. and j.), 980 Petruchio, wooer of Katharina (Tam. Shrew), 108—110, 216 Pettie, George (1548-15892), A Petite Palace of Pettie His Pleasure, A-26 Phaethon, story of, Ixxx, 93 n., 593 n., 602 n., 725, 748 n., 1002

n.

Polanski, Roman, modern filmmaker, A-67 Polixenes, King of Bohemia (W.T.), 1484 Pollard, A. W., textual scholar, Ixxxiv, Ixxxviii—Ixxxix, xciv Polonius, courtier (Ham.), lvii, Ixxix, 1060-1064 Polyxena, daughter of Priam, 446, 473 n.

and Petrarchan conventions, 31-32, 996

n., 1162

Pluto (Dis), god of the underworld, 473 n., 822 n., 966 n.,

Poins (7 and 2 Hen.

Pericles, Prince of Tyre (Per.), 1398-1401, 1485 Perseus, 454 n., 482 n., 873 n. Pescetti, Orlando, i! Cesar (1594), A-43 Peter, servant of Nurse (R. and J.), Ixvii, 978 Peter of Pomfret, a seer (K. John), 685 Peto (7 and 2 Hen.

n., 1128

173 n., 504 n., 1021, 1030 n., 1044 n., 1051 n., 1054 n., 1058 n., 1256, 1295, 1313 n., 1321 n., 1324 n., 1327 n., 1345, 1355 n., 1361 n., 1368 n., 1393 n., 1406 n., A-25, A-42—43, A-49-—52

1 Hen. IV), xvii, xxvii,

n., 819

n., 596 n., 1114

1434-1437,

n., A-41

1527

Philostrate, master of revels to Theseus (Mids. Dr.), 150 Philotus’ servant (Timon), 1258

Potpan, servant of Capulets (R. and J.), 980 Prester John, legendary Eastern king, 227 n. Preston, Thomas (1537-15982), Cambises, xxxiv, 498, 782 n.,

Phoenix and Turtle, The, 1604-1605, 1612 Phrynia, mistress of Alcibiades (Timon), 1258 Pickering, John (1544-15962), Horestes, xxxiv

Priam, King of Troy (T. and C.), 128 n., 371

Phoebe, a shepherdess (A.Y.L.), Ixxix, 288-291, 328, 978

A-26

608 n., 809 n., 938, 943 n., 944 1469 n., 1598 n., 1599 n.

Pico della Mirandola, Giovanni (1463-1494), Neoplatonist, xxviii

363,

445,

806,

850-851,

A-12

Plantagenet, Edward, son of the Duke of Clarence (Rich. Il),

631, 665 n., 669 n.

Plantagenet, Margaret, daughter of the Duke of Clarence (Rich. Hl), 631,

667

n.

Plantagenet, Richard, see York, Richard Plantagenet, Duke of Plato (c. 427-348 b.c.), 34.n., 1526 Platter, Thomas (ff. 1599), Swiss traveler, A-15 Plautus (2542-184 a.c.), xxxvi--xxxviii, xl, lv, Ivi, Ixii, xcv, 2-5,

109,

147-148,

253,

326,

337

n., 363,

977,

1083

n., 448, 602 n., n., 1085

n.,

Priapus, god of fertility, 1425 n.

Pigafetta, Antonio, Italian traveler, 1526 Pinch, a schoolmaster (Com. Er.}, 3 Pindarus, servant of Cassius (.C.), 1025, A-14 Pisanio, servant of Posthumus (Cymb.), 1434 Pistol, swaggerer (2 Hen. IV, Mer. Wives, and Hen. V), 252-253,

_n., 1084

n.;

Price, F. T., critic, A-56 Primaudaye, Pierre de la (8.c. 1545), L’Académie francaise, A-23 Princess of France (L.L.L.), 31-33 Priscian (fl. 500), Latin grammarian, 58 n. Pritchard,, Hannah (1711-1768), actress, A-60 Procne, see Philomela Proculeius, follower-of Octavius (Ant. and Cleo.), 1296 Prometheus, story of, 57 n., 938, 949 n., 1161 n. Proserpina (Persephone), 177 n., 306 n., 459 n., 1485, 1509

n., 1527-1528,

1551

n.

Prospero (Temp.), xxx, xlvi, Ixxviii, 1399, 1485, 1526-1529 Proteus, ancient one of the sea, 585, 608 n., 628 Proteus (Two Gent.), 75-77 Proudfoot, Richard, editor, xcv Provost (Meas. Meas.), 407

1-16 Prynne, William (1600-1669), Histrio-Mastix, xlv Ptolemy of Alexandria (ff. 127-151 a.p.), astronomer; and, Ptolemaic conception of universe, xxv, xxvi, 303 n., 367 n., 424 n., 444, 1540 n.

Publius, Publius, Puck, a Puritan,

455

n., 726 n., 797 n.,

1075

n., 1081

n.,

a senator (/.C.), 1035 son of Marcus (Tit. And.), 942 fairy (Mids. Dr.), 148-150 The, anonymous comedy, xcii, A-18

n., A-26,

A-4,

Richard II, King of England (Rich. II), xxiv, xxx, cvi, 496, 516 n., 553

n., 629,

683,

721-725,

763,

772

n., 806,

Richard Ill, The True Tragedy of (anon.), A-9, A-36

Richard, Duke of Gloucester, after Richard III (2 and 3 Hen. VI n., 938,

A-42

and Rich. fl), c, 496-497, 903 n., 941, 1119

540,

584-585,

Profession,

n., A-29,

628-631,

721,

Richard, Duke of York, son of Edward IV (Rich. HI), 631 Richardson, Ralph, twentieth-century actor, A-63 Richardson, William (1743-1814), critic, xcvii Riche, Barnabe (15402-1617), Riche His Farewell to Military

Pyrrhus, King of Epirus, 473 n., 549 n., 1084 n. Pythagoras (fl. 580 8.c.), Greek philosopher, 207 n., 308 n., 354 n. Quayle, Queen Queen Queen

A-1,

554 n., 584, 628-681, 682, 684, 849, 894, 941, 1021, 1119, 1219, A-1, A-10, A-35—37, A-57, A-60—62, A-66

Pym, John (1584-1643), statesman, xxv Pyramus and Thisbe, story of, 147—150, 181, 211 n., 996

1347, A-64

813 n., 831 n., 878 n., 1021 Richard Ill, xix, xxiv, xxx, xxxv, xliii, |, lviii, Ix, Ixii, Ixiv, Ixvi, Ixxviii—lxxix, Ixxxix, xc, xci, xciv, 496, 538, 539, 549 n.,

Pygmalion, story of, 426 n. 954

796 n., 824 n., 831 n., 849, 894, 977, A-10—12, A-14, A-37—39, A-57, A-59,

Anthony, modern director, A-64 of Cymbeline (Cymb.), 1434-—1436 (Isabel) of France (Hen. V), 852 (Isabella) (Rich. I), 725

Queen’s men, |-li

Quickly, Mistress (1 and 2 Hen. IV, Hen. V, and Mer. Wives), 252-254, 765, 806, 850-851 Quiller-Couch, Sir Arthur (1863-1944), xcv Quin, James (1693-1766), actor, A-60 Quince, a carpenter (Mids. Dr.), 150 Quiney, Thomas (fl. 1616), Shakespeare’s son-in-law, Ixxv Quintilian (1st century), rhetorician, 320 n. Quintus, son of Titus (Tit. And.), 942

253,

326,

1406

A-31

Richmond, Margaret Beaufort, Countess of (1443-1509), 638 n., 680 n. Riggs, David, critic, A-35 Righter, Anne, critic, c Rinaldo, steward to Countess (All’s Well), 365 Rivers, Anthony Woodville, second Earl, brother of Queen Elizabeth (3 Hen. Vi and Rich. Hl), 586, 612 n., 631 -Rizzio, David (15332-1566), secretary to Mary Queen of Scots, xxti Roberts, James (fl. 1600— 1608), printer, Ixxxviii, xc, 446-447, A-4,

A-15

Robin, page to Falstaff (Mer. Wives), 255 Robin Hood, 77, 257 n., 288, 791 n., A-24, A-29 Robinson, Clement (ff. 1584), A Handful of Pleasant Delights, A-26

Rabelais,

Francois (14902-15532),

309

n., 1198

Robson, Flora, twentieth-century actress, 893, A-64 Roderigo, a Venetian (Oth.), 1117-1121 Roi Flore et la belle Jeanne, 13th century, A-53 Rolfe, W. J., nineteenth-century editor, xciv Romano, Julio (fl. 16th c.), Italian artist, 1522 n. Romeo and juliet, xvii, xxv, xxxviii, Iviii, lix, Ixii—Ixiv, Ixvii, Ixxii, Ixxviii, xxix, Ixxxv, Ixxxviii-xc, xciv, 148, 447,

n.

Racine, Jean Baptiste (1639— 1699), French tragedian, xcvii Ralegh,

Sir Walter (15532-1618),

31, 260

n., A-2—3,

A-55

Raleigh, Sir Walter (1861—1922), critic, xcviii—xcix Rambures, Lord (Hen. V), 853 Ramus, Petrus (15152-1572), humanist, xxviii Ranald, Margaret, critic, cv Rape of Lucrece, The, lvi, Ivii, lix, Ixii, Ixiii, Ixxxiv, 126 n.,

566 n., 724, 938, 977—1020, 1293, 1582 n., A-1—2, A-4, A-7, A-14, A-18-—19, A-42, A-57, A-59—63, A-66—67

308 n., 939-940, 950 n., 1021, 1024, 1435, 1560, 1578-1603, 1606, 1612—1613, 1621 n., A-4, A-20-21, A-56

Romeo, son of Montague (R. and J.), 977~—979, A-14 Romulus, legendary King of Rome, 1368 n.

Rare Triumphs of Love and Fortune, The, anonymous play, 1434,

A-54

Rastell, John (14752~— the Four Elements, Rastell, William, son Ratcliffe, Sir Richard Ravenscroft, Edward A-13-14

1536), humanist and author, The Nature of Of Gentleness and Nobility, xxxvi, 225 n. of John Rastell, printer, xxxvi (Rich. tl), 631 (fl. 1671-1697), Titus Andronicus,

Redgrave, Michael, twentieth-century actor, A-63 Reed, Isaac (1742-1807), editor, xciti Reese, M. M., modern critic, c Regan, daughter of Lear (K. Lear), 941, 1167-1171 Reignier, Duke of Anjou (7 Hen. VI), 499, 599 n. Reinhardt, Max, filmmaker, A-66 Respublica, anonymous play, xxxiv Reynaldo, servant of Polonius (Ham.), 1065 Reynard the Fox, medieval beast epic, 995 n., 1498 n. Rhodope, Greek courtesan, 508 n. Ribner, Irving, scholar and editor, xcv, c Rich, Richard, News from Virginia, 1526 520

n., 682-683,

686

n., 689

496,

604

n., 682,

684,

721-762,

You See

Me You Know Me, and (with Middleton) The Changeling,

Ixxvii, 897 n., A-38~39, A-41 Rowse, A. L., scholar, 1613

n., 691

763,

328

252

Royden, Matthew (ff. 1580-1622), poet, A-3

n.,

692 n. Richard Il, xxiv, xxx, Ixii, Ixvi, Ixx, Ixxix, lxxxv, Ixxxix, xc—xci, xciv, 444,

289-291,

Rosaline, attending on the Princess (L.L.L.), 32—33, 216 Rosaline, beloved of Romeo, 978 Roscius (d. 62 8.c.), Roman actor, 625 n., 1083 n. Rose, The, playhouse, xlv—xlvi, li, Iviii, Ixiv, Ixviii, A-15, A-47 Rosencrantz, courtier (Ham.), 1060~ 1064 Ross, Lord (Rich. Il), 725 Ross, nobleman (Macb.), 1223 Rossiter, A. P., critic, 540 Rouillet, Claude (fl. 1556), Philanira, A-32 Rowan, D. F., scholar, xcix Rowe, Nicholas (1674-1718), editor, liv, Ivii, xcii—xciii, xcvi, Rowley, Samuel (d. c. 1624), dramatist, author When

Richard |, King of England (Coeur-de-Lion) (reigned 1189-1199),

Ronsard, Pierre de (1524-1585), poet, 1614 Rooney, Mickey, actor, A-66 Rosalind, daughter of the banished Duke (A.Y.L.), 254,

765,

766,

Rugby, John, servant of Caius (Mer. Wives), 255

Rumor, the presenter (2 Hen. IV), 804 Rutland, Edmund, VI), 584-585,

Earl of, son of Richard Plantagenet (3 Hen.

636

n., 648

Rymer, Thomas (1641-1713),

n., 668

n.

critic, xcvi

1-17 Sabie, Francis (ff. 1595), The Fisherman’s Tale and Flora’s Fortune,

A-55

Sacrament, Play of the, 180 Sadler, Hamnet and judith, Shakespeare’s neighbors, Ivi Saints, allusions to: St. Alban, 551 n.; St. Anne, 326, 339 n.; St. Anthony, 700 n.; St. Benedict, 356 n.; St. Columba, 1234 n., 1235 n., St. Crispin, 880 n.; St. Denis, 61 n., 890 n.; St. David or Davy, 876 n.; St. George, liii, 502 n., 680 n., 866 n.; St. James or St. James of Compostella, 385 n., 1101 n.; St. Martin, 504 n.; St. Mary of Bethlehem, 580 n.; St. Nicholas, 95 n., 774 n.; St. Patrick, 736 n., 1076 n.; St. Paul, xxxiii, 301 n.; St. Philip, 504 n.; St. Philip and St. James, 428 n.; St. Withold, 1197 n. Saint's Play, The, xxxiii Salerio (Mer. Ven.), 182 Salisbury, John de Montacute, third Earl of (Rich. 11), 725 Salisbury, Richard Neville, first Earl of (2 Hen. VI), 538 Salisbury, Thomas de Montacute, fourth Earl of (Hen. V and 1 Hen.

VI), 499,

852

Salisbury, William de Longespée, third Earl of (K. John), 685 Samson, servant of Capulet (R. and J.), 977-978 Sands or Sandys, Lord (Hen. VIil), 897 Sannazaro,

Jacopo

(1458-1530),

Sargent, Ralph, scholar, A-41

Saturn

(Cronus),

341

n., 823

Arcadia,

n., 952

289,

A-29

n., 1540 n.,

Saturninus, Emperor (Tit. And.), 939-941

1636 n.

Saussure, Ferdinand de, linguist, cv Saxo Grammaticus (ff. 12th c.), Historia Danica, 1064, A-43—44 Saye, James

Fiennes,

Lord (2 Hen.

Vi), 540

Scales, Lord (2 Hen. VI), 540 Scarus, follower of Antony (Ant. and Cleo.), 1296 Schlegel, A. W. von (1767-1845), critic, xcvii Schoenbaum, S., scholar, Ixxxiii, xcix

Scholasticus, Marianus, 5th-century Byzantine poet, 1647 Schitcking, Levin, scholar, xcviii Schwartz, Murray, critic, cii Scofield, Paul, twentieth-century actor, A-67 Scogan, John (fl. 1480), jester, 826 n.

Scoloker, Anthony, Diaphantus (1604), Ixx

Scot, Reginald (15382-1599), 268

n.,

1630,

796

n., 850

The Discovery of Witchcraft, xxvi,

A-26

Scroop, Henry le, third Baron Scroop of Masham (Hen. V), Scroop, Sir Stephen (Rich. I), 725, 796 n.

Scylla and Charybdis, 204 n.

Seager, H. W., scholar, 1423 n., 1604 n. Seale, Douglas, modern director, A-64 Sebastian, brother of Alonso (Temp.), 1526-1528 Sebastian, brother of Viola (12th Night), 328 Secchi, Nicol (ff. 1547), Gl’Inganni, A-30

Seleucus, an Egyptian (Ant. and Cleo.), 1296

Semiramis, Queen of Assyria, 113 n., 161 n., 938, 949 n. Sempronius, a flattering lord (Timon), 1258 Sempronius, kinsman of Titus (Tit. And.}, 942 Seneca (3? 8.c.—65 A.D.), xxxvi, xxxviii, xli, Iv, lix, Ixii, xev, 2, 938, 1083 n.; Hercules Furens, 154 n.; Hippolytus, 951 n., 962 n.; Medea, A-49; Thyestes, 973 n., A-41 Servilius, servant of Timon (Tim.), 1258

Setebos, pagan god (mentioned in Temp.), 1526, 1535 n.

Sextus Pompeius (Ant. and Cleo.), 1293-1294 Seymour, Jane, 3rd queen of Henry VIII, xx Seyton (Macb.), 1222 Shadow, a recruit (2 Hen. IV), 807 Shadwell, Thomas (1642?— 1692), poet, A-59 Shakespeare, Anne, wife, see Hathaway, Anne Shakespeare’s family, Edmund (d. 1607), brother, Ixx; Elizabeth, ry

grandchild, Ixx; Gilbert (fl. 1602), brother, Ixix; Hamnet (1585-1596), son, lvi, Ixv; John (d. 1601), father, liii—liv, Iii, Ixv—Ixvi, Ixx; Judith (b. 1585), daughter, lvi, Ixxv; Richard (d. c. 1561), grandfather, liii; Susanna (b. 1583), daughter, Ivi, Ixx, Ixxvi Shallow, country justice (2 Hen. IV and Mer. Wives), xxxv, lvii, Ixiii, Ixvi, 806, A-12

Shaw, George Bernard (1856-1950), 216, 363, 849, A-63, A-65 Shaw, Glen Byam, modern director, A-64, A-66 Sheridan, Richard Brinsley (1751-1816), A-61 Shore, Jane (14452-1527),

633

n., 654

n.

Short, Peter, printer, A-8, A-10 Shylock, a rich Jew (Mer. Ven.), 178-182, 186 n. Sibyl of Cumae, 119 n., 503 n., 963 n., 1148 n. Sicinius Velutus, tribune (Cor.), 1345-1346 Siddons, Sarah (1755-1831), actress, 893 Sidney, Sir Philip (1554— 1586), Ixii, 1021; Arcadia, 289 n., 326 n., 1167, 1398, A-23, A-25, A-29, A-31, A-48; Astrophel and Stella, 272 n., 1612, 1614-1615; The

Defence of Poesy, xxxviii—xxxix

Sigismund, Holy Roman Emperor, 887 n. Signoret,

Simone,

twentieth-century actress, A-64

Silence, country justice (2 Hen. IV), Ixiii, Ixvi, 806 Silius, in Ventidius’ army (Ant. and Cleo.), 1296 Silvius, a shepherd

(A.Y.L.), 288-291,

327

Simonides, King of Pentapolis (Per.), 1399

Simpcox, an imposter (2 Hen. IV), 538 Simple, Peter, servant (Mer. Wives), 255 Sims, Valentine (ff. 1599-1605), printer, A-11 Sinfield, Alan, critic, civ

Singer, S. W., nineteenth-century editor, xciii

Sinon, deceiver of the Trojans with the wooden horse, 585, 608 n., 628,

975

n., 1459

n.,

1579,

1599

n.

Sir Clyomon and Sir Clamydes, anonymous play, 326, 1434, A-31,

A-54

Sir John Oldcastle, play by Drayton and others, Ixiii, [xvii, Ixxxix, xcii, A-11—12

Sir Thomas More, play by Munday and others with possible additions by Shakespeare, Ixvi—Ixvii

Sisson, C. J., editor, xcv Siward, Earl of Northumberland (Macb.), 1223

Siward, Young (Macb.) 1222

Skelton, John (14602-1529), Magnificence, xxxiv Skura, Meredith, critic, cii Slater, Ann Pasternak, critic, ci, cv Slender, cousin of Shallow (Mer. Wives), 252-253 Sly, Christopher, tinker (Tam. Shrew), Ixxix, 108 Sly, William (fl. 1590-1608), actor, Ixviii—Ixix, A-57 Smethwick, John (fl. 1607-1623), printer, xc, A-15 Smith, Irwin (b. 1892), scholar, xcix Smith, Warren, scholar, A-12 Smith,

William

(ff. 1596),

Chloris,

Smith the Weaver (2 Hen. VI), 541 Snare, officer (2 Hen. IV), 807 Snout, a tinker (Mids. Dr.), 150

1612

Snug, a joiner (Mids. Dr.), 150

Socrates (470—399 8.c.), xcv, 119 n. Solanio, friend of Antonio (Mer. Ven.), 181 Solinus, Duke of Ephesus (Com. Er.), 5 Solon (6382-5592 B.c.), Athenian lawgiver, 944 n. Somerset, Edmund Beaufort, second Duke of (7 and 2 Hen. VI), 499,

538-540,

Somerset, Edmund 621

621

n.

Beaufort, fourth Duke of (3 Hen. VI), 586,

n.

.

Somerset, Henry Beaufort, third Duke of (mentioned in 3 Hen. VI, 627

n.

Somerville, Sir John (3 Hen. VI), 586

I-18 Sonnets, Ixii, Ixvi, 327, 1295, A-21, A-56 Soothsayer (J.C.), 1025

1560, 1579,

1606, 1612-1648,

Soothsayer (Ant. and Cleo.), 1296 Sophocles (496?—405 s.c.), Greek tragedian, xcv Southampton,

Henry Wriothesley, third Earl of (1573-1624),

Ixi, 1560,

1562

n., 1578,

1612—1613,

A-4, A-20

Southampton, Mary, Countess of, 1613, A-4 Southwell, John, priest (2 Hen. Vi), 540 Southwell, Robert (d. 1595), Catholic poet, 1579

Spedding, James (1808— 1881), scholar, 893 Speed, John (15522-1629), History of Great Britain, A-41

Speed, servant (Two Gent.), 75—77 Spencer, T. J. B., editor, xcv Spencer, Theodore (1902-1949), critic, c Spenser, Edmund (1552?— 1599), xxvi, Ixiv, xcv; Amoretti, 1612, 1614; Colin Clout’s Come Home Again, Ixii; The Faerie Queene,

147,

216,

1167,

A-9, A-25,

A-28,

A-35, A-47,

A-53, A-56; The Shepheardes Calendar, 289 n.; Teares of the Muses,

173

n.

Spivack, Bernard, scholar, xxxv, c Spurgeon, Caroline (1869-1942), scholar, Ixxx, ci

Squire of Low Degree, The, medieval romance, 887 n.

Stafford, Sir Humphrey (2 Hen. Vi), 540 Stafford, Lord (3 Hen. VI), 586 Stafford, William (2 Hen. Vi), 540 Stallybrass, Peter, critic, civ Stanley, Sir John (2 Hen. Vi), 540 Stanley, Thomas, first Earl of Derby (Rich. Ii), 630 Stanley, Sir William (3 Hen. VI), 586 Starveling, a tailor (Mids. Dr.), 150 Staunton, Howard, nineteenth-century editor, xciii Steevens, George (1736—1800), editor, xciii Stephano, a drunken tailor (Temp.), 1526-1528 Stephano, servant of Portia (Mer. Ven.), 182 Stevenson, William (c. 1521—1575), Gammer Gurton’s Needle, xxxvil, xlix Stoll, E. E. (1874—1959), scholar, xcviii-xc Stone, Lawrence, historian, ciii, cv Stow, John (15252-1605), chronicler, 316 n., 496, A-36, A-38—39 Strachey, William (fl. 1609-1618), A True Repertory, 1526, 1544

n., A-20,

A-55

Strange’s (Derby’s) men, li—lii, viii, Ixiv, 938, A-3, A-13 Strato, servant of Brutus (/.C.), 1025 Strier, Richard, critic, civ Stubbes, Philip (fl. 1581-1593), The Anatomy of Abuses, xlv Studley, John, translator of Seneca, A-49 Styan, John, critic, xcix Suffolk, Charles Brandon, first Duke of (Hen. Vill), 895 Suffolk, William de la Pole, fourth Earl and first Duke of (1 and 2 Hen.

VI), 499,

538-540,

584

Sulla (138-78 8.c.), Roman dictator, 569 n. Summers, Will, Henry Vill’s fool, 897 n. Sundelson, David, critic, cii

Surrey, Henry Howard, (by courtesy) Earl of (15172-1547), poet, Surrey, Surrey, Surrey,

xxxviii, Thomas Thomas Thomas

1614 Fitzalen, Earl of (2 Hen. IV), 807 Holland, Duke of (Rich. I), 725 Howard, Earl of, and later second Duke of

Norfolk (Rich. fil), 631

Surrey, Thomas Howard, (Hen.

VIll), 897

Earl of, and fater third Duke of Norfolk

Sussex’s men, |—lii, 938, A-13, A-26, A-47 Swan, The, playhouse, xlv—xlvii, A-15 Swynford, Catherine, mistress and later wife of John of Gaunt, 516 n. Sycorax, a witch (mentioned in Temp.), 1526 Sylvain, Alexandre (15352-15852), The Orator, A-27

Sylvia, in love with Proteus (Two Gent.), 75—77 Tacitus, Talbot, Talbot, Taming Taming

Cornelius (552-117), historian, A-40 John (7 Hen. VI), 499 Lord (1 Hen. Vb), Ix, 497-499, 538, A-1, A-8 of a Shrew, The, li—lii, lviii, Ixxxix, xci, A-24 of the Shrew, The, xxxvii, |, li-lii, Iviti-lx, Ixxxv,

Ixxxix, xci, cv, 4, 75, 108-146, 147, 216, A-24—25, A-28, A-60—62, A-65, A-67

327,

A-1-3,

Tamora, Queen of the Goths (Tit. And.), 939-941 Tantalus, story of, 1070 n., 1570 n., 1591 n. Tarlton, Richard (d. 1588), comedian and playwright, li, 253, A-28—29, A-38—39 Tarquinius Sextus, ravisher of Lucrece (Lucrece), 126 n., 308 343 n., 503 n., 864 n., 938, 950 n., 960 n., 962 n., 1231 n., 1449 n., 1578-1579

Tarquinius Superbus, expelled from Rome, 960 n., 962 n., 1028

n., 1353

n.,

1361

n., 1393

n.,

1578,

1580,

1602

n.,

n.

Tasso, Torquato (1544-1595), Italian poet, 1614 Tate, Nahum (1652-1715), dramatist and adapter of Shakespeare, 1167, A-59—61, A-64 Taurus, general of Caesar (Ant. and Cleo.), 1296 Taylor, Gary, textual critic and editor, xciv—xcv, cvi Taylor, Joseph (15862-1652), actor, A-57 -Telamon, father of Ajax, 461 n., 578 n. Telephus, Trojan warrior, 579 n. Telesio, Barnardino (1509-1588), De Rerum Natura, xxx Tellus, earth goddess, 1090 n., 1400, 1420 n. Tempest, The, xxx, xlvi, Ixxiii, Ixxv, Ixxviii—lxxix, bxxxvii, xci, xcv, 362, 893, 1168, 1399, 1484, 1485, 1526—1558, A-20, A-55—56, A-59-—61, A-63 Tenantius, King of ancient Britain, 1438 n., 1475 n.

A-1,

Tennyson, Alfred Lord (1809-1892), 893 Terence (1902-159 8.c.), Latin comedy writer, Eunuchus, etc., xxxvi, xxxviii, xl, lv, 58 n., 108-109, 116 n., 147—148, 363, A-24 Tereus, ravisher of Philomela, see Philomela

Termagent, pagan god, 1088 n.

Terry, Ellen, nineteenth-century actress, A-62 Tethys, wife of Oceanus, 454 n., 1425 n. Thaisa, daughter of Simonides (Per.), 1398-1400, 1484 Thaliard, a lord of Antioch (Per.), 1399 Theatre, The, playhouse, xiv, xlv, |, Ixiv—Ixv Theobald, Lewis (1688—1744), editor, xciii, xcvi, 863 n. Theocritus (b. 300? 8.c.), pastoral poet, 289, A-29 Thersites, a scurrilous Greek (T. and C.), 445-446, 1468 n. Theseus, Duke of Athens (Mids. Dr.), 103 n., 147-150, 156 n., 1021

Thetis, sea goddess, 454 n., 1322 n., 1425 n. Thidias, follower of Caesar (Ant. and Cleo.), 1296

Thomas Lord Cromwell, anonymous play, xcii

Thorndike, Sibyl, twentieth-century actress, 893 Thorpe, Thomas (ff. 1609), publisher, 1606, 1612—1613 Thump, Peter, Horner’s man (2 Hen. Vi), 538 Thurio, rival to Valentine (Two Gent.), 75 Tillyard, E. M. W. (1889-1962), scholar, c, ciii, 497 Tiney, Edmund (d. 1610), Master of the Revels (1579-1610), XXXV Timandra, mistress of Alcibiades (Timon), 1258 Time, as Chorus (W.T.), 1485 Timon of Athens, Ixxiii, xxv, 328, 447, 1021, 1256-1292, 1345, 1398, A-1, A-7, A-18, A-49—50, A-57, A-59, A-62

Timon of Athens (Timon), Ixxiii, 1256-1258 Tirante el Blanco, 15th-century Spanish romance, A-27 Titania, Queen of the Fairies (Mids. Dr.), 147—150 Tithonus, see Aurora Titinius, friend of Cassius (/.C.) 1025, A-14 Titus, Roman emperor who besieged Jerusalem, a.p. 70, 694 n.

1-19 Titus Andronicus, xxxv, li, lii, lv, \vi, Iviii, lix, xii, Ixxxv, bexxix, xc, 938-976,

977,

1024,

1064,

A-1, A-13—14, A-41~—42, A-57 Titus Andronicus (Titus), 938-941

Titus Laertius, Roman General Titus’ servant (Timon), 1258

(Cor.),

1119,

1256,

1345,

1579,

Varrius (Meas. Meas.), 407

1348

Varro, a soldier (J.C.), 1025 Varro’s Servants (Timon), 1258 Vaughan, Sir Thomas (Rich. I!), 631

Tomyris, Scythian queen, 511 n.

Vaux

Tonson, Jacob, publisher, xcii Tottel, Richard (15252-1594), Tottel’s Miscellany, 257 n., 1108 n. Touchstone, a clown (A.Y.L.), Ixvii, 289-290, 1517 n. Tourneur, Cyril (15752-1626), Atheist’s Tragedy, Revenger's

Tragedy, xvii, \xi, Ixx

Traversi, Derek (b. 1912), critic, ¢ Trebonius, conspirator (/.C.), 1025 Tree, Herbert Beerbohm (1853-1917), actor-manager, A-63 Tressel, attending the Lady Anne (Rich. Ii), 632 Trinculo, a jester (Temp.), 1526-1528 Triton, son of Neptune, 1370 n. Troilus and Cressida, Ixxii, Ixxxv, Ixxxix, xc, xci, xciv, 362, 1256,

1345,

Venus and Adonis, lvi, Ivii, lix, Ixti—Ixiv, Ixxxiv, 113 n., 939, 1560-1577, 1578, A-20—21, A-56

n., 260

A-7—-8,

n., 291,

A-36--37

Trundell, John, publisher, A-15 Tubal, a Jew (Mer. Ven.), 182 Turner, Victor, anthropologist, cv Twelfth Night, xxv, xxxv, xlviii, Ix, bevii, Ixxii, Ixxxvii, xci, 2, 444,

1169,

A-52,

A-55

Two Gentlemen of Verona, The |, lii, Iviii, lix, Ixii, Ixxviii, Ixxix, Ixxxvii, xci, 75-107,

147,

254,

288,

326,

A-1-3,

A-23-25,

A-65

Two Lamentable Tragedies, a tragedy, Ixxi

Two Noble Kinsmen, The, Ixxxiv, 76, 893 Tybalt, kinsman of the Capulets (R. and J.), 7, 978-979 Tyler, Wat (d. 1381), leader of peasants’ revolt, 574 n., 727 n. Tyndale, William (d. 1536), reformer, xxili, A-36 Typhon, mythological monster, 455 n., 964 n. Tyrone, Hugh O'Neill, second Earl of (15402-1616), xii, 887

1621

n., A-4,

Vere, Elizabeth, A-4

Verges, a headborough (Much Ado), 219

Vergil, Polydore (14702-1555), Anglica Historia, 629, 682, A35-36, A-40 Vernon (1 Hen. VI), 499

Vernon, Lady Elizabeth, later Countess of Southampton, 1613 Vernon, Sir Richard, a rebel (7 Hen. IV), 764 Vesalius, Andreas (1514-1564), scientist, xxvii Vice, figure in the morality play, xxxv, xxxvi, lix, 355 n., 629-630, 653 1492 n., A-38

n., 683,

830 n., 882

n., 941,

1119,

1171,

Vickers, Brian, scholar, Ixxxiii, ¢ Vincentio, father of Lucentio (Tam. Shrew), 108 Viola (12th Night), 77, 254,

326-329,

A-6

Virgil (70—19 8.c.), xxxviii, xl, lv, 445, 549 n., 550 n., 582 n.,

Twine, Laurence (fl. 1576), Pattern of Paineful Adventures, A-22,

1612-1613,

Verdi, Giuseppe (1813-1901), operatic composer, 252

Troublesome Reign of King John, The, xliii, xci, 682, 689 n.,

75,77, 95 n., 108, 216, 288, 326-361, 363, 1360 n., A-1, A-6—7, A-23, A-30—31, A-59

1579,

Vere, Bridget, Burghley’s granddaughter, 1613

Troilus, lover of Cressida (T. and C., and in legend of Troilus and Cressida), Ixxii, 181, 211 n., 248 316 n., 345 n., 374 n., 444-446

VI), 541

317 n., 372 n., 474 n., 499, 563 n., 950 n., 952 n., 998 n., 1010 n., 1294-1295, 1420 n., 1449 _n., 1479 n., 1509 n., 1551 n., 1560-1561, 1607 n., 1626 n., 1643 n.

Travers, opponent of the King (2 Hen. iV), 807

404, 406, 444-493, 977, 1021, 1024, A-18, A-33—34, A-57, A-59, A-64—65

(2 Hen.

Vaux, Lord, poet, 1108 n. Vaux, Sir Nicholas (Hen. VIII), 897 Velz, John, scholar, 1024 Ventidius, a false friend (Timon), 1258 Ventidius, officer of Antony (Ant. and Cleo.), 1296 Venus (Venus and Adonis, and in legend), 113 n., 298 n.,

Tranio, servant of Lucentio (Tam. Shrew), 108-109

1398,

Van Gennep, Arnoid, anthropologist, cv Varrius, friend of Pompey (Ant. and Cleo.), 1296

Tofte, Robert (15612-1620), poet, 1612, A-2

A-9-—10,

Van Buchel, Swan drawing, xlv—xlvi

n., A-12

594 n., 807 n., 857 n., 938 _n., 950 n., 960 n., 1028 1084 n., 1221, 1285 n., 1335 n., 1380, A-51, A-56;

n.,

Eclogues, lv, 289, A-29

Virgilia, wife of Coriolanus (Cor.), 1347

Virginia, Roman lady famed for her virtue, 938, 973 n. Virginius, father of Virginia, 938, 974 n. Vives, Juan Luis (1492-1540),

humanist,

A-25

Voltaire (1694-1778), xcvi Voltimand, courtier (Ham.), 1065, A-15 Volumnia, mother of Coriolanus (Cor.), 1024, Volumnius, an officer (J.C.), 1025 Vulcan, 221 n., 317 n., 950 n., 1085 n.

1347

Tyrrel, Sir James (Rich. fll), 631 Udall, Nicholas (1505-1556), Ralph Roister Doister, xxxvii Ulrici, Hermann (1806-1884), critic, xcviii Ulysses, Greek prince (T. and C.), and, as Odysseus, hero of the Odyssey, 445-446, 578 n., 585, 947 n., 1353 n., 1506 n.

608

n., 614

Underdown, David, historian, cv Underwood, John (ff. 1601-1624), actor, A-57 Urkowitz, Steven, textual scholar, xciv Ursula, attending on Hero (Much Ado), 219 Urwsick, Christopher, priest (Rich. I), 631 Uther Pendragon, 520 n. Valentine (Two Gent.), 75—77

Valentine, attending Orsino (12th Night), 329

Valentine, kinsman of Titus (Tit. And.), 942 Valeria, friend of Virgilia (Cor.), 1348

n., 628,

938,

Wager, William (ff. 1559-1570), Enough Is as Good as a Feast and The Longer Thou Livest the More Fool Thou Art, xxxiv, XXXVili Waith, Eugene, scholar, 939 Wakefield Chronicle, A-37 Walker, Alice, textual scholar, xciv Walkley, Thomas (ff. 1622), publisher, xc, A-16

Walley, Henry (fl. 1603-1609), publisher, xc, 446-447, A-7 Walsingham, Sir Francis (15302-1590), statesman, xxi War of the Theaters, The, Ixviii, 1083 n. Warburton, John (1682—1754), antiquary, xciii Warburton, William (1698-1779), editor, xciii Ward, John (1629-1681), vicar of Stratford, Ixxv—Ixxvi Warner, Deborah, modern director, 938 Warner,

William

(15582-1609),

poet,

2, A-22,

Warren, Michael, textual critic, xciv, cvi Wart, a recruit (2 Hen. IV), 807

A-47

I-20 Warwick, Richard Beauchamp, Earl of (2 Hen. IV, Hen. V, and 1 Hen. VI), 499, 807, 852 Warwick, Richard Neville, Earl of, the “king-maker’’ (2 and 3 Hen.

VI), 538,

584-585,

634

n., 636

n., 639 n., 665

n.

Watson, Robert, critic, cv Watson, Thomas (1513-1584), Absalom, xxxvi Watson, Thomas (1557?—1592), poet, 1614 Wayne, Don, critic, civ Wayte, William (fl. 1596), nephew to Wm. Gardiner, Ixvi Webster, Ben (1797-1882), actor-manager, A-62 Webster, John (15802-16252), The Duchess of Malfi, The White Devil, contributor to Sir Thomas Wyatt and Westward Ho, xvii, |, Ixx, Ixxv, Ixxvii, A-62 Webster, Margaret, modern theatrical producer, A-64 Weever, John (1576-1632), poet, Ixii, xcv, 1560, A-1, A-9, A-14—15,

A-20

Weimann, Robert, critic, c, civ Weinberg, Bernard, critic, ci Welles, Orson, modern actor and director, 1021, A-64, A-66—67

Wells, Stanley, editor, xciv—-xcv Wentworth, Thomas (1593-1641), statesman, xxv Werstine, Paul, textual scholar, xciv Westcote, Sebastian (fl. 1575), dramatist, xlix Westminster, Abbott of (Rich. I), 725 Westmorland, John de Clifford, Earl (or Baron) of (3 Hen. VI), 585

Westmortand, V), 766,

Ralph Neville, first Earl of (1 and 2 Hen. IV, Hen.

807,

852

Whately, Thomas (d. 1772), critic, xcvii Wheeler, Richard, critic, cii, 1615 Whetstone, George (1544?— 15872), Promos and Cassandra, Heptameron of Civil Discourses, The Rock of Regard, 406, A-33

Whigham, Frank, critic, civ Whitaker, Virgil (b. 1908), scholar and critic, ciii White, Edward (fl. 1589-1594), printer, xc White, Thomas (15502 1624), divine, xliv White, William (fl. 1609), printer, A-2, A-13 Whitefriars theater, xlix Whitmore, Walter (2 Hen. VI), 541 Wickham, Glynne, critic, xcix—c Widow (Tam. Shrew), 110 Widow of Florence (All’s Well), 365 Wilde,

Oscar (1854-1900),

216

Wilkins, George (ff. 1605-1608), A Yorkshire Tragedy,

1398,

n., 1416

n., A-19,

Worcester’s men, |, Ixvii Worde, Wynkyn de (d. 15342), printer, A-52 Worthies, the Nine, 59 n., 69 n., 823 n. Wotton, Henry (ff. 1578), A Courtly Controversy, A-24 Wright, John (ff. 1631), publisher, A-21 Wright, William Aldis, 19th-century editor, xciii Wyatt, Sir Thomas (15032-1543), 355n., 1612, 1614, 1615 Wyntoun, Andrew of (15th c.), A-48 Xanthippe, wife of Socrates, 119 n.

Xenophon of Ephesus (f1. 4th c.), Ephesiaca, A-42 Yates, Mary Ann (1728-1787), actress, A-61 Yeats, William Butler (1865— 1939), poet, 724 ; Yonge, Bartholomew (fl. 1579-1598), translator Diana, A-23 Yorick, mentioned in Ham., 1063 York, Archbishop of, Richard Scroop (7 and 2 Hen. IV), 766, 807

York, Archbishop of, Thomas Rotherham (Rich. Ili), 631 York, Duchess of, mother of King Edward IV (Rich. Ill), 631 York, Duchess of, wife of Duke of York (Rich. Il), 723-724 York, Edmund of Langley, first Duke of (Rich. I), xix, 721-724, 850 York, Edward Plantagenet, second Duke of (Hen. V), 852 York, Richard Plantagenet, Duke of (1, 2, and 3 Hen. VI), 538-540,

584-585,

632

n., 636

n., 668

Youth, The Interlude of, anonymous morality play, xxxiv

A-53

name), playwright, Three Ladies of London, Sir John 538-540

Winter's Tale, The, xxxiii, xl, Ixxiii—Ixxiv, Ixxix, Ixxxv, lxxxvii, xcv, xcvi, Cli, 327, 362, 404, 684, 927 n., 928 n., 1118, 1168, 1398-1400, 1434, 1436, 1484—1525, 1527, A-1, A-19—20, A-54—55, A-61, A-63

Witches or Weird Sisters, Three (Macb.), 1219-1222

n.,

763—764

xcii Yotkevitch, Segei, film director, A-67 Young, David, critic, cvi

Oldcastle, A-27 Winchester Henry Beaufort, Cardinal, Bishop of (1 and 2 Hen.

Wise, Andrew (fl. 1597— 1600), publisher, A-5, A-9-11

Woodstock, Thomas of, a play, A-37-—-38

Woodville, Lieutenant of the Tower (7 Hen. VI), 499 Worcester, Thomas Percy, Earl of (1 Hen. IV), 739 n., 741

496—498,

Wilks, Robert (16652-1732), actor and manager, A-58 Willbern, David, critic, cii William, a country fellow (A.Y.L.), 288-289 Williams, Emlyn, modern actor, A-64 Williams, George W. (b. 1922), scholar, xciv, A-11, A-14 Williams, Raymond, critic, civ Williams, a solider (Hen. V), 851 Willobie, Henry (fl. 1594), Willobie His Avisa, Ixii Willoughby, Lord (Rich. I), 725 Wilmot, Robert (fl. 1566—1591), Gismond of Salerne, xxxviii Wilson, John Dover, scholar, xciv—xcv, xcix, A-13 Wilson, Robert (ff. 1572-1600; possibly two men of the same

Vi), xxiv, 498,

Wolfit, Donald, twentieth-century actor, A-64 Wolsey, Thomas, Cardinal (14752-1530), xxiii, xxiv, xxxiv, xxxvi; in Hen. Vill, 893-896, A-13 Woodes, Nathaniel (ff. 1572), The Conflict of Conscience, xxxiv Woodstock, Thomas, see Gloucester, Duke of

n.

Yorkshire Tragedy, A, perhaps by George Wilkins, Ixxi, Ixxxix,

Painful Adventures of Pericles,

1405

Woffington, Peg (1720-1760), actress, A-61

Zeffirelli, Franco, modern director, A-65, A-67 Zeuxis (ff. 5th .c.), Greek painter, 1570 n.

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