part iii
.), 36 59 and _Titus Andronicus_, 66
Pembroke, William, third Earl of, the question of the identification of 'Mr. W. H.' with, 94 406-15 performance at his Wilton residence, 231 232 _n_ 1 411 dedication of the First Folio to, 306 his alleged relations with Shakespeare, 411-15 the identification of the 'dark lady' with his mistress, Mary Fitton, 123 _n_ 409 the mistaken notion that Shakespeare was his _protege_, 123 _n_ dedications by Thorpe to, 399 and _n_ 1 403 _n_ 2
Penrith, Shakespeares at, 1
Pepys, his criticisms of _The Tempest_ and _Midsummer Night's Dream_, 329
Percy, William, his sonnets, entitled 'Coelia,' 435
Perez, Antonio, and Antonio in _The Merchant of Venice_, 68 _n_
_Pericles_: date of composition, 242 a work of collaboration, 242 the poet's contributions, 244 dates of the various editions, 244 not included in the First Folio, 305 included in Third Folio, 313 _For_ editions _see_ Section xix. (Bibliography), 301-25
Perkes (Clement), in _Henry IV._, member of a family at Stinchcombe Hill in the sixteenth century, 168
'Perkins Folio,' forgeries in the, 312 317 _n_ 2 367 and _n_
Personalities on the stage, 215 _n_ 1
Peruse, Jean de la, 443
Petowe, Henry, elegy on Queen Elizabeth by, 148
Petrarch, emulated by Elizabethan sonnetteers, 84 85 86 _n_ feigns old age in his sonnets, 86 _n_ his metre, 95 Spenser's translations from, 101 imitation of his sonnets justified by Gabriel Harvey, 101 _n_ 4 plagiarisms of, admitted by sonnetteers, 101 _n_ 4 Wyatt's translations of two of his sonnets, 101 _n_ 4 427 plagiarised indirectly by Shakespeare, 101 111 and _n_ 113 _n_ 1 the melancholy of his sonnets, 152 _n_ imitated in France, 443
Phelps, Samuel, 325 339
Phillips, Augustine, actor, friend of Shakespeare, 36 induced to revive _Richard II_ at the Globe in 1601, 175 his death, 264
Phillips, Edward (Milton's nephew), criticism of the poet by, 362 editor of Drummond's Sonnets, 439 _n_ 1
'Phillis,' Lodge's, 118 _n_ 2 433 and _n_ 3
Philosophy, Chapman's sonnets in praise of, 441
'Phoenix and the Turtle, The,' 183 184 304
Pichot, A., 350
'Pierce Pennilesse.' See Nash, Thomas (2)
'Pierces Supererogation,' by Gabriel Harvey, 101 _n_ 4 105
Pindar, his claim for the immortality of verse, 114 and _n_ 1
Plague, the, in Stratford-on-Avon, 10 in London, 65 231
Plautus, the plot of the _Comedy of Errors_ drawn from, 16 translation of, 54
Plays, sale of, 47 and _n_ revision of, 47 their publication deprecated by playhouse authorities, 48 _n_ only a small proportion printed, 48 _n_ prices paid for, 202 _n_
'Pleiade, La,' title of the literary comrades of Ronsard, 442 list of, 443
'Plutarch,' North's translation of, Shakespeare's indebtedness 10 47 162 211 243 245 and _n_ 246 and _n_
Poaching episode, the, 27 28
'Poetaster,' Jonson's, 217 218 and _n_
Poland, translations and performances of Shakespeare in, 353
Pontoux, Claude de, name of his heroine copied by Drayton, 104
Pope, Alexander, 297 edition of Shakespeare by, 315
Porto, Luigi da, adapts the story of Romeo and Juliet, 55 _n_ 1
Portraits of the poet, 286-93 296 _n_ 2 the 'Stratford' portrait, 287 Droeshout's engraving, 287 288 300 306 the 'Droeshout' painting, 288-91 portrait in the Clarendon gallery, 291 'Ely House' portrait, 290 291 Chandos portrait, 292 293 'Jansen' portrait, 293 294 'Felton' and 'Soest' portraits, 294 miniatures, 295
Pott, Mrs. Henry, 372
Prevost, Abbe, 348
Pritchard, Mrs., 336
Procter, Bryan Waller (Barry Cornwall), 324
_Promos and Cassandra_, 237
Prospero, character of, 257
Provinces, the, practice of theatrical touring in, 39-42 65
Publication of dramas: deprecated by playhouse authorities, 48 _n_ only a small proportion of the dramas of the period printed, 48 _n_ sixteen of Shakespeare's plays published in his lifetime, 48
Punning, 418 419 _n_
_Puritaine_, _or the Widdow of Watling-streete_, _The_, 180 313
Puritanism, alleged prevalence in Stratford-on-Avon of, 10 _n_ 268 _n_ 2 its hostility to dramatic representations, 10 _n_ 212 213 _n_ 1 the poet's references to, 268 _n_
'Pyramus and Thisbe,' 397
Q
Quarles, John, 'Banishment of Tarquin' of, 300
Quarto editions of the plays, in the poet's lifetime, 301 302 posthumous, 302 303 of the poems in the poet's lifetime, 299 posthumous, 300
'Quatorzain,' term applied to the Sonnet, 427 _n_ 2 cf. 429 _n_ 1
'Queen's Children of the Chapel,' the, 34 35 38 213-17
Queen's Company of Actors, the, welcomed to Stratford-on-Avon by John Shakespeare, 10 its return to London, 33 35 231 _n_
Quiney, Thomas, marries Judith Shakespeare, 271 his residence and trade in Stratford, 280 his children, 281
Quinton, baptism of one of the Hacket family at, 165
R
Rapp, M., German translation of Shakespeare by, 344
Ralegh, Sir Walter, extravagant apostrophe to Queen Elizabeth by, 137 _n_ 1 182 _n_
'Ratseis Ghost,' and Ratsey's address to the players, 185 199
Ravenscroft, Edward, on _Titus Andronicus_, 65 332
Reed, Isaac, 321 322
Reformation, the, at Stratford-on-Avon, 10 _n_
Rehan, Miss Ada, 342
Religion and Philosophy, sonnets on, 440 441
_Return from Parnassus_, _The_, 198 199 _n_ 1 218-20 277
Revision of plays, the poet's, 47 48
Reynoldes, William, the poet's legacy to, 276
Rich, Barnabe, story of 'Apollonius and Silla' by, 53 210
Rich, Penelope, Lady, Sidney's passion for, 428
_Richard II_: the influence of Marlowe, 63 64 published anonymously, 63 the deposition scene, 64 the facts drawn from Holinshed, 64 its revival on the eve of the rising of the Earl of Essex, 175 383 _For_ editions _see_ Section xix. (Bibliography), 301-25
_Richard III_: the influence of Marlowe, 63 materials drawn from Holinshed, 63 Mr. Swinburne's criticism, 63 Burbage's impersonation of the hero, 63 published anonymously, 63 Colley Cibber's adaptation, 335 _For_ editions _see_ Section xix. (Bibliography), 301-25
Richardson, John, one of the sureties for the bond against impediments respecting Shakespeare's marriage, 20 22
Richmond Palace, performances at, 82 230
Ristori, Madame, 352
Roberts, James, printer, 225 226 303 431
Robinson, Clement, use of the word 'sonnet' by, 427 _n_ 2
Roche, Walter, master of Stratford Grammar School, 13
_Roles_, Shakespeare's: at Greenwich Palace, 43 44 _n_ 1 in _Every Man in his Humour_, 44 in _Sejanus_, 44 the Ghost in _Hamlet_, 44 'played some kingly parts in sport,' 44 Adam in _As You Like It_, 44
Rolfe, Mr. W. J, 325
_Romeo and Juliet_, 54 plot drawn from the Italian, 55 date of composition, 56 first printed, 56 authentic and revised version of 1599, 56 two choruses in the sonnet form, 84 satirical allusion to sonnetteering, 108 _For_ editions _see_ Section xix. (Bibliography), 301-35
_Romeus and Juliet_, Arthur Brooke's, 55 322
Ronsard, plagiarised by English sonnetteers, 102 103 _n_ 3 432 _seq._ by Shakespeare, 111 112 and _n_ 1 his claim for the immortality of verse, 114 and _n_ 1 116 _n_ his sonnets of vituperation, 121 first gave the sonnet a literary vogue in France, 442 and 'La Pleiade,' 442 modern reprint of his works, 445 _n_
Rosalind, played by a boy, 38 _n_ 2
Rosaline, praised for her 'blackness,' 118 119
'Rosalynde, Euphues Golden Legacie,' Lodge's, 209
Rose Theatre, Bankside: erected by Philip Henslowe, 36 opened by Lord Strange's company, 36 the scene of the poet's first successes, 37 performance of _Henry VI_, 56 production of the _Venesyon Comedy_, 69
Rossi, representation of Shakespeare by, 352
Roussillon, Countess of, 163
Rowe, Nicholas, on the parentage of Shakespeare's wife, 18 on Shakespeare's poaching escapade, 27 on Shakespeare's performance of the Ghost in _Hamlet_, 44 on the story of Southampton's gift to Shakespeare, 126 on Queen Elizabeth's enthusiasm for the character of Falstaff, 171 on the poet's last years at Stratford, 266 on John Combe's epitaph, 269 _n_ his edition of the poet's plays, 314 362
Rowington, the Richard and William Shakespeares of, 2
Rowlands, Samuel, 397
Rowley, William, 181 243
Roydon, Matthew, poem on Sir Philip Sidney, 140 184 _n_
Rumelin, Gustav, 345
Rupert, Prince, at Stratford-on-Avon, 281
Rusconi, Carlo, Italian prose version of Shakespeare issued by, 352
Russia, translations and performances of Shakespeare in, 352 353
Rymer, Thomas, his censure of the poet, 329
S
S., M. I., tribute to the poet thus headed, 327 and _n_ 328
S., W., initials in Willobie's book, 156 157 commonness of the initials, 157 _n_ use of the initials on works fraudulently attributed to the poet, 179 180
Sackville, Thomas, 408 _n_
Sadler, Hamlett, the poet's legacy to, 276
Saint-Saens, M., opera of _Henry VIII_ by, 351
St. Helen's, Bishopsgate, a William Shakespeare in 1598 living in, 38 and _n_ 1
Sainte-Marthe, Scevole de, 443
Salvini, representation of _Othello_ by, 352
Sand, George, translation of _As You Like It_ by, 351
Sandells, Fulk, one of the sureties for the bond against impediments with respect to Shakespeare's marriage, 20 22 supervisor of Richard Hathaway's will, 22
Saperton, 27 29
'Sapho and Phao,' address to Cupid in, 97 _n_
_Satiro-Mastix_, a retort to Jonson's _Cynthia's Revels_, 215
Savage, Mr. Richard, 165 _n_ 363
'Saviolo's Practise,' 209
Scenery unknown in Shakespeare's day, 38 and _n_ 2 designed by Inigo Jones for masques, 38 _n_ 2 Sir Philip Sidney on difficulties arising from its absence, 38 _n_ 2
Schiller, adaptation of _Macbeth_ for the stage by, 345
Schlegel, A. W. von, 180 German translation of Shakespeare by, 343 lectures on Shakespeare by, 344
Schmidt, Alexander, 364
'Schoole of Abuse,' 67
Schroeder, F. U. L., German actor of Shakespeare, 346
Schubert, Franz, setting of Shakepearean songs by, 347
Schumann, setting of Shakespearean songs by, 347
'Scillaes Metamorphosis,' Lodge's, drawn upon by Shakespeare for 'Venus and Adonis,' 75 and _n_ 2
Scoloker, Anthony, in 'Daiphantus,' 277
Scotland, Shakespeare's alleged travels in, 40-42 visits of actors to, 41
Scott, Reginald, allusion to Monarcho in 'The Discoverie of Witchcraft' of, 51 _n_
Scott, Sir Walter, at Charlecote, 28
_Scourge of Folly_, 44 _n_ 2
Sedley, Sir Charles, apostrophe to the poet, 331
_Sejanus_, Shakespeare takes part in the performance of, 44 401
_Selimus_, 179
Serafino dell' Aquila, Watson's indebtedness to, 77 _n_ 2 102 103 _n_ 1 442 _n_
Seve, Maurice, 104 and _n_ 430 442 445 _n_ 1
Sewell, Dr. George, 315
'Shadow of the Night, The,' Chapman's, 135 _n_
Shakespeare, the surname of, 1 2 cf. 24 _n_
Shakespeare, Adam, 1
Shakespeare, Ann, a sister of the poet, 11
Shakespeare, Anne (or Agnes): her parentage, 18 19 her marriage to the poet, 18 19-22 assumed identification of her with Anne Whateley, 23 24 and _n_ her debt, 187 her husband's bequest to her, 273 her widow's dower barred, 274 and _n_ her wish to be buried in her husband's grave, 274 committed by her husband to the care of the elder daughter, 275 her death, 280 and _n_
Shakespeare, Edmund, a brother of the poet, is 'a player,' 283 death, 283
Shakespeare, Gilbert, a brother of the poet, 11 witnesses his brother's performance of Adam in _As You Like It_, 44 apparently had a son named Gilbert, 283 his death not recorded, 283
Shakespeare, Hamnet, son of the poet, 26 187
Shakespeare, Henry, one of the poet's uncles, 3 4 186
Shakespeare, Joan (1), 7
Shakespeare, Joan (2), see Hart, Joan
Shakespeare, John (1), the first recorded holder of this surname (thirteenth century), 1
Shakespeare, John (2), the poet's father, administrator of Richard Shakespeare's estate, 3 4 claims that his grandfather received a grant of land from Henry VII, 2 189 leaves Snitterfield for Stratford-on-Avon, 4 his business, 4 his property in Stratford and his municipal offices, 5 marries Mary Arden, 6 7 his children, 7 his house in Henley Street, Stratford, 8 11 appointed alderman and bailiff, 10 welcomes actors at Stratford, 10 his alleged sympathies with puritanism, 10 _n_ his application for a grant of arms, 2 10 _n_ 188-92 his financial difficulties, 11 12 his younger children, 11 writ of distraint issued against him, 12 deprived of his alderman's gown, 12 his trade of butcher, 18 increase of pecuniary difficulties, 186 relieved by the poet, 187 his death, 204
Shakespeare or Shakspere, John (a shoemaker), another resident at Stratford, 12 _n_ 3
Shakespeare, Judith, the poet's second daughter, 26 205 her marriage to Thomas Quiney, 271 her father's bequest to her, 275 her children, 280 281 her death, 281
Shakespeare, Margaret, 7
Shakespeare, Mary, the poet's mother: her marriage, 6 7 her ancestry and parentage, 6 7 her property, 7 her title to bear the arms of the Arden family, 191 her death, 266
Shakespeare, Richard, a brother of the poet, 11 266 his death, 283
Shakespeare, Richard, of Rowington, 2
Shakespeare, Richard, of Snitterfield, probably the poet's grandfather, 3 his family, 3 4 letters of administration of his estate, 3 and _n_ 3
Shakespeare, Richard, of Wroxhall, 3
Shakespeare, Susanna, a daughter of the poet, 22 _See also_ Hall, Mrs. Susanna
Shakespeare, Thomas, probably one of the poet's uncles, 3 4
SHAKESPEARE, WILLIAM: parentage and birthplace, 1-9 childhood, education, and marriage, 10-24 (_see also_ Education of Shakespeare; Poaching; Shakespeare, Anne) departure from Stratford, 27-31 theatrical employment, 32-4 joins the Lord Chamberlain's company, 36 his _roles_, 43 his first plays, 50-73 publication of his poems, 74 76 _seq._ his Sonnets, 83-124 151-6 patronage of the Earl of Southampton, 125-50 374 plays composed between 1595 and 1598, 161-73 his popularity and influence, 176-79 returns to Stratford, 187 buys New Place, 193 financial position before 1599, 196 _seq._ financial position after 1599, 200 _seq._ formation of his estate at Stratford, 204 _seq._ plays written between 1599 and 1609, 207-47 the latest plays, 248 _seq._ performance of his plays at Court, 264 (_see also_ Court; Whitehall; Elizabeth, Queen; James I) final settlement in Stratford (1611), 266 _seq._ death (1616), 272 his will, 273 _seq._ monument at Stratford, 276 personal character, 277-9 his survivors and descendants, 280 _seq._ autographs, portraits, and memorials, 284-98 bibliography, 299-325 his posthumous reputation in England and abroad, 326-54 general estimate of his work, 355-7 biographical sources, 361-5 alleged relation between him and the Earl of Pembroke, 411-15
Shakespeare Gallery in Pall Mall, 341
'Shakespeare Society,' the, 333 365
Shallow, Justice, Sir Thomas Lucy caricatured as, 29 his house in Gloucestershire, 167 168 173
Sheldon copy of the First Folio, the, 309 310
Shelton, Thomas, translator of 'Don Quixote,' 258
Shiels, Robert, compiler of 'Lives of the Poets,' 32 _n_ 3
Shottery, Anne Hathaway's Cottage at, 19
Shylock, sources of the portrait of, 67 68 and _n_
Siddons, Mrs. Sarah, 337 338
Sidney, Sir Philip: on the absence of scenery in a theatre, 38 _n_ 2 translation of verses from 'Diana,' 53 Shakespeare's indebtedness to him, 61 addressed as 'Willy' by some of his eulogists, 81 his 'Astrophel and Stella,' brings the sonnet into vogue, 83 piracy of his sonnets, 88 _n_ 432 circulation of manuscript copies of his 'Arcadia,' 88 _n_ his addresses to Cupid in his 'Astrophel,' 97 _n_ warns the public against the insincerity of sonnetteers, 104 on the conceit of the immortalising power of verse, 114 his praise of 'blackness,' 119 and _n_ 1 sonnet on 'Desire,' 153 use of the word 'will,' 417 editions of 'Astrophel and Stella,' 428 429 popularity of his works, 429
Sidney, Sir Robert, 382
Singer, Samuel Weller, 324
Sly, Christopher, probably drawn from life, 164 165 166 167 221 _n_
Smethwick, John, bookseller, 304
Smith, Richard, publisher, 431
Smith, Wentworth, 157 _n_ plays produced by, 180 _n_
Smith, William, sonnets of, 138 _n_ 2 157 _n_ 390 437
Smith, Mr. W. H., and the Baconian hypothesis, 372
Smithson, Miss, actress, 351
Snitterfield, Richard Shakespeare rents land of Robert Arden at, 3 6 departure of John Shakespeare, the poet's father, from, 4 the Arden property at, 7 sale of Mary Shakespeare's property at, 12 and _n_ 1 186
Snodham, Thomas, printer, 180
Somers, Sir George, wrecked off the Bermudas, 252
Somerset House, Shakespeare and his company at, 233 and _n_ 2
Sonnet in France (1550-1600), the, bibliographical note on (Appendix X.), 442-5
Sonnets, Shakespeare's: the poet's first attempts, 84 the majority probably composed in 1594, 85 a few written between 1594 and 1603 (e.g. cvii.) their literary value, 87 88 circulation in manuscript, 88 396 commended by Meres, 89 their piratical publication in 1609, 89-94 390 their form, 95 96 want of continuity, 96 100 the two 'groups,' 96 97 main topics of the first 'group,' 98 99 main topics of the second 'group,' 99 100 rearrangement in the edition of 1640, 100 autobiographical only in a limited sense, 100 109 125 152 160 censure of them by Sir John Davies, 107 their borrowed conceits, 109-24 indebtedness to Drayton, Petrarch, Ronsard, De Baif, Desportes, and others, 110-12 the poet's claim of immortality for his sonnets, 113-16 cf. 114 _n_ 1 the 'Will Sonnets,' 117 (and Appendix VIII) praise of 'blackness,' 118 vituperation, 120-4 'dedicatory' sonnets, 125 _seq._ the 'rival poet,' 130-6 sonnets of friendship, 136 138-47 the supposed story of intrigue 153-8 summary of conclusions respecting the sonnets, 158-60 edition of 1640, 300
Sonnets, quoted with explanatory comments: xx. 93 _n_ : xxvi. 128 _n_ : xxxii. 128 129 _n_ : xxxvii. 130 xxxviii. 129 : xxxix. 130 : xlvi.-xlvii. 112 113 _n_ 1 lv. 115 116 : lxxiv. 130 (_quot._) : lxxviii. 125 lxxx. 134 : lxxxv. 133 : lxxxvi. 132 : lxxxviii. 133 lxxxix. 133 : xciv. 1 14 72 89 : c. 126 ciii. 126 : cvii. 13 _n_ 87 147 149 380 cviii. 130 : cx. 44 130 : cxi. 45 : cxix. 152 and _n_ cxxiv. 425 : cxxvi. 97 and _n_ : cxxvii. 118 cxxix. 152 153 and _n_ 1 : cxxxii. 118 cxxxv.-cxxxvi. 420-424 : cxxxviii. 89 cxliii. 93 _n_ 425 426 and _n_ : cxliv. 89 153 301 cliii.-cliv. 113 and _n_ 2 the vogue of the Elizabethan: English sonnettering inaugurated by Wyatt and Surrey, 83 427 428 followed by Thomas Watson, 83 428 Sidney's 'Astrophel and Stella,' 83 428 429 and _n_ poets celebrate patrons' virtues in sonnets, 84 conventional device of sonnetteers of feigning old age, 85 86 _n_ lack of genuine sentiment, 100 French and Italian models, 101 and _n_ 1 102-5 Appendices IX. and X. translations from Du Bellay, Desportes, and Petrarch, 101 and _n_ 4 102 103 admissions of insincerity, 105 censure of false sentiment in sonnets, 106 Shakespeare's scornful allusions to sonnets in his plays, 107 108 vituperative sonnets, 120-24 the word 'sonnet' often used for 'song' or 'poem,' 427 _n_ 2 I. Collected sonnets of feigned love, 1591-7, 429-40 II. Sonnets to patrons, 440 III. Sonnets on philosophy and religion, 440 441 number of sonnets published between 1591 and 1597, 439-41 various poems in other stanzas practically belonging to the sonnet category, 438 _n_ 2
Soothern, John, sonnets to the Earl of Oxford, 138 _n_ 2
Sophocles, parallelisms with the works of Shakespeare, 13 _n_
Southampton, Henry Wriothesley, third Earl of, 53 the dedications to him of 'Venus and Adonis' and 'Lucrece,' 74 77 his patronage of Florio, 84 _n_ his patronage of Shakespeare, 126-50 his gift to the poet, 126 200 his youthful appearance, 143 his identity with the youth of Shakespeare's sonnets of 'friendship' evidenced by his portraits, 144 and _n_ 145 146 imprisonment, 146 147 380 his long hair, 146 _n_ 2 his beauty, 377 his youthful career, 374-381 as a literary patron, 382-9
Southwell, Robert, circulation of incorrect copies of 'Mary Magdalene's Tears' by, 88 _n_ publication of "A Foure-fould Meditation' by, 92 400 and _n_ 401 _n_ dedication of his 'Short Rule of Life,' 397
Southwell, Father Thomas, 371
Spanish, translation of Shakespeare's plays into, 354
_Spanish Tragedy_, Kyd's, popularity of, 65 221 quoted in the _Taming of the Shrew_, 221 _n_
Spedding, James, 262
Spelling of the poet's name, 284-6
Spenser, Edmund: probably attracted to Shakespeare by the poems 'Venus and Adonis' and 'Lucrece,' 79 his description of Shakespeare in 'Colin Clouts come home againe,' 79 Shakespeare's reference to Spenser's work in _Midsummer Night's Dream_, 80 Spenser's allusion to 'our pleasant Willy' not a reference to the poet, 80 and _n_ his description of the 'gentle spirit' no description of Shakespeare, 81 and _n_ 2 translation of sonnets from Du Bellay and Petrarch, 101 called by Gabriel Harvey 'an English Petrarch,' 101 and cf. _n_ 4 on the immortalising power of verse, 115 his apostrophe to Admiral Lord Charles Howard, 140 his 'Amoretti,' 115 435 and _n_ 5 436 dedication of his 'Faerie Queene,' 398
'Spirituall Sonnettes' by Constable, 440
Sport, Shakespeare's knowledge of, 26 27 and _n_ 173
Stael, Madame de, 449
Stafford, Lord, his company of actors, 33
Stage, conditions of, in Shakespeare's day: absence of scenery and scenic costume, 38 and _n_ 2 the performance of female parts by men or boys, 38 and _n_ 2 the curtain and balcony of the stage, 38 _n_ 2
Stanhope of Harrington, Lord, 234 _n_
'Staple of News, The,' Jonson's quotations from _Julius Caesar_ in, 220 _n_
Staunton, Howard, 311 his edition of the poet, 323 324
Steele, Richard, on Betterton's rendering of Othello, 334
Steevens, George: his edition of Shakespeare, 320 his revision of Johnson's edition, 320 321 his criticisms, 320 321 the 'Puck of commentators,' 321
Stinchcombe Hill referred to as 'the Hill' in _Henry IV_, 168
Stopes, Mrs. C. C., 363
Strange, Lord. _See_ Derby, Earl of
Straparola, 'Notti' of, and the _Merry Wives of Windsor_, 172
Stratford-on-Avon, settlement of John Shakespeare, the poet's father, at, 4 property owned by John Shakespeare in, 5 8 the poet's birthplace at, 8 9 the Shakespeare Museum at, 8 297 the plague in 1564 at, 10 actors for the first time at, 10 and the Reformation, 10 _n_ the Shoemakers' Company and its Master, 12 _n_ 3 the grammar school, 13 Shakespeare's departure from, 27 29 31 native place of Richard Field, 32 allusions in the _Taming of the Shrew_ to, 164 the poet's return in 1596 to, 187 the poet's purchase of New Place, 193 appeals from townsmen to the poet for aid, 195 196 the poet's purchase of land at, 203 204-6 the poet's last years at, 264 266 attempt to enclose common lands and Shakespeare's interest in it, 269 270 the poet's death and burial at, 272 Shakespeare memorial building at, 298 the 'Jubilee' and the tercentenary, 334
Suckling, Sir John, 328
'Sugred,' an epithet applied to the poet's work, 179 and _n_ 390
Sullivan, Barry, 298
Sully, M. Mounet, 351 and _n_ 1
Sumarakow, translation into Russian by, 352
_Supposes_, the, of George Gascoigne, 164
Surrey, Earl of, sonnets of, 83 95 101 _n_ 4 427 428
Sussex, Earl of, his company of actors, 35 _Titus Andronicus_ performed by, 36 66
Swedish, translations of Shakespeare in, 354
'Sweet,' epithet applied to Shakespeare, 277
Swinburne, Mr. A. C., 63 71 72 _n_ 333 365
Sylvester, Joshua, sonnets to patrons by, 388 440 and _n_
T
Taille, Jean de la, 445 _n_
_Tamburlaine_, Marlowe's, 63
_Taming of A Shrew_, 163
_Taming of The Shrew_: probable period of production, 163 identical with _Love's Labour's Won_, 163 and _The Taming of A Shrew_, 163 164 the story of Bianca and her lovers and the _Supposes_ of George Gascoigne, 164 biographical bearing of the Induction, 164 quotation from the _Spanish Tragedy_, 221 _n_ _For_ editions _see_ Section xix. (Bibliography), 305-25
Tarleton, Richard, 81 his 'Newes out of Purgatorie' and the _Merry Wives of Windsor_, 172
Tasso, similarity of sentiment with that of Shakespeare's sonnets, 152 _n_
'Teares of Fancy,' Watson's, 428 433
'Teares of the Isle of Wight,' elegies on Southampton, 389
'Teares of the Muses,' Spenser's, referred to in _Midsummer Night's Dream_, 80
_Tempest_, _The_: traces of the influence of Ovid, 15 25 _n_ 43 the shipwreck akin to a similar scene in _Pericles_, 244 probably the latest drama completed by the poet, 251 and the shipwreck of Sir George Somers's fleet on the Bermudas, 252 the source for the plot, 253 performed at the Princess Elizabeth's nuptial festivities, 254 the date of composition, 254 and _n_ its performance at Whitehall in 1611, 254 _n_ its lyrics, 255 and _n_ Ben Jonson's scornful allusion to, 255 reflects the poet's highest imaginative powers, 256 fanciful interpretations of, 256 257 chief characters of, 256 257 and _notes_ 1 and 2. _For_ editions _see_ Section xix. (Bibliography), 301-325
Temple Grafton, 23 24 and _n_
'Temple Shakespeare, The,' 325
Tercentenary festival, the Shakespeare, 334
'Terrors of the Night,' piracy of, 88 _n_ nocturnal habits of 'familiars' described in, 135 _n_
Terry, Miss Ellen, 339
Theatre, The, at Shoreditch, 32 owned by James Burbage, 33 36 Shakespeare at, between 1595 and 1599, 37 demolished, and the Globe Theatre built with the materials, 37
Theatres in London: Blackfriars (_q.v._) Curtain (_q.v._) Duke's, 295 Fortune, 212 233 _n_ 1 Globe (_q.v._) Newington Butts, 37 Red Bull, 31 _n_ 2 Rose (_q.v._) Swan, 38 _n_ 2 The Theatre, Shoreditch (_q.v._)
Theobald, Lewis, his emendations of _Hamlet_, 224 publishes a play alleged to be by Shakespeare, 258 his criticism of Pope, 316 his edition of the poet's works, 316 317
Thomas, Ambroise, opera of _Hamlet_ by, 351
Thoms, W. J., 363
Thornbury, G. W., 363
Thorpe, Thomas, the piratical publisher of Shakespeare's Sonnets, 89-95 his relations with Marlowe, 90 135 _n_ adds 'A Lover's Complaint' to the collection of Sonnets, 91 his bombastic dedication to 'Mr. W. H.', 92-5 the true history of 'Mr. W. H.' and, (Appendix V.) 390-405
_Three Ladies of London_, _The_, some of the scenes in the _Merchant of Venice_ anticipated in, 67
Thyard, Ponthus de, a member of 'La Pleiade' 443 444
Tieck, Ludwig, theory respecting _The Tempest_ of, 254 333 344
Tilney, Edmund, master of the revels, 233 _n_ 2
_Timon of Athens_: date of composition, 242 written in collaboration, 242 a previous play on the same subject, 242 its sources, 243 _For_ editions _see_ Section xix. (Bibliography), 305-25
_Timon_, Lucian's, 243
_Titus Andronicus_: one of the only two plays of the poet's performed by a company other than his own, 36 doubts of its authenticity, 65 internal evidence of Kyd's authorship, 65 suggested by _Titus and Vespasian_, 65 played by various companies, 66 entered on the 'Stationers' Register' in 1594, 66 _For_ editions _see_ Section xix. (Bibliography), 301-25
_Titus and Vespasian_, _Titus Andronicus_ suggested by, 65
Tofte, Robert, sonnets by, 438 and _n_ 2
Topics of the day, Shakespeare's treatment of, 51 _n_, 52
Tottel's 'Miscellany,' 427 428
Tours of English actors: in foreign countries between 1580 and 1630, 42 and _see_ _n_ 1 in provincial towns, 39 40-42 65 214 itinerary from 1593 to 1614, 40 _n_ 1 231
Translations of the poet's works, 342 _seq._
Travel, foreign, Shakespeare's ridicule of, 42 and _n_
'Troilus and Cresseid,' 227
_Troilus and Cressida_: allusion to the strife between adult and boy actors, 217 date of production, 217 225 the quarto and folio editions, 226 227 treatment of the theme, 227 228 the endeavour to treat the play as the poet's contribution to controversy between Jonson and Marston and Dekker, 228 _n_ plot drawn from Chaucer's 'Troilus and Cresseid and Lydgate's 'Troy Book,' 227 _For_ editions _see_ Section xix. (Bibliography), 301-25
'Troy Book,' Lydgate's, 227
_True Tragedie of Richard III_, _The_, an anonymous play, 63 301
_True Tragedie of Richard_, _Duke of Yorke_, _and the death of good King Henry the Sixt_, _as it was sundrie times acted by the Earl of Pembroke his servants_, _The_, 59
Turbervile, George, use of the word 'sonnet' by, 427 _n_ 2
_Twelfth Night_: description of a betrothal, 23 _n_ indebtedness to the story of 'Apollonius and Silla,' 53 date of production, 209 allusion to the 'new map,' 209 210 _n_ 1 produced at Middle Temple Hall, 210 Manningham's description of, 210 probable source of the story, 210 _For_ editions _see_ Section xix. (Bibliography), 301-25
Twiss, F., 364 _n_
_Two Gentlemen of Verona_: allusion to Valentine travelling from Verona to Milan by sea, 43 date of production, 52 probably an adaptation, 53 source of the story, 53 farcical drollery, 53 first publication, 53 influence of Lyly, 62 satirical allusion to sonnetteering, 107 108 resemblance of it to _All's Well that Ends Well_, 163 _For_ editions _see_ Section xix. (Bibliography), 301-25
_Two Noble Kinsmen_, _The_: attributed to Fletcher and Shakespeare, 259 and _n_ Massinger's alleged share in its production, 259 plot drawn from Chaucer's 'Knight's Tale,' 260
Twyne, Lawrence, the story of Pericles in the 'Patterne of Painfull Adventures' by, 244
Tyler, Mr. Thomas, on the sonnets, 129 _n_ 406 _n_ 415 _n_
U
Ulrici, 'Shakespeare's Dramatic Art' by, 345
V
Variorum editions of Shakespeare, 322 323 362
Vautrollier, Thomas, the London printer, 32
_Venesyon Comedy_, _The_, produced by Henslowe at the Rose, 69
'Venus and Adonis:' published in 1593, 74 dedicated to the Earl of Southampton, 74 126 its imagery and general tone, 75 the influence of Ovid, 75 and of Lodges 'Scillaes Metamorphosis,' 75 and _n_ 2 the motto, 75 and _n_ 1 eulogies bestowed upon it, 78 79 early editions, 79 299 300
Verdi, operas by, 352
Vere, Lady Elizabeth, 378
Vernon, Mistress Elizabeth, 379
Versification, Shakespeare's, 49 and _n_ 50
Vigny, Alfred de, version of _Othello_ by, 351
Villemain, recognition of the poet's greatness by, 350
Virginia Company, 381
Visor, William, in _Henry IV_, member of a family at Woodmancote, 168
Voltaire, strictures on the poet by, 348 349
Voss, J. H., German translation of Shakespeare by, 344
W
Walden, Lord, Campion's sonnet to, 140
Wales, Henry, Prince of, the Earl of Nottingham's company of players taken into the patronage of, 231 _n_
Walker, William, the poet's godson, 276
Walker, W. Sidney, on Shakespeare's versification, 49 _n_
Walley, Henry, printer, 226
Warburton, Bishop, revised version of Pope's edition of Shakespeare by, 318 319
Ward, Dr. A. W., 365
Ward, Rev. John, on the poet's annual expenditure, 203 on the visits of Drayton and Jonson to New Place before the poet's death, 271 his account of the poet, 361
Warner, Richard, 364
Warner, William, the probable translator of the _Menaechmi_, 54
Warren, John, 300
Warwickshire: prevalence of the surname Shakespeare, 1 2 a position of the Arden family, 6 Queen Elizabeth's progress on the way to Kenilworth, 17
Watchmen in the poet's plays, 31 62
Watkins, Richard, printer, 393
Watson, Thomas, 61 the passage on Time in his 'Passionate Centurie of Love' elaborated in 'Venus and Adonis,' 77 and _n_ 2 his sonnets, 83 427 _n_ 2 428 plagiarisation of Petrarch, 101 _n_ 4 102 foreign origin of his sonnets, 103 _n_ 1 112 his 'Tears of Fancie,' 113 _n_ 1 433
'Weak endings' in Shakespeare, 49 _n_
Webbe, Alexander, makes John Shakespeare overseer of his will, 11
Webbe, Robert, buys the Snitterfield property from Shakespeare's mother, 12 and _n_
Webster, John, alludes in the _White Divel_ to Shakespeare's industry, 278 _n_
Weelkes, Thomas, 182 _n_
Weever, Thomas: his eulogy of the poet, 179 _n_ allusion in his 'Mirror of Martyrs' to Antony's speech at Caesar's funeral, 211
Welcombe, enclosure of common fields at, 269 270 and _n_
'Westward for Smelts' and the _Merry Wives of Windsor_, 172 and _n_ 3 story of Ginevra in, 249
Whateley, Anne, the assumed identification of her with Anne Hathaway, 23 24 and _n_
Wheler, R. B., 363
Whetstone, George, his _Promos and Cassandra_, 237
White, Mr. Richard Grant, 325
Whitehall, performances at, 81 82 234 235 and _n_ 241 254 _n_ 264
Wieland, Christopher Martin: his translation of Shakespeare, 343
Wilkins, George, his collaboration with Shakespeare in _Timon of Athens_ and _Pericles_, 242 243 his novel founded on the play of _Pericles_, 244
Wilks, Robert, actor, 335
Will, Shakespeare's, 203 271 273-276
'Will' sonnets, the, 117 Elizabethan meanings of 'will,' 416 Shakespeare's uses of the word, 417 the poet's puns on the word, 418 play upon 'wish' and 'will,' 419 interpretation of the word in Sonnets cxxiv.-vi. and cxliii., 420-26
'Willobie his Avisa,' 155-158
Wilmcote, house of Shakespeare's mother, 6 7 bequest to Mary Arden of the Asbies property at, 7 mortgage of the Asbies property at, 12 26 and 'Wincot' in _The Taming of the Shrew_, 166 167
Wilnecote. _See under_ Wincot
Wilson, Robert, author of _The Three Ladies of London_, 67
Wilson, Thomas, his manuscript version of 'Diana,' 53
Wilton, Shakespeare and his company at, 231 232 411 and _n_
'Wilton, Life of Jack,' by Nash, 385 and _n_ 1
Wincot (in _The Taming of the Shrew_), its identification, 165 166
'Windsucker,' Chapman's, 135 _n_
_Winter's Tale_, _A_: at the Globe in 1611, 251 acted at Court, 251 and _n_ based on Greene's _Pandosto_, 251 a few lines taken from the 'Decameron,' 251 and _n_ the presentation of country life, 251 _For_ editions _see_ Section xix. (Bibliography), 305-25
'Wire,' use of the word, for women's hair, 118 and _n_ 2
Wise, J. R., 363
Wither, George, 388 399 _n_ 2
'Wittes Pilgrimage,' Davies's, 441 _n_ 2
Women, excluded from Elizabethan stage, 38 and _n_ 2 in masques at Court, 38 _n_ 2 on the Restoration stage, 334
Women, addresses to, in sonnets, 92 117-20 122 _n_ 123 124 154
Woncot in _Henry IV_ identical with Woodmancote, 168
Wood, Anthony a, on the Earl of Pembroke, 414
Woodmancote. _See_ Woncot
Worcester, Earl of, his company of actors at Stratford, 10 35 under the patronage of Queen Anne of Denmark, 231 _n_
Worcester, registry of the diocese of, 3 20
Wordsworth, Bishop Charles, on Shakespeare and the Bible, 17 _n_ 1
Wordsworth, William, the poet, on German and French aesthetic criticism, 344 349
Wotton, Sir Henry, on the burning of the Globe Theatre, 260 261 _n_
Wright, Dr. Aldis, 314 _n_ 325
Wright, John, bookseller, 90
Wriothesley, Lord, 381
Wroxhall, the Shakespeares of, 3
Wyatt, Sir Thomas, sonnetteering of, 83 95 101 _n_ 4 427 his translations of Petrarch's sonnets, 104 _n_ 4
Wyman, W. H., 372
Wyndham, Mr. George, on the sonnets, 91 _n_ 110 _n_ on _Antony and Cleopatra_, 245 _n_ on Jacobean typography, 419 _n_
Y
Yonge, Bartholomew, translation of 'Diana' by, 53
_Yorkshire Tragedy_, _The_, 180 243 313
Z
Zepheria, a collection of sonnets called, 435 legal terminology in, 32 _n_ 2 435 the praise of Daniel's 'Delia' in, 431 435 436
FOOTNOTES.
{vii} Arnold wrote 'spiritual,' but the change of epithet is needful to render the dictum thoroughly pertinent to the topic under consideration.
{ix} I have already published portions of the papers on Shakespeare's relations with the Earls of Pembroke and Southampton in the _Fortnightly Review_ (for February of this year) and in the _Cornhill Magazine_ (for April of this year), and I have to thank the proprietors of those periodicals for permission to reproduce my material in this volume.
{x} For an account of its history see p. 295.
{xi} See pp. 309 and 311.
{1a} Camden, _Remaines_, ed. 1605, p. III; Verstegan, _Restitution_, 1605.
{1b} _Plac. Cor._ 7 Edw. I, Kanc.; cf. _Notes and Queries_, 1st ser. xi.122.
{1c} Cf. the _Register of the Guild of St. Anne at Knowle_, ed. Bickley, 1894.
{2} See p. 189.
{3a} Cf. _Times_, October 14, 1895; _Notes and Queries_, 8th ser. viii. 501; articles by Mrs. Stopes in _Genealogical Magazine_, 1897.
{3b} Cf. Halliwell-Phillipps, _Outlines of the Life of Shakespeare_, 1887, ii. 207.
{3c} The purchasing power of money was then eight times what it is now, and this and other sums mentioned should be multiplied by eight in comparing them with modern currency (see p. 197 _n_). The letters of administration in regard to Richard Shakespeare's estate are in the district registry of the Probate Court at Worcester, and were printed in full by Mr. Halliwell-Phillipps in his _Shakespeare's Tours_ (privately issued 1887), pp. 44-5. They do not appear in any edition of Mr. Halliwell-Phillipps's _Outlines_. Certified extracts appeared in _Notes and Queries_, 8th ser. xii. 463-4.
{6} French, _Genealogica Shakespeareana_, pp. 458 seq.; cf. p. 191 _infra_.
{7} Halliwell-Phillipps, ii. 179.
{8} Cf. Halliwell-Phillipps, Letter to Elze, 1888.
{9} Cf. Documents and Sketches in Halliwell-Phillipps, i. 377-99.
{10} The Rev. Thomas Carter, in _Shakespeare_, _Puritan and Recusant_, 1897, has endeavoured to show that John Shakespeare was a puritan in religious matters, inclining to nonconformity. He deduces this inference from the fact that, at the period of his prominent association with the municipal government of Stratford, the corporation ordered images to be defaced (1562-3) and ecclesiastical vestments to be sold (1571). These entries merely prove that the aldermen and councillors of Stratford strictly conformed to the new religion as by law established in the first years of Elizabeth's reign. Nothing can be deduced from them in regard to the private religious opinions of John Shakespeare. The circumstance that he was the first bailiff to encourage actors to visit Stratford is, on the other hand, conclusive proof that his religion was not that of the contemporary puritan, whose hostility to all forms of dramatic representations was one of his most persistent characteristics. The Elizabethan puritans, too, according to Guillim's _Display of Heraldrie_ (1610), regarded coat-armour with abhorrence, yet John Shakespeare with his son made persistent application to the College of Arms for a grant of arms. (Cf. _infra_, p. 187 seq.)
{12a} The sum is stated to be 4 pounds in one document (Halliwell-Phillipps, ii. 176) and 40 pounds in another (_ib._ p. 179); the latter is more likely to be correct.
{12b} _Ib._ ii. 238.
{12c} Efforts recently made to assign the embarrassments of Shakespeare's father to another John Shakespeare of Stratford deserve little attention. The second John Shakespeare or Shakspere (as his name is usually spelt) came to Stratford as a young man in 1584, and was for ten years a well-to-do shoemaker in Bridge Street, filling the office of Master of the Shoemakers' Company in 1592--a certain sign of pecuniary stability. He left Stratford in 1594 (cf. Halliwell-Phillipps, 137-40).
{13} James Russell Lowell, who noticed some close parallels between expressions of Shakespeare and those of the Greek tragedians, hazarded the suggestion that Shakespeare may have studied the ancient drama in a _Grace et Latine_ edition. I believe Lowell's parallelisms to be no more than curious accidents--proofs of consanguinity of spirit, not of any indebtedness on Shakespeare's part. In the _Electra_ of Sophocles, which is akin in its leading motive to _Hamlet_, the Chorus consoles Electra for the supposed death of Orestes with the same commonplace argument as that with which Hamlet's mother and uncle seek to console him. In _Electra_, are the lines 1171-3:
[Greek text]
(_i.e._ 'Remember, Electra, your father whence you sprang is mortal. Mortal, too, is Orestes. Wherefore grieve not overmuch, for by all of us has this debt of suffering to be paid'). In _Hamlet_ (I. ii. 72 sq.) are the familiar sentences:
Thou know'st 'tis common; all that live must die. But you must know, your father lost a father; That father lost, lost his . . . But to persever In obstinate condolement is a course Of impious stubbornness.
Cf. Sophocles's _OEdipus Coloneus_, 880: [Greek text] ('In a just cause the weak vanquishes the strong,' Jebb), and 2 _Henry VI_, iii. 233, 'Thrice is he armed that hath his quarrel just.' Shakespeare's 'prophetic soul' in _Hamlet_ (I. v. 40) and the _Sonnets_ (cvii. I) may be matched by the [Greek text] of Euripides's _Andromache_, 1075; and Hamlet's 'sea of troubles' (III. i. 59) by the [Greek text] of AEschylus's _Persae_, 443. Among all the creations of Shakespearean and Greek drama, Lady Macbeth and AEschylus's Clytemnestra, who 'in man's counsels bore no woman's heart' ([Greek text], _Agamemnon_, II), most closely resemble each other. But a study of the points of resemblance attests no knowledge of AEschylus on Shakespeare's part, but merely the close community of tragic genius that subsisted between the two poets.
{15} Macray, _Annals of the Bodleian Library_, 1890, pp. 379 seq.
{16} Cf. Spencer Baynes, 'What Shakespeare learnt at School,' in _Shakespeare Studies_, 1894, pp. 147 seq.
{17a} Bishop Charles Wordsworth, in his _Shakespeare's Knowledge and Use of the Bible_ (4th edit. 1892), gives a long list of passages for which Shakespeare may have been indebted to the Bible. But the Bishop's deductions as to the strength of Shakespeare's piety are strained.
{17b} See p. 161 _infra_.
{18} Notes of John Dowdall, a tourist in Warwickshire in 1693 (published in 1838).
{21} These conclusions are drawn from an examination of like documents in the Worcester diocesan registry. Many formal declarations of consent on the part of parents to their children's marriages are also extant there among the sixteenth-century archives.
{23} _Twelfth Night_, act v. sc. i. ll. 160-4:
A contract of eternal bond of love, Confirm'd by mutual joinder of your hands, Attested by the holy close of lips, Strengthen'd by interchangement of your rings; And all the ceremony of this compact Seal'd in my [_i.e._ the priest's] function by my testimony.
In _Measure for Measure_ Claudio's offence is intimacy with the Lady Julia after the contract of betrothal and before the formality of marriage (cf. act i. sc. ii. l. 155, act iv. sc. i. l. 73).
{24} No marriage registers of the period are extant at Temple Grafton to inform us whether Anne Whately actually married _her_ William Shakespeare or who precisely the parties were. A Whateley family resided in Stratford, but there is nothing to show that Anne of Temple Grafton was connected with it. The chief argument against the conclusion that the marriage license and the marriage bond concerned different couples lies in the apparent improbability that two persons, both named William Shakespeare, should on two successive days not only be arranging with the Bishop of Worcester's official to marry, but should be involving themselves, whether on their own initiative or on that of their friends, in more elaborate and expensive forms of procedure than were habitual to the humbler ranks of contemporary society. But the Worcester diocese covered a very wide area, and was honeycombed with Shakespeare families of all degrees of gentility. The William Shakespeare whom Anne Whately was licensed to marry may have been of a superior station, to which marriage by license was deemed appropriate. On the unwarranted assumption of the identity of the William Shakespeare of the marriage bond with the William Shakespeare of the marriage license, a romantic theory has been based to the effect that 'Anne Whateley of Temple Grafton,' believing herself to have a just claim to the poet's hand, secured the license on hearing of the proposed action of Anne Hathaway's friends, and hoped, by moving in the matter a day before the Shottery husbandmen, to insure Shakespeare's fidelity to his alleged pledges.
{25a} _Twelfth Night_, act ii. sc. iv. l. 29:
Let still the woman take An elder than herself; so wears she to him, So sways she level in her husband's heart.
{25b} Tempest, act iv. sc. i. ll. 15-22:
If thou dost break her virgin knot before All sanctimonious ceremonies may With full and holy rite be minister'd, No sweet aspersion shall the heavens let fall To make this contract grow; but barren hate, Sour-ey'd disdain, and discord, shall bestrew The union of your bed with weeds so loathly That you shall hate it both.
{26} Halliwell-Phillipps, ii. 11-13.
{27} Cf. Ellacombe, _Shakespeare as an Angler_, 1883; J. E. Harting, _Ornithology of Shakespeare_, 1872. The best account of Shakespeare's knowledge of sport is given by the Right Hon. D. H. Madden in his entertaining and at the same time scholarly _Diary of Master William Silence_: _a Study of Shakespeare and Elizabethan Sport_, 1897.
{28} Cf. C. Holte Bracebridge, _Shakespeare no Deerstealer_, 1862; Lockhart, _Life of Scott_, vii. 123.
{30} Cf. W. J. Thoms, _Three Notelets on Shakespeare_, 1865, pp. 16 seq.
{31a} Cf. Hales, _Notes on Shakespeare_, 1884, pp. 1-24.
{31b} The common assumption that Richard Burbage, the chief actor with whom Shakespeare was associated, was a native of Stratford is wholly erroneous. Richard was born in Shoreditch, and his father came from Hertfordshire. John Heming, another of Shakespeare's actor-friends who has also been claimed as a native of Stratford, was beyond reasonable doubt born at Droitwich in Worcestershire. Thomas Greene, a popular comic actor at the Red Bull Theatre early in the seventeenth century, is conjectured to have belonged to Stratford on no grounds that deserve attention; Shakespeare was in no way associated with him.
{32a} Blades, _Shakspere and Typography_, 1872.
{32b} Cf. Lord Campbell, _Shakespeare's Legal Acquirements_, 1859. Legal terminology abounded in all plays and poems of the period, e.g. Barnabe Barnes's _Sonnets_, 1593, and _Zepheria_, 1594 (see Appendix IX.)
{32c} Commonly assigned to Theophilus Cibber, but written by Robert Shiels and other hack-writers under Cibber's editorship.
{38a} The site of the Blackfriars Theatre is now occupied by the offices of the 'Times' newspaper in Queen Victoria Street, E.C.
{38b} Cf. _Exchequer Lay Subsidies City of London_, 146/369, Public Record Office; _Notes and Queries_, 8th ser. viii. 418.
{38c} Shakespeare alludes to the appearance of men or boys in women's parts when he makes Rosalind say laughingly to the men of the audience in the epilogue to _As you like it_, '_If I were a woman_, I would kiss as many,' etc. Similarly, Cleopatra on her downfall in _Antony and Cleopatra_, V. ii. 220 seq., laments:
the quick comedians Extemporally will stage us . . . and I shall see Some squeaking Cleopatra boy my greatness.
Men taking women's parts seem to have worn masks. Flute is bidden by Quince play Thisbe 'in a mask' in _Midsummer Night's Dream_ (I. ii. 53). In French and Italian theatres of the time women seem to have acted publicly, but until the Restoration public opinion in England deemed the appearance of a woman on a public stage to be an act of shamelessness on which the most disreputable of her sex would hardly venture. With a curious inconsistency ladies of rank were encouraged at Queen Elizabeth's Court, and still more frequently at the Courts of James I and Charles I, to take part in private and amateur representations of masques and short dramatic pageants. During the reign of James I scenic decoration, usually designed by Inigo Jones, accompanied the production of masques in the royal palaces, but until the Restoration the public stages were bare of any scenic contrivance except a front curtain opening in the middle and a balcony or upper platform resting on pillars at the back of the stage, from which portions of the dialogue were sometimes spoken, although occasionally the balcony seems to have been occupied by spectators (cf. a sketch made by a Dutch visitor to London in 1596 of the stage of the Swan Theatre in _Zur Kenntniss der altenglischen Buhne von Karl Theodor Gaedertz_. _Mit der ersten authentischen innern Ansicht der Schwans Theater in London_, Bremen, 1888). Sir Philip Sidney humorously described the spectator's difficulties in an Elizabethan playhouse, where, owing to the absence of stage scenery, he had to imagine the bare boards to present in rapid succession a garden, a rocky coast, a cave, and a battlefield (_Apologie for Poetrie_, p. 52). Three flourishes on a trumpet announced the beginning of the performance, but a band of fiddlers played music between the acts. The scenes of each act were played without interruption.
{40a} Cf. Halliwell-Phillipps's _Visits of Shakespeare's Company of Actors to the Provincial Cities and Towns of England_ (privately printed, 1887). From the information there given, occasionally supplemented from other sources, the following imperfect itinerary is deduced:
1593. Bristol and Shrewsbury.
1594. Marlborough.
1597. Faversham, Bath, Rye, Bristol, Dover and Marlborough.
1603. Richmond (Surrey), Bath, Coventry, Shrewsbury, Mortlake, Wilton House.
1604. Oxford.
1605. Barnstaple and Oxford.
1606. Leicester, Saffron Walden, Marlborough, Oxford, Dover and Maidstone.
1607. Oxford.
1608. Coventry and Marlborough.
1609. Hythe, New Romney and Shrewsbury.
1610. Dover, Oxford and Shrewsbury.
1612. New Romney.
1613. Folkestone, Oxford and Shrewsbury.
1614. Coventry.
{40b} Cf. Knight's _Life of Shakespeare_ (1843), p. 41; Fleay, _Stage_, pp. 135-6.
{41a} The favour bestowed by James VI on these English actors was so marked as to excite the resentment of the leaders of the Kirk. The English agent, George Nicolson, in a (hitherto unpublished) despatch dated from Edinburgh on November 12, 1599, wrote: 'The four Sessions of this Town (without touch by name of our English players, Fletcher and Mertyn [_i.e._ Martyn], with their company), and not knowing the King's ordinances for them to play and be heard, enacted [that] their flocks [were] to forbear and not to come to or haunt profane games, sports, or plays.' Thereupon the King summoned the Sessions before him in Council and threatened them with the full rigour of the law. Obdurate at first, the ministers subsequently agreed to moderate their hostile references to the actors. Finally, Nicolson adds, 'the King this day by proclamation with sound of trumpet hath commanded the players liberty to play, and forbidden their hinder or impeachment therein.' _MS. State Papers_, Dom. Scotland, P. R. O. vol. lxv. No. 64.
{41b} Fleay, _Stage_, pp. 126-44.
{41c} Cf. Duncan's speech (on arriving at Macbeth's castle of Inverness):
This castle hath a pleasant seat; the air Nimbly and sweetly recommends itself Unto our gentle senses. _Banquo_. This guest of summer, The temple-haunting martlet, does approve, By his lov'd mansionry, that the heaven's breath Smells wooingly here. (_Macbeth_, 1. vi. 1-6).
{42a} Cf. Cohn, _Shakespeare in Germany_, 1865; Meissner, _Die englischen Comodianten zur Zeit Shakespeare's in Oesterreich_, Vienna, 1884; Jon Stefansson on 'Shakespeare at Elsinore' in _Contemporary Review_, January 1896; _Notes and Queries_, 5th ser. ix. 43, and xi. 520; and M. Jusserand's article in the _Nineteenth Century_, April 1898, on English actors in France.
{42b} Cf. _As you like it_, IV. i. 22-40.
{43a} Cf. Elze, _Essays_, 1874, pp. 254 seq.
{43b} 'Quality' in Elizabethan English was the technical term for the 'actor's profession.'
{43c} Aubrey's _Lives_, ed. Andrew Clark, ii. 226.
{44a} Halliwell-Phillipps, i. 121; Mrs. Stopes in _Jahrbuck der deutschen Shakespeare-Gesellschaft_, 1896, xxxii. 182 seq.
{44b} _Scourge of Folly_, 1610, epigr. 159.
{47} One of the many crimes laid to the charge of the dramatist Robert Greene was that of fraudulently disposing of the same play to two companies. 'Ask the Queen's players,' his accuser bade him in Cuthbert Cony-Catcher's _Defence of Cony-Catching_, 1592, 'if you sold them not _Orlando Furioso_ for twenty nobles [_i.e._ about 7 pounds], and when they were in the country sold the same play to the Lord Admiral's men for as many more.'
{48} The playhouse authorities deprecated the publishing of plays in the belief that their dissemination in print was injurious to the receipts of the theatre. A very small proportion of plays acted in Elizabeth's and James I's reign consequently reached the printing press, and most of them are now lost. But in the absence of any law of copyright publishers often defied the wishes of the owner of manuscripts. Many copies of a popular play were made for the actors, and if one of these copies chanced to fall into a publisher's hands, it was habitually issued without any endeavour to obtain either author's or manager's sanction. In March 1599 the theatrical manager Philip Henslowe endeavoured to induce a publisher who had secured a playhouse copy of the comedy of _Patient Grissell_ by Dekker, Chettle, and Haughton to abandon the publication of it by offering him a bribe of 2 pounds. The publication was suspended till 1603 (cf. Henslowe's _Diary_, p. 167). As late as 1633 Thomas Heywood wrote of 'some actors who think it against their peculiar profit to have them [_i.e._ plays] come into print.' (_English Traveller_, pref.)
{49} W. S. Walker in his _Shakespeare's Versification_, 1854, and Charles Bathurst in his _Difference in Shakespeare's Versification at different Periods of his Life_, 1857, were the first to point out the general facts. Dr. Ingram's paper on 'The Weak Endings' in _New Shakspere Society's Transactions_ (1874), vol. i., is of great value. Mr. Fleay's metrical tables, which first appeared in the same society's _Transactions_ (1874), and have been reissued by Dr. Furnivall in a somewhat revised form in his introduction to Gervinus's _Commentaries_ and in his _Leopold Shakspere_, give all the information possible.
{51} The hero is the King of Navarre, in whose dominions the scene is laid. The two chief lords in attendance on him in the play, Biron and Longaville, bear the actual names of the two most strenuous supporters of the real King of Navarre (Biron's later career subsequently formed the subject of two plays by Chapman, _The Conspiracie of Duke Biron_ and _The Tragedy of Biron_, which were both produced in 1605). The name of the Lord Dumain in _Love's Labour's Lost_ is a common anglicised version of that Duc de Maine or Mayenne whose name was so frequently mentioned in popular accounts of French affairs in connection with Navarre's movements that Shakespeare was led to number him also among his supporters. Mothe or La Mothe, the name of the pretty, ingenious page, was that of a French ambassador who was long popular in London; and, though he left England in 1583, he lived in the memory of playgoers and playwrights long after _Love's Labour's Lost_ was written. In Chapman's _An Humourous Day's Mirth_, 1599, M. Le Mot, a sprightly courtier in attendance on the King of France, is drawn from the same original, and his name, as in Shakespeare's play, suggests much punning on the word 'mote.' As late as 1602 Middleton, in his _Blurt_, _Master Constable_, act ii. scene ii. line 215, wrote:
Ho God! Ho God! thus did I revel it When Monsieur Motte lay here ambassador.
Armado, 'the fantastical Spaniard' who haunts Navarre's Court, and is dubbed by another courtier 'a phantasm, a Monarcho,' is a caricature of a half-crazed Spaniard known as 'fantastical Monarcho' who for many years hung about Elizabeth's Court, and was under the delusion that he owned the ships arriving in the port of London. On his death Thomas Churchyard wrote a poem called _Fantasticall Monarcho's Epitaph_, and mention is made of him in Reginald Scott's _Discoverie of Witchcraft_, 1584, p. 54. The name Armado was doubtless suggested by the expedition of 1588. Braggardino in Chapman's _Blind Beggar of Alexandria_, 1598, is drawn on the same lines. The scene (_Love's Labour's Lost_, V. ii. 158 sqq.) in which the princess's lovers press their suit in the disguise of Russians follows a description of the reception by ladies of Elizabeth's Court in 1584 of Russian ambassadors who came to London to seek a wife among the ladies of the English nobility for the Tsar (cf. Horsey's _Travels_, ed. E. A. Bond, Hakluyt Soc.) For further indications of topics of the day treated in the play, see A New Study of "Love's Labour's Lost,"' by the present writer, in _Gent. Mag_, Oct. 1880; and _Transactions of the New Shakspere Society_, pt. iii. p. 80*. The attempt to detect in the schoolmaster Holofernes a caricature of the Italian teacher and lexicographer, John Florio, seems unjustified (see p. 85 n).
{53} Cf. Fleay, _Life_, pp. 188 seq.
{55a} The story, which has been traced back to the Greek romance _Anthia and Abrocomas_ by Xenophon Ephesius, a writer of the second century, seems to have been first told in modern Europe about 1470 by Masuccio in his _Novellino_ (No. xxxiii.: cf. Mr. Waters's translation, ii. 155-65). It was adapted from Masuccio by Luigi da Porto in his novel, _La Giulietta_, 1535, and by Bandello in his _Novelle_, 1554, pt. ii., No. ix. Bandello's version became classical; it was translated in the _Histoires Tragiques_ of Francoisde Belleforest (Paris, 1559) by Pierre Boaistuau de Launay, an occasional collaborator with Belleforest. At the same time as Shakespeare was writing _Romeo and Juliet_, Lope de Vega was dramatising the tale in his Spanish play called _Castelvines y Monteses_ (_i.e._ Capulets and Montagus). For an analysis of Lope's play, which ends happily, see _Variorum Shakespeare_, 1821, xxi. 451-60.
{55b} Cf. _Originals and Analogues_, pt. i. ed. P. A. Daniel, New Shakspere Society.
{56} Cf. _Parallel Texts_, ed. P. A. Daniel, New Shakspere Society; Fleay, _Life_, pp. 191 seq.
{60} Cf. Fleay, _Life_, pp. 235 seq.; _Trans. New Shakspere Soc_., 1876, pt. ii. by Miss Jane Lee; Swinburne, _Study_, pp. 51 seq.
{62} In later life Shakespeare, in _Hamlet_, borrows from Lyly's _Euphues_ Polonius's advice to Laertes; but, however he may have regarded the moral sentiment of that didactic romance, he had no respect for the affectations of its prose style, which he ridiculed in a familiar passage in I _Henry IV_, II. iv. 445: 'For though the camomile, the more it is trodden on, the faster it grows, yet youth the more it is wasted, the sooner it wears.'
{65} Henslowe, p. 24.
{66a} Cf. Cohn, _Shakespeare in Germany_, pp. 155 et seq.
{66b} Arber, ii. 644.
{66c} Cf. W. G. Waters's translation of _Il Pecorone_, pp. 44-60 (fourth day, novel 1). The collection was not published till 1558, and the story followed by Shakespeare was not accessible in his day in any language but the original Italian.
{68} Lopez was the Earl of Leicester's physician before 1586, and the Queen's chief physician from that date. An accomplished linguist, with friends in all parts of Europe, he acted in 1590, at the request of the Earl of Essex, as interpreter to Antonio Perez, a victim of Philip II's persecution, whom Essex and his associates brought to England in order to stimulate the hostility of the English public to Spain. Don Antonio (as the refugee was popularly called) proved querulous and exacting. A quarrel between Lopez and Essex followed. Spanish agents in London offered Lopez a bribe to poison Antonio and the Queen. The evidence that he assented to the murderous proposal is incomplete, but he was convicted of treason, and, although the Queen long delayed signing his death-warrant, he was hanged at Tyburn on June 7, 1594. His trial and execution evoked a marked display of anti-Semitism on the part of the London populace. Very few Jews were domiciled in England at the time. That a Christian named Antonio should be the cause of the ruin alike of the greatest Jew in Elizabethan England and of the greatest Jew of the Elizabethan drama is a curious confirmation of the theory that Lopez was the begetter of Shylock. Cf. the article on Roderigo Lopez in the _Dictionary of National Biography_; 'The Original of Shylock,' by the present writer, in _Gent. Mag._ February 1880; Dr. H. Graetz, _Shylock in den Sagen_, _in den Dramen and in der Geschichte_, Krotoschin, 1880; _New Shakspere Soc. Trans._ 1887-92, pt. ii. pp. 158-92; 'The Conspiracy of Dr. Lopez,' by the Rev. Arthur Dimock, in _English Historical Review_ (1894), ix. 440 seq.
{70} _Gesta Grayorum_, printed in 1688 from a contemporary manuscript. A second performance of the _Comedy of Errors_ was given at Gray's Inn Hall by the Elizabethan Stage Society on Dec. 6, 1895.
{72a} Cf. Swinburne, _Study of Shakspere_, pp. 231-74.
{72b} See p. 89.
{73} Cf. Dodsley's _Old Plays_, ed. W. C. Hazlitt, 1874, vii. 236-8.
{74} See Appendix, sections iii. and iv.
{75a} See Ovid's _Amores_, liber i. elegy xv. ll. 35-6. Ovid's _Amores_, or Elegies of Love, were translated by Marlowe about 1589, and were first printed without a date on the title-page, probably about 1597. Marlowe's version had probably been accessible in manuscript in the eight years' interval. Marlowe rendered the lines quoted by Shakespeare thus:
Let base conceited wits admire vile things, Fair Phoebus lead me to the Muses' springs!
{75b} _Shakespeare's Venus and Adonis and Lodge's Scillaes Metamorphosis_, by James P. Reardon, in 'Shakespeare Society's Papers,' iii. 143-6. Cf. Lodge's description of Venus's discovery of the wounded Adonis:
Her daintie hand addrest to dawe her deere, Her roseall lip alied to his pale cheeke, Her sighs and then her lookes and heavie cheere, Her bitter threates, and then her passions meeke; How on his senseles corpse she lay a-crying, As if the boy were then but new a-dying.
In the minute description in Shakespeare's poem of the chase of the hare (ll. 673-708) there are curious resemblances to the _Ode de la Chasse_ (on a stag hunt) by the French dramatist, Estienne Jodelle, in his _OEuvres et Meslanges Poetiques_, 1574.
{77a} Rosamond, in Daniel's poem, muses thus when King Henry challenges her honour:
But what? he is my King and may constraine me; Whether I yeeld or not, I live defamed. The World will thinke Authoritie did gaine me, I shall be judg'd his Love and so be shamed; We see the faire condemn'd that never gamed, And if I yeeld, 'tis honourable shame. If not, I live disgrac'd, yet thought the same.
{77b} Watson makes this comment on his poem or passion on Time, (No. lxxvii.): 'The chiefe contentes of this Passion are taken out of Seraphine [_i.e._ Serafino], Sonnet 132:
Col tempo passa[n] gli anni, i mesi, e l'hore, Col tempo le richeze, imperio, e regno, Col tempo fama, honor, fortezza, e ingegno, Col tempo giouentu, con belta more, &c.'
Watson adds that he has inverted Serafino's order for 'rimes sake,' or 'upon some other more allowable consideration.' Shakespeare was also doubtless acquainted with Giles Fletcher's similar handling of the theme in Sonnet xxviii. of his collection of sonnets called _Licia_ (1593).
{79} 'Excellencie of the English Tongue' in Camden's _Remaines_, p. 43.
{80} All these and all that els the Comick Stage With seasoned wit and goodly pleasance graced, By which mans life in his likest image Was limned forth, are wholly now defaced . . . And he, the man whom Nature selfe had made To mock her selfe and Truth to imitate, With kindly counter under mimick shade, Our pleasant Willy, ah! is dead of late; With whom all joy and jolly meriment Is also deaded and in dolour drent.--(ll. 199-210).
{81a} A note to this effect, in a genuine early seventeenth-century hand, was discovered by Halliwell-Phillipps in a copy of the 1611 edition of Spenser's _Works_ (cf. _Outlines_, ii. 394-5).
{81b}
But that same gentle spirit, from whose pen Large streames of bonnie and sweete nectar flowe, Scorning the boldnes of such base-borne men Which dare their follies forth so rashlie throwe, Doth rather choose to sit in idle cell Than so himselfe to mockerie to sell (ll. 217-22).
{83} Section IX. of the Appendix to this volume gives a sketch of each of the numerous collections of sonnets which bore witness to the unexampled vogue of the Elizabethan sonnet between 1591 and 1597.
{84} Minto, _Characteristics of English Poetry_, 1885, pp. 371, 382. The sonnet, headed 'Phaeton to his friend Florio,' runs:
Sweet friend whose name agrees with thy increase How fit arrival art thou of the Spring! For when each branch hath left his flourishing, And green-locked Summer's shady pleasures cease: She makes the Winter's storms repose in peace, And spends her franchise on each living thing: The daisies sprout, the little birds do sing, Herbs, gums, and plants do vaunt of their release. So when that all our English Wits lay dead, (Except the laurel that is ever green) Thou with thy Fruit our barrenness o'erspread, And set thy flowery pleasance to be seen. Such fruits, such flow'rets of morality, Were ne'er before brought out of Italy.
Cf. Shakespeare's Sonnet xcviii. beginning:
When proud-pied April, dress'd in all his trim, Hath put a spirit of youth in everything.
But like descriptions of Spring and Summer formed a topic that was common to all the sonnets of the period. Much has been written of Shakespeare's alleged acquaintance with Florio. Farmer and Warburton argue that Shakespeare ridiculed Florio in Holofernes in _Love's Labour's Lost_. They chiefly rely on Florio's bombastic prefaces to his _Worlde of Wordes_ and his translation of Montaigne's _Essays_ (1603). There is nothing there to justify the suggestion. Florio writes more in the vein of Armado than of Holofernes, and, beyond the fact that he was a teacher of languages to noblemen, he bears no resemblance to Holofernes, a village schoolmaster. Shakespeare doubtless knew Florio as Southampton's _protege_, and read his fine translation of Montaigne's _Essays_ with delight. He quotes from it in _The Tempest_: see p. 253.
{86} Shakespeare writes in his Sonnets:
My glass shall not persuade me I am old (xxii. 1.). But when my glass shows me myself indeed, Beated and chopp'd with tann'd antiquity (lxii. 9-10). That time of year thou mayst in me behold When yellow leaves, or none, or few do hang (lxxiii. 1-2). My days are past the best (cxxxviii. 6).
Daniel in _Delia_ (xxiii.) in 1591, when twenty-nine years old, exclaimed:
My years draw on my everlasting night, . . . My days are done.
Richard Barnfield, at the age of twenty, bade the boy Ganymede, to whom he addressed his _Affectionate Shepherd_ and a sequence of sonnets in 1594 (ed. Arber, p. 23):
Behold my gray head, full of silver hairs, My wrinkled skin, deep furrows in my face.
Similarly Drayton in a sonnet (_Idea_, xiv.) published in 1594, when he was barely thirty-one, wrote:
Looking into the glass of my youth's miseries, I see the ugly face of my deformed cares With withered brows all wrinkled with despairs;
and a little later (No. xliii. of the 1599 edition) he repeated how
Age rules my lines with wrinkles in my face.
All these lines are echoes of Petrarch, and Shakespeare and Drayton followed the Italian master's words more closely than their contemporaries. Cf. Petrarch's Sonnet cxliii. (to Laura alive), or Sonnet lxxxi. (to Laura after death); the latter begins:
Dicemi spesso il mio fidato speglio, L'animo stanco e la cangiata scorza E la scemata mia destrezza e forza: Non ti nasconder piu: tu se' pur veglio.
(_i.e._ 'My faithful glass, my weary spirit and my wrinkled skin, and my decaying wit and strength repeatedly tell me: "It cannot longer be hidden from you, you are old."')
{88} The Sonnets of Sidney, Watson, Daniel, and Constable long circulated in manuscript, and suffered much the same fate as Shakespeare's at the hands of piratical publishers. After circulating many years in manuscript, Sidney's Sonnets were published in 1591 by an irresponsible trader, Thomas Newman, who in his self-advertising dedication wrote of the collection that it had been widely 'spread abroad in written copies,' and had 'gathered much corruption by ill writers' [i.e. copyists]. Constable produced in 1592 a collection of twenty sonnets in a volume which he entitled 'Diana.' This was an authorised publication. But in 1594 a printer and a publisher, without Constable's knowledge or sanction, reprinted these sonnets and scattered them through a volume of nearly eighty miscellaneous sonnets by Sidney and many other hands; the adventurous publishers bestowed on their medley the title of 'Diana,' which Constable had distinctively attached to his own collection. Daniel suffered in much the same way. See Appendix IX. for further notes on the subject. Proofs of the commonness of the habit of circulating literature in manuscript abound. Fulke Greville, writing to Sidney's father-in-law, Sir Francis Walsingham, in 1587, expressed regret that uncorrected manuscript copies of the then unprinted _Arcadia_ were 'so common.' In 1591 Gabriel Cawood, the publisher of Robert Southwell's _Mary Magdalen's Funeral Tears_, wrote that manuscript copies of the work had long flown about 'fast and false.' Nash, in the preface to his _Terrors of the Night_, 1594, described how a copy of that essay, which a friend had 'wrested' from him, had 'progressed [without his authority] from one scrivener's shop to another, and at length grew so common that it was ready to be hung out for one of their figures [_i.e._ shop-signs], like a pair of indentures.'
{89a} Cf. Sonnet lxix. 12:
To thy fair flower add the rank smell of weeds.
{89b} For other instances of the application of this epithet to Shakespeare's work, see p. 179, note 1.
{90} The actor Alleyn paid fivepence for a copy in that month (cf. Warner's _Dulwich MSS._ p. 92).
{91} The chief editions of the sonnets that have appeared, with critical apparatus, of late years are those of Professor Dowden (1875, reissued 1896), Mr. Thomas Tyler (1890), and Mr. George Wyndham, M.P. (1898). Mr. Gerald Massey's _Secret Drama of Shakespeare's Sonnets_--the text of the poems with a full discussion--appeared in a second revised edition in 1888. I regret to find myself in more or less complete disagreement with all these writers, although I am at one with Mr. Massey in identifying the young man to whom many of the sonnets were addressed with the Earl of Southampton. A short bibliography of the works advocating the theory that the sonnets were addressed to William, third Earl of Pembroke, is given in Appendix VI., 'Mr. William Herbert,' note 1.
{93} It has been wrongly inferred that Shakespeare asserts in Sonnets cxxxv-vi. and cxliii. that the young friend to whom he addressed some of the sonnets bore his own christian name of Will (see for a full examination of these sonnets Appendix VIII.) Further, it has been fantastically suggested that the line (xx. 7) describing the youth as 'A man in hue, all hues in his controlling' (_i.e._ a man in colour or complexion whose charms are so varied as to appear to give his countenance control of, or enable it to assume, all manner of fascinating hues or complexions), and other applications to the youth of the ordinary word 'hue,' imply that his surname was Hughes. There is no other pretence of argument for the conclusion, which a few critics have hazarded in all seriousness, that the friend's name was William Hughes. There was a contemporary musician called William Hughes, but no known contemporary of the name, either in age or position in life, bears any resemblance to the young man who is addressed by Shakespeare in his sonnets.
{94} See Appendix VI., 'Mr. William Herbert;' and VII., 'Shakespeare and the Earl of Pembroke.'
{95a} The full results of my researches into Thorpe's history, his methods of business, and the significance of his dedicatory addresses, of which four are extant besides that prefixed to the volume of Shakespeare's Sonnets in 1609, are given in Appendix V., 'The True History of Thomas Thorpe and "Mr. W. H."'
{95b} The form of fourteen-line stanza adopted by Shakespeare is in no way peculiar to himself. It is the type recognised by Elizabethan writers on metre as correct and customary in England long before he wrote. George Gascoigne, in his _Certayne Notes of Instruction concerning the making of Verse or Ryme in English_ (published in Gascoigne's _Posies_, 1575), defined sonnets thus: 'Fouretene lynes, every lyne conteyning tenne syllables. The first twelve to ryme in staves of foure lynes by cross metre and the last two ryming togither, do conclude the whole.' In twenty-one of the 108 sonnets of which Sidney's collection entitled _Astrophel and Stella_ consists, the rhymes are on the foreign model and the final couplet is avoided. But these are exceptional. As is not uncommon in Elizabethan sonnet-collections, one of Shakespeare's sonnets (xcix.) has fifteen lines; another (cxxvi.) has only twelve lines, and those in rhymed couplets (cf. Lodge's _Phillis_, Nos. viii. and xxvi.) and a third (cxlv.) is in octosyllabics. But it is very doubtful whether the second and third of these sonnets rightly belong to Shakespeare's collection. They were probably written as independent lyrics: see p. 97, note 1.
{96} If the critical ingenuity which has detected a continuous thread of narrative in the order that Thorpe printed Shakespeare's sonnets were applied to the booksellers' miscellany of sonnets called _Diana_ (1594), that volume, which rakes together sonnets on all kinds of amorous subjects from all quarters and numbers them consecutively, could be made to reveal the sequence of an individual lover's moods quite as readily, and, if no external evidence were admitted, quite as convincingly, as Thorpe's collection of Shakespeare's sonnets. Almost all Elizabethan sonnets are not merely in the like metre, but are pitched in what sounds superficially to be the same key of pleading or yearning. Thus almost every collection gives at a first perusal a specious and delusive impression of homogeneity.
{97} Shakespeare merely warns his 'lovely boy' that, though he be now the 'minion' of Nature's 'pleasure,' he will not succeed in defying Time's inexorable law. Sidney addresses in a lighter vein Cupid--'blind hitting boy,' he calls him--in his _Astrophel_ (No. xlvi.) Cupid is similarly invoked in three of Drayton's sonnets (No. xxvi. in the edition of 1594, and Nos. xxxiii. and xxxiv. in that of 1605), and in six in Fulke Greville's collection entitled _Coelica_ (cf. lxxxiv., beginning 'Farewell, sweet boy, complain not of my truth'). Lyly, in his _Sapho and Phao_, 1584, and in his _Mother Bombie_, 1598, has songs of like temper addressed in the one case to 'O Cruel love!' and in the other to 'O Cupid! monarch over kings.' A similar theme to that of Shakespeare's Sonnet cxxvi. is treated by John Ford in the song, 'Love is ever dying,' in his tragedy of the _Broken Heart_, 1633.
{98} See p. 113, note 2.
{101a} 1547-1604. Cf. De Brach, _OEuvres Poetiques_, edited by Reinhold Dezeimeris, 1861, i. pp. 59-60.
{101b} See Appendix IX.
{101c} Section X. of the Appendix to this volume supplies a bibliographical note on the sonnet in France between 1550 and 1600, with a list of the sixteenth-century sonnetteers of Italy.
{101d} Gabriel Harvey, in his _Pierces Supererogation_ (1593, p. 61), after enthusiastic commendation of Petrarch's sonnets ('Petrarch's invention is pure love itself; Petrarch's elocution pure beauty itself'), justifies the common English practice of imitating them on the ground that 'all the noblest Italian, French, and Spanish poets have in their several veins Petrarchized; and it is no dishonour for the daintiest or divinest Muse to be his scholar, whom the amiablest invention and beautifullest elocution acknowledge their master.' Both French and English sonnetteers habitually admit that they are open to the charge of plagiarising Petrarch's sonnets to Laura (cf. Du Bellay's _Les Amours_, ed. Becq de Fouquieres, 1876, p. 186, and Daniel's _Delia_, Sonnet xxxviii.) The dependent relations in which both English and French sonnetteers stood to Petrarch may be best realised by comparing such a popular sonnet of the Italian master as No. ciii. (or in some editions lxxxviii.) in _Sonetti in Vita di M. Laura_, beginning 'S' amor non e, che dunque e quel ch' i' sento?' with a rendering of it into French like that of De Baif in his _Amours de Francine_ (ed. Becq de Fouquieres, p. 121), beginning, 'Si ce n'est pas Amour, que sent donques mon coeur?' or with a rendering of the same sonnet into English like that by Watson in his _Passionate Century_, No. v., beginning, 'If 't bee not love I feele, what is it then?' Imitation of Petrarch is a constant characteristic of the English sonnet throughout the sixteenth century from the date of the earliest efforts of Surrey and Wyatt. It is interesting to compare the skill of the early and late sonnetteers in rendering the Italian master. Petrarch's sonnet _In vita di M. Laura_ (No. lxxx. or lxxxi., beginning 'Cesare, poi che 'l traditor d' Egitto') was independently translated both by Sir Thomas Wyatt, about 1530 (ed. Bell, p. 60), and by Francis Davison in his _Poetical Rhapsody_ (1602, ed. Bullen, i. 90). Petrarch's sonnet (No. xcv. or cxiii.) was also rendered independently both by Wyatt (cf. Puttenham's _Arte of English Poesie_, ed. Arber, p. 23) and by Drummond of Hawthornden (ed. Ward, i. 100, 221).
{103a} Eight of Watson's sonnets are, according to his own account, renderings from Petrarch; twelve are from Serafino dell' Aquila (1466-1500); four each come from Strozza, an Italian poet, and from Ronsard; three from the Italian poet Agnolo Firenzuola (1493-1548); two each from the French poet, Etienne Forcadel, known as Forcatulus (1514?-1573), the Italian Girolamo Parabosco (_fl._ 1548), and AEneas Sylvius; while many are based on passages from such authors as (among the Greeks) Sophocles, Theocritus, Apollonius of Rhodes (author of the epic 'Argonautica'); or (among the Latins) Virgil, Tibullus, Ovid, Horace, Propertius, Seneca, Pliny, Lucan, Martial, and Valerius Flaccus; or (among other modern Italians) Angelo Poliziano (1454-1494) and Baptista Mantuanus (1448-1516); or (among other modern Frenchmen) Gervasius Sepinus of Saumur, writer of eclogues after the manner of Virgil and Mantuanus.
{103b} No importance can be attached to Drayton's pretensions to greater originality than his neighbours. The very line in which he makes the claim ('I am no pick-purse of another's wit') is a verbatim theft from a sonnet of Sir Philip Sidney.
{103c} Lodge's _Margarite_, p. 79. See Appendix IX. for the text of Desportes's sonnet (_Diane_,