I N TR O D U C TI O N

SHA KESPEA R IA N STU DY . C O L L I N S ’

SCHOOL AND COLLEGE CLASSICS,

I I N A N D TE W TH I NTROD UCT O S N O S.

i e 1 clo t/z. Fcap. 8270} pr c s. ,

’

A . A E PE T D M o nm s B . H KE SPEA RE S M S b Rev . . S T , y ,

V E I E b R ev D I B A M ERC H A N T O F N C . . O RR S . , y M ,

R IS B A I b R D MO R . CH A RD ev . . R I I , y . ,

W LA W N Rx CH A RD b M . SO . I I I , y

K I N G E N Y b WM L AW N R V . SO . H I I I , y

I N A b W B KEM H E D G LE R . . S A K , y Dr .

A CB ETH b A M U E L EI L M , y S N ,

A s YO U I K E I T b A M UE L EI L L , y S N ,

U L I US CE S A R b A M UE L EI L J , y S N ,

’ M x L'rO N s PA RA m SE O ST B oks I and o mus et b S G . DAV I o C c . . L , I I , , , y J .

' M A nLo w s DWA RD b Rev F LE A Y M A G F . . E I I , y . . . , ’ uIIi ns $ ch uuL aun 6 011n massi n g .

I NTRO DUCTION

SHAKESPEARIAN STUDY.

F G F L E A Y . . ,

“ ’ A UTHO R o p rm: SHA K ESPEA RE MA N UA L.

L O N D O N A N D G L A SG O W

W L L M C O L L N S SO N S A N D I I A I , , c o .

P R E F E A C .

A S S a I have already published one book on hakespe re, I — am bo und to anti cipate the o bjection Wh y write another that goes in som e measure over the same ground ? Th e

A for answer is not far to seek. book was needed younger

o o wh o readers who have not p wer, and for p pular readers m m c S have not ti e, to aster critical questions oncerning hake wh o m speare, and yet are desirous of acquainting the selves ,

m w o to so e extent, ith the results of those investigati ns that m have been ade . I have been repeatedly asked to publish,

m M a n u al in a separate for , the portions of my which are f T o v . o independent any subjecti e theories his is not, h wever, a T o m wh t I have done . his book has nothing in c m on with M an u a l on the but what is common to all general treatises , o r c of S intro d c ritical editions , hakespeare . It is partly an u o ti n and partly a supplement to the larger work, yet I trust complete in itself.

' Th e b o ok difiers from the previous one in the following parti culars

1 m for o . It is eant y unger readers, and a more popular, n ot so critical a publi c ; although there are in it things that

a I trust may be useful even to the l tter . ’ 2 . o o f S 1616 I t nly extends to the end hakespeare s life, , instead of embracing the who le histo ry of the Eli z abethan

d a m an Jacobe n dra a . o c m c v 3 . I t omits all such t pi s as etrical tests , ontro erted m questions, lists of actors, and atters essential to the more O h advanced student, but a hindrance to the beginner. the other hand, it contains entirely new matter to the extent of 6 PR EFACE.

- of three fourths the book, and the rest has been altogether

- Al afl a l m a re u . written, not condensed from the I y specially mention, among the new matter, the full accounts of the

v doubtful plays , the li es of contemporary dramatists, the ’ m S Lex i con a excerpts on gram ar founded on chmidt s , the o

th e count of the alterations to which plays were subj ect, P C chapter, on the presentation of plays, founded on . hasles the tables compiled from the accounts of revels at court and ’ H n slow s D i a r fin al 1 e y , and the chapter on the connection 0 ’ Shakespeare s plots . But neither this nor its predecessor are

v supposed to contain e erything which a student requires, although this does, I trust, contain all that is needed for popular readers or young students, apart from the ordinary annotations on the text ; and the larger work is meant to S t’ embrace all that, in addition to such books as chmid s ' ’ Gra mmar Lem con and Abbott s , will be needful for some considerable time of study .

Wherever there is a discrepancy in dates, etc , between i M a n u a l I n trodu cti on the I n tr oduct on and the , the may be Th e ff generally trusted . di erences are due to the stereotyp

M a n ual ing of the by the publishers without my knowledge, and the consequent perpetuation of the errata, a list of which was sent them by me in August 1876. I believe that the f great care of the printers, and my urther experience in v I ntrodu cti correcting for the press, ha e kept the on nearly ’ ’ free from printer s errors . To the friends who have formerly aided me by their encouragement to further work, I wish now to add the Dr S names of Ingleby and the American hakespearians , Messrs Crosby and Furness ; to the critics who have so cordially welcomed me, I tender my sincere thanks , in trust that their encouragement may produce in me still better and more useful work.

F G . LEAY . F .

AV ON DA LE S UA RE D KE NT R A D E 1 8 33 Q , O L O , S. . , 77. O N T E N T S C .

TER I CHAP .

HOW DID SHAKESPEARE LIV E ?

ER I I C HAPT .

WHAT PO EM S AN D ROMANTI C P LAYS DI D S HAKES PEARE WRITE ?

CHAPTER I I I .

\V H AT H ISTORIES O R C H RONI CLE PLAY S DI D SHAKESPEARE WRITE ?

H T C AP ER IV .

WHAT O THER P LAYS HAV E B EEN ASC RI BED TO SHAKE SPEARE ?

C A ER V H PT .

n ow SHO ULD SHAKESPEARE B E READ ?

C H TER V I AP .

’ WHO ACTED P LAYS I N SHAK ESPEAR E S TIM E ?

A TER V I CH P I .

’ WHERE WERE PLAYS ACTED I N SHAK ESPEARE S TIM E ?

CH A PTER V I II .

' WHO WERE SHAKESP EARE S CO NTEM PO RARI ES ? 8 CONTENTs

C TER I X HAP .

O OGR O F A S GE PLAY AUT BI APHY TA ,

TER X CHAP .

’ H O W WERE SHAK ESPEARE S PLAYS REPRESENTED ?

D CU ENT RY A PPEND X O M A I .

’ 1 S O E R W 2 H H . R C F S S E E S T M C AB T A T HAK P A ILL, 5 AR

11. TH E FAM O F S H ES E RE ILY AK P A ,

’ 111 T S ’ ‘ . S O ERS HALL EN RIE A I TATI N ,

S O F R O D T O S LI T Q UA T E I I N ,

v EX R C S F OM TH E CCO S 1: 11 V S AT . T A T R A UNT 0 c RE EL

CO R U T,

’ ’ w G v 1. EX R C S FRO M H ENSLo s D A G IV S O F T A T I RY, IN LI T

PLAYS PE FO M ED AT TH E RO SE E R E 1 2 - 8 8 R R TH AT , 59 7,

’ ‘ ’ v i 1 H EN SLo w s D A CO N N ED 1 - 160 . I RY TI U , 59 7 4, v U R ED U TO S ES E RE m . ALL SION S O SUPPOS ALL SION S HAK P A

BY CO T M P O A S N E R RIE ,

E SUPPLEM ENTARY C HAPT R .

' ? SHAK ESPEARE S PLOTS : 11OW A RE TH EY C ONNECTED I N TR O D U C TI O N

N T D SHA KESPEA RIA S U Y .

TER I C HAP .

HOW D ID SHAKESPEARE LIV E ?

WILLIAM SHAK ESPEARE was the son of J ohn Shakespeare S Willm ecote of tratford , and Mary Arden of , who were m 1 T S arried about 557. his John hakespeare had lived in m 1 H S S o 2 . e w Henley treet, tratford , fr 5 5 at least was ell

- H e ou wa s to . do and respected had copyholds of two h ses , m m S o o o o a burgess , a e ber of the tratf rd c rp rati n , a dealer H e Sn itterfield in gloves and barley. had property in from W illm ecote m m his father, and in fro his wife he beca e an f fix er fin es m a feeror or of for the borough , municipal cha ber

- m o f mm h . lain , and me ber the co on all , in rapid succession O n 2 6th 1 6 a n d son W April 5 4, his third child eldest , illiam,

z S . 1 was bapti ed at tratford Between this date and 575 , we fin d h im m lending money to the borough , aking up the ’ ' m u m b ailifi cha berlain s acco nts , acting as alder an , high , ’ fin ll a m H a S . and y M agister hakespe re , chief alder an e a o u had ls bo ght two houses in H enley Street . W m a illia was prob bly, during the latter part of this period, S mm a S u C n o r T om at tratford Gra r chool , nder urate Hu t h as

Jenkins . B u t 1 a e o n in 577, maybe from poverty, m yb fr m livi g out o f the town o n lands newly acq u ired at Bish o pt on and Wil c m o S m or o be, J hn hakespeare attended the eetings of the c orati on u : o o u m p irreg larly half his b r gh taxes were re itted . ’ 1 8 A sbi es c m o a In 57 , his wife s inheritan e, was rtg ged to E m L m for R d und a bert , who was also security him to oger

a - S dler for a debt of £25 . H e was excused from a po or rate of

- d a . 1 4 . week I n 579 a levy on him for soldiers was left un D T H I O INTRO UCTI O N O S A KESPEARIAN STUDY . W paid . About this date illiam most likely left school at some ’ fifteen c thirteen or years old , and became a lawyer s lerk, or a n o at y rate entered on some occupation for his livelih od . A t the age of eighteen , he married Anne H athaway, seven Th e - 2 8 h N years his senior . marriage bond was dated t ov em

1 8 2 . S R o f ber 5 Fulk andells and John ichardson , farmers

Stratford , became bound in it for the lawful solemnisation of 2 6th m . O n the arriage , with once asking of the banns May ’ 1 8 S W first 5 3 , six months after , usanna , illiam s daughter, was z 2 d ebru ar 1 8 - bapti ed ; and on F y 5 5, his twin children and last,

H amnet and Judith . A John Shakespeare (but there were three of this name in l th 1 86 Stratford) was distrained on g January 5 , a writ issued ’ n o against him , and he deprived of his alderman s gown for t ’ attending at the halls . Whether this was William s father S L 1 8 or not, our dramatist left tratford for ondon about 5 5, T and began his career there in poverty. here is great rea son to believ e that the old tradition of his holding horses at the theatre door during performance time , has a basis of fact and it is almost certain that he v ery soon obtained employ L S ’ ment in the company of ord trange s players , as an actor. T o — here were other c mpanies at this date , namely the ’ ’ m ’ C C Queen s , Pembroke s , Ad iral s , hapel hildren, and Chil ’ Th . e L dren of Paul s chief dramatic writers were illy, K d L T . h e Greene , Peele , Marlow, y , and odge theatrical i world then , as in most t mes , was disturbed by angry rival ' \V e S ries and bitter quarrels . cannot trace hakespeare in 1 8 v firebran N these distinctly till 5 9 , when the ad ent of d ash con fla rati on in London kindled a g among them . Peele and

M arlow on one side , and Greene on the other, had already m had their quarrels ; but then two distinct camps were for ed,

N ash and Greene leading the one, Peele and Marlow the S other . hakespeare belonged to the latter, but took little if o a any part in the quarrel, th ugh he was bitterly att cked by m N G . 1 8 both ash and reene I n this sa e year , 5 9, he prob ably made his first attempt at dramatic writing in the comic ’ portions of the Ta mzng of a S firew in conjunction with his ’ bu t 1 2 friend M arlow ; in 59 , Greene s allusions to him were still aimed at him as an actor , rather than an author, so that it is unlikely that he was generally known to hav e written

n . S anythi g at that date John hakespeare, meanwhile , was o S 1 2 still in possessi n of his house in H enley treet , and in 59 ‘ ’ was described as a credible man employed in m aking an inventory . I n 1 592 Philip Hen slow opened th e Ro se Theatre on the I I INTR ODUCTI O N TO SHAKESPE AR IAN STUDY .

n ew Bankside , and one of the pieces performed in that year / V1 T n ow was H emj . hat this play was the same as that 1 H am V] S a known as y , there is little doubt ; and that h ke ’ speare s contribution at that time consisted of the epis ode of ’ W e T o . alb t s son , John, in the fourth act, is highly probable firs have here the t appearance of Shakespeare as a dramatist, o m th ugh only to the extent of va ping, or at most of aiding in Th e writing a not very high specim en of histo rical drama . u o a th rs of the rest of this play were Marlow, Peele, and per a L Th e o n h ps odge . theatres in the next year were closed ’ account of the plague Lord Strange s company went into

u R o . the co ntry to play, and did not return to the se rom m F this ti e forward, Shakespeare, though he did not ‘ ’ leave his quality of acting, is an acknowledged author as ' 1 Ven us a n d A dam s well . I n 593 he published his , and no d o ubt had produced one or two of his earliest reco gnised ’ ’ L v e s L ab u r s L o o o ost . plays, , etc But it will be m re con v en ient to to treat of these plays separately, and not inter o rupt the regular narrative f his life by noticing them here, as u their dates are still in many instances m atters of disp te. 1 S In 594 hakespeare published his second poem, the R a e o L u crec o p f e. B th his poems were dedicated to Henry W rio th esle L S u m o S on nels y, ord o thampton , to who als the 1- 12 6 m 1 A 6. t ( ) were, in y opinion , addressed in 59 this latter

o of m . date , the early gr up dra atists had almost disappeared Greene had deceased in beggary ; Marlow had been stabbed i n a drunken brawl ; Peele was dead or dying of a disgraceful S ’ disease . hakespeare s disgust with the stage may be seen S onne s 1 t . L in the But we are anticipating . In 594 ord ’ ’ Strange s company becam e the Lord Chamberlain s on the of erdin an d Ea D T om death F , rl of erby. his c pany, with S a m o E z hakespe re a ng them, acted before Queen li abeth at G C m T first reenwich, at hrist as in that year . his is our o h im 1 6 om p sitive notice of as an actor . I n 59 the c pany C T o was at the urtain heatre in Sho reditch . It pr bably set tled u m there abo t that ti e, having previously been acting ‘ ’ ou Lo — m o for ab t the city of ndon a ng other places , a few N o u m o f u days at ewingt n B tts , under the manage ent us rer H en slo w- u C and d ring the winters at the rosskeys, Grace u ch rch Street . ’ O n 1 1th S o the August, this year, hakespeare s nly son , am u S o o H net , was b ried at tratf rd ; his sorr w as a father is '

o se. K zn 01212 O h 2 th D e sh wn in Act I I I , iv, of g 7 . the 9 ’ cemb er w a s , his uncle Henry buried ; and Henry s wife, a o th B u t M rgaret, on the f llowing 9 February . this break 2 RO C O TO HAK A 1 INT DU TI N S ESPEARI N STUDY . ing up of the family was succeeded by the establishment of Shakespeare’s fame as a dramatist this death of his son by

. 6th the birth of his brain progeny For on August , the very ’ E W week of H amnet s death , dward hite entered for publica first S v R omeo tion the play that hakespeare ga e to the press, ’ a n d ?u lzet; and this date may be fairly taken as the dividing fir point between what are called his st and second periods . 1600 From this time till , every play he wrote was published ; as well as rev isions of a few of those that were produced in

' first . his period H is name, however, was not put on any ’ - 1 8 Romeo a n d 2 dzet title page till 59 , but except on that of 7 , it was never omitted afterwards . I n 1 597 the application for a confirm ation of a grant of ’ s C o f S arms , made at the H erald ollege in behalf John hake

. W speare, was granted I n the same year, illiam had enough money to buy of William U nderhill the N ew Place in Strat

. Sir ford, once called the Great H ouse I t was built by Hugh C V lopton in the time of H enry I I I , and consisted of a messu H . e age , with barns , gardens , and orchards was also assessed O 1 8 S ’ on I st ctober 59 at 75 5, in the parish of t H elen s , Bishops filed C gate . I n the same year, his parents a bill in hancery v A sbi es L E to reco er from John ambert , son of dmund , to 1 8 T whom it had been mortgaged in 57 . hey alleged that they had duly tendered money in release, according to agree ment, but that the estate was nevertheless withheld from them . I n the same year, Francis M eres published his ’ ’ ’ P a lla dzs Ta mi a Wzt s Treasu r , or y , in which he not only aided our chronological investigations by giving a list of the S twelve plays hakespeare had then produced , but also showed the estimation in which he was held by frequent mention of N or his lyrics , elegies , comedies , and tragedies . was the n O n i nfluen ce of Shakespeare con fi ed to literary matters . 2 th 1 8 Sturle S 4 January 59 , Abraham y wrote from tratford ’ R S - i n to ichard Quiney, Judith hakespeare s future father Mr law, in these words I t seemeth that our countryman ,

Shakespeare, is willing to disburse some money upon some H S u s. e odd yard land or other at hottery, or near about think eth it a v ery fit pattern to move him to deal in the matter of our B tithes . y the instructions you can give him thereof, and by the friends he can make therefore, we think it a fair mark for at him to shoot , and not impossible to hit . I t obtained h ’ o im u s . w uld advance indeed, and would do much good Th e L matter in question was a solicitation to Burleigh , ord T reasurer , to obtain an exemption from subsidies and taxes for Stratford, and a grant of a portion of set aside 1 INTRODUCTI O N TO SHAKESPEARIAN STUDY . 3 T by Parliament for relieving decayed towns . here had been 1 great fires there in 594 5 . Advance in wealth is also shown by the fact that he held corn and malt to the amount of ten H e quarters only two o thers in his ward held as much . sold or orati on o o stone to the b p , and was l ked to as a probable o m lender of 30 to Richard Quiney. Ab ut this ti e m S his sister Joan arried William Hart, a tratford hatter, to whom he was much attached . 1 8 T0 return to the theatre . In 59 Jonson joined the ’ a m v er M a n i n fai r Ch mberlain s co pany, and produced E y umou r S 1 h i s H , in which hakespeare acted ; but in 599, in E v er M a n ou t o h i s H u mour th e next play, y f , played by a v i olen t Chapel Children , made attack , not without provoca

D con tem orar oets. tion, on Marston , ekker, and other p yp But m H e o he did not co n fine his attacks to the . als attacked T B r ad S . u b g e, and, I think, hakespeare his raised a contro sufli ce versy which cannot be entered into here . It must to 160 2 - C say that it went on till 3, when Jonson left the hapel C m C m ’ hildren, ca e back to the ha berlain s company, and pro d S e an us S duce his j . In this play hakespeare acted , and it ’ o of i t C m has been supposed that he wr te part ; hap an s , how ’ o co o o ever, was pr bably the se nd pen which aided J ns n in Th e S this play. share that hakespeare took in this contro v ers u o . c y has never been f lly sh wn I t is pretty lear , how ‘ ’ ’ D o m S o ever, that he was called ef r ed , and had w, if not m a C a other na es . H is feelings tow rds the hildren pl yers m a H a mid o y be seen in , I I , ii, and an allusi n to his name D o m a a m of M u ck ef r ed, and the pl gi ris he was accused , in '

A do a éou t N otlzzn . g , I I I , iii ‘ a Meanwhile great changes had t ken place in the theatres . 1 8 - T u of In 59 9 the heatre was p lled down , and the building the G o mm m To lobe c enced with the old aterials . this house the ’ ’ C om S hamberlain s c pany moved, and there all hakespeare s m 1 o plays, fro 599 onwards , were produced ; that is, pr bably ’ all n o t Th e that were included in Meres list . theatre at c a 1 6 C C Bla kfri rs , built in 59 , was let to the hapel hildren , h 160 Th e R w o played there till 3 . evels Children succeeded m 160 - Th e o T o u 1600 the in 3 4 . F rtune heatre was als b ilt in , ’ N ed m om h o by Alleyn ; and the Ad iral s c pany, w had played R 1 o O 1600 at the ose since 594, went to the F rtune in ctober , ’ leaving the Rose for the occupation of the Earl of Worcester s com a p ny . ’ 1600 S h In this same year, , hakespeare s name was put on t e - ’ title page of a play written for the Admiral s company . by u a D o W T m M nd y, rayt n , ilson , and Hathaway. his i pudent I TO S 4 INTRODUCTION SHAKESPEARIAN TUDY .

T v forgery was the work of a piratical bookseller, . Pa ier, who H r V in this year also published a surreptitious issue of en y . W hether in consequence of this or not, no quarto edition ’ after 1600 of any of Shakespeare s works was issued with T his consent . hey were all thenceforth unauthorised by him T v or by the company. hese piracies, howe er, show how his reputation was advancing : so do the ninety extracts ’ E n la n d s P rn assu s 1600 from his writings in g a , , and the ’ B elv ed r E a s li o quotations in e e and in ng l n d H e c n . ’ 160 1 fin d R C I n we his name attached to a poem in . hester s ’ ’ ’ Lov e s M a r t r or R osa lzn s Com la i n t 8 S y , p ; and on th eptem ’ S e S ber, J ohn hakespeare s burial was entered in th tratford A register . t this date occurs the passage from the second T to the third period of his works . his date is also marked by the only long journey of which we hav e any presumptiv e ’ ’ S 160 1 C evidence in hakespeare s career . I n the hamberlain s L company were certainly at Aberdeen , under aurence Flet M a cbet/z cher ; and the production of , early in the reign of I ’ James , with its accurate local descriptions of M acbeth s u s castle and the blasted heath, certainly encourages to think that his witches were deriv ed from personal observation in S A t ’ cotland . Aberdeen the air would be full of men s talk about the late executions in that town for witchcraft, and of Go wr 1600 ff the y conspiracy in , whose incidents o er so close ’ a parallel to the story of M acbeth . As the King s company o z nly consisted of some do en players, it is not likely that a portion was detached for this journey. 160 2 m I n M ay , he again ade purchases to the amount of £ 32 0 ; he thus acquired one hundred and seven acres of O ld S W Com arable land in tratford parish , from illiam be of

W C Old S . Th e arwick, and John ombe of tratford indenture v S was sealed and deli ered to Gilbert hakespeare , in his ’ 1 2 W l G le . S 60 et brother s absence In eptember , a ter y, by T Tibb ottes C his attorney, homas , at a ourt Baron of the R Wal Manor of owington , surrendered to him a house in ’ S D L N e . A t ker s treet , or ead ane, near w Place Michael mas he bought a messuage with orchards , barns, etc . , of

H ercules Underhill for £ 60 . Surely he intended to settle at

Stratford . ’ I n 160 3 he was complimented in the M zcrocosmos by E J ohn Davies of H ereford . James I came to the nglish C m ’ throne in this spring , and accepted the ha berlain s com T ’ pany as his own . hey are henceforth called the King s 160 S S men . I n 4 hakespeare brought an action at tratford

or 1 s. 10 . . f , 5 d he clearly had a keen eye to business TO A S I INTRODUCTION SHAKESPEAR I N TUDY. S

’ In 160 5 he bought of Ralph H uban de a thirty - one years m of S O ld S re ainder of a lease tithes in tratford, tratford, m 0 H Wilco be . e Bishopton, and , for £ 44 was probably not a s fi u at Stratford in this year, he did not ll p the form for R I st 1 the survey of owington Manor on August . I n 60 6 occurs the last marked change of style in his writing, and his fourth period begins . In 160 7 he was again complimented by John Davies in his

S cou r e o F oll . O n th S g f y 5 June, his daughter usanna

S . 1 married Dr John Hall, a tratford physician But on 3 5 t D E ecember, his youngest brother dmund, a player, was ’ t S S . buried at S aviour s, outhwark n 16 160 8 S O th O ctober , hakespeare was sponsor for William O n 1 160 Walker . 5th March 9, he pursued for a small debt dden r k 2 s o n e A b o o e. and 4 . costs) John I n his default T m h h e u u . D on 7t June s ed his s rety, ho as Hornby J . avies om m h im H u mou rs H eaven on E a rt/z again c pli ents in his , 160 In S m 161 1 u 9 . epte ber he s bscribed towards the costs m n O n h of a bill in Parlia e t for amending highways . 4t F eb ruar 1612 R u y , his last surviving brother, ichard , was b ried ; 1612 - 1 fin al o f and in 3 I would date his quittance work. For all hope of fo unding a family expiring with his last m ale n suffici en t o fo r relative, and having ear ed amply to pr vide r his daughters and sister, what had he left to work fo ? m m u m n Fa e, posthu o s fa e, perhaps ; but the man who did o t u print more than a q arter of his works already produced, was not likely to care deeply about that . n l o h 161 80 o O t M arch 3 , he paid £ t wards the purchase of u f T a ho se near Black riars heatre , and mortgaged it for the T o o £ 60 still unpaid . his h use he let to J hn Robins o n for ten m C a . n ye rs I n the sa e year, the draft of a bill in hancery, e d orsed L S co m ane, Greene, and hakespeare, plainants , shows that o n the m oiety of tithes bought by Shakespeare in 160 5 too large a proportion of the reserved rent fell o n the co m H ot 12 0 a - o m . e n 2 plainants g £ year fr these tithes . O 9th o T o a J u ne the Gl be heatre, pr bably cont ining many of his

M SS. u . , was burned down , but reb ilt the same year Th e fire o m A ll i s tru e br ke out during the perfor ance of , Shake ’ speare s H emy VI I ]. 161 fire S o I n 4 there was a large in tratf rd, and the cor porati o n were bu sy o pp o sing the enclosure o f certain co mmon ’ a n m o u th lands . Sh kespeare s a e cc rs on 5 September a s an c m ancient freeholder to be o pensated . O n 8th O ct ober he T om o o and h as Greene , clerk to the c rporati n , covenant co n ” cerni n g compensation for enclosure intended by William 16 TO S I NTRODUCTION SHAKESPEARIAN TUDY.

R li n h am n L 1 ep g . Gree e was sent to ondon , and on 7th N ov ember he writes : My cousin Shakespeare coming yesterday Mr to town , I went to see how he did ; and he and H all say ’ O n 2 d D they think there will be nothing done at all . 3 e cemb er , the corporation held a hall ; and letters with nearly ’ all the company s signatures were written to M r M an yri ng ’ r and M Shakespeare , and Greene also sent his cousin full particulars of the proceedings . I n 1614 we fin d his name in a jury list at Rowington ; and ’ C : w in John ombe s will but here our kno ledge of him ceases , h 1616 . O n 2 t except for the last notice of all 5 March , he 2 h H t . e made his will ; on 5 April, he was buried died on 2 d T n the 3 . H is daughter Judith had married homas Qui ey, v l oth eb ru ar intner, on F y, so that he left both his daughters H H e v . e settled . just sur ived his last family duty did not v h ad long survive his public work . From po erty he raised him self to wealth entering on his career amid the slanders N v of ash and Greene , he had li ed down all sneers and sar asm s h im self res ected c , and made p ; beginning work at an age v v (nearly thirty) when some men ha e exhausted themsel es , he outgrew all his contemporaries ; steadily pursuing his end through the travail of twenty years , he reached not only wealth, respect , and artistic power , but showed himself to be what we should judge him from his death - mask to have m appeared, the nearest approach to the type of man not li ited by profession , nationality , or creed , that the world has yet H e m known . is not only for all ti e , but for all places, and for all men of all times . I t is not possible to tell from his o writings what his birth , pursuits , p litics, or creed were ; and in his catholicity, no less than in his universality , we c re ognise his greatness, and not only worship him , but love him ; because he loved all .

18 TO A A A S INTRODUCTION SH KESPE R I N TUDY .

H istoric. a d o atr A n tony n Cle p a .

Cor i ola m a.

’ 8 Wi n t r l 1 . e s Ta e.

Two N oble Ki n smen . H e r I I n y V I .

These are all the plays generally attributed to Shakespeare ; there are a number of others which are called doubtful . Some of these are by no means doubtful ; for they are known v to be by other authors , or for companies which he ne er was S v connected with . ome, however, he may ha e had a hand ’ i n , if they were writte n for Lord Strange s company before ’ ’ 1 th e C 5 594, or for hamberlain s or King company after that T 1° 1 rzma a z m u ir date . he e s p f c e evidence l ou dering q y desir f . n fin m r i o able But this must not be co ed to o e quest ons taste, the history of the stage must also be considered . This has been hitherto unduly neglected . first I will notice the writings not dramatic, to clear them out of our way.

E P O M S.

S el : Besides his plays , hakespeare wrote poems, nam y

E A N D V NU S AD O NI S.

' ‘ ’ ‘ T Th firs v I his he calls e t heir of my in ention . t was e 1 8 1 Wri oth esle ntered th April 593, was dedicated to H enry y, E of S v . arl : outhampton, and was ery popular " ° Edi ti on s z 2 I - 1 Q Q S94 ; Q Q 4. 599

600 . 6 160 2 161 16 1 8 . 2 0 10 162 Q 5 , ; Q , 7, ; Q , 7 ; Q 9 , ; Q . , 7 ,

6 0 . . 1 1 6 . 1 6 . Q 3 ; Q Q 3, 3

TH E R E F L R E E AP O UC C .

T o his als was dedicated to the same patron . It was h 1 entered 9t M ay 594 . 1 1 8 1600 E . . 2 1 . 160 ditions Q , 594 ; Q , 59 ; Q 3, ; Q . 4, 7; 6 6 1 2 1 16 6 . Q . 5 , ; Q . , 4

W e e ua o ed on s o f a s o r o ems ex s h e are u h r q rt iti pl y p i t, t y th s o h d i e W e e e e i s no n o c to n ticed at t e en of each art cl . h r th r ti e a

la w first u s e i n th e 162 fo o . p y, it as p bli h d 3 li T KE R o SHA SPE A IAN STUDY . 19

So N NETs

1 8 These were in existence in 59 . I t would be impossible here even to enumerate the theo ries that have been prom ul S m m o m gated ab o ut them . o e have looked on the as one p e ; — s ome as several of gro ups o f sonnets s ome as containing T n u a separate poem in each sonnet . hey have bee s pposed to ’ S o r be written in hakespeare s own person, in the character to of another, or of several others ; be autobiographical or h e r bio ra h i cal te o g p , or allegorical ; to have been addressed o L So o to Sir W o wn t ord uthampt n, illiam Herbert, to his L R to to m wife, to ady ich, his child, his nephew, to hi self, ‘ H ’ m Th e W . . to his use . in the dedication has been inter r t d W m W m W m p e e as illia Herbert, illia Hughes , illia Hath a W m W m - way, illia H art (his nephew) , illia Himself, and

Henry Wri oth esley. But nothing certain has been advanced . ’ W m a S o H . I believe that W . is illia H rt, hakespeare s br ther i n - law that the S on n ets were written in 1 596 that the first p ortion ( 1- 12 6) was addressed to Lord Southampton ;

a o o m . that they are ut biographical , and c nstitute one poe Th m w S e re ainder, I think, ere addressed to Anne hakespeare, ff om his wife , but with a very di erent interpretation fr that

u . usually p t on them M y interpretation, whether right or ’ fits a a o f S wrong, in singul rly with wh t we know hakespeare s n o t fin d life from other sources . I do that the other inter Th e S on n ets pretati on s I have seen fit in at all . were pub ’ li h ed 160 n o t S A L ov er s s in 9, but by hakespeare, along with

h P assi ona te P i l ri m 1 n T e g was published in 599 , and agai ’

a S . in 1612 . I t is only p rtly hakespeare s ' ’ Th e P /zcz’m x a n d Me Tu r tle is extracted fro m L ov e s ’ ’ ' m a l R r Rosa lzn s Co l zn C 160 1. M a rty r, o p , by obert hester,

R MAN T C L Y O I P A S.

’ ’ V E L O R S Lo sr . Ci rca 1 2 L0 s AB U 9 .

l S ’ This was a m o st certainly hakespeare s earliest comedy. ‘ o w a it o As we n h ve , however, it is a c rrected and newly ’ o E z augm ented versi n , as presented before Queen li abeth at Th e un o n V a m 1 . o Christ as, 597 p Ajax ( , ii , 579) is pr b bly ’ m t o M eta mor hosi s o A ax 1 6 derived fro Harring n s p f f , 59 ; ‘ ’ firs u . I 11 and the t and second ca se, passado, duello, etc ( , , ’ ' 18 o Sa violo s Trea tzse o H oflou r an d H on ou ra éle 4, fr m f DY 2 0 INTRO DUCTI O N TO SHAKESPEARIAN STU .

u a r ls V 11 re 1 . T Q , 595 hese passages and the repetition in , ,

8 2 8 2 s . 7 3 , enable u to distinguish some of the new insertions Th e o 1 Th e rigin of the play 5 unknown . sonnets in it appear S on n ets 1 2 1 T a again in 7, 37. here was a companion pl y ’ ’ called L ov e s L a bou r s W072

E . 1 1 8 2 16 1 t : . . di ions Q , 59 ; Q , 3

’

M ER N RE c 1 . ID SUMM I GHT S D AM . . 593

’ Th e S main plot, as far as we know, may be hakespeare s own : hints for the framework may have been derived from ’ ’ ’ Chaucer s a gfit s Ta le or N orth P lu ta rc/z ' for Pyramus ’ ’ T C Tfizsée o B a b lon and hisbe, from haucer s f y , or Golding s ’ translation of O vid s M eta m orph oses ; for O beron and the ’ 21mm 1 o S cotla n d fairies, from Greene s 3 V f , and popular O T tales . beron and itania had been introduced in a z 1 1 dramatic entertainment before Queen Eli abeth in 59 . P rom s a n d e h a lu s H C C p by . hettle was entered for publica ‘ 1 Th tion in 593 . e thrice three muses mourning for the ’ death of learning, late deceased in beggary, alludes to ’ S Tea rs o flze M u ses 1 1 o to penser s f , 59 , and als , I think, the 1 2 Th e death of Greene in 59 . allusions to the bad weather 1 i 8 8 T of 593 are very palpable (I I , , , etc ” ) his play as we

i t fo r 1600 . have , is a revised edition made publication m I t may have been added to , as well as revised . 1 600 E 1 600 . 2 1 ditions : Q . , ; Q , .

C O M EDY F E R R R . c. 1 O O S. 594

' ' This play may have been founded on the H zslorze of ’ E r r or o m C N ew Y D a , sh wn at H a pton ourt , at ear s y at ’ 1 6- C night , 57 7, enacted by the hildren of Paul s ; and on ’ ’ ’ W M emec/zm z 1 W . illiam arner s translation of Plautus , 59 5 ’ ’ Warner s play was entered at Stationers H all l oth J une ’ 1 594 but the printer s advertisement states that it had been A circulated prev iously in manuscript . play called a Comedy ’ of E rrors (like to Plautus his was acted at Gray s T ’ D 1 . W s I nn in ecember 594 his may have been arner , but ’ was probably Shakespeare s Th e pun on France making ’ fix es war against her hair (heir) , a limit of date ; for H enri IV , the heir of France, was warring for his succession from 1 8 o ebruar 1 T August 5 9 to his coronati n F y 594. his play v i n m we ha e only its acting for , probably much abridged, as

Shakespeare did not publish it in quarto . R TO A A S 2 1 INT ODUCTI ON SH KESPEARI N TUDY .

Tw E E E 1° V ERO c 1 o G NTL M N 0 NA . . 595.

' F eli x a n d P/zzlomen a o A play called , f unded on Monte ’ of ili smen a mayor s story the shepherdess F , was exhibited Th G 1 8 . e at reenwich in 5 4 translation of the story itself, m Y M S 1 8 by Bartholo ew oung, existed in . in 5 3, but was not ’ ' o A o om us a 2 printed till 1 598 . Bandello s n vel of p l/ n d $3 41 ’ 1 8 1 O n was translated in 5 . these two stories Shakespeare s Th V i . e v V play is founded praise of solitude ( , ) , and alen ’ IV i S ’ tine s scene with the robbers ( , ) , were taken from idney s ‘ A rca di a I ch 6. S , Book , . ome to the wars to try their ’ fortunes there (I iii, may refer to the expected invasion S 1 E to by the paniards in 59 5, when nglish troops were sent ‘ ’ IV S m v I aid Henri . o e to disco er islands far away ( , iii, ’ R o G 1 may refer to aleigh s v yage to discover uiana in 595, or ’ Th Sir Humphrey Gilbert s in 1 594 . e pestilence mentioned 11 i 2 2 m 1 in , , , ost probably does refer to the plague of 593 ; I i 2 2 H ero an d Lean der and the allusion in , , , to , most likely ’

M S. 1 was written after the circulation in , 594, of Marlow s m 1 8 . S to poe , published 59 hakespeare frequently refers this 1 6 T but . story in no other play earlier than 59 his play, like Comed o E r r ors S the y f , was not published by hakespeare, i T o t. hence we have only an abridge d, acting versi n of hese early comedies whi ch were not subsequently revised are naturally the weakest of all his plays .

RO EO A ND E . 1 6 M J ULI T 59 .

In the first version of this play we have remains of an T o older play here and there distinctly visible . his lder play G . m was, I think, written by Peele . It is not the old dra a m o m o f a entioned by Arthur Bro ke, whose poe the tragic l ' history of Roma n a n d 7zz/zet was the immediate fo undatio n S of the play we now hav e in both its versions . hakespeare ’ ’ may have referred to Painter s translation of B oi steau s

m . a n d P a la c o P su novel of R/zo eo in his e f lea re. Th e fix ed but I do not think he did . date of production is m Lo by the fact, that the acting co pany are called rd Huns ’ - firs T o do n s men on the title page of the t quarto . hey nly m 2 d 1 6 th 1 u had this title fro 3 July 59 to 5 March 597, d ring W L C o m the chamberlainship of illiam Brooke, ord bha . T u t u 1 80 o f here are all sions to the ear hq ake of 5 , the plague ’ ’ l s B ook on H on ou r D Rosa mon d 1 Savi o o . 593, , aniel s , etc , in Th e v o f the play. fact of our ha ing two versions it is Th e o f u o especially interesting . earlier these is s rreptiti us , 2 2 TO S INTRODUCTI O N SHAKESPEARIAN TUDY.

r cut down for acting pu poses , and probably obtained from short - hand notes at the theatre but there are in it passages and scenes clearly by another hand and a careful compari sion of the two versions gives u s much information not only S of the manner in which hakespeare corrected his work, but at also on the nature of the errors that arise press, from mis takes in setting up type, arising out of inaccurately made Th corrections in the margin of the copy . e play is alluded ’ ms 1 6 v E ra . to in Wee er s n , published probably in 59

E : - I 1 160 ditions Q , 597 ; Q Q 3, 7 Q 16 Q 5, 37

ER C O F V E CE. c 1 M HANT NI . 597. Th e chief plot comes indirectly from the P ecorone of Gio ' first Gza zzetta v anni Fiorentino ; fourth day, novel, ; the casket Gesta R om aflom m story from an old translation of the . But the immediate source was probably an old play mentioned by 1 Gosson ( 579) , representing the greediness of worldly choosers,

. Tbe 8 20 and the bloody minds of usurers I t was called 7 , and Ven es a n omed was perhaps also the foundation of the y C y , ’ R H en slow acted at the ose, under , by the Admiral s company Th e S fo r in 1 594. notion that hakespeare wrote this latter m v a co pany he had ne er any connection with, is absurd . ’ Marlow s ?ew of M a lta is another instance of a Jew being ' - v . Wi l B e u zled 160 2 chosen as the illain of the story y g , 3 , D a play belonging to the J onson and ekker controversy, V i ’ contains an imitation of , , I n such a night, etc . 6 E . 1 1600 . 2 1 00 16 1 : . . 6 2 ditions Q , ; Q , ; Q 3, 37 ; Q 4, 5 .

C ADo BO N O e 1 8 MU H A UT THING. . 59 .

’ Th e v B elleforest s plot is derived indirectly from a no el of , ’ Or la n do F u r zoso after Bandello Ariosto in , Book V T v Gen eu m S F a i r u een , urber ille in his , penser in his y Q ,

1 . v e I I , iv, 7, etc , have ersions of the sam story. But the ' immediate origin was probably the A r zoda n te a n d Gen eu or a E z 1 8 2 T m acted before li abeth , 5 here is an old Ger an Tbe B ea u t u l play by Jacob Ayres , if founded on Bandello, but containing points in common with Shake speare, which are not found in Bandello . H ence there v Th must ha e been an intermediate origin for both . e hero ’ ’ ‘' ’ ' D m Vzezeemzzes L a a zsla us of uke H enry of Brunswick s co edy, , is what Beatrice describes Benedick as being, and actually ’ rv I i causes his se ant to set up his bills ( , , 39, Benedick S 2 INTRO DUCTI O N TO SHAKESPEARIAN TUDY. 3

’ and Beatrice correspond to B erown e and Rosaline in Lov e s ’ La bou r s L ost M r o , and Brae has sh wn that this play is ’ ’ m L ov e s L a bou r s Won m almost certainly the sa e as , entioned 8 Th e D o m V i 1 by Meres in 1 59 . ef r ed mentioned in , , 3 7,

1 8 1 u S f. I I I , iii , , is of course an all sion to hakespeare himsel ’ A vile thief these seven year (I I I , iii , indicates the time that he had been stealing, instead of inventing his plots . ‘ ’ ‘ Th m f D o e istaking words o gberry, and the substantial ’ ’ onson s B ar ti m watch , are alluded to in the Induction of J lomew F ai r 161 , 4. E 1 1600 : . dition Q , .

° ERR V R e. 1 . M Y WI ES 0 1 WINDSO . 599

’ Tfie L ov ers o P i sa Tarleton s N ew s Founded on f , a tale in u fo x 1 8 to ou t o P r a . f g m, 5 9 I t is said have been written at ’ u E z alstaff . Q een li abeth s desire, to show F in love I t was o H en r I V V m u m st likely written after the y , , series, and st ’ ‘ ’ N m s n ot be expected to be consistent with them . y humours ’ a o n son s E v er M a n i n certainly llude to J two plays , y , and

E r M a n u t o i m 1 8 8 - Th e u v e o h s H u ou r . y f , , 5 9 play m st 1 2 H em I V have been written after and y , as in these plays

f n ot . Falsta f was originally called Oldcastle, but in this one W e o m have two versions of the play, one inc plete and 1 surreptitious of the 599 production, the other as it was

m o f 160 . To revised, to be acted so ewhere about the end 4 this latter must be referred the alteration of ‘council ’ into ‘ ’ ‘ ’ I i u king ( , , the all sion these knights will hack (I I I , i two u - , 79) to the h ndred and thirty seven knights made by m 160 o f W Ja es in 3 ; the lying the court at indsor (I I , ii, ’ 160 o which refers to July 3 ; the coach after c ach (I I , ii, u ncomm o n 160 o for these vehicles were till 5, as H wes tells x ’ u s in his Con ti n uati on of S tow s Ch ron i cle; and fin ally the ’ ‘ C m o tsale i reference to the otswold ga es utrun on Co (I , D for they were instituted by R obert D over about 160 3 . uke Frederick of Wii rttemberg and Teck was a real Germ an ’ IV E 1 2 duke ( , iii) , at the nglish court in 59 ; but that date o (advocated by some critics) is t o early for this play.

E . 1 160 2 2 161 16 0 ditions Q , ; Q . , 9 ; Q . 3 , 3 .

T H R - O F T E S E . 1 1600 C AMING H W 599 ( hristmas) .

’ Founded on the old play written for Pembroke s company ’ 1 8 Tlee Ta mzn o a S /zrew fo r c o o in 5 9 , g f , the Petru hi st ry ; o n S u ose ? G o E o and the pp of asc igne, nglished from Ari sto, 2 R A A . O O TO 4 I NT DUCTI N SH KESPEAR I N STUDY .

1 66 fo r 5 , the story of B ianca, and some smaller matters , L Th e such as the names of ucio and Petruchio . old play is so in some parts like the later one , that they can hardly have n S been by a different hand . I assig it to M arlow and hake Th ’ speare with co n fiden ce. e later play is only Shakespeare s T in the Petruchio story the Bianca part is, I think, by .

Lodge ; Lodge has scarcely made any use of the old play . ’ H e S uses Baptista as a man s name ; hakespeare, at this same ’ H a mle T t . date or a year after, in , as a woman s here is no ’ T induction to any other play of Shakespeare s . here is an P a ti en t ri m A allusion in the play to G e]. play of this name, ’ D ekker s M edi ci n e or a Cu n t Wi e 160 2 which , like f f , July , was certainly an opposition play to this one , was acted at the R 1600 D C ose in January . I t was written by ekker , hettle, ’ Ta mzn and H aughton , and contains three allusions to the g

t/ze Sh r w T . of e . hese mutual allusions show contemporaneity ’ There also appears to be an allusion to H eywood s Woma n K i lled w i t}; K i n dn ess T in the line, his is the way to kill a ’ wife with kindness, but this expression was proverbial , and

v . if an allusion is meant , may ha e been a subsequent insertion Th e 160 play can hardly have been so late as March 3, when ’ Th fix ed H eywood s was produced . e exact date is, I believe , ’ 1 - 1600 C Gru mi o s descri by the great frost of 599 . ompare p I i V . tion in , 6 1 E : . 1 1 dition Q , 3 .

A s Yo L KE IT 1600 u I . 5 . .

’ ’ ’ o un ded L R osa l n o or E u f mer Golden F on odge s novel y , p ‘ ’ L a 1 0 S e c . g y , 59 tayed, that is , forbidden to be published , H en r V M u ck A ( 10 a oou t N oth i n E v er along with y , g , and y ’ M a n i n Ms H u mou r o th S . , in the tationers bo ks on 4 August T° h H en r M uck A do e year is not given , but as y V and a bou t N oth i n 1600 g were again entered in August , on the 1 2 d 4th and 3 respectively, and printed accordingly, it is tolerably certain that this year was the one in question . Th e staying was probably carried out because the play was S still acting at the Globe . Again, tow mentions the image ‘ D IV i 1 D of i ana referred to in , , 45, I will weep like iana ’ 60 Th 1 8 1 . e in the fountain , as set up in 59 , and decayed in 3 fix d 1 1600 A date is therefore e to 599 or . line is quoted from ’ H ero a n d Lea n der v Marlow s (I I I , , referring to him as ’ 1 8 S the dead shepherd , which was published in 59 . hake e v spear is said t o ha e acted the part of Adam .

2 6 TO S INTRODUCTION SHAKESPEARIAN TUDY .

’

a a . o e eo e I ll privily w y I l v the p pl , Bu t do n o t i e to s a e m e to h ei e es l k t g t r y . T ou I d o e d o n ot i sh e h gh it ] w ll , I rel w ll T e oud a au and a e e em en —I i h ir l ppl se v s v h t , .

Th e en e a ub ec to a e - s g r l, s j t w ll wi ht king, u e own a an d i n obse u i o us n dn Q it th ir p rt, q fo ess C o d to es n ce e e h ei un au o r w his pr e , wh r t r t ght l ve ' us n eed a ea o fiense - M t s pp r I I , iv.

T ’ his apologises for James s ungracious entry into England . I t had been proclaimed that the people should not resort to him . W a war a a h t with the , wh t with the swe t , — ea en an us ace I . H v gr t pe , ii

Th e war with Spain was ended on the 19th August 1604 ; 160 T but James had shown his peaceful intentions in 3 . here 160 L i Th was a plague in 3 . I n ondon died of t. e list I Th V . e of prisoners in , iii , contains four stabbers roaring

. 160 boys, bravados, roysters, etc , were so numerous in 3, that the statute of stabbing was passed in the early part of

1604.

E 60 O O . e. 1 TH LL 4.

n d d Giraldi Ci n th io H eea fo Fou e on a novel of , in the ’ ’ Th N . O mzllzz D ec . ov . e , iii, 3 names of thello and Iago occur ’ ’ ’ R en e a a zm A du t x T in Reynolds God s ev g g t l efj . here is an 0f 1 0 historical foundation for part the plot . In May 57 , M us So C Th . e tapha, the general of lyman I I , attacked yprus T fleet first C u R urkish sailed towards ypr s, then went to hodes, R met another squadron , and resumed its course for hodes , 1 Th e which was taken in 1 57 . relation concerning cannibals ‘ ’ and men whose heads do grow beneath their shoulders, is ’ R Di scov er o Gu i an a taken from aleigh s narrative of the y f ,

. fin d 160 0 . H e was resolved of their truth I n this play we a T clown for the last time in Shakespeare . here has been one 1 in every comedy since 599 that was entirely written by him . ’ en t M om I D ekk er s P ati , , i

’ T ou n ow a a n h kill st her g i , ’ n t m o a a an a a a ou s oo A d ar re s v ge th b rb r M r,

o So Ra m A lle h alludes to Oth ell . does probably y about t e same date :

V a n s a e h ou h as w on m fe ill i , l v t t r ged y wi T A A A S 2 INTRO DUCTIO N O SH KESPE RI N TUDY. 7

m and Malone, who never wrote at rando , says that he knew that the play was acted in 160 4 ; hence I ascribe it to that

year.

E : . 1 162 2 . 2 16 0 . ditions Q , ; Q , 3

TROYLUS A N D R E 1 C SS . e 60 . IDA . 5

’ ' ' Foun ded on Chaucer s Tr ozlu s a nd Cressezde for the love ’ x n Tr o B ok T Ca to s o . story, and on y for the war story her ’ om C m H omer I li a d i - vu 1 sites is taken fr hap an s , , , 597 ’ This play was originally acted by the Chamberlain s men e. 60 1 0 1 1 th ebruar 6 . , and was so entered for publication 7 F y 3 ’ Th e D Ch e tl s 1 idea that ekker and t e play of 599, acted by m ’ R the Ad iral s men at the ose, could have been so entered, n o u o Th r - needs conf tati n . e play was e written (except the c m o 1606 love story whi h re ains nearly unchanged) bef re , the latest date assignable to P er i cles and the beginning of ’ S 160 hakespeare s fourth manner, and was printed in 9, ‘ ’ c pirati ally, as a play not staled with the stage . It was first c a ted in its present form in 1609 . I t is always placed co m with the tragedies . Its proper place is with the edies . so It is called in the prol ogue . Its production in the earlier form is proved by a passage in which was ’ E z written before li abeth s death .

Com e C ess da m c esse i h , r i , y r t l g t, Th face do h s i n e bo d an d n y t h th ay ight. eh o d beh o d tfi arter blue B l , l y g , ' Tb kn i /zt lzzs valiant elbow wea s y g r . Th a w en h e SH A KES h is fu o us S E RE t h ri P A , Th e foe i n sh i e n ea fu so , v ri g f r l rt, a la h im down i n dea to sn o M y y th rt . O n i h w h a ou in th face k g t, it v l r y , e e a e m screen e w ea i t fo r ac H r t k y , r gr e Wi h n th e me u t th e sam e t i y h l t p , ’ Th e e to ma e th en m e ame r with k y e i s l .

fifth Much of the act has been suspected to be spurious .

It may be only early. ‘ E 1 Mo : . 160 dition Q ( ) , 9 .

ER C ES. 1606 P I L . S l hakespeare wrote only the Marina story in this p ay. Th e fir st th ree acts were written by Wilkins ; the prose parts and O , - h n ed R the long choruses probably by owley. Th e play is 2 8 RO C O TO INT DU TI N SHAKESPEARIAN STUDY.

’ ’ T T P a zi u l A dv en mr s founded on . wine s gf e of P ri nce Amo ’ Zom us 6 ’ . 1 160 , etc , entered in 57 , republished in 7. Gower s ’ version of the same story in his Conf essi o A mm ztzs is some Th . e 2 times preferred play was entered by Blount, d May 60 8 ’ ’ 1 . T , but published by Gosson his play, like L ov e s L a oou r s L ost m , see s to have been used by Shakespeare as a repertory - E of hints for after works for several years . v en the lapse of ’ time between the acts of fifteen years is repeated in Wi n ter s

sc. P u ri ta n IV Act I I I , ii, is palpably imitated in the , , iii ,

160 . 160 6 published 7 But this play was acted in , as a 1 it Sunday on the 3th July is mentioned in , which was th e 1600 1606 1612 case in , , ; and the only one of these dates T 1606. Sir W 1 admissible is yrwhitt (quote d by . Scott ) has confused the old and new styles, and assigned wrong P eri s years to this coincidence . cle cannot therefore be later 60 6 than 1 .

1 . 2 160 E . . 161 1 . 161 ditions Q , Q , 9 ; Q 3, ; Q 4, 9 ; Q . 5,

E E 1 CYM B LIN . c.

’ Holin sh ed s Ch ron i cles Th Founded on . e story of Hay and his sons staying his countrymen in a lane during a battle, S Th e is in the cotland portion of that writer. reign of

Cymbeline is of course given in his England . Th e story of D Th a 1 1 N v . e I achimo is found in Boccaccio , y , o el 9 adventures in the wi lderness occur in the fairy tale of S ol meo ’ w z tc/zen : but whence Shakespeare got them we do not know . ’ Th e character of I mogen is distinctly imitated in Beaumont s ' la s ter 161 1 D s , which cannot date later than ( yce puts it in D r S o . Forman , the astr logical quack , saw the play 61 Th 1610 1 1 . e v IV acted in or ision in , iv, has been generally considered to be an insertion by an inferior hand .

’ T E 1 1 ER 6 0 . WINT S AL .

’ ' un ded D orastu s and F a w m o or F o on Greene s , , as it was ' ’ ' P a rzdos o or Tfie Tr zu m lz o Tzme 1 88 D r firs z . at t called , , p f , 5 m 1 th 161 1 Simon For an saw the play performed s May , and Sir H enry H erbert in his Ofi ee B ook mentions it as an old

i G . S r . play, allowed by Buck But Buck was made M aster 1 10 of the Revels in August 6 . H ence our limits of date . o B a r th olomew F a i r 161 : J nson in his (Induction , 4) says If there be never a serv a n t- morzs /er in the Fair who can R O TO A A A 2 INT O DU CTI N SH KESPE RI N STUDY . 9

i t n est o a n ti cs H e m a N help , nor a f . is loath to ke ature Ta les Tem em an d afraid in his plays, like those that beget , p , ’ Th - Th o e m o C . e such like dr lleries . servant nster is aliban f I 2 o V . nest antics are the satyrs ( , iv , 3 5 ) in our present play ’ o 161 C m o for J nson had, in 4, left the ha berlain s c mpany the ’

E z . Lady li abeth s H en ce these sneers at the Globe plays . D mm o In his conversations with ru ond of Hawth rnden, he S m m fo r said that hakespeare wanted art and so eti es sense, in on e o f his plays he brought in a n u mber of m en saying m they had suffered shipwreck in Bohe ia, where is no sea 100 m near by iles .

TE ES 16 1 MP T. 1 .

o un ded followm a 1 A F on the g n rratives : . pamphlet de scribing the tempest that dispersed the fleet o f Sir Geo rge Som Sir T om a Ga a m w a s ers and h s tes, when the d iral ship o f m u D c m 160 a ua wrecked on the island Ber da ( e e ber 9, J n ry ’

2 . m a Jourdan s narrative, in which the Ber ud s is ca o f D 1 Th e Tr u e lled the I sle evils ( 3th O ctober 3 . la ra i on o D ec t f th e Cou n ci l of Vi rg i n i a 4 . A true o of c an d m o o f i r T o m G a repert ry the wre k rede pti n S h as tes, u o m m a knight, p n and fro the I slands of the Ber ud s, by ’ W m S G o z a illia trachey . n lo 3 descripti o n of his ideal repub i 15 o m 101 10 M oh la z h e 160 T a s lic (I I , ) fr F s lg , 3 . his play we o a it o a f r i O n e c h ve , is a c py bridged o act ng purposes . har ’ a c Du of 5 1 u ter, ke M ilan son ( , ii, has been entirely str ck o ut u ra n ci sco m a ; nless F is the sa e ch racter, or rather the m a i re inder of t. It is noticeable that Stephano occu rs in this ‘ S a o h f e V a reh am em ee 1 . S play ; teph n in f , 597 h kespeare ’ o a i n o o 5 E v er M a n 2 72 e 8 e h s H u mou r i n 1 . St cted J ns n y , 59 a IS i n ph no a character that play. TER C HAP I I I .

WHAT H ISTORIES OR CHRONICLE P LAYS D ID SHAKESPEARE WR ITE ?

1 H EN R Y V I .

T w HI S play is founded on H olinshed, but does not follo h im so closely as the histories that are undoubtedly written by Shakespeare . I t is certainly the play produced at the ’ d 1 2 R L S . ose by ord trange s players, on 3 March 59 I t was consequently always in the possession of the company to which Shakespeare belonged . I t is referred to in the epi n Th e logue to H e ry V . greater part of it is certainly not ’ ’ Shakespeare s ; the part containing the episode of Talbot s IV vii V son ( , ii, ; , ii) is evidently an insertion , and was pro Th e o 1 2 S . f bably written in 59 , by hakespeare early part I i I the play ( , , to I I I , iii) was , I think, written by Peele ( , iii ; i w v I I I , ) and Marlo (all the other scenes) ; I I , iv, , being S probably of much later date, and inserted by hakespeare . IV - P V m I n the latter part of the play, , ii vii , and ( ) , ii, are, in y ’ co n firm ed M r S S V i opinion ( by winburne s) , by hakespeare , , i l iiib l. vb . i v ( 45 to end) , ( 33 to end) , by Peele ; while I I I , , I V i iia i va v V i , , , , seem to be M arlow altered, possibly by N Th e f o D i do L . odge or ash versi icati n is very like the , which

N . Th e was written by Marlow, and revised by ash division of this play given in m y article on H en ry V] in M a cmi llan ? M a az i n e Sh ah es ea re g , and thoughtlessly copied into my p M a n u al m -a ff , was printed fro a slip prepared for di erent m purpose, through a mistake of ine . I t is , of course , quite Th e H en r V] wro ng . play is called the third part of y in Blount ’ ’ 62 a ard s S 1 . and J g g entry in the tationers books, in 3 H ence 2 H en r V] H en r V] it was written after y , and 3 y , which are called the first and second parts in the assignm ent ma de fro m N l th 160 2 . P i Pavier to M illington , g April ash in his ers ' ’ ' ' P em zzle s S u lzm tzoh 1 2 s pp , 59 , thus writes of a play, surely : v v T this one H ow would it ha e joyed bra e albot, the terror INTRO DUCTI O N TO SHAKESPEARIAN 3 1

u of the French, to think that after he had lain two h ndred m o u a years in his to b, he sh ld triumph again on the st ge, and have his bones new embalmed with the tears of ten th o us and a m wh o a spectators at least ( t several ti es) , , in the tr gedian m that represents his person , i agine they behold him fresh ’ bleeding .

- R c 1 . RI CHA D I I . . 593 4

’ lin h h ni e This play is fo u nded on H o s ed s C r o cl . It is ’ u o E dw a rd 1] sing larly like Marl w s in many points, and it n ot m o o it S is i pr bable that Marl w began , and that hake m speare used his unfi nished sketch in making his own dra a . - A H em I 5 . 1 . It dates 593 4 play, called y V in the state t R c o n rials , in which i hard I I was deposed and killed the o a t re stage, was perf rmed at a public theatre (Globe) , the o f i r o o o f E o n quest S Gilly M errick and ther f llowers ssex, the aftern o o n before his ins u rrection in 160 1 . Au gu stine wh o m o m Phillips, anaged the Gl be co pany, had forty shil to it old o u n ot lings extra play , as the play was , and w ld ’ ’ ' C m ex oleta tra edza o e tm zea a bdi ca draw . a den calls it g ' ’ ’ ‘ tzoh e R zeh a m z [13 Th e IV abdication scene ( , i had previ o u sl n ot 160 8 y been suppressed , and was indeed printed till . E o n o n o t c 1 6 xcept this occasion it was pr bably a ted after 59 , the year in whi ch the pope issu ed a bu ll exhorting rebellion ‘ E z 1 u against li abeth . I n 599 Hayward was cens red in the S C m for u H i stor o tar hamber and i prisoned, p blishing his y f th e F i rst Year o H em / I V m f j , which is si ply the story of the R m D i ar deposition of ichard I I . For an in his y mentions a play of Ri ch a r d 11; but this was Th e Lif e a n d D eath of

61 4: S traw 1 1 10 - 1 1 0 6 . 7 , published in 593, revived in E 1 1 8 60 . . 2 1 8 . 1 1 : . 1 6 ditions Q , 597; Q , 59 ; Q 3, ; Q 4, 5 ; 16 Q 5 , 34»

W 1 ED ARD I I I . 594 .

1 . e 1 6 Probably written in 594 It was publish d in 59 , as m o u o f Lo o having been played sundry ti es ab t the city nd n . Th e on u of u 1 theatres were shut acco nt the plag e in 593, and ’ C m m N u h e the ha berlain s co pany played at ewington B tts, t C 1 1 . o u rosskeys, and other places, in 594 and 59 5 I t is f nded o n o b ut co for the historical part H linshed, ntains an episode o f the attempt at seducti o n of the Countess o f Salisbury by T ’ E I . o a S dward I I I , in , ii , I I his part is pr b bly hakespeare s ; ’ l W o the rest Pee e s. hether the wh le was revised by Shake

o u . M r T speare is d ubtf l , but very likely ennyson tells me ’ he can trace the master s hand all through the play. It TO A A 3 2 I NTRODUCTI O N SH KESPEARI N STUDY . contains a line afterwards introduced by Shakespeare in S on n et 94 :

’ L es a fes e sm e far o e an eeds ili th t t r ll w rs th w .

Th e following passage seems to fix the date

se u e En s ad om o ur s e Ari , tr g li h l y wh i l ’ M ay b etter bo ast o f th an e er R o man might O f h er who se ran sackt treasu ry hath task t ’ Th e a n en d ea ou s o f so m a en s — 11 v i v r ny p I I , .

This allusion to Lucrece must surely be taken in conjun c ’ tion with the fact that Shakespeare s R ape of L u cr ece was ’ 1 published m 594. H eywood s play also belongs to the same

i . year, in my opin on

6 . 1 E : . 1 1 . 60 . 161 ditions Q , 59 ; Q Q 3, 9 ; Q 4, 7 ;

162 . Q . 5, 5 R A ICH RD I I I .

o This play was f unded on H olinshed, with a few hints ’ from a preceding play produced by the Queen s company, ’ 1 W . E m ms published in 594 I t is alluded to in eever s n , i Romeo o which also ment on , and therefore cann t be dated 6 earlier than 1 59 . I t is most likely that it was begun by fin i sh ed S Peele, and and revised by hakespeare, as we have Th f u 1 . e o v o it in the irst , p blished 597 sec nd ersi n . quarto i n o as we have it the foli , was certainly corrected on a copy 1 60 2 of the quarto ; most likely m that year, as then Jonson , who had not yet returned to the Globe after leaving it in ’ 1 c h a rd Crooh h ach m 599, was writing his for the Ad iral s Th e ff company . nature and extent of the di erences between the quarto and fo lio texts are unparalleled in any other play ; and the alterations are such as to m ake it less like Th Peele and more like Shakespeare . e play stands between 2 H en r V] r , 3 y (which the exte nal evidence shows that n o t v Shakespeare did write, e en if he corrected them) , and ’ Shakespeare s other historical plays . 1 1 2 1 8 60 : . . . 1 2 160 Editions Q , 597 ; Q , 59 ; Q 3, ; Q . 4, 5 ; 1 62 6 162 2 . 1 8 16 612 . . Q. 5, ; Q , ; Q 7, 9 ; Q , 34

J O HN .

T Tr ou h /esome R e n o oh n his play is founded on the ig f y ,

K i n o E n la n d 1 1 . o o g f g , published in 59 I t f llows the pl t, o a b u t m and borr ws m ny ideas, and one line ; is far ore H Shakespearian than the preceding historical plays . e here

34 I NTRODUCTI O N TO SH A K ESPEARIAN STUDY . Falstaff is alluded to under the name of Oldc astle in several 1 S first works in 604. I t is clear that when hakespeare o L ad pted this name, he did not know that this was the ollard L C obh am Th e S i r o/ m Oldca stle 1 martyr, ord . play of ? , 599, ’ ’ r S m efers to hakespeare , as the Admiral s co pany s poets might be expected to do :

n o am u ton we ese It is p pered gl t pr nt, N or aged coun sello r to you thf u l si n ; n s o n ab o e th e es But o e whose virtue h e v r t, ’ n uous ee A valiant martyr a d a virt p r.

E : . 1 1600 . dition Q ,

E 1 . H NRY V . 599 W Founded on the same as the preceding. ritten while th e E E see V C arl of ssex was in Ireland ( Act , horus) between S 1 April and eptember 599, as promised in the epilogue of 2 H en r I V y , which must therefore be placed as near this 1 8 We v play as possible, that is , in 59 . ha e two versions of ’ ' R omeo a nd a h et M er r Wzwes o this play, as of 7 , and the y f Wi ndsor fir . v st v I n this instance, howe er, the ersion is not a first sketch, but merely a copy taken down in shorthand at the

T 1 . theatre, and published by the piratical printer, homas Pav er ‘ ’ Th e O fix es reference to this wooden in the prologue, the

a 1 was . date as not earlier th n 599, when the Globe built

E : . 1 1600 . 2 160 2 . 160 8 . ditions Q , ; Q , ; Q 3,

UL CE R . c. 1600 J IUS SA .

’ ’ Founded on N orth s translation of P lu ta rch s L i v es of '

C ae an d . Mr Julius sar, M arcus Brutus, Marcus Antonius to 160 1 H alliwell has found an allusion it dating , and the style and metre are too like the preceding histories to allo w ’ u s . An Cwsa r s F a ll to place it later opposition play called , ’ 160 2 m m S was acted in May by the Ad iral s co pany . hake ’ ' v v in i n l 61 speare s play was re i ed ( an altered form 3, with ’ Cwsa r s Tra ed . S the title, g y As hakespeare had then pro * bably retired from the stage, and our present copy is clearly c an abridged one made for a ting purposes, it was most likely abridged by another hand . From the spelling Antonie ( Shakespeare in other plays spells A n th on i e without ex cep ‘C tion) , the alteration of aesar doth never wrong but with just ’ ’ a o n son s cause , and certain simil rities of phrase with J writ i it. ngs, I think his is the most likely hand to have abridged I i ' t s ca d Li nd ath u l u s cesar a a o ue o f F 1 . lle f e a D e of ? z C in C t l g . O TO A A S INTRODUCTI N SH KESPE R IAN TUDY. 35

60 1. e. 1 HAMLET .

Founded on an old play now lost, acted by the players of 1 8 H i stor o H a mlet Lord Pembroke in 5 9 , and on the y f ’ c - lctter om o ne of B elleforest s o S (bla k ) , taken fr n vels hake Th e speare m ay have had a hand in the old play. reference o of 6 to to the inhibiti n the players (I I , ii , 34 ) may apply the first order of the Privy Council to restrain the immo derate u se u 2 2 d u 1600 m o o o f playho ses , J ne , but re likely to their sec nd o i st D m 160 1 S u re rder, 3 ece ber , when hakespeare had j st t urned from Scotland . Th e Globe and Fortun e were allo wed to remain open ; the other theatres were closed on accou nt ’ n N u o f the pers onal satire they had indulged i . ash s all sion ‘ ’ m u u of c to whole Ha lets, I sho ld say handf ls , tragical spee hes, 1 8 fix es L u to 5 9, the date of the old play ; odge also all des the Ghost which cried so miserably at the theatre like an ' ’ ’ m Wzt s M zse f Th e oyster wife , Ha let , revenge ( m, 2 6th u 160 2 o play was entered J ly . I t was pr bably acted

- Th e first m a in 160 1 2 . surreptitious quarto see s to be m de ’ u p o f Shakespeare s first draft and the old 1 589 play . But the names C o rambis and the like must belong to Shake ’

a first c o . spe re s opy, and cannot be alterati ns of the printers h u m 16 T e seco nd quarto is the res lt of a revision ade in 04 . It a u to R C u ll des the evels hildren , then recently set p at Bl ackfriars (January Th e folio version is still fu rther altered for stage purposes by insertions and omissions ; b ut is o n the whole the best and most authentic ; as in all plays om fr this date onward .

E : . 1 160 . 2 160 . 160 . 160 ? ditions Q , 3 ; Q , 4 ; Q 3, 5 ; Q 4, 7

161 1 6 16 . Q . 5, ; Q . , 37

BE c. 160 MAC TH . 3

’ ’ Holin sh ed s Ch r on i cle R l S Founded on , and egina d cott s ' ’ D zs / m 1 8 a eoo e o Wzteh e . m f fl, 5 4 ; also on an e rlier play ’ Kempe in his N i n e D h ys Won ders P 8 7f Of 7i l€d i n a D a m e f rom London to N orw i ch (April refers to a ballad o u o (play) whose author was f nd at the Bankside (Gl be) , ‘ : o u u sitting at a play A pr per pright yo th, only for a little ’ o o u to st ping in the sho lders, all Hart the heel, a penny poet for u G o o (writer a p blic theatre like the l be, where the l west ‘ a fo r o first m a w a ch rge entrance was a penny) , wh se king s ’ ’ m o M a e- ao - el M ae- a o - h eth the iserable st len story of , or , or ’ M ac om w for am u a i lf cze o n h f a u /r s e hat, I s re (pr nou ce ) it ’ o i H o t t. e was , th ugh I had never the maw see advises th e 6 I TR D N Y 3 N O UCTION TO SHAKESPEA RIA STUD .

‘ author to leav e writing these beastly ballads ; make not ’ T s good wenches prophetesses for little or no profit . hi ‘ ’ ’ 1 ballad was entered at Stationers H all 2 7th August 596. I see no reason to doubt that it was the earliest attempt of S 1 8 hakespeare in tragedy, made in 5 9, and that he is the penny poet alluded to . For Kempe left the Globe for the ’ Earl of Worcester s company when the Fo rtun e was opened

1600 . in , and would naturally satirise the Globe poet I t is noticeable that Shakespeare first introduces a clown in his ’ 1600 comedies in , as if to make up for the loss of Kempe s x m e Th e S e te por jigs . other allusions accord with hake ’ ‘ ’ speare s circumstances ; an upright man is a sturdy beggar b ‘ ’ z e. and thief, . ere, a plagiarist ; stooping in the shoulders D ‘ ’ h agrees with his name eformed . All H art may allude to t e W 1 marriage of illiam H art and Joan Shakespeare in 599, L probably in ondon , and the cordial reception of them by v W H Shakespeare . H art was ery probably the . . of the S on n ets b e , mentioned in their dedication as their only ? getter or collector . (H ow is it no one has suggested this

E H H . W . very other name in W . . or . has been tried ) T S a his being the case, and hakespeare being in Scotl nd 160 1 C in , he would naturally be interested in the owry 1600 conspiracy of , and the witch executions then so rife . O n n S J ames I accedi g to the throne, hakespeare, knowing - e r - w his witch hating charact r, would e rite his old play. I t has in it several compliments to James : his descent from v Banquo, his touching for the e il, the double balls and so treble sceptres, etc . If this be , we see why the play abounds in rhymes derived, in part , from the old play. I n 160 5 James was addressed at O xford by three students of St ’ ’ J ohn s College in Latin v erses founded on the weird sisters M h h h . a c et 2 0 t predictions , when acted at the Globe, April 1610 b , as seen y Forman, appears not to have had the witch a I i I i i i 1 - 1 parts in , , , , 37, nor, indeed, the scene , ii , with the T a bleeding soldier. hat these e rly witch parts, as well as ’ all H ecate s , are spurious, there can be little doubt , after the C W T demonstration of Messrs lark and right . hey were, so ln i however, wrong (and I doubly ) rejecting var ous rhym Th e fir i n g tags in the play . weird sisters of the st act are z certainly distinct from the wi ards or hags of the fourth , as

H olinshed makes them . I n the apparently exceptional i n i v 1 IV 1 1 6 assages I I I , , 33, , , 3 , the second folio reads p‘ ’ ‘ ’ T z . wi ard sisters, not weird sisters his cannot have been an unauthorised change . H ecate was certainly inserted by a h e Wzteh f M iddleton fter e wrot his , rom which the two RO CT O TO S INT DU I N SHAKESPEARIAN TUDY. 37

‘ ’ H Wi t - . e ch 161 6 songs are taken did not write the till 5 , ’ m Th as he was not till then a poet of the King s co pany. e ’ insertion of songs went on after Middleto n s time others by an unkno wn hand were first inserted ; then D avenant put in m of . o more the same sta p Had not the f lio been published, o c us u and had nly this later form rea hed , no do bt we should ’ v o to o S ha e been t ld that these songs were hakespeare s . Note that 5th August 160 3 was appointed for a special thanks ’ v E C th gi ing for King James s escape from the arl of owry, s 1600 h August . I would date this tragedy about t e same time.

LE R 160 - 6 A . 5 .

’ Holin sh ed s Ch ron i cles Founded on , and the old play of ' ' i H i stor o K zn Lezr Th e Tru e Ch r on cle . 1 y f g , etc , entered 594. Th e story o f Gloster and his sons is taken from Sir Philip Sid ’ ’ ’ a di a m om H ney s A re ; the friends na es in I I I , iv, fr arsn et s ’ ' eclara ti on o E re z ous P o zsh I m ostu res 160 T D f g g p p , 3 . his play was entered in 160 7 as having been played at Christmas ’ 1606 160 L ez but it was most likely played in 5, as the old r ‘ 8 160 ’ was entered on th May 5, and printed as lately acted

o . O n m in rder to deceive the public the other hand, it u st 2 th O o 160 have been after 4 ct ber 4, when James was pro m G ‘ clai ed King of reat Britain, as the old line, I smell the ’ E n li sh m an so N blood of an g ( given by ash, is i t sh T B r i . altered into Again, hese late eclipses of the sun ’ ‘ I 0 c and moon ( , ii, and , these e lipses portend these ‘ ’ I am divisions ( , ii , and , I thinking, brother, of a pre

diction I read this other day, what should follow th ese ’ I m u o eclipses ( , ii, st certainly refer to the eclipse f 2 d 160 O ctober 5, when the sun should be obscured eleven - T digits, and darkness should appear at mid day. his eclipse ‘ ’ o u Th was preceded by an eclipse of the mo n at her last f ll . e m a C m 1 0 Th date y fairly be placed at hrist as 6 5 . e eclipses ’ o v K L were predicted by J hn Har ey of ing s ynn , in his Di s ’ u rszv e P roblem con cern i n P ro h esi es 1 88 eo g p , 5 . 2 160 8 : . 1 . . Editions Q , Q ,

? T O 0 1 E . 1606 IM N ATH NS .

’ ' a c L i e o A n tom us Founded on a passage in Plut r h s f f , and ’ the twenty - eighth n ovel of Painter s P a lace of P lea su r e; o n T!man 160 partly also the old play of of 3 and, in the ’ ’ n o S L D i a lo ues part t hakespeare s , on ucian s g . Shake ’ a e I a 1 v r speare s sh r is , i (verse p rt) ; I I ii ( erse pa t) ; I I I , 8 TO S 3 INTRODUCTION SHAKESPEARIAN TUDY .

v i r IV 1 1 - 2 1 6 - 8 1 - V i (verse pa t) ; , , iii, 9 , 3 3 39 , 4 4 453 ; , (verse i v C T part) , ii , . yril ourneur was the only person connected with the King’s company at this time who could have written W T the other part . ilkins is out of the question . here can be no do ubt of the date . I t must lie between Lea r and the R f v later oman plays, rom metrical and internal e idence .

O AN D C EO R 160 ANTH NY L PAT A . 7.

’ ' ~ Li e o M a rcu s A h tom us E Founded on Plutarch s f f . ntered 2 0th 160 8 for publication M ay , and, no doubt, written in the preceding year .

CO R O S e 160 8 I LANU . . .

’ ' ’ L i e o Corzola s Men en ius Founded on Plutarch s f f mz . ’ C Rema i ns 160 fable, however, is from amden s , 5 . I n all N u 160 editions of orth p to 3, in the passage corresponding V i 8 ‘ ’ ‘ to , , 9 , unfortunately is printed for unfortunate after S ’ N hakespeare s correction in the play, the editions of orth are corrected too.

THE w N B S E 1612 T o O LE KIN M N . e. . ’ ’ W F o u n ded on Chaucer s K n igh t s Ta le. ritten by Shake

e 1612 . S ee speare . , and subsequently altered by Fletcher S under the next play . hakespeare wrote of the present play, 1 I I V V iv . ; I I , i (prose part) ; I I I , , ii ; , iii ; , i iii ,

E : . 1 16 dition Q , 34 .

E R V 161 H N Y I I I . 3 .

’ ’ o un ded Holin sh ed s Ch ron i cle h r st F on , and Fox s C i i an

M a r t rs 1 6 . Th e v y , 5 3 play as we ha e it is an alteration S ’ made subsequently by Fletcher . hakespeare s share i s

- I i iv 1 1 V i . 2 h , , ii ; I I , iii , ; I I I , ii , 93 ; , I t was produced 9t 1 1 T Lorki n Si r W June 6 3 . homas and H enry otton tell u s Th e . A i s this in their letters piece was then called ll true. ’ 161 n S I n 3 ma y names of hakespeare s plays were changed . 1 11 I H ots u r M err Wi v es o Wi n dsor t V was called p ; y f , ’ ’ S i r oh n F a lstaf M u t h A ao a bou t N oth i n B enedi ck a n a ? f } g , ' ’ ' ’ s s sa r s T a ed a B ea tn ee a lz a Cae ar Ca r . m ; ? , g } I not aware that S this happened at any other date . Fletcher and hakespeare certainly did not work together on either this or the precedi n g ‘ ’ Th e n V v play . making new ations ( , , alludes to the V 1612 colonising irginia, for which there was a state lottery in . T A A A S INTRODUCTI O N O SH KESPE RI N TUDY. 39

’ R Wh a t ou see me oa h fzow me o n W. owley s play, y y ( Henry V a n d o f Lor d Cr omw ell I I I) , the drama , were reprinted in

161 . Th e 3, with the usual fraudulent intentions play being 161 called a new one in 3, is no evidence that it was not an

l S . o d one altered . uch pieces were always called new But 161 1 o 161 m of from t 4, Fletcher was writing for the co pany R C the evels hildren and others , and had no traceable con ’ n i n t ect o with the King s company. Hence i is almost certain that the versions of this and the preceding play produced by i 161 Th e h m were of later date than 4 . original copies were Th probably partially destroyed in the fire at the Globe . e present prologue and epilogue must have been written fo r ' the play as revised with Fletcher s alteration , for two reasons Fi rs tl o m S ee stor I h w omen y , they c ntain the rhy es , , y , , , ’ n ot S m secon dl which are in hakespeare s late anner ; y , a shil ’ m ling is entioned as the price of seats, which applies not to o Th e the Gl be , but to Blackfriars . critics quote this line, as showin g that the prices at this public theatre were the sam e of co n as at a private one, in the teeth all evidence to the ' trar Th e H i stor o Ca rdem o y. Another play, y f , was acted at ’ o 161 S c urt in 3, and entered as hakespeare and Fletcher s in 16 iden tified D ou h /e F a lseh ood 53 ; but this has been with the , u m T p blished in an altered for by heobald, and attributed by D S wh o u m two yce to hirley, th s assu es the existence of plays of this title.

' v i z Th e Ta mzh o th e In the above notices several plays , . , g f m Ti on M a eh eth Ca sa r Th e T200 .Noh /e , , , Ki nsmen H en r VI I I o o f , and y , are sp ken as having been ’ o S o o altered fr m hakespeare s riginal copies . I cann t give here the en ormous m ass of evidence which I have gathered o f o f as to the prevalence this practice, and the unlikelihood ’ S o i hakespeare s plays being an excepti n to t. But as the o o f m date of these alterati ns is so e interest, I may note that m 1616 162 fro to 3 , Fletcher, Jonson , Middleton , and probably ’ T u L o K ourne r and odge, were the nly poets of the ing s m co pany. As it is precisely to these writers that I have th e u u attributed alterations on other gro nds, I f rther suggest o f that the date them must belong to this period , except, ’ Th e Ta mzn o t e S h rew M S h S. perhaps, g f , the having been m fire th e G . da aged, as already suggested , in the at lobe We find no trace of such refashioning by seco n d hands i n u u o om the plays p blished in q art , but merely a few c para ti vel m o y slight o issi ns, insertions , etc . , for acting purposes . FT C HA ER IV .

WHAT OTH ER P LAYS HAV E B EEN ASCRI B ED TO SHAKESPEARE ?

ES ES v B ID the plays in the preceding chapters , others ha e S been ascribed to hakespeare, of which the following list all contains the names of with which he can, by any possi bilit v y, ha e had to do in any way

’ 2 H en r VI 1 1 All e on ed to em oke s y , 59 b l g P br [I en r V] 1 2 co m an an d a e wa d 3 y , 59 p y, ft r r s ’ ' ’ a m n s Ti tu s A n rom cu s I to C a e a . , S94 h b rl i

Fa i r E m 772 1 0 ' , 5 9 A11b on o L S an e el ged t . tr g s on don P rodi al 1 1 L g , 59 com an ' p y. A raen o Feversh a m 1 2 f , 5 9 ' e I d W Lot rzn E e . S. , S9 S dit by M zcedoru s 1 8 , 59 Cr omwell 1 60 2 e o n e to am e , All b l g d Ch b r ’ ’ r u m b r on don 160 a n s co m an La L 2 . j , l i p y ' War m n or Fai r Women 160 2 g f , ' ’ ’ Yorh s/zzre Trag ea 160 8 Bel onged to Ki ng s com ’ m n n M er r D evil ( Ed onto 160 8 a . y y , p y ’ Pu blished as Rowl ey s and B i r th o M erli n 1662 f , ’ a s ea s 3 Sh ke p re .

O v ther plays ha e been ascribed to him, which he cannot ’ have touched, unless he belonged to the Queen s company 1 8 : before 5 9, namely

’ ’ Tr ozthlesome Re n o [( z n 01m u en com an ig f g 7 (Q e s p y) . Si r 701m Oldcastle ’ P u r ta n Ch d en f i ( il r o Paul s) . ' ’ Kzn Lezr . g ’ Ri ch ard 11] ueen s th 1 a (Q ) ( e 594 pl y) . I append notices of such of these as the reader is likely to meet with . 2 AN D E R V I 3 H N Y .

’ o o n Ch ron i cles These plays were f unded H alle s , not ’ Holi n sh ed s ; but carelessly and regardless of historical

2 RO C O TO S 4 INT DU TI N SHAKESPEARIAN TUDY .

v S date at which I belie e hakespeare began to write . H e 1 probably corrected the other play about 600 . E 1 1 : 1600 16 . ditions ,

F EMM . 1 0 AIR 59 .

T ff 1 1 hat Greene took o ence at this play in 59 , is certain ; S that he attributed it to hakespeare is probable, as he does not seem to hav e subsequently attacked any other dramatist with regard to the play which is certainly by the same hand on don P r od a l as the L ig . What share Shakespeare or Lodge m a h av v y e had in it is doubtful, but it must ha e belonged to the m L S T co pany of ord trange . hat the plot is allegorical and ’ v v eils Greene s own ad entures , is an opinion which few share

v a . W with me, but I ha e no doubt on the m tter illiam the C onqueror in this play cannot be the king of that name .

1 16 1 W . 2 . E : . ditions Q , 3 , for John right Q , no date

THE L P . 1 1 O NDO N RODI GAL 59 . That this play is founded on the adventures of Robert

Greene, the dramatist, there can be little doubt . I t also probably allegorises his connections with the v arious theatres ’ . S then open I t was produced by hakespeare s company, F a i r E mm and it is certainly by the same hand as . I n con sidering these early plays, one point seems to have escaped 1 fin d n the critics . Before 594 we that each compa y had one i t poet attached to , and only received occasional help from any ’ o R others . I t is not till the Admiral s company g to the ose , h n 1 H n sl 1 d . In e o in 594, that we more than this 597 w has twelve poets attached to his company ; but at no period had ’ 5 the Chamberlain company anything near such a number . If i then Shakespeare did not wr te these plays , he may, if he was o v the then rec Ognised poet of the company, ha e revised them . T L . 15 w If he did not , odge the only other known poet that e ’ can connect with Lord Strange 5 company at this period h e i n o and , my opini n , wrote both this play and the preced ’ - Th e S 5 n l . ing . title page has hakespeare ame in fu l , as author T N F 1 F 2 1 O . C . . . Edition : 6 5, [reede], for Butter , . .

EV ER HAM B e ore 1 2 ARD EN O F F S . f 59 .

Probably founded on an old play called M u rderous ’ el 1 8 H oli n sh ed s n a1rative M u r der M zt h a , 57 , and on of the V I i n E . of A rden , the reign of dward I t belongs to the INTRODUCTION TO SHAKESPEARIAN STUDY . 43

Th e L cl a ss of domestic tragedy . play belonged to ord ’ o m o 1 2 Strange s c pany, and was acted bef re 59 , when it was n ot m o S a printed . I t is i p ssible that h kespeare may have H corrected this play. e is the only poet connected with ’ Lord Strange s co mpany that we then are sure of and they 1 2 were reduced to acting the plays of other companies in 59 , ’ o H n lo w s as is clear fr m e s list . fo r E W 2 1 E : . 1 1 2 . . . ditions Q , 59 , hite ; Q , 599, by J 6 E z Alld R 1 . e. oberts Q. 3, 33, for li

L 1 86- OCRINE. 5 7.

C O Founded on Holinshed . ertainly, in my pinion , by ' ’ ’ Tztus A n a rom eu s H em / V] the same author as and 3 j , Th e o m 2 H en r V] c I I I , ii . c ic parts are like y ; the lassic Th e quotations are like Peele . play was probably written by

1 86- Charles Tilney and Peele in 5 7. I t was republished in W 1 o o c . 595 , as newly set f rth , overseen , and c rre ted by T C m Ri ch a rd [1] by . reede , the sa e printer that printed and ' Romeo an d a h et m ? , the two plays , which , in y belief, were o fo r begun by Peele . In any case there is no reas n whatever W W . S. S doubting that the was illiam hakespeare , and that he did not write , but did edit this play for his friend Peele . T F 1 F 2 1 1 C . . E : . . . . dition Q , 595, by reede ,

MU CED RU B e re 1 8 . O S. f o 59 C t S ’ ’ er ainly not hakespeare s , though a play of the King s

T. L company . I t was probably written by odge, whose pas toral name M u sidore was palpably taken from it with an o o alteration in the spelling, to introduce an allusi n t his ’ 710m ae lu me M u sidor z M use anagrammatised p , Golde ( ’ . 1 1 Th d or) I t was republished with additions in 6 0 . e u o additions consist of a prolog e with conversati ns , between C E v o omedy and n y, at the pening and close of the piece, and i o two new scenes , w th two new characters , Anselm and the of V T c m King alentia. hese additions are learly by the sa e hand as the original play, introduced for the performance o W S Tu 1610 bef re the king at hitehall, hrove esday, . 1 1 8 W E . 2 1606 ditions Q , 59 , for illiam Jones ; Q . ,

. 160 C . 1610 . 161 6 161 Q 3 , 9 ( ollier) ; Q 4, ; Q 5 , 3 ; Q . , 5, N 5 m O ke W . 161 8 1 2 . . 6 1 [ ], for illia Jones ; Q 7, 9 ; Q , ; Q . 9 , 162 6 10 16 1 1 16 . . n W 12 ; Q , 34 ; Q , 39, for Joh right ; Q .

1 . 1 166 C 1 1668 1 ; Q 3, 3, for Francis oles ; Q. 4, ; Q . 5 124g T T A S D 44 INTRODUC ION O SH KESPEARIAN TU Y .

THE L F D E H O F T O S LOR CR E I E AND AT H MA D O MW LL. B e or f e 160 2 .

’ Founded on Fox s B ooh of M a rty rs an d a novel of ’ ’ . C Bandello s , given in Fox I t belonged to the hamberlain s ’ S 1 1 company, as stated in the entry in the tationers books th

60 2 - 1 W S. August . I t was printed with . on the title page in

161 . O n e Lon don P r odz al 3 line is repeated from the g . T T L his play may be by the same author ( . odge

W . C E E 160 2 . : . 1 160 2 ntered , for otton ditions Q , , for T n h 61 S d am . W . 2 1 o . Jones Q , 3, by homas

A Y T E 160 - 8 ORKSHIRE RAG DY. 5 .

’ T A 11s On e or his play is in one act, being one portion of ,

F ou r P la s i n On e . y , played at the Globe 160 V I t is founded on a pamphlet, published in 5 by . S S ’ [immes], relating a murder, also mentioned in tow s

h ron i cles . C , which was committed in that year I n power Y this is the most remarkable of the doubtful plays . et surely v Shakespeare could not ha e written such a production , even for an ephemeral purpose, so late in his career . I t has been h e assigned to H eywood, absurdly ; did not write for the T Globe at this time . ourneur and Jonson did, so did per T haps Beaumont and Fletcher . here is at present no ground for asserting the authorship positively . I t was printed with ’ T v Shakespeare s name in full on the title ; but . Pa ier was the printer . ‘ Th e first v scene introduces talk among the ser ants , about my young mistress ’ who was clearly intended to play a con

l . h r siderab e part S e is never heard of afte wards . And no v characters in the rest of the play ha e any names , but these T Di S . d servants have . hey pun like hakespeare he write this first scene and Beaum ont the rest of the play ? Th e other instance we have of F ou r P lay s i n On e is by Beaumont — and Fletcher one scene imitates the interference of th e Th Lea r vii . e servant in , I I I , two lines,

D ne and d n men m a a o f e ivi s yi g y t lk h ll , ’ B ut m ea h er se e a o me s d e in y h rt v r l t r nt w ll,

’ o ccur in the poem at the beginning of N ash s P i ers Feh m ' less 1 2 I nsa tzate Coun tess , 59 , and also in the , by Marston

B arks ed 161 . and t , published 3 T E 1 1608 R . v . 2 ditions : Q . , , . B[onian], for Pa ier ; Q , 161 9, do . I U T TO K A A S ’ NTROD C ION SHA ESPE RI N TUDY. 45

r 1 . THE M ERRY DEV IL O F EDMONTO N . B efo e 608

T B . A Globe play by . , as entered by Joseph Hunt and h 160 8 t . Thomas Archer, s April I t was very popular ; J on ‘ ’ H son calls it the dear delight of the public . . Moseley ’ entered it as Shakespeare s in 1653 .

E : . 1 160 8 r for ditions Q , , Hen y Ballard, Arthur Johnson ;

. 1 . ld do . 1 2 A M 2 1612 16 G E . 6 6 . . Q . , ; Q 3 , 7, , for ; Q 4, , ,

lkn . 1 1 T . 6 au er 6 . . for Francis F ; Q 5, 3 , P[avier], for do ; Q , W 16 . 55, for illiam Gilbertson

E B F M O R TH E C TH IRTH O ERLIN , HILD HATH FOUND 11 1 ER 5 FATH .

1662 W This play was published in , as written by illiam

Shakespeare and William Rowley. I t was probably founded ’ ter P en dra on m on U g , a play produced by the Ad iral s com 2 th 1 Valtz er pany 9 April 597; or on lg , also produced by the m th D 1 6 T am co . s e pany , 4 ecember 59 here is not a particle f fo r u S a o evidence attrib ting this play to h kespeare . Pub li sh ers from 1659 to 1662 put any name upon title - pages that W e do n o t o o suited their convenience . kn w the c mpany o R that owned this pr duction . I t was not written by owley Th e o for the Globe . nly times he was connected with that 160 162 - 160 i n theatre were in 7, and in 3 5 ; and in 7, only H W . e directly through ilkins , if at all may have refashioned

m . T it from an old play, for some other co pany hree other ’ 16 1660 S plays in 53 , and three in , were entered in hakespeare s ’ m S o na e , in the tati ners books, none of which are extant . E o : 1662 T diti n , homas Johnson , for Francis Kirkman and Henry Marsh .

THE FI RST A N D SECOND PARTS 0 1° THE TROUBLESOM E K R G O F G . e 1 1 . EI N IN J O HN . 59

' T ’ m It his play was acted by the Queen s co pany . was

. T G c. 1 0 . h e first probably written by Peele, 59 edition was ‘ ’ h - m u . 161 1 W S . anony o s I n . was put on the title pag e to ’ deceive the public, as Shakespeare s play was not then pub ‘ ’

W . . li sh ed . S S till later, hakespeare was inserted in full ’ a h For Shakespeare s use of this pl y see under ?o h .

E : . 1 1 1 S . C 2 161 1 V S m ditions Q , 59 , for larke ; Q . , , . [i mes],

. A . for T. D 162 2 for J. Helme ; Q 3, by Mathews, ewe, .

F R O F SIR O S E 1 IRST PA T JOHN LDCA TL . 599 . This play was printed with Shakespeare’s name in tull on

- T. v th e title page, for the dishonest bookseller, Pa ier. I t was 6 T A A 4 INTRODUCTION O SH KESPEARI N STUDY.

’ D written for the Admiral s company by Munday, rayton , W 1 ilson , and H athaway, m 599 . I t was evidently intended to keep in the mind of the public the fact that Shakespeare L cowal d had represented the ollard martyr as a and jester, in his H en ry I V Edi i o n 1 600 t s : . 1 T. . 2 v V . S Q , , for P[a ier]; Q , [immes],

r T. fo F. F Pavier . 3, . 4 .

TH E R R TH E W REE . PU ITAN ; O , WIDO O F WATLING ST T 6 1 06.

’ C ertainly not Shakespeare s ; published with the initials W ’ 60 . W . S. 1 C , in 7 ritten for the hildren of Paul s , by an O xford graduate ; founded on the ?ests ascribed t o George ’ b oar Peele . Peele (a baker s shovel) is called Pye d in this play— one among many proofs of personal allusions hidden m under na es of characters in these productions . For the P r l s 2 e i c e . 8 date of production , see under , p .

160 G . Eld F F E : . . . dition 7, by 3, 4.

THE TR E TR E r R e. 1 . U AG DY o ICHARD I I I . 593

This play is certainly by two hands . Th e entry o f Rich s mond ( c. xiv) marks the point where the second hand is ’

. o introduced . I t is a poor play I t bel nged to the Queen s '

been artl R . men , and may have p y written by obert Greene

E 1 T. C . dition : Q . , by reede

1 TH E TR UE CHRONICLE H ISTORY O F KING LEIR . 593.

’ ’ This play was acted by the Queen s and Lo rd Sussex s firs men t o gether at the Rose in 1 593 . I t was t printed m f W 160 b S S . 5 , y imeon taf ord, for John right I ts only inter ’ 5 est to u s is its connection with Shakespeare play, for which

Lear i t. see under . Peele was possibly the author of

E . 1 dition : Q ,

F WARNIN G FOR AIR WO M EN .

A murder play .

. 1 W . 1 . E : V . S fo r dition Q , ims, Aspley, 599

’ L R F R L R S G o r ERP. A UM O O NDO N ; O , IE E ANTW Plot from 7 h e Tr ag zm l H i story of th e 621] of A ”f ” w p

E . 1 160 2 . dition : Q , C HAPTER V .

HOW SHOULD SHAKESPEAR E BE READ ?

INDEPENDENTLY of all qu esti ons o f understanding the text critically and historically, the following points require atten tion .

’ 1. Th e pronunciation in Shakespeare s time differed from ours .

6 on h ad two sounds l g ,

8 on h ad two sounds l g ,

at on h ad ee sounds l g thr ,

6 on h ad two sou nd s l g ,

12 on h ad o n e soun d l g ,

a h ad two s unds at ( y) o ,

' ez e h ad two sounds ( y ) ,

’ z o h ad two sounds o ( y) ,

’ u z u h ad wo sounds ( y) t ,

ou ow h ad two so nds ( ) u ,

ao h ad two sounds,

ea h ad h ee sounds t r ,

Th e asteri sed sounds were m u ch commoner then than

They require special atten ti o n .

n 1 sh 01t h ad one sou d,

5 h h ad two sounds s ort , D 48 INTRODUCTION TO SHAKESPEARIAN STU Y.

1 . a i n ran . a s h ad two u ds hort so n , 2 . i “ de e ll . .

‘ 1 1 1 6 h ad two ou short s nds, 5 251 3211

173 s o h ad o n sou 1 . u i n u . h rt e nd, p ll u a n a d Th e u in b t w s ot known at th t ate.

I t must specially be noticed that the pronunciation was v : find a o oi ery unsettled at that time we t tter and t tter, b l i e i man m an e a and b le, wh ther and wh ther, and , th n and th n, ’ u i i ce n ow me n ow n oo i n j ce and j , (like , German) and (like ) , T discriminately used . housands of similar instances might fix be gi ven . Any attempt to one pronunciation for every

a v . word sep rately, howe er elaborate , must necessarily fail I n consonants the chief points worth noting here are the exceptional pronunciations of th sounded as t in moth (pro n oun ced m ote th e th ose ta ) , (pronounced (pronounced ) , n oth m n otm s g (pronounced g) , and the like ; pronounced as sh st ator sh ooter - tzo; z - szoh , as (pronounced ) ; , , pronounced s n atzoh a tzen ee usl ah with a distinct sound of , as , p , f (pro ’ n ou n ced n a - sz- on oa - szl en ee u - si - oh eh , , , f ) ; pronounced j, as ' h eseeeh besze e h m (pronounced ) g omitted, and so etimes pro ’ ’ n ou n ced aa u ter da ter f , as in g (which varies between , ’ ' aa ter da u h zter th ou h t f , and g , with the guttural sound) g

th o t . (pronounced f ) , etc Th e following general laws may also be laid down 1 L . etters that can be trilled may be made to form a sepa i re - er mi le rate syllable thus , f may be pronounced fi ; , ' mi —el su r el sa - er - l h a h a - zl l ; y , y ; pty, p y . C : flat th onversely the spirants , may be omitted alto ’ gether in pronunciation ; sev ei n h t becoming se n mg h t ’ ’ ’ ’ lov e 10 e w e : e ° w zth w z w h zth er w h z er ° corsw e , ; g , g , , , , ’ or sz e . T 1n c , etc his occasionally happens other consonants ,

’ ’ ’ ° " ’ tah on ta en 0 th on th e 2 th i n th e. as , ; notably in , for , , for 2 . Any two consecutive consonants may be separated so as ' v h eam to gi e rise to a new syllable , thus , may be pronounced ’ ’ ‘ ’ ’ r a é h zzzsma h zn i sma n h ea d a r ce ra ee n . O ; g , g ; , ccasionally this results from the reviving of a vowel that originally existed v ’ Wor eester eofi zma h dem eh t in the word , as in , , and the like . C o nversely z ' two syllables ending in the same consonant v v may be run into one , pro ided only a short vowel inter enes between the two similar consonants ; this is specially notice

t d s . let i t able with , , , etc (dentals) thus, , may be sounded ’ ’ ’ commi tted h eaea h orses ; se i s , e , , h o ; th ' ’ h zs i s, t ; etc.

0 TO S 5 INTRODUCTION SHAKESPEARIAN TUDY .

S I I I . pecialities in grammar cannot of course be noticed b e here ; a few general rules may . 1 W . hen a dissyllabic adjective accented on the last syl fir st lable comes before a noun accented on the , its accent is : Th e man zs com lete Th zs 2 5 a om thrown back, thus p ; but , c te man ple .

2 . v : th e Adjecti es are often used as concrete nouns, thus ’ lea rn ed s w i n w ell m le i ti mate w ri nkled old . g ; , y g ; , etc

3 . Adjectives often take the place of the first part of a ' : a blood zre compound noun formed from two nouns , thus y j ‘ ’ ‘ ’ fire fire 1n a r u z u l r o n ostzea for a blood , or the blood ; f tf p g ‘ ’ ‘ ’ - tzon a fruit . , for prognostication, or prophecy of fruitfulness i v n v H ence the apparent n ersion of oun and adjecti e, as in ‘ ’ ‘ ’ lzw n tormen t m u rder g , for life torment, or tormented life ; ‘ ’ ‘ ’ - ou sh a me . See for murder shame, or shameful murder ( 14s

4 . Abbott notices that adjecti ves are often used for adverbs, but does not notice that conversely adverbs are used for ’ ‘ v : We h a v e sa e / oz ma ou r h i n We adjecti es , thus j b f g , for ’ ' ’ o L ueza s ba n i sh m en t w as w ron have f und our king safe . g ‘ ’ u ll f . f y , for wrong ul Th e u 5 . ger nd is often used in a passive sense when it v : Women occurs not in the predicate but as an attributi e , thus ‘ ’ ‘ a re a n els w ooi n i n B g , g , that is, wooing , when wooed y ’ ‘ ‘ deed - a eh zew n h on ou? 7le flamed b g w , that is, y honour ’ achieved by deeds . 6 Suffix es r fix e th e . and p e s sometimes apply not only to o word to which they are attached, but also to other w rds con ’ n ected : S a a or merr zl = sad by a conjunction , thus y ( or ’ - l = sa l E a an d sea s = earth merry) y d y or merrily . rth ( and ’ ’ Rev i v ed an a h rea th ed = re - vived and sea s . ( = ° mb breath ed r vi br a h d F oo. an d la and ) e ved and re e t e . ' s zn s = fox la = h ( and mb) ski n s fox skin s and lambskins . Z m Z v Or i n th e 7. eug a and syllepsis . eugma of the erb ‘ ’ ocea n d reh eh t or i n th e re fire. Z fi , for burnt in the eugma ’ ' ' : A si s ter 1 be u ea th ou w h om n o br oth er a za of the noun q y , ev er lov e so dear l v y , for whom I love as ne er brother loved ’ u s so too his . Syllepsis of the verb auxiliary : You m t h e if ’ ‘ ’ me M a n h av e a n d eea if . h , for you will heed me I nversely : y ‘ h ers m us t si t th ot ere . S , for have sat yllepsis of the preposi ‘ : F rom w h en e h o m a s ome a n d a r t tion c t u y t c fi , for whither ’ all thou mayest come and whence depart . I n these and i ve al similar nstances, a word is joined to se r others , that naturally refers only to one of them .

8 . To ch ase th e z nom n t u mes th a t man tle . Prolepsis lg f 1 INTRODUCTION TO SHAKESPEARIAN STUDY . 5

‘ r eason m r th ei r clea re r , for to chase the fu es that mantle thei ’ o so . ff re re reas n , and make it clearer H ere an e ect is p u sented in the inserted epithet as already produced , altho gh it has to be pro duced afterwards . T u u o . o 9 . Cum lati n his incl des all instances of d uble o f i n fiex i on s u o o negatives, repetitions , d plicati ns of expressi n

n fl x i on o . C m by an i e and a prep sition , and the like om on ‘ ’ ‘ instances are : H e did not never do it ; the house of Mr ’ ’ ‘ ’ ‘ ’ Smith s ; most highest ; from whence ; such names as ‘ ’ - - S Wans beck water, etc . I n hakespeare the usual form is ’ ’ ’ that of the double negative : H e a en zea y on h a d i n h i m n o fi gh t; Let h i s lack of y ea rs h e n o i mpedi men t to let h i m lack

° ° ° a rev eren d esti ma ti on , Yon less h n ow h ow to v a lu e h e; th a n ‘ W e sh o s an t h e du t . e t c r y should say, any right let him ’ ‘ obtain ; Sh e is less likely to scant her duty than you to ’ al underv ue her . 10 Th e o r . use of words in two senses where no pun Gi v e m lov e a me s ° h comic effect is intended . y f f a te7 t an ‘ = 1 fi ml 2 0 u ti me w astes li e r . so n d a s f ; fast ( ) y, ( ) swiftly

° = - h ea rts th a t a re h ollow 1 o 2 o . , sound ( ) wh le, ( ) clear s unding By a similar reference to preceding words Shakespeare T a abstracts o n e part of speech out of ano ther . h ey th t h a ve ’ ow er to h u r t an d w i ll do n one Th e p , , that is , do no hurt . ’ h i n lov es ou bew a re ou lose i t n ot g y ; y , that is, lose the love . ’ N o lesser o h er h on ou r con den t th a n 1 di a tru l n d h er f fi y fi , ‘ ’ fin d o u . that is, her h no rable 1 1 o f for Go n d U se . te ern s . the abstract the concrete , e s of ’ - ea rs . y , that is , tender yeared one r H 1 2 C fo . e s ea h s n i mad . oncrete abstract p oth ng h u t ‘ ’ man m . , that is, adness 1 Th e m o n e 3 . na e of a thing for of its attributes, thus : ' ' ‘ ’ ’ H es la s w ere tu n ed lzh e th e la rh a y , that is, like the l rk s lays . ’ H er a ow f sh a ll w e h e ua l w i th a u een y ig q q , that is, with a ’ ’ u q een s dowry.

T a . 14. r nspo sition of words This is peculiarly Shake s eari an : p , as he uses it to excess a o . Epithets transp sed from subject or predicate to th e ‘ o Th a t a th w i i . e ll n loan a bject, etc , thus p y g , that is, p y ’ Th e th r z h i re 1 sa v ed . I f willingly fiy , that is, , being thri ty, ’ ‘ . Cou rse o di rect sessi on c o saved f , that is, dire t c urse of ’ session . b a . v wo Interchange of adjecti l and substantival rds . ’ ' ’ N a tu = H a bz s re s tru th true . t nature habit . ’ ’ ’ You r w ord s aeeezt Inversely your deceitful words . ' H ear t- w zsh t =l x uri o s lux my u u desire . 2 TO K S 5 INTRODUCTION SHA ESPEARIAN TUDY .

' H ell o zme = im I nv ersion of th e whole idea . f t t e of “ P u ea r to a lon = ut l t 7x r . hell . f p va our to fear ’ ’ ’ = a za n ev er meddle w i th my th ong h ts m y thoughts did never meddle with knowing more . All these grammatical remarks are taken (with a few ’ ' s on alterations) from Schmidt s excellent Sh a h e fiea r e Lex i e . ’ ’ s r a mma r For special details see Abbott s Sh ah e pea ma n G . These two books are worth all th e comm en tai i es on Shake r n r spea ia language put togethe . I CHAPTER V .

’ WHO ACTED PLAYS IN SHAKESPEARE S TIME ?

’ THE principal companies of actors in Shakespeare s time m ay be conveniently treated of in gro ups . ’ 1 Th e C C . hildren of Paul s , who acted in their own onvoca om 1 6 1 8 w tion Ro from 5 3 to 5 9, hen they were suspended, and 160 1 1606 from to e. . 2 Th e C W 1 6 - C . hildren of estminster acted 5 7 75 ; the hildren - Th e C o W o 1 1 . C of inds r, 57 7 hildren of the hapel utlasted 6 - 160 D u h a o om c 1 . t e b th these c panies , a ting 5 5 3 ring l tter of m 1 6- 160 a a part this ti e, 59 3 , they occupied the Bl ckfri rs b ad e I n T w as o ut B ur E . heatre , which let by g to one vans

- R 1610 160 3 4 they becam e the Children of the evels ; e. they ’ a a o K left Bl ckfriars, which was then ppr priated by the ing s

om a to W r a 161 . c p ny, and went hitef i rs , where they stayed till 3 Whether they were afterwards fo rmed into the Duke of ’ ’ Y c m u B ut ork s (Prin ce Charles s) o pany is doubtf l . that company is first hea rd o f when these children leave Black ’ Th L E z o m 161 - 2 2 friars . e ady li abeth s c pany ( 3 ) were also ’ C first s o closely connected with Prince harles (the ) c mpany . o E m c 3 . Philip H ward, arl of Arundel, had a co pany whi h 1 8 L m 1 . C L played fro 574 to 5 4 ord harles Howard, ord E N otti n h am Admiral and arl of g , had a company, probably m 1 8 1 8 su s the sa e, which played from 5 5 to 5 9, when it was I n 160 pended ; it recommenced in 1 593 . 3 its title was changed to that o f the servants of Prince Henry ; on his death ’ 161 m n 2 e . in , they became the Palsgrave s D m . L S m 1 8 2 o 1 8 4 ord arby ( tanley) had a co pany fro 5 t 5 4. S a L Stran e h ad a o m o a Ferdinand t nley, ord g , c pany, pr b bly the 1 8 1 m Lo same, from 5 9 to 594 ; they then beca e the rd Cham ’ ’ b lai n 160 er s . T K hey were after 3 called the ing s servants . D m W m o Lo C o m uring the short ti e that illia Bro ke, rd bha , was Chamberlain (August 1 596to April 1 597) they were called ’ L H u n ord sdon s servants . r 5. F om 1 562 to 1 58 2 Lord Robert Dudley had a company ; o E of L after his accessi n to the title of arl eicester, they were ’ E of L ir R generally called the arl eicester s men . S obert 54 INTRODUCTION TO SHAKESPEARIAN STUDY .

L 1 1 Th e E War ane had a company from 57 to 1 573 . arl of 1 6 T D . wick (J . udley) had also a company in 5 4 hese two last ’ 1 E W named united in 574, and were called the arl of arwick s ’ 1 8 2 1 8 E E men till 5 . I n 5 3 the arl of Warwick s and the arl ’ L E z of eicester s companies were dissolved , and Queen li a ’ T beth s men were formed out of them . here was only one ’ ’ E z s m Queen s company in li abeth ti e, not two as usually h ’ T 1 . T e E of W stated . hey broke up in 593 arl orcester s

60 2 . e. 160 1 1 company were formed , certainly were playing in ’ 160 re I n 3 they took the name of Queen Anne s men , and n 6 tai ed it till her death in 1 19 . 6 C L 1 82 . Henry ary, ord H unsdon , had a company from 5 to T 1 586. hey were probably the same as the subsequent com L pany of ord Strange . Th E R e arl of Sussex (J . atcliff) had a company which

1 6 1 8 1 1 1 . played from 57 to 5 3, and from 59 to 594 W E illiam H erbert, arl of Pembroke, had a company from

1 59 2 to 1600 . W L D m 1 illiam Stanley, ord arby, had a co pany from 599 1600 to .

T - hese three last named companies were closely connected , and were all probably united with or absorbed in th e Ch am ’ b erlain s or other companies. PTE I I C HA R V .

’ WH ERE WERE PLAYS ACTED IN SHAKESPEARE S TIME ?

’ 1 TH E C v . hildren of Paul s had a pri ate room of their own C o in their onv cation house certainly used for this purpose, from 1 575 o nwards . Th e T S 2 . earliest theatre proper was the heater in hore m B urb ad e 1 6 Th . e ditch, which was built by Ja es g in 57 ’ ’ Queen s company probably acted in it to 1 593 ; Sussex s and ’ 1 1 8 Pembroke s till 597. I t was closed in 59 ; pulled down u B u rb ad es by the yo nger g , and the materials used in building o 1 the Gl be in 599 . Th Th e 1 . e 3 . Globe on Bankside was built in 599 ’ ’ Chamberlain s company (afterwards the King s) acted here 161 always . I t was burnt in 3, but rebuilt the same year. Th C G C S 4. e rosskeys tavern in race hurch treet (Gracious S treet) , was used as a winter house by the company of Lord a m 1 8 1 Str nge, fro 5 9 to 594 c T 5 . Bla kfriars heatre was built, or rather rebuilt, by the 1 6 T B u rbad es . E g in 59 hey let it out to one vans, who C C om 1 6 1 placed the hapel hildren in it fr 59 to 60 3 . In 160 3- 4 this company took the nam e of the Children of the R m a 1610 e 5 . . T evels, and re in d there till hese children having B urbad es grown up to be men, the g bought the remainder of S H emi n e C the lease, and set up in it hakespeare, g , ondell , and other deserving men it was u sed as well as the Globe K ’ m by the ing s company from that ti e onwards . 6 W T C . hitefriars heatre was occupied by the hildren of the Revels from the tim e of their leaving Blackfriars to 1613 : o i after that date we hear n thing of t. Th o o r . e C D L 7 ockpit, Ph enix, private house in rury ane, ’ w a 616 ccu s 5 . 1 built , and o pied by Queen Anne s company ’ 161 La E z om till 9 ; then by the dy li abeth s c pany . There was also a Co ckpit at court (Whitehall) ; these must be care fully distinguished . Th o 0 11 8 . e H pe Bankside had been previously occupied ’ th e L E z 161 by ady li abeth s men in 4. 6 T 5 I N ROD UCTION TO SHAKESPEARIAN STUDY .

Th . e C 9 urtain , in Shoreditch, was built immediately after T 1 6 the heater in 57 . I t was probably occupied by the ’ ’ Admiral s men 1 58 3 - 9 ; by Pembroke s 1 589 - 9 2 ; by Lord ’ ’ S - trange s in 1 593 ; and by the Lord Chamberlain s 1 594 9 . ’ L D 160 I t was then, perhaps, taken by ord arby s men . I n 3 ’ ti ee n Q company played there , and remained there ti ll 1é 16Anne s ’ 10 Th R a . e ed i n S 5 Bull t vern t john Street, was generally E z o C . used by the , same c mpany as the urtain Queen li a ’ ’

5 . beth s company played there, also Queen Anne 1 1 Th R . e ose Theatre on Bankside was opened by H en 1 2 We slow 59 . can giv e the exact dates for the companies that acted here from his D zary

L d n h b o S a s l t Feb . 1 2 to I st Fe . 1 . r tr ge , g 59 593 ’ Ea f Su ss x 2 th De 1 t 6 h Feb 1 o e c. o t . . rl s, 7 593 594 ’ ’

Su ex 5 and u I st 1 to 8 1 . ss Q een s, April 594 th April 594 ’ m s M 8 th u 1 d a 1 a 1 to 2 . A ir l , 4th y 594 J ly 59 7 ’ ’ h N 1 m a and m s 1 1 ct 1 to t ov . . o O . Ad ir l s Pe br ke , th 597 5 59 7 ’ m a N 0 th un 1600 A d s o v 1 to 2 e . ir l , 5th . 59 7 J ’ h h a 160 \V 0 rcester s i t A u . 160 2 to 16t c . , 7 g M r h 3

’ Th e Chamberlain s may have acted here a few days in J un é 1 594 T n 12 . N ewm to here was a building at g Butts , at which the ’ ’ C m men s l d ha berlain s (po sib y the Admiral s) , acted from 3

1 . J une 594, for a few days 1 Th r n T L Wh itecross S . e o tu e 3 F , heatre, Golden ane , treet, ’ u N ed 1600 Th e was b ilt by Alleyn in . Admiral s company went there in September of that year from the Rose . After the death of Prince Henry, this company , then called by his m ’ T . na e, became the Palsgrave s . hey still remaine d here This theatre was square ; when rebuilt after its burning in Th 162 1 . e . , it was made round Globe also was round Th e Si van on Bankside ; Paris Garden ; Belle Savage , ’ L H ead w ere m udgate H ill ; and Boar s , , occupied someti es N for dramatic performances . o theatre of note was built after Shakespeare’s death before the closing of all of them W 16 2 S C . in 4 , except alisbury ourt in hitefriars m There were also frequently perfor ances at court .

8 T U N TO K 5 IN ROD CTIO SHA ESPEARIAN STUDY .

Ro r se g oup.

L YLY.

L 1 - He John yly was born in Kent in 553 4 . ma triculated ' ' ’ al C O lebezz lzns 1 1 in Magd en ollege, xford, asp fi in 57 was , for

B . A . 2 th 1 M A his satire, rusticated, but made 7 April 573 ; . 1 O n 16 1 I st June 575. th May 574, he wrote to Lord Burghley

O . 1 for help and patronage at xford I n March 577, Benger, R v L the Master of the e els, died, and yly wrote to the queen to remind her of her promise made ten years since (in

v . 1 E T ln e to gi e him the reversion I n July 579 . y y was L appointed . yly then wrote again saying he had been ' ' thirteen years at court and got nothing (was this pleh ezz ' filz us at court at twelve years old before going to Oxford ?

These dates are a puz z le) . I t appears from his first letter n 6 1 . so that he had writte plays before 57 If , he must have Woma n i n th e M oon first produced his , his play, before that T date . his satire on the queen would quite account for his H e 1 8 2 disgrace . writes again to Burghley in July 5 to excuse v was himself from dishonesty and irre erence towards her. I t

u 1 . In 1 8 P a w i th a not p blished till 597 . 5 9 he published his p

‘ - H a tch et in the Mar prelate controv ersy . H e was replied to

v T N . by Gabriel H ar ey, who was in turn answered by . ash

1 H . All H e died after 597. e was short, and a great smoker v f 1 8 th e his plays must ha e been produced be ore 5 9, as ’ s Children of Paul , who acted them , were suspended from 160 1 H W Di s ou rse e W . ebb e c that year till . was praised by ( o E n li sh P oetr 1 86 U ch ear M en a h on f g y ) , 5 ; by Henry p ( p ) , ' ’ ’ I E 8 Wz t s M zsef 1 8 . 1 8 L 5 9 lliott 5 odge ( y ) , ’ ’ ' ' 1 6 P a lladzs Ta mza 1 8 A lzsa a 1616 59 Meres ( ) , 59 in , and ’ 62 n so n s 1 . Jo memorial verses to Shakespeare, 3 Harvey ’ ’ was obliged to admit his public reputation (P eer ce s S uper ' ero a tzon 1 E u h ues g ) , 59 3 ; on the other hand the style of his p , 1 80 - 1 D Wh a t You W171 5 , was ridiculed by rayton, Marston ( ’ 0 C n th i a s Revels 1600 S 16 7, and J onson ( y ) , ; if not by hake ’ ’ S ’ speare in his Lov e s L a h ou r s Lost. penser s allusion to our ‘ ' ’ H W L . e pleasant illy dead of late, probably refers to yly 1 1 160 1 S e was satirised in v arious plays from 59 to . hakespear a h i s m n imitated many passages from him, and dopted a ner a o n of punning in and out of se s . TO A A A INTRODUCTION SH KESPE RI N STUDY. 59

R E O B RT GREEN E.

N 1 0 m . e. B A t Greene was born at orwich 55 ; beca e . of S ’ m C C 1 8 . . C 1 8 John s ollege, a bridge, 57 M A of lare Hall 5 3 ;

o O o 1 8 . H e S inc rporated at xf rd 5 3 then went to pain, Italy, D m a H m o . e a Ro r Germany, P land, en rk y have been the be t G ’ reene who was queen s chaplain, and presented by her to o of W Y u the rect ry alkington , in ork diocese , on I st A gust He m o V ot 1 576. was still re likely presented to the icarage T E 1 ollesbury, in ssex, 9th June, which he resigned the next year to com e to London as a playwright and penner 0 1 love H e m n h im p amphlets . married an a iable woma who bore a T H e . G a li as c . e hild then abandon d her here was a reene, W E z T 16 ebruar ilde, who married one li abeth aylor, th F y 1 586; was this our Greene ? H is associates at this time H L . e m were Marlow, Peele, and, odge quarrelled with the 1 8 m - i n - m before 5 9, and beca e the companion and fellow ar s of T N m on . A t m . ash in the pa phlet war then going the sa e

- m . H e c o ti e he gave up play writing had also been an a t r . u 1 2 N I n Aug st 59 , he at an entertainment with ash ate to o R mu ch pickled herring, and drank too much henish wine . A o a This produced an illness which killed him . sh em ker D ow ate i n near g , desperately poor, had taken him , and he im N ot and his wife nursed h . one of his friends came near m n Two o . O e im . u h w en did , not the forsaken wife, b t th e o f C o so n sister utting Ball, the m ther of his illegitimate , o H Fo rtunatus Greene the ther a M istress Appleby. e died m 1 2 o o 3d Septe ber 59 , desiring that his h stess w uld crown a N his corpse with a g rland of bays , and was buried at the ew m th S m 1 2 a Churchyard near Bedla , on 4 epte ber 59 . H is l st ’ ‘ to : D letter was his wife, after six years desertion oll, I ’ o o f o u r m o charge thee by the l ve youth and y s ul s rest, that tho u wilt see this m an paid ; fo r if he an d his wife had n o t — R ’ o m e . G succ ured , I had died in the streets obert reene . H o f o m a e had long red hair, and was sch larly and a i ble ’ a a H e fo r c appe r n ce . wrote the Queen s players . M u h auto o o a o o bi graphy is c nt ined in his pr se w rks , especially in ’ [Vet/ er too la te to h f en a 1 0 Groa tsw or th o Wi t 1 2 , 59 , the f , 59 , ’ 7l o R ober t Green e 1 2 D R l €fl la f e . orastus an the ¢ f , 59 His a ' ’ ’ F a w n za o o f S Wi n ter s Ta l is the groundw rk hakespeare s e. m S l His en ity to hakespeare has been noticed a ready.

THOMAS NASH .

T N \V illiam N homas ash, son of ash , minister, and Mar 60 T D T H K R N DY IN RO UCTION O S A ESPEA IA STU .

f z L S ff N ov garet his wi e, was bapti ed at owestoft, in u olk, ’ 1 6 H C am ember 5 7. e was admitted a scholar of St John s, ’ L 1 8 bridge, on ady Margaret s foundation , in 5 4, proceeded

B . A . 1 8 v 5 5, was probably expelled , tra elled in I taly, and L m 1 8 H came to ondon 5 9 . e at once rushed into the Mar v prelate contro ersy, joined Greene m his literary squabbles, w v rote tracts against Gabriel H ar ey, and a comedy for the C C 1 2 I sle o D o s hapel hildren, 59 ; got imprisoned for his f g , ’ 1 o written for the Admiral s company, 597 ; and died bef re 160 1 He m . was the greatest aster of satirical abuse that H e fin i sh then existed . was also employed to a tragedy of ’ w s in 1 C C n Marlo 594, for the hapel hildre .

' C I MARL w HR STOPHER o .

O n 2 6th 1 6 C February 5 4, hristopher, son of J ohn Marlow, St Can was christened in the church of George the Martyr, terb ur y. J ohn was probably a shoemaker, and at his death . ’ ’ 160 S . C in 5 , was clerk of t Mary s hristopher was at King s 1 In 1 80 School from M ichaelmas 1 578 to Michaelmas 579 . 5 he m C C C . was entered (as Marlin) at Benet ( orpus hristi) , a bridge O n 1 1 8 1 7th March 5 he matriculated as pensioner, proceeded B 1 8 H e m A . . 1 8 . 5 3, commenced M . A 5 7 probably ca e to L 1 8 1 was ondon in 5 4 . I n May 593 he killed in a tavern D a St brawl at eptford, by Fr ncis Archer, and buried in ’ N H e C . icholas hurch, on I st June was accused of atheism by his contemporaries , but this was a wide term in those ’ H e m l 1 8 days . wrote for the Ad iral s company til 5 9 ; after ’ ’ H e that date for Pembroke s and Lo rd Strange s . was the v m founder of our dramatic blank erse syste , and the greatest master of tragedy of his time .

E G EORGE P E LE.

m i D v Peele was a gentle an by birth, a nat ve of e onshire, B 8 o 6. 1 . A 1 S C C O . born 55 . tudent of hrist hurch , xf rd, 573 H e L 1 2 h 1 6th 1 . t J une 577 ; M . A . July 579 went to ondon f H 1 8 1 H e s o . e in 5 . had ome land in right his wife was W Alasco o actor, poet , and playwright . hen Albertus , P lish O 1 8 Prince Palatine, visited xford in J une 5 3, Peele was c o ncerned i n providing a c o medy and a tragedy for the

o T D r . ccasion . hey were written by Gager Besides plays

l . m . Peele wrote so e verses for pageants, etc , of sma l interest H e first C C 1 8 wrote for the hapel hildren , 5 4, then for other ’ 1 8 s o . In companies till 5 9 , when he j oined the Queen c mpany A A S 61 INTRODUCTION TO SH KESPEARI N TUDY .

’ 1 59 1 he wrote for Pembroke s ° from 1 592 onwards for Lord ’ ’ a ua S s C 5 . O n 1 trange , afterwards the hamberlain 7th J n ry 159 5- 6 he wrote to Lo rd Burleigh P a ren s P a tmee ; sent ‘ im Ta le o Tr o b N ecess1t s h his f y y his eldest daughter, y ’ T servant, and represented his sickness and poverty . his

He 1 8 . was doubtless his last illness . was dead before 59

THOMAS LODGE.

T L Sir T L homas odge was the second son of homas odge, L L o was th e ord Mayor of ondon , wh se wife Anne, daughter ir L 1 6 s i o S W m H e e. of illia axton . was born 5 5 ; was a erv t r T C O 1 u n Si r of rinity ollege, xford, in 573, and ed cated u der ‘ 8 2 h im E o S o o c. 1 dward H by. tephen G ss n, 5 , calls a vag ’ n ot 1 8 rant person, but he was certainly an actor. I n 5 4 he ’ In n H e e m o b e was a student of Lincoln s . b ca e a s ldier 1 0 C a C to Ca fore 59 , and had sailed with ptain larke the naries T H e C to and erceras . also was sailing with avendish the Straits o f Magellan from 2 6th August 1 59 1 to 1 1th June ’ 1 w h N v mb er 1 6 H a o Lo L o t o e . . e 59 3 had h use at ayt n , 5 59 H e then studied m edicine at Avigno n ; and becam e a d o ct o r ; o f 162 1 8 and died the plague in 5 . Before 5 9 he had written ’ fo r m m o G a play the Ad iral s co pany, and j ined reene in ’ o f r H e o om an ther o the . then stensibly retired fr . Queen s i n m o the stagt e, but , y opinion, continued to write an ny ’ o l i 161 H o m c m us o 0 . e y r it till at least wr te edi al works , a l ’ o etc . Rosa n a satire, translati ns , , besides y , noticed under ’ S Y u L zh I hakespeare 5 A s o e t.

R JOHN MA STO N .

o o o 1 o C e. . . J hn Marst n was b rn 575, pr bably in oventry H e became a co mm o ner o r gentlem an - co m m o ner o f Brase o C o O o 1 1 m B A u a n se lleg e, xf rd, in 59 ; was ad itted . . Febr ry ‘ 1 so n of u o 593 , as the eldest an esq ire, and s on after went ’

. e a o o co u his way His fath r was prob bly J hn Marst n , a n s ello r wh o o o f T m , was app inted lecturer the M iddle e ple in

1 2 . o m m a 59 Marst n , the dra atist , arried M ary, d ughter of R ev W m W c m I o the . illia ilkes , haplain to Ja es , and rect r of St W H e 2 th 16 Barford Martin , iltshire . died 5 June 34, ln T m C and was buried the e ple hurch near his father. Jon o i D mm son says , in his c nversat ons with ru ond, that Marston ’ - i n l c a 1n wrote his father aw s prea hings, and his f ther law ‘ m o h e h ad m his co edies ; als , that any quarrels with Mar s t h im ton, bea him, and took his pistol from ; wrote his 62 INTRODU CTION TO SHA KESPEARIAN STUDY .

Poetaster i on him ; the beg nning of them were, that Marston ’ v en eri e. represented him in the stage, in his youth given to ’ H is connection with E astw ara H o ! will be noticed under ’ H e R J onson . wrote one play for the Admiral s at the ose ’ 1 C 160 1- 2 in 599, one for the Paul s hildren in , after this six

- R v C 160 2 . plays, all for the e els hildren, 7

EOR E C G G HAPMAN .

T n 1 his oet was bor in 559, as we learn from the portrait refix e H omer p to his , at or near Hitchin H ill, in H ertford ' ‘ See E n th mza’ Ra tns 160 : In shire . his y p , 9 thy native ’ ’ H e air, and on the hill next H itchin s left hand . studied for H O . e a while at xford, but took no degree was patronised Sir T W by homas alsingham and his son, by H enry, Prince ‘

W f v S . of ales , and by the a ourite omerset Jonson loved ’ ‘ h im W o f . Antony ard calls him a person most reverend o aspect, religi us and temperate, qualities rarely meeting in a ’ H e L 12 th 16 poet . died in ondon , May 34, and was buried i lds first S e . at t Giles in the F As a dramatist , he wrote for ’ R 1 8 - the Admiral s company at the ose, 59 9 ; then for the ’ C 160 1 - 2 C hildren of Paul s , ; then for the hildren of the 160 - 1 Th S R v . e e els , 3 3 plays, in which hirley is supposed to v ha e written with him, were more likely altered by the younger v v A [ h on su s Ger man dramatist at their re i al . p of y is not by h 1 m . I n 160 5 he was in great distresses 1 H e . was or had been imprisoned, with Jonson and ’ E astw a m H o Marston, for his share in writing ! produced

- 160 3 4 . H e un 2 . was in prison with Jonson about a play (name ‘m known) , writing as to which J onson mentions y former error !’ H e 3 . was impeached by the French ambassador as to his ’ B r on s Con s i rac y p y , in which he had introduced the French v V queen as gi ing M ademoiselle de erneuil a box on the ear. T hree actors were arrested for this play, but the author So th 160 escaped . writes the French ambassador, 5 April 5 . I t is difficult to believe that Chapman should have been in ffi l di cu ty for three plays in one year . I would therefore first identify the and second of these troubles, and refer ’ ‘ ’ J e nson s former error to his having written part of By r on s on s i ra c T C p y . here were certainly two hands in this play ; part of the last act cannot be by Chapman . I n this case we ’ sho uld hav e only one imprisonment,and a reason for Jon son s 6 INTRODUCTION TO SHAKESPEARIAN STUDY . 3

S e an us not mentioning the second pen in j , which he published

m C . this sa e year, if that second pen was hapman , as I believe 2 th As the year began 5 March, surely this matter of the By r on play must have been the earliest of these troubles in 160 C or before 5, and Gifford says Jonson and hapman were ' E as tw a ra H o ! a released from prison in the matter, e rly in

that year .

T E HOMAS M IDDL TON .

1 S L Born e. 574, in outh ondon ; was educated as a gentle man ; served a short time in the wars in France or the rl n s C m U N eth e a d . Probably belonged to a bridge niversity, ’ and became a member of Gray s Inn in 1 593 appointed L 162 0 162 H e ch r o nologer to the city of ondon died 7. wrote ’ ’ fo r m al o m 160 2 fo r C the Ad ir s c pany in ; the Paul s hildren, ’ - 160 - R C 60 2 e. 1 4 ; for Prince Henry s , 4 7 ; for the evels hildren, ’ ’ 60 - 8 L E z C 6. 1 7 then for ady li abeth s then for Prince harles s, ’ - ll K 1616- 2 6 162 r 161 1 1 fina fo r . e re 6. 5 y the ing s, I n 4 he p Ga me a t Ch ess m I K sented on the stage in his , Ja es , the ing o f S Go om S o Fo r pain, nd ar, the Bishop of palato, and thers . o this the play was prohibited, and the players bound ver in 00 i nfli cted g 3 , but no punishment was on them, or on the poet .

T O S E O H MA H YW OD . T L homas H eywood was a native of incolnshire, and a m C . O n 1 O 1 6 fellow of Peterhouse, a bridge 4th ctober 59 , he ’ fo r m n 2 was writing the Ad iral s company. O 5th March 1 8 H en slow 59 , he was regularly engaged by as a player and 1 ’ sharer in that ho use . In 599 he belonged to Lord Darby s ’ H o E W . e 160 2 men j ined the arl of orcester s company in , ’ m 1 which afterwards beca e Queen Anne s . From 62 6 to 162 8 he appears to have been a m ember of Queen Henrietta’s ’ m 162 16 H players, and fro 9 to 33 of the King s . e says he wrote o r of H all great part two hundred and twenty plays . e co uld 1 0 if hardly have been born much later than 57 , , as I believe,

1 . H e 16 0 he began to write 594 died about 4 .

W E S ER JOHN B T . W If our John ebster, who was born free of the Merchant ’ T o C m W m ail rs o pany, was son of John ebster, erchant tailor

(as is most likely) , we may also infer that he lived in Holywell

e . m Str et among the actors Also, if he arried I sabel Sutton 2 th 1 0 W on 5 July 59 , and Alice ebster, his daughter, was 6 TO A 4 INTRODUCTION SH KESPEARIAN STUDY.

’ z St L C th 1606 bapti ed at eonard s hurch, 9 May , then he n v 1 H . could not well ha e bee born later than 574 . e died e 2 160 1 165 . I n he was writing or altering a play for the ’ ’ Admiral s company ; in 160 2 writing for Worcester s ; in ’ ’ C 160 - 1 1 160 3 for the Paul s hildren ; c. 3 for Queen Anne s ; ’ and 1616 co e i s h in for the King s mpany. H t e g reatest s e o all ma s ma t r of the h rrible of the dra tist .

D EK KER THO MAS .

T i n L 15 hat this poet was born and brought up ondon , ’ ’ n Th e S v en D ea dl Si n s o Lon aon k own from his prose tract, e y j , 16 6 h i n a s e m etr0 oli s : 0 , w ere he thus ddres s the p From thy e ve e fr 1m m womb r cei d I my b ing, 1 thy breasts y nourish ’ h is E n lzsh V llanzes Sev e S ev eral Tzmes P rest ment . I n g i n ’ D ea th 16 h eS h to 5 . , February 37, peaks of my t reescore year f 1 h H e was there ore not born later than 577. If e speaks m h is 1 2 Th e round numbers , birth may be as early as 57 . last 1 16 8 H e o e 16 1 Hé notice of him 5 3 . died pr bably . 4 . seems ’ H o r v . e f to ha e been very poor wrote the Admiral s company, ’ - f 160 1 1600 C o e. 59 5 ; for the hildren Paul s , 3 ; for Queen ’ ’ 5 n 160 - 5 160 8 Anne compa y, 3 4 ; for Prince H enry 4 ; for ’ the Revels company abo ut 162 0 ; for Prince Charles 5 about 16 2 3 .

E B N J ON SO N .

1 a Benjamin Jonson was born in 573, posthumous child . o H is father was a minister f the Gospel . H is mother married ' 1 was 1n o agam e. 575 H is stepfather a bricklayer Hartsh rn

L C C . v ane, near haring ross Ben was sent to a pri ate school in the church of St Martin ln the F 1elds afterwards to West m e C inster, wher he was in the class of amden , then second ’ H e St C m . 5 aster thence went to John , ambridg e, with an i i o n 1 8 U it ex h ib t e. o , 5 9 nable to subsist on , he came h me, for u H and worked at bricklaying abo t a year . e then went ’ i n afni 1 a d o e. 2 n t Flanders as a volunteer the y, 59 ; in his h ad one campaign there, , in the face of both the camps, s olza o zm a killed an enemy and taken his p fi from him .

E 1 . A arly m 593 he most likely married Maria Jonson , pro ‘ of ’ ’ bably the Mary, the daughter her parents youth, of the E zta h a p written by him, died of the plague and w s buried ’ 1 o 1 H e h N . d at St artin s in the Fields, 7th vember 593 a 1 6 E r am also a son born m 59 (see n and other. sons th D 1 St i 5 C e a e ° J oseph, buried 9 ecember 599, at G le , rippl g t n an u O o St B t Be jamin , infant, b ried I st ct ber at o olph,

66 RO C O TO A S INT DU TI N SHAKESPEARI N TUDY .

’ ’ ’ ' ’ r fix d on a t s dz tzes a e e C Cr u . uthor s merit, which were p to y 161 fin all ir I n 5 he y left his shrewish wife, and went with S ’ H W . R C e aleigh s son to the ontinent . afterwards remained 1616 fir with Lord Aubigny . I n he published the st volume Th e v of the folio edition of his works . second folio olume I 1616 was in no way prepared by him . James , too, in gave

100 - him pension for life by letters patent . D aniel, hitherto the court poet, then withdrew from court 1618 S altogether. I n J onson went to cotland on foot, and spent several months about Edinburgh in the houses of the T . H e v 2 2 5 . gentry ga e aylor, the water poet, a piece in gold a 2 0th S r . 1 161 v bout eptembe Before 7th January 9, he isited

W D . H e illiam rummond the poet, at H awthornden was o h 1 H D back in London on l t May 16 9 . e next visited r C 1 C C O . . orbet at hrist hurch , xford, and was created M A 9th 1 v July 16 9 . Cambridge had pre iously paid him a like hon H . e our frequently made such visits , and also attended the court in some of their progresses when his masques were O n O 162 1 v performed . 5th ctober , the king ga e him the ' R v o fiered reversion of the Mastership of the e els, and him 162 knighthood, which he refused . I n 5 he was attacked by O n 1 16 0 N ew I n n o ff palsy. 9th January 3 , his was hissed 100 the stage ; soon after Charles I gave him £ . Jonson then sent him a rhymed petition to change his 100 marks pension 100 C a so into pounds . h rles did , and added a tierce of A C 16 1 - 2 T canary wine . t hristmas 3 , Aurelius ownshend ’ v 5 T was appointed to in ent a masque in Jonson place . his i n w He was consequence of his quarrelling ith I nigo Jones . o Ta le o a Tu h 16 to k his revenge on him in his f 33 . I n S 162 8 C C o eptember he had been appointed ity hronol ger, in i n 162 N 16 1 place of Middleton , who died 4 . I n ovember 3 , the Court of Aldermen withdrew their salary of 100 nobles 8 6 d . 1t 3533, ) till he showed some work done for I n sick n L T W ess and want he applied to ord reasurer eston for aid . H e received in consequence much help in coin , and many Th e E N ew castle praises in v erse . arl of asked for copies of 16 2 Th e Ta le o a Tu h the latter in February 3 . part of the f

16 . H e in which he satirised I nigo J ones, was suppressed in 33 to 6th 16 worked on the last, and died on August 3 7, and was h W H t . e buried on 9 August in estminster Abbey left no wife, H e - no children . was large headed, but short of stature, T r . co pulent , and scorbutic his account of him omits many characteristic particulars for want of space . I ought to add, v i though , that his house, containing many of his aluable wr tings M 162 1 162 E S . in , was burnt between and 9 ; and that the arl of R T A S 6 INT O DUCTI O N O SHAKESPEARI N TUDY. 7

m h im 2 0 m Pe broke sent £ a year for any years to buy books .

- He was the most solid and learned of all the play writers .

CYRIL TO URN EUR . Of this writer nothing is known, but that he wrote for the ’ - 5 160 1 1 . King s company . 7

FRANCI S B EAUMONT. m Francis Beau ont, third son of Judge Beaumont, was o G D 1 86 O n th 1 b rn at race ieu early in 5 . 4 February 597, he was admitted with his two bro thers as a gentleman - com m o B ro ad a es H m m t O . e ner of g Hall, xford entered as a e ber T m d N m 1600 of the Inner e ple, 3 ove ber ; published his ' ' S a lmaczs a n d H er m aph rodztu s in 160 2 wrote some plays m 60 H c. 1 . e by hi self, and then j oined Fletcher, 7 was a ’ o n son s O n of o friend of J at that date . the death his br ther ebru ar 160 8 co sum Henry, in F y , he inherited a nsiderable . H e was one of the principal wits who met with Jons o n and m u Si r W others at the Mer aid, in the cl b established by . ’ R E z H e m 5 aleigh before the end of li abeth s reign . arried, . 161 U o f S 3, rsula, daughter of Henry I slay undridge, in Kent o n 6th 1616 H e W and died March . was buried in est minster Abbey . After his marriage he appears to have - H T e . h e given up play writing. left two daughters loss to literature by his early death has been compared to that ’ o m o caused by Marl w s, but Beau nt had probably given up writing some years before he died .

E ER JOHN FL TCH .

J ohn Fletcher was one of the many children of Richard He c o o f L o . R e S s Flet her, Bish p ond n was born at y , in us ex, m D m 1 while his father was inister there in ece ber 579 , and z 2 0 th of H e m was bapti ed on the that month . was ad itted ’ Co C 1 th O c o pensioner of Bene t llege, ambridge, on s t ber 1 h o 1 1 . w 1 h 59 , and Bible clerk in 593 His father, died st I 6 h im : 6 160 o a June 59 , left half his library . 7 he j ined Be u ’ T m ont in writing for the King s company . hey wro te for the m 161 1 161 Revels Children fro to 3 . Fetcher after this wrote ’ fo r m m 161 162 the King s co pany fro 4 till his death in 5, m o o S 161 stly al ne, but, besides altering hakespeare after 3 , Dab orn e 1 he wrote with Field, , and Massinger about 61 5 1616- 162 0 - 2 with Middleton c. 9 ; with Massinger and R ow 68 RO C TO A A A INT DU TI ON SH KESPE RI N STUDY .

1 2 W ley 6 3. hile working with Beaumont they lived together He on the Bankside, and had clothes , etc . , in common . died, 162 h 2 th August 5, of the plague, and was buried on t e 9 of ’ St S v S . that month at a iour s, outhwark

NATHA N I EL E FI LD .

’ N ath ani el Field was one of the children of the Queen s

C 1600 - 1 R C 160 - 12 th e hapel, ; of the evels hildren in 9 ; of L E z Prince H enry and ady li abeth companies, united, in ’ 161 1618 - 2 0 3 ; of the King s company, . H is plays were 1610 - 1 written . H is letter, written in the name of Mas s D ab orn e m H en slow inger, , and hi self, to for assistance, 161 was probably written in 3 .

W R E ILLIAM OWL Y . W R illiam owley, like Field, was a player and a playwright . ’ H e wrote for the Queen s company at the Curtain in 160 7 ’ for the Revels Children befo re 1613 ; fo r Prince Charles s

m o f 161 - 6 161 co pany ( which he was manager, 3 ) between 3 ’ 162 162 - 6 H e and 3 ; for the King s company, 3 . also wrote ’ ’ L E z en ri etta s for ady li abeth s and Queen H companies, pro

- r. 1612 bably 3 .

E R C IIETTLE H N Y .

Wa Dan ter s probably a printer in partnership with J. and ’ H e William H oskins . wrote plays for the Admiral s com 8 1 pany between I 59 and 60 3 .

O ANT NY M UNDAY .

1 H e a z Antony M unday was born in 553 . was citi en 1 8 C H e and a draper ; in 5 9 he lived in ripplegate . carried 161 H e on his business to 3 at least . was employed as city o m 1 1616 p et to write pageants many ti es between 599 and . I n 1 58 2 he was instrum ental in detecting the Popish con i ra Th e first sp cy. J esuits attacked him as being a stage m player, then an apprentice, then hissed fro the stage, and i R m go ng to ome, and then co ing back to his original occupa ’ H e adn11tted tion . having been the Pope s scholar in the R C H S . e eminary at ome, but denied having been a atholic 1 h began to write in 579 . H is plays were written for t e ’ m 1 160 2 H e l oth Admiral s co pany between 597 and . died ’ August 1633 . M ost of the poets for the Admiral s company L v i were from the city of ondon , not from the uni ersit es . TER IX CHAP .

B R O F S E AUTO IO G APHY A TAG PLAY.

I A M an unfortunate tragedy. I was stolen from my true sub progenitor by a penny poet, who gained his wretched ’ sistence by cobbling or tran slating other men s produ cti o ns . H e so m angled my originally fair proportions by patching on m u c excrescences and defacing y nat ral beauties , that I ould m s carcely have been recognised by any one but y own parent . From his hands I passed into those of the Master o f the R ch i efl evels, who was y anxious to purge me of all profanity, m and utterly careless whether my language were that of a use, H . e a thinker, or a stealer of scraps of languages sent me c ba k to the players, who cut down my proportions to their m o own uses , so that whereas I had for erly marched on ch pines , T m e m I n o w halted in socks . hey also taught any slight asseverations in the place of the mouth - filling oaths that the R o m e evels Master had so vehemently eschewed, and sh wed w m h o to tax individuals under pretext ofsatirising the ti es . My i dentit was alread suffici entl doubtful but un der th e m an a e y y y , g m brach ra h i st m o ent of a yg p e pl yed by a piratical bookseller, wa s so m o I mangled through his slowness of hand, i perfecti n o f o n m hearing, and general dulness of understanding, that y “ o to m presentati n the public in my new guise, y reputed father m e m e m indignantly disowned , and deprived of al ost the only o f m m H e thing I still retained y original property, my na e . u even at the s ggestion of a stage manager, began to dress up a younger son of his to resemble m e as far as his art could c om it m a c plish , with the na e, guise, and general appearance firs t. o m that I had at As, h wever, he died j ust at this ti e, I myself was tricked out by my stepfather s o m e short tim e ’ u m o after in my yo nger brother s vest ents, with additi ns to no ’ m a om m n ow s ll extent, fr y stepfather s own wardrobe . I for m m passed yself, and was supposed to be the sa e person first o m as at , rest red to y pristine youth and beauty . I n this c to m m state I expe t die and be e bal ed, and in this state to s a u remain until some critic of distant centuries h ll dig me p, 0 R D T A A 7 I NT O UCTI ON O SH KESPEARI N STUDY .

unswathe my mummy, and carefully assign on undoubted v e idence every rag of my surroundings to its original owner, R whether it be to my father, to the Master of the evels , to z some of the do en players or their manager, to my stepfather, T . suffici ent or who else his may, no doubt , with care, be performed by a critic who has the requisite subtilty, historical knowledge, and acquaintance with the properties of mummy swath in s l re g , chemical, manufactura , or textural , and the — sults may be tabulated by him with great satisfaction to

f. e . himsel Meanwhile, until th n, I hope to rest in peace

Th e abov e is intended to aid the memory as to the follow ing facts : ’ 1 See . Plots of plays were often appropriated . Kemp s “ ’ i ne D a s Wonder S oh n N y , and compare hakespeare s ? and

Lear with the older plays on which they are founded . 2 Th e R v . Master of the e els often cut out obj ectionable ’ E son a l o h e Tuh expressions or scenes . xamples : Jo n s T e f t ; ’ Davenant s Wi ts (corrected by King Charles C ompare the quarto and folio editions of 2 H emjy 1 V as to the use of oaths , either inserted by players in the quarto, or cut out by ’ the Revels master in the folio. E 3 . ditions were often made up by dishonest booksellers, who obtained their versi oh s by short - hand notes made during fill representation , by employing some penny poet to up the E : 2 H g w I H a mlet 1 V . . gaps . xamples and 3 y , , Q , etc

Th e dramatists often complain of this practice .

4 . Actors, especially the clowns , often inserted extempore T m speeches . his is so etimes indicated by an in the ’ ' E : Ta mhu rla zne printed copies . xample Marlow s ; see

a mlet 2 . H , I I I , ii , 4 D v re 5 . ramatists often re ised and greatly altered (for

v ivals) their own productions . Examples : M erry Wi v es of ’ ncisor o n so n s E ‘Z/ei / M a n i n h i s H u mou r Wi ; J j . 6 D m re- . ra atists often wrote the productions of others ’ after the original author s death ; sometimes putting their ’ own name to the altered play , sometimes the original writer s , ’ o . E : F au stus s metimes both xamples Marlow s , altered by ’ R N h t Wa lker owley and Bird Fletcher s ig , altered by S T hirley. his is important, as bearing on the question

whether M a cbeth has been altered . m : . E 7. Th e names of plays were often changed xa ples ’ ’ Fletcher s N igh t Wa lh er; Massinger s Ty n m t; Shake ’ ’ ’ n speare s Love s Lah ou r s Wo . K E I I INTRODUCTION TO SHA ESP AR AN STUDY. 7

fo r 8 . Plays were often greatly condensed stage purposes . ’ ’ h a n c M assa re o P a r i s Examples : Fletcher s C es; Marlow s c f .

° C m Th is Tem est 2112215 Caesar . o pare p , 7 , etc , with other plays , o as to length and c nstruction . m r - . e 9 Authors someti es wrote plays, in which a second u hand had originally aided , so as to excl de all work but their ’ own o E : o n son s S e a mzs in the revised editi n . xample J j ; ’ c R om o a n d u lzet ompare the two versions of e ? . ’ n e a l sz — a Ge r con clu on . As every one of these various ltera ti ons have been dem onstra ted in instances where the printers o o en have not noticed them in their editi ns , we are thr wn ti rely on i n tern a l evidence for a basis of judgment as to m h c whether they have been ade in ot er instan es , always excepting the cases in which the autho r su eri nten ded the ’ i o f a s on son print ng his own work, such J s rst folio, or the

Shakespeare quartos before 1600 . TER X C HAP .

’ HOW WER E SHAKESPEARE S PLAYS REPR ESENTED ?

LET u s in im aginati o n attend the representation of a play ’ B on dzwa T (say of Fletcher s ) at the Blackfriars heatre, near ’ S 161 the end of hakespeare s career, about 3 . While passing through the streets of wooden houses, half Italian, half v Gothic, with o erhanging upper stories and projecting oriels ,

- we may note the costumes of the populace . Brown cas

- rv flat- socked soldiers , blue coated se itors , capped prentices , ff u s broken soldiers in rags, sergeants in bu , elbow on all sides . Sometimes a round - headed black clothed puritan feather dealer o f the Blackfriars eyes u s with distrust sometimes a ’ haunter of St Paul s addresses u s in the hope of meeting with a gull ; sometimes a gallant , who has j ust paid his spur money for entering the cathedral, brushes roughly against us E - ; tailors and laundresses from the xchange, roaring boys a and cheaters, are abund nt in the streets and alleys that we At v pass through . last we arri e at our little theatre, snugly roofed in from the weather. H ow unlike the old Globe, six

- o sided , brick coloured, conical, that we used to g to when the Children had the private house ! I n those days when fla the red g was displayed on the pole at its summit, we had

- to pass through the mud and crush at the river side, before S H o ! N ow we could take our boat, and outhward all can ride quietly with litter, coach, or mule, who are too exalted ’ r to walk as we are doing . I t is nearly th ee o clock, and we N o w L erfec are at the doors . we hear the ondon cries to p T - tion . obacco and fruits, pamphlets and play books , can be m — bought here . But no book of the play now perfor ed that ’ Th will be published perhaps in some three years time . e name of it is , however, exposed in red letters on a large W e o placard outside the theatre . may g into the ground or pit S for ixpence, into the rooms or boxes for one or two shillings , Let u s d o or hire a stool on the stage for a shilling extra . so , for though there is no danger here, as at the penny house, o f being pelted with nuts and apples from the galleries, it will

I RO C O TO AK A A S Y 74 NT DU TI N SH ESPE RI N TUD . a lso for the playing of interludes or plays within plays . Th e traverse under it is used for concealing beds to be drawn i n out, dead bodies when lugged , and the like . But the T groundlings are again impatient . hey seem like to riot, v T climb the stage, and dri e out the actors . hey have done B urb ad this ere now . But g e comes forward and apologises ’ B on duca s v daughter is not sha ed yet ; wait a moment, ’ T gentlemen , and she will appear . his comes of the puritans

- and their opposition to women actors . But the bookholder T . v enters rumpets, hautboys , cornets, iols, and recorders, v ha e played their solemn dump, and the tragedy begins . ’ N T five otice the actors grand dresses . hey frequently cost la i elf See times as much as the p y ts . in the ground the critics, the coney catchers, the shorthand writers, busily at work . I f the booksellers try to publish an unauthorised copy f o . this play, they will have the wrong sow by the ear Fletcher will get its issue stayed ; he will not let his plays be S to staled by the press, as hakespeare used , or as he him ’ self did in Beaumont s time . Picking of teeth , swearing of Th e oaths , burning of j uniper on all sides . latter is welcome, D for the smells were becoming unbearable . isplaying of

- humours , chattering a medley of language scraps stolen C z from abroad, discussions on aran a and the duello, lessons wh ifi“ C on the , the uban ebullition , and other ways of drinking tobacco , criticisms on the shapes of beards , and C the I talian custom of forks , the last news of oryat, the — best way to handle your pocket looking- glass these and the like occupy the minds and tongues of the gallants between w e the acts . But there is now only the play left to see, and

- it came to day, not to see that , but the seers of , and the i W e v t . actors of , and their surroundings ha e seen of these

- things all that our time will let u s. Th e shadow dance is done ; the puppets have melted and resolved into thin air . We will draw the curtain here and retire each on our own road may the tim e we have spent together be the cause o f

a v A nd so . gentle dreams and pleas nt re eries. , g ood night U MEN TA RY A PPE N D I DO C X.

' I GIV E here various documents and lists which would have unduly interrupted the n arrati ves if inserted in th e body of the book .

— ' S R C O F SH KESPE E S 2 1 11 M CH 1616. I . AB T A T A AR WILL, 5 AR

Th e b equ ests are th ese I To u di th uin e h i s dau e . Q y ( ght r) 100 for m a a e o on to be a d n one ea f o m a . £ rri g p rti , p i withi y r r ’

Sh a es ea e s d ea h . n e es i aid at I O er cen k p r t I t r t t ll p p t . (5 0 on h er su ende n Row n ton an o to Susan n a . 5 rr ri g i g M r a H ll . £ 1 50 (life i n t erest) if sh e be alive at th e end o f th ree years T o m da e o f w . o ass at h er dea h to h er ch i d en fr t ill p t l r , a i n h b n h d n sh e di e h n h o r ss g s if t ere e o c il re . If wit i t e h ee ea s t r y r , ‘ ’ 100 to be en to m n ece and- au e E z a £ giv y i (g r d ght r) , li h a bet H ll . 50 to b e given to J oan Hart (h is sister) in life i nterest af e wa ds to be e u al d ded am on h er ch d en t r r q ly ivi g il r . Th e h u sband o f J udith Qu iney to have th e use o f th e who le 1 0 i f h e assi n h i s wife secu in an £ 5 g rity l d . ’ b oad si e and i b d o . . My r lv r g lt wl To o an a h i s si s e 2 . J H rt ( t r) ‘ ’ m ea in a a a e . . All y w r g pp r l h s b. Life in e es in t e h ou e sh e o ccu es i n S a fo d at en t r t pi tr t r , r t d a f 1 2 e . o . y rly To th e h ee son s o f oan a — W am Th mas . o nd 3 t r J H rt illi , [ , ]a h Mi ch ael 75 5 eac . 9 T0 E i z abe h a m n i ece 4 . l t H ll , y ’ m a e ex ce m b oad si e an d All y pl t pt y r lv r gilt bowl . T th o o o f S a fo d 10 o e . 5 . p r tr t r , £ ‘ ’ Th o m as o mb e m sw d 6 To C o . . , y r m To Th o as Russe . 7. l , £ 5 8 To an c s C i n s o f Wa 6 . o c 5 . 8d . Fr i ll rwi k, I 3, 6 R D TO A A IA 7 INT O UCTI ON SH KESPE R N STUDY .

‘ ’ To W l m a m ds n . a W e o o 1 9 i li lk r, y g , £ . 10 W am R n s n an . To am e Sa e e o d o N as d to H l t dl r, illi y l , Ant y h, ’ m e o o H em n e R c a d u a an d u n y f ll ws , J hn y g , i h r B rb ge, Henry C bu m n e 1 65 . 8d . eac to e d ll , £ , h, y th ri gs I To Susanna a h i s dau e I . H ll ( ght r)

a . Th e N ew ac and two o e en me e S e Pl e th r t e nts in Henl y tre t,

Stratfo rd .

- o b. a and e me i n S a o u on A von ld S a All l nds t ne nts tr tf rd p , O tr t n W m o s o o a d ilco be. f rd, Bi h pt n, Th m n c. e e e i n ac a s Lon on o u ed o t n e t Bl kfri r , d , cc pi by J hn Ro n o bi s n . ‘ ’ e a o h s- m f All th se were ent iled t t e heir al e o Susanna H all . ‘ ’ T m m se on d s b d th u u 12 o e c e e e. . y wif , y be t with f rnit r

- - 1 . Rema n to o a son in law an d dau e 3 i der J hn H ll (his ) , his ght r, us nn a a S a H ll . ' Wztnesses — a c s Coll n s u u S aw o Ro so Ham . Fr n i y , J li s h , J hn bin n, n et Sa e Ro e Wh atco at dl r, b rt . er rs ex cu t rs — T oma R us anc o Ov see e o . e C . ( ) h s s l, Fr is llins

— 11 TH E FA O F S ES E RE. . MILY HAK P A

’ A h zlarm o Ri ch a rd Sh ah es eare mar ri ed [0 M a r aret . C f p , g ' ' (h u n ea 9th Febr u ary I

B u ri e d.

60 1 Se em e 8 . 1 . pt b r D m 2 1 6. e 59 ece b r 9 .

’ ’ t M ar A rden B h ildren o al m Sh ah es eare ma r mea c. 1 o . C f y p , , 557, y ’ ember ba ti z ed c. 1 h a ri f a th Se t ( p 539, 9 p

B z B u ied . am a i ed. N e. pt r ‘

1 8 Se embe 1 . 2 n fan c . 55 . pt r 5 In i y 6 D mb 2 1 . 0 1 62 ece e . . 5 . r 5 3 April 3

616 2 . 6 1 . 6 2 . 15 4 . April April 5

66 b e 1 1 61 2 at a es . 1 . O c o . 5 t r 3 , l t t N mb 1 6 i 1 . 1 6 6. o e e . 5 9 . Apr l 5 4 v r 4

Se embe 2 8 . 1 . . 1 5 71. pt r 5 79 April 4

a c I I 1 61 . Febru ai . 15 74. M r h . 3 y 4 D c mb 1 60 e e e . 1 80 Ma . 1 . 5 . y 3 7 r 3

h ildren o Willi am Sh akes eare marri ed 2 8th N ovemlrer I 8 2 C . C f p , , 5 , H ath wa A 11 778 a y .

z u ri ed . N ame B apti ed . B 6 6 16 . u 1 . Ma 2 . 1583. y 49 J ly 6 1 . us 1 1 5 9 Aug t . 1 8 e a 2 ° 5 5 ' F bru ry 1662 . Febm ar y 9 . INTRODUCTIO N TO SHAKESPEARIAN STUDY . 77

’ ’ h zla rm o Rich ard Hath awa marri ed to D . C f y,

ame B a iz ed . B uri ed . N . pt 62 8 n I 6. 1 . u us . A n e. 55 3 A g t h ann I 6 Ma 6 o a 6. . J . 5 y

T o m as 1 6 i 12 . h . 5 9 . Apr l o h n 1 eb ua J . 574 . F r ry 3. W m 1 8 N mb 0 a . o e e illi . 57 v r 3 .

' ' / l H art bu ri ed 1 th A l a E. h ildren z lza m ri m rried C qf IV ( 7 p ,

6 1 to oem Sh ah es eare. . 599 , 7 p

B a iz ed r e u i d . pt . B 1600 u us 2 8 1 6 a ch 2 . A g t . 39 . M r 9 .

60 un 160 . D mb 1 1 e . ece e . 3 . J 5 7 r 7

160 u 2 . 5 . J ly 4

160 8 Se embe 2 . . pt r 3

F. Ch ild o oh n Hall bu r i ed 2 6th N ovember marri ed f 7 ( , th zw a 160 to Su san n a Sh akes eare 5 7 7, p .

E z abe h ba i z ed 2 15 t eb u a 160 8 bu i ed eb u a li t ( pt F r ry , r F r ry ma ied 1 Th o m as N ash 2 2 d i 1 62 6 2 Si r oh n a n a d rr ( ) , Apr l ; ( ) J B r r . n o Th o m as N ash b a i z d 2 0 th n e 1 i Sh e lef i ssu e. e u bu ed t ( pt J 593 , r th A was son o f n o n N ash bu ied 18 th N o vember 5 pril A t y , r

162 2 .

' ’ ’ o c ard u z bu ried Ma m i G . Ch zZarm f Ri h Q my ( y arr ed to

Ba iz ed . B urie pt d. 86 15 .

158 7.

1 8 . eb ua 2 6 5 9 F r ry . I S93 1 597.

. 1 6 1600 1 . 1 2 1 1 Apr 9 4 . April .

’ H Ch il dren o Th omas u me h a lzz ed 2 6th Febr u a . f Q y ( p ry I ’ ' w a r n ed l oth Febr u ar 1 616 to u azth Sh akes eare , y , y p .

B a i z ed . B u ri ed pt . 616 N mb M Sh a es ea e. 1 . o e e 2 . 161 a 8 k p r v r 3 7. y . 8 b u a Ri ch a d . 161 . e . 16 . eb u a 2 6 r F r ry 9 39 F r ry . m 161 u u s 2 Th o as . 16 n . . a u a 2 8 9 A g t 9 39 . J ry .

Th ere was a J oh n Sh akespeare i n Stratford wh o m arri ed a Mar

e R ob e s 2 th N o emb e 1 8 . Sh e w as bu ied 2 th O c ob g ry rt , 5 v r 5 4 r 9 t er H h d i ssue a seco n d w ife U su a ba z ed 1 8 . e a 1 1th 5 7 by , r l , pti M arch 1 8 : um h e 2 th Ma 1 0 Ph i i z x st Se embe 1 1 5 9 H p r y, 4 y 59 ; l p, pt r 59 . 8 RO C O TO S KES E R 7 I NT DU TI N HA P A IAN STUDY.

’ I I I —E R ES AT S O ERS . NT I TATI N HALL.

a e. En tered b ame o f a etc. D t y N Pl y,

1 2 . . . Edw W e den o f Fev ersh am 59 Apr 3 . hit . Ar . 8 1 . . 1 . R V enus and A do n c . s 593 Apr i h Feild . i .

1 . . 6 T us on cus o B an . 594 Feb J hn ter. it Andr i s a of Th e Co e Th Fir t P rt nt ntion, Mar 12 o. n o . . Milli gt n . etc.

Ma 2 e e S o . T m n o f a y . P t r h rt a i g Shrew .

Ma a so Scu . R s men o f Lu c y 9 . H rri n r avi h t rece.

Th . d Ma 1 o C ee e. am u o f H n V . o V c o e . y 4 r F s i t ries . W Ma 1 Edw. e. c o f L y 4. hit Chroni le eir. ’

Th o . C de e 1 . R W e . c . Jun 9 ree i h I I I (with Shore s if ) . Th e d 2 0 . o . C e e. L July r ocrine.

Dec. 1 Cu e u a 1 E . 595 . . thb rt B rby. dw rd I I I W L a e 1 6 e . . . V enu s and o s 59 . Jun 3 e k Ad ni . W A u . Edw . Rom o and u g 5 . hite . e J liet. Ma d b h * c o et . Th o n 2 . o Aug. 7. Milli gt n . Tam n o f S i g a hrew. W do o f Wa S R n i w tling treet, 1 A u . 1 . c . o . 597. g 5 i h J es a s 1 and 2 P rt . 2 W a A u . n d R c d g 9 . A rew ise. i h r I I . O ct 2 0 nd e W s R c a d . . A r w i e. i h r I I I . Feb 2 n d ew W H V 1 8 . . . 1 e I . 59 5 A r ise. nry 2 m s R an or e 2 a e o s e c ew of V e c . July . fl bert . M r h t ( J ) ni H e V nry . u M n i n h i s umou 1600 A . . T0 be sfa ed E e a ? . g 4 y . v ry H r . c A do a ou N o n Mu h b t thi g.

1 f en V . 1600 . . 1. Th o . a e s o o Aug P vi r. Hi t ry H ry W u A d b N o n A nd se c o a ou . . i . M h t thi g A u . 2 g 3 ° Wm s 2 H en I V h a es ea e e . S . . A pl y. , by k p r ’ O ct 8 Th i sh dsumm e N h s D eam . . e . . o . F r Mi r ig t r

2 8 Th s c an o f V en ce. O ct. . o a e . e . H i M r h t i o us ; as n Si r J ohn Falstaff and th e 160 2 an 18 J hn B by sig . J . . Wi s W ds A 1 o n son . e ve o . 3 cd to . J h M rry of in r h a as T o . P vier si n m Th o 1 H e V I e o . . 1 g d fr nry Apr . 9 . i n on salvo 2 Henr V I M lli gt , y . u re cu u scu m u j j g e. 1 Th T u n d o a e . o c s Apr. 9 . . P vi r it s A r ni u . 2 6 am es Ro am e July . J berts. H l t A u 1 1 Wm on L Co . g . . . tt . Tro ilus and Cressida (Cham 160 . . am 3 7. e Ro s. ’ Feb [J s] bert b i s erla n ) .

u e 2 a . Law . J n 7. M tt

d for ri ntin a ba ad con ra to o d i e 2 5 . 6 er. F n d . p g ll t r fi h h a rl 1 Licence to be rst h ad of t e Lord C m e ain. INTRODUCTIO N TO SHAKESPEARIAN STUDY . 79

Entered b ame of a etc. y N Pl y, * Simon Staffo rd ; 60 Ma assi n ed n K n Le a a e a d 8 . to o s c e . 1 5 . y g J h i g ir ( l t ly t ) W h ri g t . Y r s Th . a Mur h er i n o k h i r b l ad o e . t e a l . July 3. P vy r ( ) Rom o an d u i e e J l t. ’

1606 an 2 2 N ch . L n Lo e s Lab ou Los . J . . [ i ] i g. v r t. Tamin of a Sh e g r w.

6 d W do . 60 u Geo . E e. u an 1 7 A g . . l P rit i w 2 h o n n e D of Ed O ct. 2 . . so e mon o Art J h . M rry vil t n . am H let . Tami n f o a S e . N n m h i k g hr w 1 . oh S t . ov. 9 J y c Ro meo and u J li ett. ’ Lo e s Lab ou Lo s v r t. ’ h akes eare s K n Lea p i g r . ’ (Played by Ki ng s servan ts 6 o f h Nov 2 . t e G obe b efo e ames . l r J ’ I on St e en s n h , St ph ig t,

o se h un e De of Edmon on J p H t. M rry vil t , 1608 ‘ ‘ Apr. 5 Th h b T o . c e . . B Ar r y . Y o sh e T a ed b W rk ir r g y . Th a , y Ma o . e [ ]P vy r. y Sh a es ea e k p r . e c es P ri l . Ma 2 0 Edw oun . . . y Bl t n on and C A th y leopatra.

Rich a d Ronion . 8 r Tro lus an d ss d 3 2 ° e a. 1609 ° “ y Cr i 1 H en Wh a e ry ll y. ’ Th Th o S a es a Ma 2 0 . o . e. e e s Sonnetts y rp h k p r . We b Edwa d I t 16 . I I O c . . l y r . n mw c . 16 oh own . Lo d C o e b W 61 1 De . . S. 1 . J Br r r ll, y

V enus an d A donis. W a 6 Feb 16 . e . 161 . . . B rr tt Lo d C om r r well .

Mar 2 Sn odh am Edwa d I II . 161 . . 7 . r h W Mucedorus 618 Se . 1 o n 1 . . p 7. J right

M ar 8 oh n a e . V enu s an d 61 . . d o is 1 9 . J P rk r A n .

u 8 . Lau . a es. e ch an of V en ce J ly H y M r t i . h mas VV alk h o T o el O e . 162 1. O ct. 6 . y. t ll ’ Mr William Sh akespeare s Com edi es i s o es and , H t ri , T a edi es so m an o f th e r g , y said co pi es as are not fo r oun me en e ed o h Bl t. rly t r t o t er 162 . Nov. 8 . 3 a men I saac J gg ard .

Tem es p t. Two Gen emen of V e ona tl r . easu e for eas M r M ure.

' h ri nti n f h k 13111 Simon Stafiord to h ave t e p g o t e boo . 8 0 R O TO KE E R N I NT ODUCTI N SHA SP A IA STUDY .

a e . En e ed b m e of a etc. D t t r y N Pl y, Corfzedzlfs

A s Y ou Like I t. ’ We l a E W All s l th t nds ell. Twe N lfth ight . ’ W a inter s T le.

o Bl unt. a I sa c Jagg ard .

o u C riolan s. T f ens imon o Ath . u u Cae a J li s s r.

M acbeth . A nth oni e and C o le patra. C m e n e y b li . T us n d o cus Th it A r ni . 162 Dec. . o a e 4 . 4 [ ]P vi r. W do of Wa n S i w tli g treet.

6 Feb 2 . S an s 1 2 . . E a d 5 3 t by. dw r I I I . k 162 6 . a e . Lo om . Apr. 3 P r r rd Cr well . ’ Mr Pavi er s righ t i n Shake ’ s ea a s o r an of p re s pl y , y em th .

Edw. e s e . s o of en V . 162 6 Br w t r Hi t ry H ry Aug. 4' Ro . de a o f th e am e bt Bir . Pl y s . Si r o n O dcas J h l tle. T us on us it Andr i c . am H let . 6 W o f n 1 2 . an 2 . e e W 9 J . 9 Meighen . M rry iv s i dsor . en H ry V . Si r o n O cas e J h ld tl . T tus n on cu s y A dr i .

Y o e and La cas . i o rk n ter 0 . . R . C 163 Nov. 3 c . tes n cou Agi rt . es Pericl . amb e H l t . Yo s e T a ed rk hir r g y. u Th o . Blo nt Th e si x teen plays mentioned 6 s d 1 0 . u 2 6 a s e to 3 J ne . ign u de a 162 Ed A ll t n r d te 3 . w . o t.

V — S OF R O ED O S I . LI T Q UA T ITI N .

I n the following list an asterisk prefix ed indicates that ’ S m - Th e hakespeare s na e does not appear on the title page . fir order is nearly that of st publicati on .

8 2 INTRO DUCTI O N TO SHAKESPEARIA N 5.1 m m

l ' 160mm a nd ?u zét.

f ub i ca i on. ri n er. ub ish e . N o . f ua o a e o o Q rt . D t P l t P t P l r

1 1 oh n Da n ter. . 5 9 7 J

1 f h os eede . u h B u rb . 5 99 Cr C t . y

1 60 01m Sme h w ick . . 3 , Q - 4o 9 t

1 6 R ou n . o h n meth wi L F 3 7 . Y g 5 S c ( )

Rickard

V al. Simmes.

Th o . C ee de r . Th e e o . ed Cr .

h o C eed e . T . r

Th o . reede C . Th o Pu rf t . oo .

n or on . c . N t no n i . N orto .

’ ’ Love s Labou r s Lost. W b a ers n . Cu h . B u . 1 5 98 . W[t o ] t r y W m i k h n eth w e . 1 63 1 . S. J o S c

1 flem I y V .

P S h or . . [ t]

S .

V al. Simmes.

So d b W eak W . e . a ard l y L . J g g W a r . J g g a d .

’ M idsu mmer M fit s D r a g e m.

1 600 1 600

c/zafzt o Ven i ce M ef f .

1 600 T 1 60 0 h . e e H y s. 1 6 a wrence e es 3 7 L H y . 6 Z W I m . ea ke S L .

2 Hen ry I V. n i A d . W s e an d 1 5 00 V . 8 . w s e . A pl y

Th i i n . M ll g ton and B u sb T y. Th P . a vx cr.

T. avie P[ r]. S 8 INTRO DUCTI O N TO SHAKES PEARIAN TUDY. 3

b u t .Mzzc/t Ado a o

i n in e o . of uar a e of ub ica o . N Q to. D t P l t Pr t r

Q . 1 . 1 600

’ e r z'e: o Wi n dsor M r y Wz f .

160 2 T. C(reede]. 1 61 9

1630 T. H.

N 1n an . Ll g ] d Tru n dell as. .

Smeth m cke .

Smeth wi cke .

Smeth wi cke .

h u er N at . B tt . h u er N at . B tt .

Son nels

So d b W A s e l y . pl y. So d b ri h l y J . W g t .

' Troilu s a n d rem da G .

R . o n ia n and 60 515 El B 1 9 ( ) G . d H h a e . W ll y .

1 , Q . 2 .

S.

or on N[ t ]. h o es . C t .

'

Two N oble K zm mm .

T es . er Co . a son . t J W t . — V . EXTR CTS FRO M TH E CCO N S O F THE REV E S AT CO RT A A U T L U .

T ve i r ortant fo r a h i st01 a n d hese are ry np e rly stage y, con tain menti o n of vari ou s plays on which Shakespeare probably f ounded some of his . T A A S INTRO DUCTI O N O SH KESPE RIAN TUDY .

. m R am m h v h o m $ m m a h A m o 5 n m s a m d wh m . 5 e o ; 9 5 r 9 9 u 3 3 8 6 “ . a 8 3 m 5 b “ 6 8 9 am;

. $ a h 9 a a m rm 6

o ~ m g m § o m g N o o a a b — a G D I NTR O DUCTI O N TO SHAKESPEAR IAN STUDY .

m. « m . £ m m m w Q . E a a 1 Q m 2 mw h . m fi $ o . . ( A m ? m c k 3 M fi z i w N . w N 5 a m m W fi M m m a h a 5 J 3 w a E § Q Q o o c fi £ N w a s S 8 0 E 8 > F a a e 5 . s o 5 x S s k 8 s o S 5 o o . o m 2 N 9 9 c 3 a B a “ c ” 9 v c 0 e E z fi 5 7 c a x m H m z c 2 v v v V o v 3 m ac c D b 86 R O TO S K ES E R INT O DUCTI N HA P A IAN STUDY .

6 E 8 E 8 o 5 9 o ? G fi v c A c . 8 c o a a fi 8 2 9 m c o o c 9 v o 8 £ o o u 8 h w o E 5 o 5 c w u c B 5 8 “ 8 m 8 : v t E 9 8 2

. Am 8 9 ” c 8 8 a 8 $ 8 o 8 . A 8 . A 8 8 n 8 m a o a u 8 d 5 Q w h u o m ? e v m c o 3 fi c 5 . s 8 z s 8 m m g n s 5 fi 8 fi 8 o m 9 a 9 o A n s3 N 9 g o ” 2 § 8 fi 6 z g 8 6 5 H o N m 8 w 5 8 fi 3 4 0 “ m s b a o 8 3 m m n v y fl d 5 h T i NTRO DUCTION TO SHA KESPEARi AN S UDY. 87

8 M m a c o 3 9 8 u 0 o c : m 8 9 8 fi 8 8 o o > 2 E 2 ? . o o A 8 8 8 c Q m 2 o m 5 5 0 ? fi v w fi c a fi c 9 s a 8 o 5 g w o m o c 9 o m “ c 8 . 8 “ a A t o x b s m u c 2 y o v 8 o Q m w cb m

x m 6 3 a 0 o 8 o c 8 5 M m 9 0 a . r . A 5 M 8 « a 2 8 a n 2 S m A : Q 8 w F 0 M w 0 c h S S s 8 o M 8 a £ H m um 5 0 i 3 9 m 5 8 ? a 5 9 m 5 m . m 0 ? S 5 “ o 0 Z 5 ? : v mr 8 8 R O C O TO S ES E R S INT DU TI N HAK P A IAN TUDY.

’ ’ V I —EX R C S F RO M H EN SLO W S D RY G V P A S . G S T A T IA , I IN LI T O F L Y PER FO R M ED AT TH E RO SE E RE 1 2 - TH AT , 59 7.

’ ’ Lom Slm n e s Men g .

ame of a Da te . N Pl y .

- i r ac n F b . 1 Fr a B o Sa u da 1 1 2 e . 59 . 9 ( t r y) M n lomoreo a e f 2 0 . o caz a [B ttl Al r], ’ 2 1 07 la n a o . , 2 S a n zs med D H . /z Co on m atz e on mo 3 p y , o [J r i ], 2 Si r o n an de e 4 . J h M vill , f n a 2 . H a o Co 5 rry r w ll, 6 alta 2 . ew 0 M f ] , d r as 2 8 . G o s an to l ry O g , ‘ 7 Mar 1 o e o an . . P p J , 2 ac a e . M hi v l , Hem / V] a 3 . . j [P rt n ew en do an d R ca d o 4 . B i r , 6 ou a s i n O n e . F r Pl y , ' okzn d la s 8 . L o G s ,

. Z e obia 9 n , mo an 1sh T 1 . eron z 8 a ed 4 ? [ p r g y], 2 1 ons an n e . C t ti , 2 2 e u a em . J r s l , 6 B ran d mer Apr. . y , 10 Comed o e7' on 7n o . y f 7 y , 1 1 t m a n d Ves asza n n ew . p [], Tambercam Seco nd a 2 8 . n ew ( P rt) , M a 1 H a V y 4 . rry , 2 Tann e o f De ma 3 r n rk, ' n K n ack to K n ow a K n ave J u e , l o us o m ed an . Ge C n ew J 5 y y,

12 . C o smo , o ’ ' Tm ea o t/ze Ga zye n w 0 . e 3 g y f ,

’ l Su ssex 1 M en be zn n zn 2 t/z D ec mber E a o e . r f , g g 7

Go d s eed th e ou D c 2 . e . 1593 . 7 p Pl gh, 2 8 e en o f Bu rdoch e uo n o f Bm deaux H w (H ) , 2 Geor e ( 1 Green 9 . g , 0 uc in h am 3 . B k g , i d h C o n esso 1 . R c a t e 3 h r f r,

- \V illi am th e C o n ue o an . . 1593 4. j 4 q r r, a P i an e1s 7. Fri r , Pm n er o Wal e e/d Geo e a G en 8 . e f fi ( rg r ) , A am an d Lo t 9 . br , 1 2 a ai d o f a . F ir M It ly, 1 8 K n Lu d . i g , T11213 a n d A ndr on zcm 2 3 . ,

Ex i sts i n a German version.

0 NTRO C O N To S KES E RIAN DY 9 I DU TI HA P A STU .

a e . ame f a D t N o Pl y .

1 Se n Da f h W ° e o t e ee 595 v ys k, Caesa Secon d a 72820 r ( P rt) , A n ton e and V a ea y ll , Lon sh ank 11 g , 820 O limpeo and Heng enyo C ac me s N u t fl8 '20 r k thi , ’ N ew Wo d T a e ”8 20 ( ) rl s r g dy, D s u ses i g i , Won e o f a Woma d r n, e a do and F1ametta B rn r , Toyto Please myLady(Ch aste Ladies) n ew H a rr V Fa m u s V tor ies y [ o ic qf], We s m a l h n , Ch no of En a d 118 20 i n gl n , a o a 718 20 Pyth g r s, Second Wee 728 20 k, For tu n atu s a (First P rt) , ' ' B li nd B e ar o A lex a na rza 118 20 gg f , u an o a a J li Ap st t , Tam r m 0 be ca , 7182 ocas ”820 Ph , Tamb ercam Seco d a 128 2 0 ( n P rt) , ’ T e ood 5 I ron A e 71820 roy H yw g ], a adox 71820 P r , Ti n e o f To ness k r t ,

’ ’ ’ ’ m m l 1 be i n ni n Simon a n d nde : D a ct L d A a z O . o r , g g 7 y (

’ ' L d A ée zn n zn 2 lll November o r g g 5 .

I) c V alti er e . 4 . g ,

I I . 72820

N ebuch adoni z er 718 20 19 . , 0 T a w be h a be 7282 0 3 . h t ill s ll ,

- and Lo do c 718 20 1 6 . an . ex a e 59 7 J 4 Al nd r wi k , 2 Wo ma a d to eas 7. n H r Pl e,

b . O s c Fe . 3 ri , do 72820 Mar. 1 . Gu 9 i , e a i n O ne 718 20 Apr . 7. Fiv Pl ys , ’ m s T um and us 1 . T e au 3 i ri ph F st , C m d ”8 20 18 . enc o e Fr h y, d o n 2 . U e en a 9 t r P r g , m ed o f u m o u 1 1 . C o May y H rs, H a I L fe and Dea h 2 6. rry , i t , Freder ck e an d B aselli a as ea J un e 3 . y (B il ) , 2 2 en es . H g , 0 L fe and Dea o f a n S11 art 3 . i th M rti , \V i tch o f s n on 1 . 4 I li gt ,

Th e plot of th e play i s ex tant . T 1 INTRODUCTI O N TO SHAKESPEARIAN S UDY. 9

a me o f a Date . N Pl y. ’ ’ ’ L d A a mzm l a n d Lor d Pembro/ée s be i n n i n 1 1t]: Getobe7 or , g g

mo . 1 O ct 1 1 . eron 59 7. y y ’ Comedy (f [1777770a [H u mo rous D ay s a n si ns D octo r F . H a di a u H ardacu te c n e . 19 . [ r t ]

1 F i at S en dleton . 3 . r p b on N o v. 2 o u . . B r Kn wtus e . 3 . m rs 4 . U e .

Th e n umber of representations is taken from Malone . o o He is resp nsible for the c unting.

' ' B ks éei on i n to stock a n d sn e/z as I lzave bon ln szn ee oo g g , g d M a rc/z 1 8 3 59 .

ac o an Good n Bl k J . wi

Wom an wi ll h ave h er Will . ’

H ardacanu We sh m an s i ce. te. l Pr l b n n Ki n h u L fe an z Dea . o u o e . B r g Art r, i th

fl u 1 . Stu r a e . e c es g tt ry H r l ,

B ru nh ow lle . 2 .

b o u h h a a o e f een o s. C l r Q ithe. Pyt g r

i a end e on h ocas. Fr r P l t . P

A ice Pi e ce ex ande and Lodo c . l r . Al r wi k Red a a a man I C . c . p Bl k B t , ’ u n H a 1 2 . R obi . q , .

2 oo dw n 2 . . G i , ’

aeton dm an o . P/z . M a s M rris n l T an f i c o f Wi n h Trea g e [ ri g le o ] P er e c ester . k d V uc o s a vode. C l . y

’ ' Femlzz oee s be i n n i n 1 Octoéer 600 . , g g 1 8 1600 ct 2 . L un L O ike to ike. R 2 . od c 9 eri k .

a Th e pl ys printed in italics are still extant .

’ ‘ ’ — - v 11 H EN SLow s DIA RY CO NT N ED 1 160 . . I U , 59 7 4

Th e following list is the m ost important of . all the do c u a am co o m m ents connected with the e rly dr a . I t is ndensed fr ’ l i a r a n d h a n o H n s o w s D s w . e y , never been tabulated till I n first co um m o c a o f the and se nd col ns , I give the nth and l y the earliest a n d l atest entries of paym ent to the writers ; i n m of o u am o f the third , the na e the play ; in the f rth, the n es a o a a m m the uth rs bbrevi ted, with the separate pay ents ade by H en slow to a fifth o m n e ch ; in the , the t tal pay e ts in the sixth , u ca om 77 a f . (f ll) indi tes that the play was c pleted ; . (new) th t a u a n d old a was the pl y was beg n ; 0 . ( ) that the pl y revived ;

o . in the seventh I give the m ney laid out on dresses, etc 2 R D T S Y 9 INT O UCTI O N O SHAKESPEARIAN TUD .

0 0 0 0 0 0 0 0 0 0 0

o ma

U Q U J . . 6 Q c c c £ U Q Q Q o . o 8 c . . . c w n : =i £ 5 w Q 9 £ 2 H : 5 fl a < & < 4 h 2 < n 0 2 m2 8 0 Q Q Q Q E

m Q c 8 o Q m 5 . 8 2. 8 8 2 2 8 2 5 3 2 E 0 . a 5 m 5 o m . 8 o o m d 8 c 8 o . 3 fi . d o c x 8 0 o 2 o fi E v o o 0 . 6 v é . S w v u m o 0 fl 8 c x c o o c z i Q m . t 8 m o 8 mv A . u m M fi V 8 c x m m 2 o 5 fl Z 5 O 8 8 o 8 3 a o s 8 o 8 a 3 o o O o 5 o o w 8 c 5 o 8 8 m 5 £ o M 1 m q h o m H E m n0 K o “. 0 fi z 0 5 2 5 8 0 m< 4 2 Q a , N 2 . 4 m a A

F4 t E R S INTRO DUCTI O N TO SHAKESP A IAN TUDY.

a a a \

0 0 0

0 0 0 0 O n 0 0 0 0 8 O O h d ‘ 00 00 o o m xo 1m 0 emc o

. d . d 3 e 8 o r 1 2 L e ' v y i l e l y y e u a n a . J u x d d d e t l l l D J D o i A n t K ES E R S 94 INTRO DUC TI O N TO SHA P A IAN TUDY .

§ 5 x , \ \ Q

0 0 0 0

0 0 0 0

U N “ 21? m O m 8

15: “0 3 U

8 9 2 5 0 2 8 v A > “ 2 0 o m 2 2 8 . 2 s 2 0 m 8 o 8 . 2 0 0 2 A o 5 0 6 0 0 . o 0 3 0 2 Q 2 £ 8 0 8 2 m o : 8 2 2 2 2 2 3 8 2 0 2 b o 8 8 2 0 0 h 2 2 m m 2 5 3 8 0 c 2 0 .2 2 m £ 2 8 O 8 0 2 8 8 8 3 0 O 2 2 2 2 2 m 2 w m : 2 m c5 2 m 2 2 8 .2 8 8 m 8 2 7 8 8 0 0 5 2 8 2 2 8 8 2 2 Q 8 2 2 2 2 w . > 2 a 5 2 2 w 5 c E 2 8 8 0 2 0 c 0 8 2 2 2 2 E 8 2 2 2 3 m S 2 8 2 2 $ 2 : < 2 S > $ 0 2 © 8 5 c 0 2 5 5 2 3 m Q s 2 2 8 c 2 2. : 8 2 Q “ 3 8 U 8 0 0 2 o 0 ? m 0 2 w m2 0 2 a M 2 5

. v N O m 8 8 u N DY INTRODUCTI O N TO SHAKESPEAR IAN STU .

0 0 0 0 O 0 0 0 0 0

~ 0 0 0 0 0 0 0 0 0 0 H u m m m m 00 m m xb ¢ O O

. m 2 c 2 fi 2 o o 0 w 2 o a 0 h 2 w 3 2 o 2 2 c 0 £ 8 w . 3 5 x A $ 5 2 m fi o 32 r 4 m C fi o 8 m 4 a 2 o 2 9 o 0 6 fi 2 2 . 2 o 8 o 8 9 8 o 2 v 3 8 2 q 0 3 . 8 2 a 2 c 3 o A 3 2 0 h m 0 2 2 w £ 5 m 2 2 fi w 2 w v z 5 a o 2 z 5 3 6 m o s “ 2 d 0 “ fi w 2 9 33 «. 3 o g o 5 2 w 2 3 2 8 2 0 2 o d 2 o $ 2 a c 2 2 2 8 k 2 2 m 2 2 2 m g £ 2 2 . 4 : 2 m 3 v 0 2 3 m 2 a m 2 5 2 m o 0 2 2 b 2 8 2 2 u 2 2 $ 2 8 8 2 o 2 8 m 3 2 c S 2 2 2 8 8 5 2 2 2 3 5 a m 2 2 2 0 c 2 E 9 c P ; 3 5 A 8 5 mm4 aO h .

N O O O N n u u TO S U DY 96 INTRO DUCTI O N SHAKESPEARIAN T .

\ Q x e x a x a x x a a Q

O O O O O 0 0 0

J o o m c a o g $ 8 m m w 1 o o 8 w . B m ¢ o a 2 h : mm Q . m 0 Q B m m “ u . o o 5 0 . w . m 2 m m m 0 $ m 2 o 2 o s 0 £ 2 3 5 v 0 0 m m J . . “ m m « 2 m ” w o 3 . ? Q “ O i w 6 o u 2 w 5 2 w o H « , o 0 . “ “ . . $ $ w w 2 £ 5 w M 2 M n $ 2 M 2 2 3 J 2 2 2 2 a 5 mi 2 4 2 0 m3 5 0 E O 5 2

3 O o n n m $ 5 n 0 0 w m 2 2 w

O ~ u N

8 I RO C O TO Y 9 NT DU TI N SHAKESPEARIAN STUD .

‘d’ 0 0 0 00

00 0 “ O

\0 \-fi \0 \0

55 0 0 0 0 0 o 0 0

‘ 0 0 0 0 0 o m o o 0 H

0 0 O m 0 O r

. o 0s M £ £ E 8 8

. 2 2 2 2 2 2 8 £ 8 m 2 2

2 2 . . m. m m o o m v ¢ . 2 . 2 2 $ m w £ “ w “ m m m m 2 w o o o w 0 0 £ m m o 0 0 . o 2 w 9 ~ ¢ ~ o ¢ m m m v . " w m w 8 m 2 m w . 2 “ “ N . £ £ 0 2 u £ u w m m 6 6 w o 2 9 0 0 0 . . . o w 2 m 2 m 2 $ m o m 5 > 2 2 m c w m 2 w . . 2 2 . o 2 “ 2 2 V 2 m 9 m$ ¢ . 6 m 2 m k 6 w £ 5 3 2 5 am2 “ m 0 g 5 2 x m3 0 ?

m2

2 2 2 . 2 m 0 2 2 a 2 d . 2 2 . 2 ? 6 m 2 m m 2 2 0 o E 2 3 : 5 —v 0 0 2 c 2 0 o 5 m o “ . 2 2 2 . 5 2 2 2 o 2 m E . 2 2 2 2 m h .2 — o x m 2 o 0 a £ v m5 o 0 2 m e . 2 S 3 2 2 2 9 f $ 0 w 0 8 2 8 . 2 m 0 2 0 5 0 m 0 c? v o 0 2 2 2 2 5 2 2 2 m 3 0 2 f 2 ? 8 2 2 8 8 2 8 0 2 c 2 2 2 2 2 2 2 a 2 2 c 2 2 8 2 2 2 8 5 x 2 2 2 5 9 2 2 o 5 3 2 0 2 2 3 o m 0 0 2 5 o2 m N 0 0

«m «w O 0 m m m a 2 2 u m m T S KES E RIAN S UDY INTRODUCTIO N O HA P A T . 9 9

m w o

§ Q Q § Q \ Q Q Q \ Q § Q Q

0 0 0 0 0 6 0 0 0 0

0 0 0 0 0 0 0 0 5 0 m 0 0 0 0 m ¢ N N ~ N © h 01 0

2 2 2 2 2 22 . N 2 2 2 m 2 2 $ 2 6 o . m. 0 2 m m 2 m 2 o 2 m 2 2 3 2 o 2 o 2 2 2 8 8 2 2 2 $ 2 0 o 2 w 0 2 2 2 8 0 0 2 m 2 2 2 2 2 2 5 2 2 2 2 m 0 2 2 2 2 m o 2 2 4 e e 2 0 . 2 2 2 2 . 8 m o . 2 m “ m 2 2 2 E o u 0 0 8 2 2 2 2 h 2 2 2 0 2 2 . 2 2 2 fi m 8 2 2 8 2 m 9 9 E s 8 o 2 7 n g 2 2 2 m 2 2 2 2 2 .2 m w 2 2 w v 2 3 2 w 2 2 2 2 2 s z 2 2 s H2 2 0 2 2 w 2 2 2 w 2 o o 2 2 2 6 2 o 2 C 2 2 3 mm0 H 2 2 5 2 0 “2 mm0

2 2 2 2 2 2

. 2 o

0 c Z 2 2 2 2 fi 2 2 2 2 2 $ 2 2 5 h 2 3 2 9 2 2 2 2 2 2 2 2 5 2 8 2 2 0 9 2 2 2 2 0 2 2 2 2 € 2 2 5 0 m 2 2 3 2 m m m 2 2 2 2 £ p m 4 a 2 2 0 2 8 ? 2 2 2 2 2 2 . w 2 2 2 2 2 8 2 0 2 2 0 s .2 2 2 8 2 0 0 o 2 2 m 2 w 2 2 0 u 3 2 2 2 0 2 0 a 2 2 5 2 2 q 2 5 v 0 2 2 2 2 2 2 2 2 m 2 2 2 w 2 2 2 $ 8 2 o 2 o 2 m 2 0 2 2 2 2 2 0 2 2 5 2 2 2 2 2 2 2 o 2 o 2 s 2 5 2 2 2 0 2 0 2 2 2 2 2 2 2 2 2 2 m m2 2 2 m 2 5 O 5 2 2 0 0 2 2 u 2 2 m 0 9 2 2 0 2 2 o 2 2 2 2 8 2 8 6 a 2 m 8 3 2 2 2 2 2 2 2 2 2 2 2 2 9 m u o 2 m 5 2 2 2 2 2 2 2 0 2 6 ? 2 2 2 m 2 2 2 o o 2 “ 2 2 2 2 2 0 3 2 2 5 0 m m 0 n 2 Q 2 0 . H > 2 h m ( 00 N RO C O TO S KES E R Y I T DU TI N HA P A IAN STUD .

\0 i d

g fi o o o o o o 0 0 0 0 0 0 0 0 0 0 $ 0 S E o o o o o o ; o o o ; o o o o o o o u-c u-t

x u n u x m m h fi ‘W ' ' k Q4 s o n o g d O d N o

M O O 0 O

A (f ) 2 - 0 0)

w G O <3 é 3 3 3 “ 2 2 2 w > 8 8 “ 2 m g m z fi fl - 8 8 5 H u u H - < U Q S U U 2 2 fi o < a < mmm

2 2 2 2 0 2 8 2 2 2 2 2 2 2 2 3 2 b 5 2 2 u 2 0 2 2 0 2 0 2 0 o 2 3 2 0 w 2 2 5 8 2 2 2 2 2 2 O H 2 2 fi 6 m 2 2 m 2 2 2 2 2 0 2 9 2 2 2 2 2 2 m 2 fi 2 2 2 2 2 m 2 2 2 2 2 2 2 2 0 2 2 2 2 0 2 2 2 M 2 2 2 2 2 2 2 2 2 2 2 2 0 2 2 2 2 2 2 0 2 2 2 5 2 8 2 2 2 3 2 2 2 2 2 2 2 2 0 2 2 2 2 2 2 2 8 2 2 2 2 2 2 0 2 2 0 2 0 0 5 2 2 2 2 m a 3 2 2 5 2 2 0 5 w 2 0 t m N 0 9 2 2 2 2

N

” N N N N N

10 2 R T INT O DUCTIO N O SHAKESPEARIAN STUDY.

00 0 0

00 0 N

“N

2 2 2 2 2 2 m 2 o 2 0 2 0 ¢ 2 2 m 2 0 2 2 2 2 2 2 2 2 2 8 2 0 0 2 2 2 2 “ 2 2 5 £ 2 2 2 0 8 2 2 8 2 2 0 2 3 2 2 2 m 8 2 2 o 2 e 2 0 2 2 “ 2 2 . 2 2 2 2 Q 2 2 m 2 2 2 k 2 H 2 e E 0 2 2 2 0 U 5 m0 m m m 2 0 2

N 8 2 2 m 2 2 0 2 2 0 5 . m 2 0 8 4 M 2 0 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 5 2 2 0 5 2 2 8 2 2 2 2 2 0 2 2 2 2 2 8 2 2 2 2 2 m 2 2 0 2 0 2 0 2 2 0 2 2 2 2 + 2 2 2 2 2 2 2 0 2 2 2 2 0 0 2 2 2 2 0 2 2 0 2 0 0 2 o 2 9 L 2 0 2 2 2 0 2 2 2 2 2 0 2 3 2 8 2 2 2 2 2 0 2 2 0 2 2 2 w 2 2 2 0 a 2 2 2 0 0 N 2 a 2 2 2 2 0 A 2 . 2 0 2 2 3 2 2 2 2 0 s 2 d 5 2 2 5 3 2 2 2 0 2 2 0 fl : 2 2 0 2 2 2 0 2 0 0 2 2 2 2 2 2 2 2 2 Q 2 0 0 2 2 2 2 2 2 0 2 3 5 0 0 2 A 2 2 2 2 M 2 0 2 2 2 2 5 2 2 2 A 0 4 2 . N H N RO C O TO S ES E R S UDY 10 INT DU TI N HAK P A IAN T . 3

N 0O

m 5

‘ ‘ ‘ ‘ N N fN N N

2 . 2 2 0 0 0 0 0 2 0 0 0 2 2 2 2 5 2 . 2 2 5 2 8 2 2 2 2 2 2 2 fi 0 0 2 2 2 2 . 0 0 0 9 2 2 2 2 0 0 0 2 0 z 2 2 2 0 2 2 2 5 2 2 2 0 2 2 2 2 2 2 2 2 9 2 9 E 2 2 2 2 2 2 2 2 0 2 2 IN 01 5 0 01 0 6! 3 a 2 2 5 0 0 2 2 2 . 3 2 2 2 2 2 2 m . 2 7 2 2 2 2 2 2 2 2 2 2 2 2 m 5 2 8 2 2 2 0 2 2 2 2 2 8 2 0 2 2 2 2 2 2 8 2 2 2 2 3 2 2 2 8 2 0 0 2 m2 2 0 2 2 2 2 2 2 2 2 2 0 8 8 2 2 2 2 2 2 2 2 2 2 2 5 2 2 0 2 2 2 2 2 2 2 2 m 0 2 0 2 2 2 3 5 3 2 2 0 2 2 m2 2 2 m 5 5 5 5 2

2 2

. . . 2 2 E 8 2 2 . 2 2 £ 2 2 2 2 5 ! 2 e 2 “ 2 2 2 2 2 M 5 0 2 2 2 3 m 2 2 2 2 m 2 m 5 o 2 m 8 2 2 m 2 . w 8 o 8 2 e E m 2 m 0 W w m 2 . 2 2 2 2 2 2 E m2 2 A 2 A 2 m m 0 8 H v2 m 2 o 2 2 2 2 2 ¢ «2 2 u 2 2 2 2 2 E 0 2 2 m0 0

2 2 2 . 8 2 2 5 N S 2 2 3 2 2 2 v 2 . 2 2 2 2 . . 2 o o 0 2 0 c 2 0 w 0 2 0 0 2 w 2 w 0 2 2 . 0 2 0 M fi 0 9 2 2 2 0 2 0 2 2 o 2 2 fi 2 2 2 b 2 2 2 r 2 0 2 2 O 2 2 0 2 2 2 2 fl 2 r fi 2 2 M 2 2 2 2 : 2 5 2 2 2 Q x 2 0 g 2 2 2 2 2 2 2 0 m 2 2 2 2 2 2 2 6 2 2 2 2 2 0 2 2 2 2 S 2 22 2 m 2 2 2 3 2 W 0 Q 2 2 2 2 2 7 2 2 2 2 N 0 2 2 2 m 2 2 2 2 2 0 2 2 2 2 0 B 2 2 2 2 . i 2 2 2 2 2 8 0 2 2 2 2 2 0 2 2 2 2 2 0 2 3 2 2 2 m § x 2 2 0 2 2 0 2 2 E 5 2 5 2 2 0 . 2 2 2 2 0 2 2 5 m 2 2 2 2 2 0 2 2 2 2 3 5 0 2 § 2 2 2 2 2 2 D 4 N N 2 m 2 2 9 2 2 2 2 2 . A 2 2 2 0 2 $ 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 2 0 2 2 0 2 2 0 2 2 2 0 0 5 m0 0 Q 0 0 2 2 3

O N u N 2 N S 104 INTRODUCTION TO SHAKESPEARIAN TUDY .

V —A U S O S O R SU PPOSED A U S O S TO S HAK S P AR III . LL I N LL I N E E E Y N EM O R R ES B C O T P A I . I t is a common practice nowadays amongst a sort of shift ing companions that run through ev ery art and thrive by ’ v n overzn t t th e none, to lea e the trade of where o y were born , v v and busy themsel es with the endea ours of art, that could

- scarcely latinise their neck v erse if they should have need . Yet English Seneca read by candle - light yields many good t sen ences, as, blood is a beggar, and so forth and if you intreat him fair in a frosty morning he will afford you whole ’ H aml ts u a — NA e , I should say handf ls , of tragic l speeches . SH , ’ ’ P r / ace to Green s M ena zon 1 8 . y e pi , 5 9

‘ Many there be that are out of love with the obscurity v t t wherein they li e, tha to win credi to their name, encounter with them on whose shoulders all arts do lean . These upstart reformers of arts will seem wise before f their time, and now they both begin to counter eit that which they are not, and to be ashamed of that which they are . H e e t that estimat s arts by the insolence of idio s, who f pro ess that wherein they are infants, may deem the uni v t t ersi y nough but the nurse of folly, and the knowledge of ’ h — N A A n atom arts nought but the imitation of t e stage. SH, y ' o A bsu rdz x 1 z 0 . f j , 59

N ew - found songs and sonnets which every red - nose fiddler ’ fin er 5 hath at his g end ; make poetry an occupation, 15 v lying their living, and fables are their mo ables v think knowledge a burden, tapping it before they ha e half i t v e filled it tunned , enting it before th y have , in whom the ’ saying of th e orator is verified : A n te a d dzcefldzm z g ua m ad ’ o n os en da m m u n t T S c g c w . hey come to peak before they

. T un ro fitable come to know hey contemn arts as p , con ’ t t t v - en ing hemsel es with a little country grammar knowledge . —N S A n a tom o A bsu rdi z 0 A H, y f y , I 59 .

‘ A L r las, poor atinless authors . For my pa t I do challenge no praise of learning to myself, yet have I worn a ca ret tem ms n on ba bel gown in the university, and so hath / mari bas M e ; but this I dare presume, that if any cenas bind to me him by his bounty, or extend some sound liberality to e o f m worth the speaking , I will do him as much honour as ’— n s i n . N a y poet of my beardless years h all n E g land ASH, P ers P en mless 1 2 z , 59 .

10 6 TO A A A S INTRODUCTION SH KESPE R I N TUDY .

’ ‘ ’ e771 — Wh e e. e p y, here s our f llow Shakespeare puts th m ll a a a n d B en . O a B e n s a down , y, J onson too h , th t Jon on is pestilent fellow ; he brought up H ora ce giving th e poet s a pill ; but our fellow Shake speare h ath given him a purge th at a made him bewr y his credit . ’ B a u ré e. . g I t s a shrewd fellow, indeed lla Retu r n r om P a r n assus 160 2 T f ,

‘ Th e sweet witty soul of Ovid li ves in mellifluo u s and ’ ’ e - W en u s cm d A a om s hon y tongued Shakespeare . itness his V , Lu creece S on n ets his , his sugared among his private friends , e tc. Shakespeare among the English is the most

t . excellen in both kinds for the stage For comedy, witness ’ Gen tlemen o Ver on a rrors L ow L a bou r s his f , his E , his ’ ’ ’ L ost L ov e s L a éou r s Won M i ds u mmer s N z /zt , his , his lg D rea m M erch an t o Ven i ce a e Ri ch , and his f ; for tr g dy , his ’ ’ ’ ' a m tfie 2 R zc/za r a th e H en r th e K i n oh n zi a s , 3 , y 4, g ? , T ' d u i et A n drom cu s Romeo a n l . , and his ? ‘ ’ The Muses would speak with Shakespeare s fine- filed ’ — . M P a l etC . phrase if they would speak English , etc , ERES, ' ’ ladzs a mza 1 8 T , 59 .

n d - flowin v A Shakespeare , thou whose honey g ein

Pleasing the world thy praises doth obtain , Lu r eece Whos e Ven u s and whose c (sweet and chaste) , ’ ’ Th . y name in Fame s immortal book have placed, etc — H u mors 1 8 BA RN EFI ELD P oems i n D i v ers . R . , , 59

’ z lmu m S akes ear A d Gu l e /z p e.

- t Honey tongued Shakespeare, when I saw hine issue I swore Apollo got them and none other Their rosy - tainted features clothed in tissue Some heaven - born goddess s aid to be their mother ' - A dam s e se Rose checkt , with his amb r tres s ,

- Ven u s e Fair fire hot , charming him to lov her u r eti a v - h er Chaste L c , irgin like dresses, ' - a r u zn e v Proud, lust stung T g se king still to pro e her omeo Ri ch ard e R , , more whose nam s I know not,

- Th eir sugared tongue s and power attractive beauty, t Say they are saints, although tha saints they show not, For thousands v ows to them subj ective duty ; a h They burn in love thy children , Shakespe re, het t em, G o woo thy Muse More nymphish brood beget th em ! — EEV ER E m ms 1 6. W , n , 59 A EA A S 10 INTRODUCTIO N TO SH KESP RI N TUDY. 7

P a e s e l y r , I love y and your quality, A s e are m en a e a e y that p stim not bus d ,

n e e a es W . S. R . A d som I lov for p inting, po y, ( n d a ortu n e a e c se A s y fell F c nnot be x u d,

That hath for better uses you refu sed . i e s an d W t, courag , good shape, good part , all good ll are e se A s long as a these goods no wors u d, d a A n though the st ge doth stain pure gentle blood, ’ Yet generous ye are in mind an d mood . ’ — m 1 O H N DAV H e M zcrocos os 60 . ] IES of er ford, , 3

' N or doth the silver- tongued M d zcer t ’ Drop from his h o ney d Muse one sable tear To mourn h er death that graced his desert A n d to his lays opened her royal ear . ' e e E Zzz a bet/z Sh pherd, rememb r our , ' A nd h er a e e a r u zfz D a sing r p don by that T q , e th ’ — E R CH E LE n lan d s flf ozzm i /z H N Y TT , E g g a rmen l 160 G , 3 .

There shalt thou learn to be frugal (for players were never e are a L ee so thrifty as th y now bout ondon) , and to f d upon e e a e all men, to let none f ed upon the , to m k thy hand a ’ ea e stranger to thy pocket, thy h rt slow to p rform thy tongue s se e feelest e promi ; and wh n thou thy purse w ll lined, buy a th e a thee some pl ce of lordship in country, th t, growing e a m a e w ary of pl ying, thy money y then bring the to dignity e a and r putation ; then thou needest c re for no man ; no , not for them that before made thee proud with speaking their e a words on the stag . Sir, I thank you (quoth the pl yer) for

e . a it this good couns l I promise you I will m ke use of , for e a ee e a L I hav he rd, ind d, of som th t have gone to ondon ’ v an d a e a ery meanly, h v come in time to be exceeding we lthy . " — - 6 Ra ls z ost 160 . e s Glz , 5

Yo u poets all, brave Shakespeare, G e Jonson, reen , Bestow your time to write ’ ’ For England s Queen . — A M ou rn ul D i tt . 160 f y , etc , 3 .

T a i s W am S akes ea e R c a d Burbad e i s sa d h t , illi h p r , i h r g ; who i to ’ h ave painted Shakespeare s portrait . S 10 8 INTRODUCTION TO SH AKESPEARI AN TUDY.

’ M r S/zakes ea re ou r E n lzs/z eren ce Wi ll . T0 g T , p W Some say, good ill , which I in sport do sing, Ha dst thou not played some kingly parts in sport T a hou hadst been a companion for king, e A n d been a king among the m aner sort . fit Some others rail ; but rail as they think , Thou hast no railing but a reigning wit ; ’ A n d sow st honesty thou which they do reap, ’ o S to increase their stock which they do keep. — O HN DAV S cou r e o f ull ] IES, g f y ,

’ Some followed her [Fortune]by acting all men s parts ; T s sh e i n he e on a stage raised ( scorn) to fall, A n d made them mirrors by their a cting arts ’

W . herein men saw their faults , though ne er so small ’ R Yet e uerdo n d W S. . som she g not to their deserts, ( e all But oth r some were but ill action , Wh o e e a , while th y act d ill , ill st yed behind, ’ B e y custom of th ir manner in their mind . — D V u m r: H ea E a r /z 160 A H ou v en on t . J. IES , , 9

T e M C a hat full and heighten d style of aster h pman , the a M a e s l boured and understanding works of st r Jon on , the no le s s w 0 1 th y composures of the both worthily exc ell ent Master Bea umont and Mast er Fletcher ; and lastly (without wrong b e th e h last to named) , right appy and copious industry of M D s H M s e M . a ter Shak speare, aster ekker, and a ter eywood ' - B ER D edi ca ti on to tfze W zf D v i l 1612 O H N WE S iz e e . J T , ,

M as er m S ak s ea r 0 t W . h e e T p .

a a M h Sh kespeare , th t nimble ercury, t y brain , ’ Lulls many hundred A rgus eyes a sleep : So fit fa sh i on est for all thou thy vein , ’ At th - s horse foot fountain thou ha t drunk full deep . ’ ’ V i rtu e s or v ice s theme to thee all o n e is : ’ Wh o a L u rr eece loves ch ste life , there s for a teacher ; ’ ’ ’ Wh o a e Ven us a n a A dom s lists re d lust, th re s , True mod el of a most lasci vious lecher e l M a e Besid s, in plays thy wit winds ike e nd r, Whence n eedy new composers borrow more

W am S ak es eare R c a d Burbad e . illi h p , i h r g

1 10 Y INTRODUCTION TO SHAKESPEARIAN STUD .

e sir a Say, court ous , spe ks he not movingly From out some new p athetic tragedy ? H e writes, he rails , he j ests , he courts , what not, A n d all from out his huge long - scraped stock ’ O f well - pen n d plays —MA S cou r e o RSTON, g f x 1 8 Satire , 59 .

’

A . man, a man, a kingdom for a man —F m am v 1 ro Me s e 1 . , Satire P P N TARY C HA PT R S U LEME E .

’ SHAKESPEAR E S PLOTS : HOW A R E TH EY CONNECTED ?

THE M r e Va ri om m publication , by Furn ss, of the edition a e - es e h as of some of the m st r piec of Shakesp are, brought prominently into relief the fact that comment aries on our - ae s a far world poet, especially of the thetic kind, alre dy exceed th e limits which the shortness of life an d th e pressure e e s Th of everyday business impose on ordinary r ad r . e enormou s number of volumes (over 6000) already collected th e a es ea e M a L a a in Sh k p r emori l ibr ry, at Birmingh m, which i s s a e far et e till cknowl dged to be from complete, y furth r impresses on u s the partial and fragmentary results as yet e e e a th e attained by th s voluminous inv stig tions, and undying a a e Yet all interest th t ttach s to the subject . among the s a es a s an d a a a c e a choli , s y , tre tises, so l rgely cumulat d ; v ry ing a s they do from mere statement of subjective impres sion to elaborate statistical t ables of more or less valu able metri cal or linguistic peculi arities ; there is not one that sa s ac a e are a ti f torily tr ces , ther only few th t even attempt to t a a th e e b e on e r ce, wh t on face of the matter would se m to h a s of of t e most simple, and l o the most interesting lin es of e a a a of— inv stig tion th t the subject dmits the connection , lots oi s M logical and chronological , of the p the play . any e a e a a a e s sugg stive comp risons of sp ci l incidents and ch r ct r , a e s e e e a e m ny littl link b tw en various comedi s and tr gedi s , a ff u s a e a a h ve been indeed a orded ; but no bro d, g ner l tre t ’ h as a e e u s - e ment been ad pt d, which would giv a bird s ey view of the gen eral progress and development of our drama Th ti st in this particular . e present chapter is an attempt to i n supply this defic e cy. Before entering on th e main subject it will be well to say s h la ssifica i on a a few word on t e c t of the pl ys here adopted . We are so famili ar with the division made by the folio editors d es s s an d e a e s an ac into come i , hi torie , tragedi s, th t it s em t

s a n . of upererogation , if not of rrogance, to propose a ew one 1 12 Y INTRODUCTION TO SHAKESPEARIAN STUD .

Yet the obj ections to that arrangement are weighty and A la ifi numerous . c ss cati o n which s eparates Cy mbeli n e as a ’ ' e Wi n ter s Ta le ea e P er za es trag dy from as a comedy, and l v s ’ e a e a i t a s s ither uncl ss d as a pl y, or inserts , mo t editors do , a e es in the tr g di , i s eminently unsatisfactory . I f any three of ’ our author s works are speci ally bound together by similari e ti s of situation and treatment, it is the three here mentioned . ’ ’ A a R zclza m 1] h r g in, and Ri c a d which are tragedies pure a n d e simple, and are so call d in the original quarto editions , ' a re e a u lzus Caesa r not plac d in the tr gedy group ; while ? , ‘ a lied H en r V as it is , in metre, handling, and conception to y , is separated from it on the superfici al ground that the one R treating of English history, and the other of oman, they o n - must be looked , not as belonging to sub classes of one b ut e o division , as b longing t divisions so separate as to Lea r M a céetiz H en r l V - V include and in the one , and the y i O r tr logy in the other . if the ground ridiculed by Shake speare himself

T a ca m d i s r g i l, y lor , it , ’ P am s e e d k m se For yr u th r in oth ill hi lf, be relied on ii ?zzlzus Caesar is to be a tragedy on the ground ’ ’ of his a ssassination and Bru tus s suicide ; if Cyméelzn e is a tragedy because the Queen and Cloten do not live to the end - Peri cles c of the play, then why is not a tragedy be ause ’ L Wi n ter s Td i e A eonine is killed , or because ntigonus is e aten by a bear ? I t is clear that if this method be adopted cla ssificati on for our , we must introduce a new class of

- an d . A n d tragi comedy, as Fletcher others did then , where o a - shall we stop shall we g into pastoral , and pastor l comi

and all - H a mlet ? cal, the other sub divisions satirised in Shall we separate until our classes are nearly as numerous as our plays ? Finally it is not possible to treat satisfactorily ’ Romeo an d u lzet T700 such a play as ? , apart from the Gen tlemen o Veron a th e M er ch a n t o Ven i ce f and f , between an d which it demonstratively stands chronologically, with both of which it is manifestly connected in ma nn er of treatment and in cha racterisation it is not possible to separate Ot/zelzo — from the other plays treating of the same subject j ealousy ; merely on the ground tha t these two plays end in sorrow an d

. W e n ot death , and the others in life and joy must classify, a e c by the accidental , but the essential the n ture of th hief assi on s brou h e a e p g t into play, and the manner of th ir tre tm nt i n v a s th e dramas themsel es . Schlegel saw this long since

1 1 P Y. 4, INTRODUCTION TO SHAKES EARIAN STUD human n ature than anything else i n the earliest plays of a Shakespe re . Th Com ed o r r or s be e y f E , which forms a distinct link an d s h a s e a twe en th e preceding following play , mor dram tic C a a e a a s a et u s e xcellence . omp r tiv ly we k poem , it y gives ’ th e e arliest intim ation of the s uitability of Shake speare s a e Th e a e a genius to the st g . char cters do mor and decl im e e et s e l es s than in the two arli r plays ; y the cros purpos s, ’ h e - are M zdsw /zmer t time limit, the framework, so like the ’ N ig h t s D rea m as to distinctly point to an almost con Th e s e e e a t emporan eous origin . introductory c nes sp ci lly are nearly identic al in motive . N or is it unworthy of e a P e notic that in this pl y inch , the schoolmaster, is ridicul d for a bea rded doctor

A ea - aced a hungry, l n f vill in, A m ere an a m a m e a k to y, ount b n , A ead a e e an d a r e - e e thr b r juggl r, fo tun t ll r, A eed - e ed sh ar d ooki n re c n y, hollow y p g w t h, A li ving dead - m an

’ ’ — s H e L ov e s L aéou r s j u t as olof rnes, the schoolmaster in ‘ L ori h i s r e a edan t . H , is shown up for p y aving be n at ’ a t a s a a a u s gre fe t of l ngu ges, and stolen the scr ps, he gives as n L a a n d words and phr es from Fre ch, atin , I tali n , Spanish,

an e a e P . to xtent unp rallel d in the other plays, even by istol A fter this d at e ( 1 593 - 4) there is no ridicule of schoolmasters e in Shakespear . Th a e m in plot of Tw elj b lz N zlgizt i s so closely connected Comed o r r ors — b with the y f E , on the one hand y the incident of the shipwreck which separates the twins, and still more s o by the introduction of the twins thems elves and the con e e a s qu nt errors that arise therefrom and, on the other h nd, — with the Tw o Gen tlemen of Veron a by the wooing of a lady by a girl in boy ’s disguise in behalf of the man with whom — the girl is herself in love that it is difficult not to believe h a a A s that some portion of t e pl y was written at this d te . eve the whole play was, how r, produced unquestionably some ev a n th e s en years later, and if y part of it is of earlier date,

re- e th e I e it was revised and writt n at later, leav the con sideration of it as more suited for the later place in which it e c rtainly must come in a list of the plays, arranged in date

of production . But as to the place of the T200 Gen tlemen of Veron a there h e can be no doubt . I t is t earliest completed specimen of T D T To K P S Y 1 1 IN RO UC ION SHA ES EARIAN TUD . 5 th e sel i es of comedies i n which we meet with the disguis ed a e a a e s h er e as a e 15 e m id n th t tt nd lov r a p g , who so promin nt in stage plots through all the sub sequent hi story of th e T s a i s a a a a e e a a . dram . hi pl y r th r fri ndship th n love pl y Th a P s i s th e e f lsehood of roteu its central motive . It is ’ fi rst of Shakespeare s productions which have really a right h e Th e a e to t titl e of a comedy. e pr ceding pl ys hav no com plete story found ed on human life they are m erely drama ti sed e e a e s e a incid nts, or exc ption l vent , which in inf rior h nds a a would h ve given ri se at most to n interlude or farce . H e w e a a e e e e er , however, h ve tru com dy of lif , found d on a Y novel . et the threa d of continuity of development i s not Th e B s ar c L n broken . romio e reprodu ed in aunce a d Speed ; a a all e a Lu ce re ppe rs as Lucetta . In thes we can tr ce the beginnings of the clowns and waiting- maids who so often are e e e N ss introduc d in subs qu nt comedi es . or has the cro B en s e e e wooing which Jon on r probat d yet di d out, though it a ea s a a a Th i n n ever re pp rs after thi pl y in simil r f shion . e tro du cti o n es e a a e s a an d of burl qu ch r ct r , ped nts, country a s a ec ctor , who h ve no natural conn tion with the plot, now gives way to the comedy o f servant s or clowns who are sa a ac a T n eces rily tt hed to the principal person ges . his s s a s h ad ru n c e e y tem l o to its ourse and b com obsolete, but it i s a distin ct step in advance ; as indeed is the whole of th e a a s a e ew . pl y, looked on from t g point of vi In Romeo a n d w e fin d much of th e work in the T20 0 i zi l m o e n a a an d N Ge e en f V ro t ken up improved . ot only in s a d e s a s th e a peci l inci nt , such the visiting of the lover to l dy ea a a th e a s e V e e by m ns of rope l dder, b ni hm nts of al ntin and R e c th e a th e om o , the introdu tion of friars on st ge, but in e th e w e fin d a a a e e v ry marrow of plots, th t this pl y is d v lop h e A s P sa a R e t e e . e m nt of pr c ding roteus for kes Juli , om o g ive s up Ro saline ; a s V alentine inveigh s again st love to P d r i R a all e s so es e cu t o e . rot u , o M to om o I n f ct, in the early part of the pl ay th e parallelism b etween these two i s a a a a th e a e pairs of characters ccur tely m int in ed . In l t r ’ portions th e tragical turn given to th e den ou emen t of course e e e s o n e can ea th e a s int rf r s with thi , but no r d two pl y con secutively without being struck by the similarities here m ention ed . I n th e M er c/zcm t of Ven i ce w e find still further develop T Gen tlemen o Ver on a i e . T s a e 70 0 s a m nt hi pl y, lik the f , e d s a s case th e e i s a fri n hip pl y, though in thi fri nd f ithful, in ’ th e oth er faithless just as in Romeo and ?u lzet the lady is ' a t u h er Tr o lus a mt Cresszda f i hf l to lover, while in y she is not T DY 1 16 INTRODUCTION TO SHAKESPEARIAN S U .

T ar e A cadem so . his was pointed out by me in an ticl in the y; but I was mistaken in supposing that plays of mutual T contrast were generally produced successively . his was seldom the case, and development of other kinds must be fir e T can v a st . look d for here , howe er, be little doubt th t the M er c/um t of Ven i ce was subsequent to the Tw o Gen tle men o Ver ona Th e f . characters, though cast in the same fin i h d N s e . mould, are more highly erissa is as superior to L P W e ucetta as ortia is to Julia . have here again a dis L guised woman , but disguised for a worthier motive . aunce lot is an improvement on the hitherto unnecessarily doubled - v subse men ser ants, and a nearer approach to the clown of quent plays. I f a direct comparison be sought between por e e tions of plays , no better xampl could be chosen than the discussions between the ladi es and their waiting- maids on t I Tw o Gen tlemen the characters of the sui ors in , ii , and in o Ver ona I f , , ii . ’ M u ck A do a bou t N otizzng has been shown by Mr Brae to ’ ’ b e L s a b r Th e the same play as ov e L ou s Won . allusions to i 80 V i 2 1 v this former title in I I , , 3 , , , 9 , are conclusi e on this point, even ifthere were no such parallelism of character as that B r between e own e and Rosaline with Benedick and Beatrice . ’ ’ th e Lov e s L a ou r s L ost 1 But reproduction of b in 597, and ’ ’ M L v e s L a é ztr s W071 1 8 fi x the mention by eres of o o in 59 , t te M u ch A do a tou t the date of his lat r play, if identical with N oth i n to o g , to be in the latter year . I t would be useless g over the ground so carefully traversed by M r Brae as to the t con rast between these two plays . I t will be better to show e how in other parts of the plot , or rath r in the second plot, i t it serves as an introduction to the play that succeeds , ' M er r Wi ves o I/V zn dsor the y f . I n both we have the same principal motive, jealousy, founded on the information of a a fi rasc l ; in both, the same ridicule of inef cient administra t tors of public jus ice ; though, indeed, as far as the foolish u s constable is concerned , this rather gives an additional link ’ ’ Lov e s La bou r s L ost I with , as revised in 597. But above all, in these two plays there is distinct reference to the stage war

e M D C o . going on betwe n Jonson and arston , ekker, ; for ’ th at D eformed who has been a v ile thief these seven year ’ a lludes to the n a me given by the Chapel Children s play wrights to Shakespeare himself, is as probable, or rather N m ‘ ? certain , as that y , with eternal repetition of that s the ’ i t h e H en r V humour of , would be in I 599 (t certain date of y , ' ' ’ and almost certain of th e M erry Wt m s of Wzm zsor ) regard ed ’ n as an allusio to Jon son s two humour plays , one dating

1 18 TO A A I NTRODUCTION SH KESPE RIAN STUDY .

‘ and the succ eeding plays are essentially the two love - plays e all s e of Shakespeare , abov other , far more so ev n than ' d u lze a th e a R omeo an ? t. For in other pl ys it is p ssion of the s a a t oi enses , or the j e lousy of possession , or the enthr lmen

a . the f ncy, that is displayed I n these it is the congruence and complemental perfection of the two halves of perfect b eing A s You Li ke I t that have found their match . I n the aspect of love dwelt on is th e love at first sight celebrated by Mar ' v 8 Tw et tit N z bt it low, the dead shepherd of I I I , , 3 in f lg is the patient waiting and the entire devotion of the lover . I n both it is the wom an who woos ; in both she is disguised in ’ man s attire ; in both the most perfect descriptions of the passion in its purity are given that poet has ever penned . I n the subordinate parts of these plays there is also great simila r ’ Th e ity. two most perfect clowns in all Shakespeare s works T are to be found in them, ouchstone and Feste in both we — find instead of the ridicule of pedantry or ignorance of the to a earlier plays , or the allusions outside qu rrels of those immediately preceding- that self- conceit and folly are held

M . up to scorn , by precept in Jaques, by example in alvolio Th e r O e curate, the count y wench , and the bumpkin , Sir liv r, W A N ath an iel illiam, and udrey, should be compared with Sir , ’ ’ C L ov e s L abou r s Lost ostard , and Jaquenetta in , more for e f T a e th ir dif erence than their likeness . hat e rliest play s ems to hav e been used by Shakespea re in one way or other as suggestive of subsequent characters or situations more than all the rest. Th e similarity of part of Tw elf tb N n t to Tw o Gen tlemen ’ o Veron a C V a f has already been noticed . ompare also iol s ’ 10 - 12 1 Tzo o description of herself (I I , iv, I ) with Julia s in the Gen tlemen IV i v 1 0 Th e e V ( , , 5 du l between iola and Sir A ndrew is ev idently a development of the humour of ’ mine host in the afiray between the doctor and the parson M err Wi v es o Wi n dsor in the y f . ’ ’ A ll s Well tba t E n as Well t I n the clown , al hough some t e T wha inf rior, is no unworthy successor to ouchstone and t P Fes e, and clearly belongs to the same series . arolles is a A P development of rmado rather than of istol, with whom he has been often compared ; but the trick played on him , and a his exposure, is of the s me mint , and I should say nearly v M T a contemporary , with the de ice of aria and Sir oby ag inst M v M al olio . aria, by the way, i s the last of the series of

- Th e H s pert waiting women . meeting of elen with her hoste s is extremely like that between Julia and the host in the Tw o Gen tlemen o Ver ona Th e t f . clear exis ence of two styles in INTRODUCTION TO SHAKESPEARIAN STUDY . I I 9

s e led th e thi play, one quit early, has to opinion that it is a ’ ’ reca st of Lov e s L a bou r s Won ; but a s there is no reason a s a a a w a s e e eca s an d wh t ever to suppo e th t th t pl y v r r t, ’ there are allu sions to the pres e nt title of A 11s Wot! t/za t E n ds a th e a a are th e ea e Well in the p rts of pl y th t in rly mann r, i s eas ff M r a there no r on for di ering from the opinion of Br e, s a quoted above . ’ M a su r e or M easu re e A 11s Welt That . o f follow d closely on l/za t E n ds Well can hardly be doubted by any one who e a e th e th e final e Wh ICl compar s c r fully handling of scen s, L Th e e e i are almost id entical in treatment . d vic of the sub st tuti o n of th e real wife for th e suppos ed maiden victim i s al so Th a e a s . e e th e alik in both pl y foolish const bl Elbow, and c a a u s ac M u ch A do a bou t introdu tion of fri rs , c rry b k to ' /z a e Th e e a h as N ot zug for a par ll l . inf riority of the const ble always been a stumbling- block with critic s who hold that Shakespeare must have improved in a ll respects throughout ca e d th e whole of his reer . But ev n granting this oubtful i diffic lt i s s u e . e proposition, there no y in the matt r It cl ar that characters ought not to be compared in respect of ex cellen ce ev e e e are a of d elopm nt, unl ss th y not only simil r

‘ a e are s e a in n tur , but al o introduc d under simil r circum a h W s a ce are e e t e . e t n s , and of lik import nc in plot might as w ell complain th at th e clown in OtboZ/o i s not the equal T e a w e c . e of ouchston I n this pl y miss our lown prop r, e P e who is poorly r placed by ompey, an inf rior kind of a h a e . t e e e a e a m l Mrs Quickly In fact, int r st of Sh k spe re is more and more absorb ed at thi s stage of his development an by the main plot, to the exclusion of y lower secondary

sc en es . tbollo a e Th e I n O this is still more m nif st . clown sinks h a Th e a into t e sm llest proportions . subject of je lousy w as probably suggested by the fact that in the previous year

ea e h ad h ad re - e th e M er r Wi v es o Wi n door Shakesp r to writ y f , an d he felt that he had not treat ed th e pa ssion of j ealou sy

e . O lbello e R omeo n seriously nough in that play , lik a d ' u lzet an s se - ? , is a romantic, not hi torical or mi historical play, an d s erves a s a d emarcation b etween the comedies prop er all cee th e a s i t . ex and that suc d in series I arrange For, a th e e ca e pl in fact how we will, no com dy, strictly so ll d, M oasu r e or M easu re W e h occurs after f . h ther t e fashion of ’ th e e e a e a e time d mand d mixtur of tr g dy, or Shake speare s own inclination led him at th e ag e of forty to take a more e e e s e w e a e a s rious vi w of lif , from thi dat h v only tr gical his

e - c I tori s and tragi omedies from his hand . n this play we Y I Z O INTRODUCTION TO SHAKESPEARIAN STUD .

w . have his last clo n For comparison with earlier plays, e th e e a R e besides the main subj ect of j alousy, r l tion of od rigo to I ago should be studi ed alongside with that of Sir Andrew Th e Aguecheek to Sir Toby Belch . slight clown scene has Tw ol tb N t ea e its count erpart also m f n , and a still rli r one n u zet r in R omeo a d 7 l . I ago should of cou se be compared M u h A do a bou t N otlzzu also with D on John in c g .

a . P er i cles Th e rem ining plays are closely connected , the M oasu re or M easu re e arliest of them, is connected with f , by ’ the l eaving a d eputy behind to go vern during the prince s a e absence ; but this, as well as the similarity of the n m s s an es M M a E c and Escalus , arina and ari na, is only a super W e fi ial . t c resemblance eviden ly, in these last plays , pass v t e h e i n into a different world . E en s are in them rul d by t ’ M an 5 terferen ce of the deities . will i s nothing ; fate is all . ulfill O an v f ed. M may stri e, but oracles must be racles , a prophecies , augurs , magic, are the means of scertaining the Th e . C will of the gods . gods are pagan Juno, Jupiter, eres , D n o w a s iana , are actors on the scene, not f ble to be alluded M v e e to . agic is a real power o er elem ntal spirits, not a m re T are e d elusion of the devil . here mor beings on earth than m an— s a C a s l h ed A mis h pen alib n , y p riel not merely mis ch i evo us a e fien d - n w itch es b ut f iri s and worshippi g , _ spirits ’ th at can be brought under man s power by lawful m agic ; and ’ s a e god that c re for, and interf re with man s destiny . It is th e world of the Rosicrucians a n d the Greek mythology rolled T into one, not that of the eutonic traditions, and the semi P er i cles D i n C mbeli n e scriptural witches . I n it is iana ; y , ’ Wi n ter s Ta le A Tem est J upiter ; in , pollo in the p , the a Th e m gician, who rule and prophesy. priest, the augur, h e a s comm n i ca t sybil, are their instruments their me n of u are v tion dreams, visions, and oracles and abo e all, man himself i s of such stuff A s d eam s are made o f and e fe r , our littl li ’ nd s I s rou ed with a leep .

Th e plots too are all of th e s ame texture ; reun ions of parents a n d M Gu ideri u s A rv ira us children are given , as in arina, , g , an d P erdita reunions of wive s an d husb a nds in Th ai sa and Hermione recovery of lo st dignities in the sons of Cymb e e Le P P line, and the daught rs of ontes, ericles, and rospero v e M reco eries from supposed d ath in arina , I mogen , and ‘ ' P Th i a n H n Th zu a sa d . e L mbo e erdita, in ermio e play of l _y is like that of P eri cles in th e visions given to Posthumus and

12 2 A INTRODUCTION TO SHAKESPEAR I N STUDY .

Th e dates of about one - third of these plays are known within ’ ’ ea a n d th e a o r e L ov e s L abo u r s a y r, fact th t six ( s ven counting e 1 8 fix es e a s first Won ) are mentioned by M er s in 59 , th se C th e e e in the list . ompare then following num ration in defin itel which the dates of the plays in italics are y certain , M the others conj ectural, and the plays given by eres separated by a line thus : I ’ ’ ’ ’ L 5 L r L I 2 M N 5 D ove abou s ost , 59 ; idsummer ight ream, ‘ ’ 1 Comed o rr ors 1 - Tw o G V n 593 ; y f E 5 93 4 , entlemen of ero a, ‘ ’ 1 Romeo an d u lzet 1 6 M t V 1 595 ; ? , 5 9 ; erchan of enice , 597 ’ A do N 1 8 M err Wi v es o M uch about othing, 59 y } ’ Wi n dsor first v 1 A s Yo u L It 1600 , ersion , 5 99 ; ike , ’ ‘ ’ Ta mzu o flu: S h rew 1 600 - I T N i h t 160 1 g f , ; welfth g , ‘ ’ ’ A W t W 160 2 M easu re or M ea su re ll s ell hat Ends ell , ; f , 1 60 M er r Wto m o Wi ndsor 1 60 3 ; y f , second version , 4 ; ’ ’ O 160 - 6 Tro lu s C a 160 - 6 P er i cles thello, 5 ; y and ressid , 5 ; , ’ ' ’ 1 506 C 160 8 - Wzu ter s Ta le 1 61 0 - 1 1 Ttem est ; ymbeline, 9 ; , ; p ,

1 251 1 . I t is clear th a t this series corresponds with that derived O r from the examination we have given of the plots . again we may test it by its agreement or non - agreement with the ’ known development of Shakespeare s metric al system ; not the so - called development which would assign different d ates to a e a - z e two pl ys, becaus one has some h lf do en rhymes or w ak endings more than the other ; but the cl early - m arked division into groups and periods in each of which distinct manners of fi io e versi cat n were adopt d by the poets . I t will be found of v that these periods coincide with the order the abo e list, 1 6 160 1 1606 and end respectively with the years 59 , , , each period o f fi ve years conta ining about five plays ; or if for ’ convenience of memory we relegate the Ta mzug of tile Sbrow its to the date of earliest form, and insert in the last period the ' i stor o Go rdom o H y f , by Fletcher and Shakespeare , now lost , a fi T each period will cont in exactly ve plays . his looks arti fici al t v it a , but for tha ery reason is useful as mnemonical device . r O again, we may examine the list to see if certain kinds of t characters , such as clowns for instance, tha were fashionable e a at certain pochs , are brought together chronologic lly in the table we shall fin d they are and many other modes of ex amination will no doubt suggest themselves to the reader o f

Shakespeare, which will put the arrangement now suggested to a conclusive ordeal . But as my object 15 not to advocate any special chrono logical arrangement, and so bring myself within the danger 12 INTRODUCTION TO SHAKESPEARIAN STUDY. 3

e s e e th e of the sp cialists in such tudi s , but rath r to give ordinary reader such hint s as I have myself found useful

“ ese a s a ce a e e e in studying th pl y in rt in ord r , I will h r leave thi s part of the subj ect for mor e limited an d less critical s e con id rations . I t will or may oi cours e be urged against such speculations as are a a e a e are racti cont ined in this ch pt r, th t th y void of p cal utility ; th at any work of art should b e judged per se; if it it W a a be ea e it we . b utiful, we njoy it not, avoid h t m tter how and when it w as produced ? Our delight in a thing of beauty is independ ent of all critical or historical as sociations . s ff Thi s might be answered in many ways . It will u ice here to suggest that thi s view m ay be true for smaller or sketchi er W e a e for ra a m an productions . do not c r the biog phy of e e - a s a az e who inv nts a patt rn for a wine gl s , or writes mag in r es a s e e a ticle, or sketch a bit of ro d id bank, how ver well t es N w e ee th e h e things be don e. or do f l much interest in a as a e e th e compiler of f hion bl nov l, or anonymous critic of a ee a th e a as e e w kly journ l . But in uthors of the m t rpi ces of a eflort Ph idi ases Raffaelles e hum n , the , the , the B ethovens, th e a es ea s ee e e Sh k p re , men do f l an imperishabl int rest " e a n ew a of a e s very new f ctor, combin tion f cts , conc rning the e m en is lit up an d ennobled by the halo that encircles the m en themselves h ence it comes that every new point of view to c a a e are e whi h we can tt in, from which th ir works visibl , pro duces in u s a feeling akin to that which we have in looking at a a s a e a a a a all a l nd c p lre dy f mili r in its det ils , but now s e - a seen from om hill top or place of vantage, to which we h ve fi r t e A n d b e . climbed for the s tim . so it ought to It is e e a few e a b tt r to know things w ll , th n many things imper — fectl e e e us i n de en y, b tt r in the sens of giving more delight p d ently of th e tra ining w e ga in in the process of learning an d in these d ays when epics a n d tragedi es have atta ined to such e e e e a a e a a f v rish d velopm nt, th t singl poem equal in m gni ’ e es a e a e e s e tude to som six of Shak pe r s m st rpi ce , can be turn d out of th e manufactory in a year or two by m en far younger than Shakespeare was when h e wrote his first- fruits of his e Can ter bu r Ta les inv ntion , it may be well to turn to our y , F a i r u een Lea r e a y Q , and , to asc rt in how the men worked , ’ ’ whose work has lived while the Leom aases an d F ostusos an d oau o A rt s e ? f have vanish d from the memory of men, and s e a from the h lves of the libr ry . Let u s e e now turn to the historical seri s, which will r quire e e e e s a shorter tr atm nt for our pres nt purpos , both becau e the order is less doubtful and the plots oi histories are 1 2 4 INTRODUCTION TO SHAKESPEARIAN STUDY . necessarily less intimately connected in manner of treat e m nt . Ta e I H en r V] e I n the lbot episod of y , the arliest work w e confiden tl fin d which can y assign to Shakespeare, we a him so imbued with the manner of his predecessors , th t , e e e xcepting in trenchant energy, ther is littl to distinguish

P . H e T his work as yet from that of eele seems , like urner, to hav e deliberately written in rivalry to each of his pre T cursors before adopting a decisive manner of his own . his is still more strongly shown in R i ch ard which is as ’ c ertainly a rival piece to Marlow s E dw ard [I as the ‘ ’ M erc/zam o Ven i ce ew o M a lta Lov e s f is to the y f , or ’ L abou r s Lost L to the plays of yly . I n fact, the likeness is so strong as at times to giv e one the impression that some ’ of Marlo w s work is contained in the Shakes earian plays ’ ’ (see Marlow s Edw a r d in Collins series Again in E dw ard [1] the episode of the Countes s of Salisbury is , I K Ida think, meant to rival the scenes between the ing and ’ G a mes I o S cotlan Ri ckard [1] in reene s ? V f d. (whether ’ founded on a sketch of Peele s or n ot) is a completion of as e 2 H en r V] P w ll as a competitor with and 3 y , by eele and Marlow ; Ki ng is a still more strongly marked chal lenge to the author of th e Trou blesome Reig n of K i ng e G P e H en r I V V rilo e (p rhaps . eel ) and the y t g y so eclips s the F amous Vi ctor i es q emy V that it is scarcely possible to e a Yet all read the old r pl y with patience . although these his v tories were written successi ely in rivalry with others, there is ’ Th e a distinct dev elopment visible in Shakespeare s work . t T R unmixed ragedy of the fates of albot and the ichards, is replaced by the mixed comedy and tragedy of John and the H e R l . nries . ightly are the latter ca led lives , not tragedies F aulco nbridg e and Falstaff teach u s the many - sidedness of e lif , and the inadequacy of any art which develops one side only in each of its productions to give u s that large view of man and the world which has been attained by Shake o T speare, and in a less degree by G the . aken simply as M e a a comic dramatist , oli re is greater th n Shakespeare ; e t m rely as a tragic drama ist , Sophocles is his superior ; but as an expounder of life in its totality, the only names that Go z I can place near him are those of the, Bal ac, Fielding,

R . and Browning . a Immediately fter these histories proper, we come on a Caesa r group of plays which we m aycall the ghost series . , ’ ’ Rzc/za m 111 H amlet e M a beth . , second version , c , I t is scarc ly necessary to point o ut how the conception of a ghost acquires

N T DY 12 6 INTRODUCTION TO SHAKESPEARIA S U .

All h pla ys have often been pointed out . throug this series of tragedies (including the R oman historie s) the perv ading ide a i s that the dram of alloy makes brittle all the noble Th e e m etal . chief character in each of th se plays is endowed e T with noble qualities , but he has one def ct . his brings him u v into collision with the unyielding law of the ni erse, and * the weaker goes to the wall . Th e only two plays l eft to mention have been altered by ’ f e e Fl etch er . But it is clear rom the parts left of Shak sp are s Hi s a writing that in them we have not his best work . h nd , — shows comparativ e failure in H en ry VI I L failure in char i ati o n e Tw o a cter s , plot , and absenc of humour ; but in the i n smen N oble K there is worse failure than that of execution , there i s failure in conception . I n spite of many a dmirable first a touches in the act, there is a coarseness, or rather a w nt of sensibility, in many places ; and the poet who conceived ’ a 01 e a n d p rtly wrote the part the Jailer s daughter, aft r a O v h ving written phelia, did well to retire from his ocation b efor e his power had altogether decayed . I n this chapter I have endeavoured to point out the two ’ a e an d th e class es into which Shakespeare s pl ys are divisibl , a w order in which they should be esthetically studied , hich I b elieve coincides nearly with the chronological order . But let no o n e suppose that I mean to give an aesthetic com m enta ry on them ; that has been done with more or less a e ea success by others, with whom I certainly sh ll not nd vour

to compete . N or do I think it desirable that the student should trouble himself about such criticisms till he has formed a n of A v independent j udgment his own . bo e all , let him eschew the Teutonic method of assigning a fundamental ‘ ’ e id a to each play, supposed to have been consciously

wrought out by Shakespeare, with careful introspective art . a a e e Sh kespeare wrote plays for the st g , not closet dialogu s O n a . for esthetic critics the other hand, nothing will con duc e more to a clear understanding of these dramas than carefully noting what subjects of thought were uppermo st i n th e a e the mind of dram tist at various periods of his lif , and great help will be found in the search for such subj ects th e in study of contemporaneous history, political, social , a n d a e , bov all, theatrical . Sometimes more light will be thrown on the m eaning of a speech or a play by a contem ’ oran eo u s e H en slow s D i a r a n p ntry in y , or allusion in a b v work y some other dramatist, than by whole olumes of , I s it a fan cy that Shakespeare m eant to illustrate on e of th e d ead s s i n eac o ne th e a ed es ly in h of tr g i . INTRODUCTION TO SHAKESPEARIAN STUDY 12 7 self- evolved comm ent on the ideal characteristics of H a mi d [V a cbet/z or . a s a e e a c s aes Fin lly, I mu t st t my b lief th t no criti i m of thetic kind i s possible on Shakesp eare without regard had to th e succession of h i s works ; that this succession h as been ob scured ln th e mind s of criti cs by th e divi sion m ade by th e ed s th e a e es c e es and e itor of folio into tr g di , om di , histori s ; that the division here suggested (following the hint of th e

- d 2415 1 W . e e R omeo an 6 under rat ed A . Schl g l as to 7 and O tkello a a s a e ) , into pl ys, rom ntic and hi toric l , found d on ficti on an d a c ea th e a an d f t , tr ting of individu l microcosm th e c ke th e e a e body politi , is the y to und rst nding of th ir - e inter dependenc .

W I LL I A M LL I NS A N D P R I NTE R LA W’ C O C C . , S, G SGO .