Qt^A-^^-^' /f'^V^^t.^: THE BOOKLOVERS' EDITION AN I N DEX TO THE Mork6 of Sbaf^espeare GIVING References by Topics to Notable Passages and Signifi- cant Expressions ; Brief Histories of the Plays ; Geographical Names ami Historical Inci- dents ; Mention of all Characters and Sketches of Important Ones Together with Explanations of Allusions and Obscure and Obsolete Words and Phrases BY EVANGELINE M. O'CONNOR NEW YORK THE UNIVERSITY SOCIETY PUBLISHERS Copyright, 1887, By D. Appleton and Company :^Q^ 9^ P K E FA C E It has been my intention to refer, in the following pages, to every passage of any importance under the word that best expresses its subject, whether that word is in the text or not, and in cases of doubt as to what word a pas- sage would be looked for under, I have entered it under two or more. But, that significant expressions may be found readily, I have also indexed under their most prominent word all that seemed to me to be such. To have indexed all expressions under their principal words, would have been to make a phrase-concordance, which we already have, and would defeat the aim of this book by overloading it and wearying the student with references to a mass of unimportant allusions. Here the question of judgment necessarily comes in, and I may have omitted some references that a better editor would deem as sig« nificant as many that are included. I trust, however, that references to passages of importance under each topic will not be found wanting. In order to make the book a convenient manual, and include information that a student of Shakspere needs but would otherwise only find scattered through a great number of books, I have given short, outline histories of the plays, and sketches of the principal characters, with brief extracts from the ablest critics. In the case of his- torical characters and events, I have g 'en dates and 1 iv PREFACE, statements of tlie facts as found in history. The expla- nations of allusions, of unusual words and phrases, and of words used in obsolete or peculiar senses, will be valu- able, I believe, to the younger class of readers. Under some general heads — as '^ Bible," '* Diseases," "Law," *' Omens," and "Proverbs"— I have grouped together references that will enable students to consult as a whole Shakspere's expressions and allusions to the sciences of law and medicine, to the Bible, and to the folk-lore of his time as expressed in proverbs and popular supersti- tions. Under "Order and Dates of the Plays," and "Sources," I have repeated information that is given in the various histories of the plays, so as to place it in convenient form for comparison. It may at first sight seem unnecessary to add another to the multitude of books on Shakspere's works, and aids to the study of them. But I think it will be found that no other of the same character — none that is prop- erly an index, as distinguished from a concordance — has been published. One prepared by Francis Twiss, in two volumes (London, 1805), involved a vast amount of labor, but was rendered almost useless by over-condensa- tion. It was essentially a concordance, as its full title shows: "A Complete Verbal Index to the Plays of Shakspere ; adapted to all editions. Comprehending every substantive, adjective, verb, participle, and adverb used by Shakspere." With the exception of about two hundred copies, the entire impression was destroyed by fire, and the book is now so rare that a copy has been sold for over seven pounds. Samuel Ayscough's Index (London, 1790) was made for a special edition of the plays. Though long since out of print, it is not very rare ; but this also is simply a concordance. Mrs. Cow- den Clarke's elaborate and exhaustive concordance (Lon- don, 1846) is well known; but it is rather costly, and PREFACE. V though admirable for all that it professes to be, is not an index to anything but words. Davenport Adams's con- cordance (London, 1885) is less bulky than Mrs. Clarke's, but still clings closely to the purely verbal plan. Other books give quotations by topics — notably John Bartlett's excellent ^^Shakspeare Phrase -Book" (Boston, 1882) — and some editions of the works give histories and sketches of the plays ; but the combination of information here presented is new, and I have aimed to include those points which the reader would most desire to have in compact and convenient form for reference. E. M. O'C. Rochester, N. Y., February 23, 1887. VI FACSIMILES, From Samuel Ayscough^s Index to the Remarkable Passages and Words of by Shakspeare^ Medicine. The miserable have no other medicine but only hope Mens, for Meas. — To apply a moral medicine to a mortifying mischief Much Ado About Noth. — I have seen a medicin thafs able to breathe life into a stone, quicken a rock, and make you dance canary with sprightly power and motion AlVs Well — Camillo,— preserver of my father, now of mel the medicin of our house Winter's Tale ~ Meet we the medicin of the sickly weal Macbeth — That great medicine hath with his tinct gilded thee Antony and Cleop. — Work on, my medicine, work! thus credulous fools are caught Othello s Made Use s. P. C. L. 1 3 87 124 1 26 2 46 1 283 2 87 3 2 5 1 355 38 TT3 1067 1 54 120 1, 2 220 From Francis Twiss^s " Index to the Flays of ShakspeareV Medicme(s). M. W. iii. 3. M. M. ii. 2. iii. i. M. A. i. 3. v. I. M. N. D. iii. 2. A. L. ii. 7. A. W. i. 3. ii. I. V. 3. J. V. I. H. 4. So P. iii. I. iv. 4. T. C. V. II. A. C. i. 5. C}, V. 5. L. iv. 7. R. J. ii. 3. H. V. 2. O. iv. I. Medicine(v). Cy. iv. 2. O. iii. 3. From Mary Cowden Clarke's " Complete Concordance to Shakspere^ MEDICINE— obey this medicine Merry Wive). yet a kind of medicine in itself. ..Meas. for Meaa. have no other medicine, but only hope — a moral medicine to a mortifjing. . . .Much Ado. would give preceptial medicine to rage — out loathed medicine ! hated potion . Jfi'ii. If. Dr. patiently receive mj medicine As you Like it. else Paris, and the medicine. . . All's Wei.', I have seen a medicine that's able to, — the tinct and multiplying medicine. . — the medicine of our house ! Winter's Tale. let's make us medicines of our great. ...Macbeth. meet we the medicine of the sickly. ... — that present medicine must be King John. medicines to make me love him 1 Henry IV. MEDICINE— I have dnmk medicines ; Poins ! 1 Henry IV. good advice, and little medicine. . . .2 Henry IV. preserving life in medicine potable . . — medicine for my aching bones l.Truil. and Cress. that great medicine hath with his.^w. and Cleo. great griefs, I see, medicine the less. . Cymbtline. by medicine life may be prolonged. .. — hang thy medicine on my lips Lear. {Kilt.] if not, I'll ne'er trust medicine — residence, and medicine power. .Romeo and Jul. no medicine in the world can do thee Hamlet. and medicines bought of mountebanks.. . Othello. shall ever medicine thee to that sweet.. . — work on, my medicine, work ! — ii. iii. V, 11 i. iv. iv.' V. IL V. L iii. iv. From W. H. Davenport Adams's " Concordance to the Plays of Shakespeare.** Medicine. The miserable have no other medi- cine But only hope. Mea.for Mea. III. 1. If the rascal have not given me medicines to make me love him, I'll be hanged, i Hen. IV. 11.^ 2. To apply a moral medicine to a mortifying mischief. Much Ado Ab. Noth. I. 3.-; — I have seen a medicine that's able to breathe life into a stone, quicken a rock, and make you dance canary with sprightly power and motion ! A IPs Well., IL I. Camillo, Preserver of my Father, now of me ! The medicine of our house. IVint. Tale., IV. 3. Meet we the medicine of the sickly weal? Macb. V. 2. That great medicine hath With his tinct gilded thee. A nt. and Cleo. I. 5. Work on, My medicine, work ! thus credulous fools are caught. 0th. IV. i- ANALYTICAL INDEX TO SHAKSPEEE'S WOEKS Aaron, a Moor, a character in Titus Andronicus, introduced in ^., 1 or 2, as a prisoner. He is a lover of Tamora, Queen of the Goths. In a. 1, he declares his designs against Rome and the em- peror : in ii. 3, hides gold ; discloses his plans, iv. 2 ; kills the nurse, iv. 2; exchanges his child, iv. 2; avows his deeds, v. 1; his sen- tence, V. 3. He is a hideous and unnatural character, cursing the day in which he has not done " some notorious ill." Abbess. See Emilia. Abbey, an, scene of a part of the Comedy of Errors, Act v. Abbeys. See Swinstead and Westminster. Abbot of Westminster. See Westminster, Abbot of. Abbots, robbery of, for expenses of war. King John, Hi. 3. Abdication, of a sovereign, Ei chard II., iv, 1. Abel, Richard II., i. 1; I. Henry VI., i. 3. Abergavenny, George Neville, Lord, a character in Henry VIII., introduced in i. 1. He was suspected of taking part in Suffolk's con- spiracy in the reign of Henry VII., but afterwards became a favour- ite with the king, as he was also with Henry VIII. Abhorrence. See Hatred. Abhorson, an executioner introduced in 3Ieasure for Pleasure, iv. 2, who speaks of his occupation as a mystery. Abjects (menials), Richard III, i. 1. Able (to be responsible for), Lear, iv. 6. Abode, abodement (to bode, an evil omen), III. Henry VI., iv, 7; V. G. Abraham. See under Bible. Abraham, Montague's servant in Romeo and Juliet, ajjpears in i. 1. 2 INDEX TO SHAKSPERE'S WOUKS. Abram (flaxen or auburn f), Coriolanus, ii. 3 ; Romeo and Juliet, ii. 1. Absence, doted on, ^lerchant of Venice, i. 2 ; of lovers, Othello, Hi. Jf. ; effect of, Antony and Cleopatra, i. 4 / love in, Sonnets xcvii.^ xcviii. Absey-book (ABC book), King John, i. 1. Absolute (decided). Measure for Pleasure, Hi. 1. Absolute (perfect), Pericles, iv., prologue. Absolution, death without, Hamlet, i. 5. Absyrtus. See Medea. Aby (atone for). Midsummer- Night's Dream, Hi. 2. Academe, at the court of Navarre, Love's Labour's Lost, i. 1. Accidents, guilty, A Winter's Tale, iv. 3 ; have hurt my brother, Hamlet, v. 2 ; moving, Othello, i. 3. Accited (summoned), Titus Andronicus, i. 1. Accommodated, definition of, //. Henry IV., Hi. 2 ; ridiculing the cant use of the word. Account, the final, with Heaven, King John, iv. 2 ; Richard II, i. 1 ; Hamlet, i. 5 ; Hi. 3. Accusations. See Crime. Acheron, a river of hell, 3Iidsummer- Night's Dream, Hi. 2 ; Ti- tus Andronicus, iv. 3 ; Macbeth, Hi. 5.. Achievement, never answers to expectation, Troilus and Cres- sida, i. 3. Achilles, a general of the Greeks, character in Troilus and Cressida, introduced in the first scene. In the third, his pride is described by Ulysses, who plans to humble it by sending Ajax to fight with Hector ; his quarrel with Agamemnon, ii. 3. In Hi. 3, Ulysses once more plots against his vanity. In v. 9, he slays Hector. " Shakspere has allowed the Homeric AchiUes, who purchased lasting fame with a short life, to degenerate into a vain, morbidly proud, and effeminate mocker." — Gervinus. Allusions to Achilles : his spear, //. Henry VI, v. 1 ; in a paint- ing, Lucrece, I. 1424.. Achitophel. See Bible. Aconitum, strong poison, II Henry IV., iv. 4. Acquaintance, cut in adversit^t*, Twelfth Night, v. 1. Actaeon (a hunter changed into a stag by Diana), Merry Wives of Wind.sor, H. 1; Hi. 2; Twelfth Night, i. 1; Titus And route us, ii. 3. Acting, advice on, Hamlet, Hi. 2 ; representations of, Love's INDEX TO SEAKSPERE'S WORKS. 3 Labour s Lost, V. 2, the Nine Worthies ; JIid.summer-Ki(/Jtf\s Dream, Pyramus and Thisbe ; Hamlet, the murder of Gonzago. Action, prompt, Macbeth, i. 7, " If 'twere done," etc. ; IIL Henry VI., v. 4, " Wise men ne'er," etc. ; Troilus and Cressida, in. 3. See also Promptness. Actions, criticism of, Henry VIII., i. 2 ; cheeks in the highest, Troilus and Cressida, i. 3 ; evil and good, Julius Ccesar, iii. 2. Action-taking (suing at law instead of fighting), Lear, ii. 2. Actium, battle of (31 b. c), Antony and Cleopatra, iii. 8-10 ; iv. 7, 8, 10-12. Activity, enjoyment in, Troilus and Cressida, i. 2 ; Macbeth^ ii. 3 ; Cymbeline, iv. 4. Actor(s), a strutting, Troilus and Cressida, i. 3 ; best in the world, Hamlet, ii. 2 ; better to have a bad epitaph than their ill report, — feigned passion of an, Hamlet, ii. 2 ; abstracts and brief chronicles of the time, Hamlet, ii. 2 ; advice to, Hamlet, iii. 1 ; an imperfect. Sonnet xxiii. ; the author's dissatisfaction with the pro- fession of, expressed, Sonnets, ex., cxi. Adallas, King of Thrace, Antony and Cleopatra, iii. 6. Adam, penalty of. As You Like It, ii. 1 ; first that bore arms, Hamlet, v. 1. See Bible. Adam, an officer, apparently, spoken of in Comedy of Errors, iv. 3. Adam, called. Much Ado about Nothing, i. 1 ; Adam Bell, an outlaw, famous for his archery. Adam, the faithful old servant in As You Like It, introduced in i. 1, who follows the fortunes of Orlando. In ii. 3, he offers his sav- mgs to his young master ; in ii. 6, he is famishing in the forest ; in a. 7, he is brought in before the duke and fed. Adamant (magnet), Midsummer- NigJifs Dream, ii. 1. Adder, the, in a bright day, Julius Ccesar, ii. 1 ; deafness of the, Sonnet exit. Addition (titles), AlVs Well that Ends Well, ii. 3 ; Troilus and Cressida, ii. 3 ; Lear, ii.; Hamlet, i. 4.; Othello, iv. 1, and else- where; (attributes), boasts of their, Troilus and Cressida, i. 2. Adhere (fit), Macbeth, i. 7. Adieus. See Parting. Admiration (wonder), Lear, i. 4; Hamlet, iii. 2 ; and in va- rious places. Adonis, story of, in Venus and Adonis. His death, I. 1030; flower of, /. 1168. See Anemone. Allusions to x\donis : Taming 4 INDEX TO SHAKSPERE'S WORKS. of the Shrew, Induction, 2 ; Sonnet liii. ; The Passionate Pilyrim, iv., vi., ix., xi. Adonis's gardens, /. Henry VI, i. 5 or 6. These were "nothing but portable earthen pots, with some lettuce or fennel growing in them. On his yearly festival, every woman carried one of them in honour of Adonis, because Venus had once laid him in a lettuce-bed. The next day they were thrown away." Adoption, of children, AlVs Well that Ends Well, i. 3. Adrian, a lord, character in Tlie Tempest, introduced in ii. 1. Adriana, wife of Antipholus of Ephesus, in the Comedy of En^ rors, introduced in ii. 1 ; made shrewish by jealousy. Adriano de Armado, Don. See Armado. Adriatic Seas, rough as. Taming of the Shrew, i. 2. Advanced (lifted). Twelfth Night, ii. 5, and elsewhere. Adventures, tales of, Othello, i. 3. Adversity, patience at the, of others. Comedy of Errors, ii. 1; uses of, are sweet, As You Like It, ii. 1 ; compensations of, AlVi Well that Ends Well, iv. 3 ; Richard III, iv. 4; Cymbeline, iv. 2; false friends in, Henry VIII., ii. 1, " Where you are liberal," etc. ; Troilus and Cressida, Hi. 3; Timon of Athens, i. 1, 2 ; ii. 2 ; Hi. 6; iv.2; Hamlet, Hi. 2; Lear, ii. 4; fallen suddenly on greatness, Henry VIII, Hi. 2 ; winnows men, Troilus and Cressida, i. 3 ; the noble in, Coriolanus, iv. 1 ; melancholy in, Timon of Athens, iv. 3. Adversity (one adverse or contrary), Troilus and Cressida, v. L Advertisement (admonition), Much Ado about Nothing, v. 1 ; AlVs Well that Ends Well, iv. 3 ; 1. Henry IV., iv. 1 ; (intelligence), I. He7iry IV., Hi. 2, end. Advertising and holy (attentive and faithful), Measure for Pleasure, v. 1. Advice, concerning friends and conversation, AlVs Well that Ends Well, i. 1; Hamlet, i. 3 ; to the wretched, Comedy of Errors, ii. 1; like water in a sieve. Much Ado about Nothing, v. 1; to the wilful, and from the dying, Richard II, ii. 1 ; has an effect contrary to that intended, Tlie Lover's Complaint, I. 160. Advice (deliberation), Titus Andronicus, H. 1, " She will fill our engines with," etc. ^diles, Coriolanus, Hi, 1. They had care of the public build- ings, streets, processions, etc. .ffigeon, a merchant of Syracuse, father of the twin Antipholuses, in the Comedy of Errors. JEgle, Midsummer-NighV s Dream, ii. L INDEX TO SHAKSPERE'S WORKS. 5 Emilia, mother of the twin Antipholuses, in the Comedy of Errors, introduced in v. 1, as abbess at a convent in Ephesus, which she had entered after losing her sons, whom, with her husband, she finds in the same scene. iEmilius, a noble Roman, unimportant character in Titus An- dronicus, introduced in iv. 4.. iEneas, one of the Trojan commanders, and leader of those that escaped after the siege, a character in Troilus and Cressid 1, intro- duced in i. 1. In ^. 3, he brings Hector's challenge ; in v. 6, he is said to have been taken by Ajax, but he appears again in v. 10, leading tlie Trojans. Allusions to ^neas : The Tempest, ii. 1 ; II. Henry YI., V. 2 ; Titus Andronicus, Hi. 2 ; Julius Ccesar, i. 2 ; Hamlet, ii. 2 ; Antony and Cleopatra, iv. 12 or I4. ; Cymbeline, Hi. 4. -ffiolus, II. Henry VI., Hi. 2. The god of the winds. Aery (brood), Richard III, i. 3. iEsculapius, Merry Wives of Windsor, ii. 3: The god of phy- sicians. -ffison, 3Ierchant of Venice, v. 1. The father of Jason, restored by Medea to youth. JEsop, III. Henry VI, v. 5. The fabulist is said to have been humpbacked, and Richard is called so on account of his de- formity. Aflfectation in language, Zone's Labour's Lost, v. 2 ; "Taffeta phrases," etc., Hamlet, v. 2. Osric's is travestied by Hamlet in the same scene ; called affection. Love's Ldboufs Lost, v. 2. Affectioned (affected), Twelfth Night, ii. 3. Affections, human. The Tempest, v. 2 ; wrestle with. As Yon Like It, i. 3 ; intention of, A Winter's Tale, i. 2. See Love. Affects (affections), not mastered by might. Love's Labour's Lost, i. 1. Aflfted (affianced). Taming of the Shrew, iv. 4. Affined (of the same sort), Troilus and Cressida, i. 3 ; (under obligation), Othello, i. 1 ; ii. 3. Affliction, cannot subdue the mind, A Winter's Tale, iv.4; sweet, A Winter's Tale, v. 3; religion in, //. Henry VI., ii. 1; enamoured, Romeo and Juliet, Hi. 3 ; a test of men, Troilus and Cressida, i. 3 ; Goriolanus, iv. 1 ; patience in, Othello, iv. 2. See Sorrow. Affy (have faith), Titus Andronicus, i. 1. Africa, II. Henry IV., v. 3 ; Coriolanus, i. 8. Agamemnon, brother of Menelaus, and general-in-chief of the Greeks at the siege of Troy; character in Troilus and Cressida, in- 6 INDEX TO SHAKSFERE'S WORKS. troduced in i. 3. In the same scene, Ulysses describes to him how he is niin)icked by Patroclus, wlio puts on his " topless deputation '' (deputed power in which he has no superior), to amuse Achilles ; allusions to him, 11. Henry IV., ii. ^; Henry V., Hi. 6 ; III. Henry VI., a. 2. Agate, Much Ado about Notliing, in. 1; II. Henry IV., i. 2. A small person, so called in allusion to the little figures cut in agate, for rings, etc. Age, a degenerate, Julius Caesar, i. 3 ; one poor retiring minute in an, Lucrece, I. 962 ; pattern of the worn-out, Lucrece, I. 1350; peace proclaims olives of endless, Sonnet cvii. Age, old, infirmities of, Comedy of Errors, v. 1; Measure for Pleasure, Hi. 1; wit out in. Much Ado about Nothing, Hi. 5 ; Comedy of Errors, v. 1; spirit in. Much Ado about Nothing, iv. 1, " Time hath not yet," etc. ; frosty, but kindly, As You Lilce It, ii. 3 ; full of wise saws, As You Like It, ii. 7 ; not desired, AlVs Well that Ends Well, i. 2 ; avarice inseparable from, II. Henry IV., i. 2 ; characters of, II. Henry IV., v. 5 ; alacrity and cheerfulness declined in, Richard III., V. 3 ; conduct becoming, //. Henry IV., v. 5 ; weary, Henry VIIL, iv. 2 ; mimicry of, Troilus and Cressida, i. 3 ; good opinion purchased by, Julius Ccesar, ii. 1; ingratitude in, Timon of Athens, ii. 2, " You gods, reward," etc. ; what should accompany, Macbeth, v. 3 ; too politic, slanders on, Hamlet, it. 2 ; declined into the vale of years, Othello, Hi. 3; infirmities of, Lear, i. 1, 3; ii. 4; reverence for, Lear, i. 2, letter ; unnecessary, Lear, ii. 4 ; full of grief, Lear, ii. 4 ; cannot wither, Antony a7id Cleo]3atra, ii. 2 ; vigour in, Antony and Cleopatra, iv. 8 ; childless. Sonnets ii., v., vii., xi. ; marks of, Sonnets ii., v., xxii., Ixii., Ixiii., Ixvii. ; the autumn. Sonnet Ixxiii. ; in love, Sonnet cxxxix.; cannot live with youth, The Passionate Pilgrim, xii. ; traces of beauty in. Lover's Complaiiit, I. 10. Aged, movements of the, Romeo and Juliet, ii. 5. Ages, the seven. As You Lilce It, ii. 7. Agenor, daughter of, (Europa,) Taming of the Shreiv, i. 1. See EUROPA. Agincourt, battle of (October 25, 1415), Henry V., iv. 4, 5, 6, 7; allusion to, He7iry V., i., chorus; before, Heiiry V., Hi. 7 ; iv. 1, 2, 3; dead and prisoners of, Henry V., iv. 8; thanksgiving for vic- tory after, Henry V., iv. 8. Aglet-baby (ornament carved like the human form for a pend- ant). Taming of the Shreiv, i. 2. Agnize (acknowledge), Othello, i. 3. INDEX TO SHAKSPERE'S WORKS. ■ 7 Agrippa, character in Antony and Cleopatra; introduced in ii. 2, a friend of Cgesar. Aguecheek, Sir Andrew, character in Twelfth Night. He is a fool and a coward of an original type, so conscious of his folly and cowardice that the effect is almost pathetic. He is the boon com- panion of Sir Toby Belch, who makes a butt and a tool of him. See Slender. Agues, in March, 1. Henry IV., iv. 1. Ahitophel. See Bible. Aim, to cry, Merry Wives of Windsor, ii. 3 ; Hi. 1; King John, ii. 1. An archery term, meaning to encourage. Air, a spirit all of. The Tempest, v. 1 ; the empty, vast, and wan- dering, Richard III, i. 4.. Ajax, one of the Grecian commanders, of great size and courage, but dull and brutish in mind, a character in Troilus and Cressida, introduced in ii. 1. In i. 2, Pandarus describes him ; in i. 3, Ulysses speaks of his insubordination ; in ii. 1, he is railed at by Thersites ; flattered by Agamemnon in ii. 3 ; in Hi. 3, it is decided that he shall fight with Hector, and in iv. 5 they fight. " The hand is masterly with whdch, in the delineation of AJax, physical strength is exhibited intensified at the expense of mental power ; the abundance of similes and images with which the rare but simple nature is described is inexhaustible ; the discernment is won- derful with which all animal qualities are gathered together to form this man, at once both more and less than human ; Mars's idiot, a purblind Argus, and a gouty Briareus." — Gervixus. Allusions to Ajax: one of the Nine Worthies, Love's Labour's Lost, V. 2; allusions to his anger when the armour of Achilles was given to Ulysses, Love's Labour's Lost, iv. 3 ; II. Henry VL, v. 1 ; other allusions, Taming of the Shrew, Hi. 1; Lear, ii. 2; Antony and Cleopatra, iv. 12 or 14,; Cymbeline, iv. ^; in a painting, The Rape of Lucrece, I. 139^. See also Telamon. Alarbus, son of Tamora in Titus Andronicus, appears in i. 1 or 2, as a prisoner of the Romans, only to be taken away and sacrificed to the shades of the dead sons of Titus. He does not speak. Albany, Duke of, Goneril's husband, in King Lear, introduced in the first scene. He is shocked and grieved at the treatment of the old king, but is too weak to interfere. Albret, Charles d'. See Constable of France. Alchemist, Timon of Athens, v. 2 ; the sun an, King Jolin, Hi. 1 Alchem.y, Julius Ccesar, i. 3, end. Alcibiades (b. c. 454-404), an Athenian general, character in 8 INDEX TO SHAKSPERE'S WORKS. Timo7i of Athens, introduced in i. 1 ; banished, in. 6 ; before the walls of Athens, v. 4.. Having conquered the enemies of Athens and been repaid only with ingratitude and banishment, he takes up arms against his country and forces it to render him justice. His mode of revenge is distinctly contrasted with that of the less robust nature of Timon. Alcides (Hercules), Taming of the Shrew, Hi. 2 ; The Merchant of Venice, ii. 1; Hi. 2 ; King John, ii. 1; I. Henry VI., iv. 7; An- tony and Cleopatra, iv. 10 or 12. See Hercules. Alderliefest (dearest of all), //. Henry VL, i. 1. Ale, cakes and. Twelfth Night, ii. 3. Ale, quibble on the word. Two Gentlemen of Verona, ii. 5. Minor church festivals were called ales. Alecto (one of the Furies), II. Henry lY., v. 5. Alengon, the Duke of, a character in /. Henry VI., spoken of in i. 1, first appears in i. 2. In v. 4, York calls him a " notorious Ma- chiavel." He is mentioned in Henry V., Hi. 5; his (supposed) glove, Henry V., iv. 7, 8. Alexander, one of the Nine Worthies in Love's Labour's Lost, V. 2. The Jests on the player, " Your nose," etc., are allusions to the traditions that his head was set obliquely, and that his body gave out a sweet fragrance ; his crown, A Winter's Tale, v. 1 ; the king likened to, Hnry V., iv, 7. Alexander, character in Troilus and Cressida, Cressida's serv- ant, introduced in i. 2. Alexandria, a city of Egypt, scene of a part of Antony and Cleopatra. Alexas, an attendant of the queen in Antony and Cleopatra, in- troduced in i. 2 ; his revolt, iv. 6. Algiers. See Argier. Alice, a lady attending on the Princess Katharine in He?iry V., first appears in Hi. 4, an amusing scene, where she is teaching the princess English. Aliena, name assumed by Celia in As You Like It, i. 3. Alisander. See Alexander. Alia nostra casa, etc.. Taming of the Sh^ew, i. 2. (Welcome to our house, niuch-honoured Signor Petruchio.) Allegiance, offers of, Ki7ig John, v. 7 ; pluck, from men's hearts, /. Henry IV., Hi. 2 ; crowned with faith and constant loyalty, Henry v., ii.2: cold hearts freeze, /. Henry VL, v. 5; to a fallen lord, An- tony and Cleopatra, Hi. 11. See also Loyalty. INDEX TO SHAKSPERE'S WORKS, 9 All-hallowmas summer, I. Henry 1 V., i. 2 ; Indian summer. All hid, all hid, Lovers Labour's Lost, iv. 3. A children's game, perhai^s hoodman-blind, or hide-and-seek. Alliance, sought with France, IlL Henry VI., Hi. 3 ; of Caesar and Antony, Antony and Cleopatra, ii. 2. Alliteration, the use of, Love's Labour's Lost, iv. 2, " to affect the letter." , Allons (let us go), Love's Labour's Lost, iv. 3. Allow (approve),//. Henry IV., Hi. 2; Troilus and Cressida, Hi. 2. All-Saints' Day. See Hallowmas. All-Souls' Day, Richard III., v. L All's Well that Ends Well, a comedy first published in 1623, and judged to have been written in its present form about 1601 or 1602. But it is supposed to be a re-cast of an earlier play entitled " Love's Labour's Won," mentioned by Meres in 1598, though some editors have sought to identify that play with lluch Ado about Nothing, others with Tami^ig of the Shreiv, and one at least with The Tempest. The general opinion, however, identifies it with this play. The story is from Boccaccio's "'Decameron," where it is en- titled " Giglietta di Nerbona," and was published in an English translation in Paynter's " Palace of Pleasure," where Shakspere may have got it. The tale is followed quite closely in the principal inci- dents, but Shakspere has added several important characters — Lafeu, Parolles, and the Countess. The scene is laid partly in France and partly in Italy, and the time is perhaps the fourteenth century. Al- though repellent in its plot, this play has some of Shakspere's finest passages and some of his best creations of character. AUycholly (melancholy), Two Oentlemeii of Verona, iv. 2. Almanac, of my true date. Comedy of Errors, i. 2. One by whose birth he knew the date of his own. Almanacs, allusions to weather prognostications in, //. Henry IV., ii. Jf. ,' Antony and Cleopatra, i. 2 ; So7inet xiv. Alms-drink, Antony and Cleopatra, ii. 7. The portion of one's share taken by others to relieve him. Perhaps here only the leav- ings, which would be given as alms. Alonso, King of Naples, character in The Tempest, introduced in the first scene. He and his son, with the usurping Duke of Milan, whom he had aided in the usurpation, are shipwrecked in the storm raised by Prospero. He afterward repents of the wrong, and con- sents to the marriage of his son Ferdinand with Miranda. 10 INDEX TO SHAKSPERE'S WORKS. t)SS- Alphabet, the, called Absey. See Absey-book ; called the cro row (or Chi'ist-cross row, because it was often headed with a cross), Richard III., i. 1, Althea, dreamed she was delivered of a firebrand, II. Henry I v., a. 2. It was Hecuba that had that dream before the birth of Paris ; burning the brand, II. Henry VI., i. 1. The destinies fore- told that the life of her son Meleager should last no longer than a brand then burning upon the hearth. She caught up the brand, ex- tinguished, and saved it. But when her son grew to manhood he slew her two brothers in a sudden passion ; and Althea, to avenge their death, threw the brand upon the fire, and, as it burned, the life of Meleager wasted away with it. Amaimon, Merry Wives of Windsor, ii. 2, end; I. Heniy IV., ii. 4. One of the four demon-kings. His realm is in the north, the quarter most haunted by evil spirits. Amazement (consternation). The Tempest, i. 2 ; Hamlet, in. 4. See Astonishment. Ambassadors, from France, Henry V. The chief speaker was the Archbishop of Bourges. Ambition, growth of, 'She Tempest, i. 2 ; to expel remorse. The Tempest, v. 1; shrunk, L Henry VI.,v. 4.; the object of, glory, like a circle in water, /. Henry I V., i. 2 ; of the Plantagenets, ///. Henry VI., i. If. ; charge to fling away, Henry VIII., in. 2 ; a. beastly, Timon, iv. 3 ; our own fault if we are underlings, Julius Ccesar, i. 2 ; ladder of, Julius Ccesar, ii. 1; of Caesar, iii.2 ; with scruples, Macbeth, i. 5 ; vaulting, Macbeth, i. 7 ; is but dreams and a shadow's shadow, Ham- let, ii. 2 ; the soldier's virtue, Antony and, Cleopatra, Hi. 1. Amen, The Tempest, v. 1; say amen betimes, lest the devil cross the prayer. Merchant of Venice, Hi. 1 ; could not say, Macbeth, ii. 2. America, Comedy of Errors, Hi. 2; allusion to, Henry VIII, V. 3, " Make new nations," etc. Ames-ace, AlVs Well that Ends Well, ii. 3. The lowest throw upon two dice — two aces. Amiens, one of the lords attending the banished duke in As You Like It, introduced in ii. 1. Amity. See Friendship. Amnesty, offer of, /. Henry IV., iv. 3 ; v. 1. Amort (dispirited). Taming of the Shrew, iv. 3 ; I. Henry Vl^ Hi. 2. Amphion, harp of, The Tempest, ii. 1. Amulets. See Charms, Periapts. INDEX TO SHAKSFERE'^ WORKS. H Amurath, 11. Henry IV., v. 2. Amurath V., who, succeeding his father, Amurath IV., caused all his brothers to be strangled. Amyntas, King of Lycaonia, Antony and Cleopatra, Hi. 6. Anarchy, prayer for, II. Henry IV., i. 1 ; danger of, Richard III, a. 2. Anatomize (analyze), As You Like It, i. 1 ; ii. 7 ; II. Henry VI, V. 2. Anatomy, a mere. Comedy of Errors, v. 1 ; I'U eat the rest of the. Twelfth Night, Hi. 2 ; that fell, which cannot heal. King John, Hi. 4 ; in what part of the, does the name lodge, Romeo and Juliet, Hi. 3. Ancliises, Julius Ccesar, i. 2. The father of ^neas, whom -(Eneas bore away on his back from burning Troy. Ancient (a standard, or standard-bearer, or ensign). Pistol and lago were ancients ; an old-faced (flag), /. Henry IV.,' iv. 2 ; of war (experienced). King Lear, v. 1. Ancients, whether better than moderns, Sonnet ix. Andirons, Cymheline, H. 4. And let the canakin, song, Othello, H. 3. Andren (Ardej, vale of, in Picardy, the meeting-place of the Kings Francis I. and Henry VIII., Henry VIIL, i. 1. The Field of the Cloth of Gold. Andrew, my wealthy, Merchant of Venice, i. 1. A merchant- man, supposed to be called so after the great admiral, Andrew Doria. Andromache, Hector's wife, a character in Troilus and Gres- sida, introduced in v. 3. Andronici, tomb of the, Titus Androfiicus, i. 1 or 2. Titus brings home those of his twenty-five sons who have fallen, to be bur ied in the tomb of his ancestors. Anemone, the flower that sprang from the blood of Adonis, V. and A., 195. Purple was used for any bright color. Bion makes the rose to spring from the blood, the anemone from the tears of Venus, Angelo, the deputy of the duke in Measure for Measure, intro- duced in the first scene — a cold-hearted, self-righteous man, who not only falls into the wickedness which he is making a great display of punishing, but aggravates it by cruelty and breach of faith. The develoftment of the worse elements of his character, the existence of which he had never suspected, his surprise at his own fall, and the rapidity with which one baseness follows another in a life that was 12 INDEX TO SEAKSPEHE'S WORKS. all selfishness and show even in its virtues, are brought out in the play with great skill and subtlety. Angelo, a goldsmith, character in Comedy of Errors, introduced in UL 1. Angel(s), made to weep, Measure for Measure, ii. 2 ; blessed ministers above, Pleasure for Measure, v. 1 ; guardian, II. Henry IV., ii. 2; attending evil, II. Henry IV., i. 2; Macbetli, Hi. 1; Antony and Gleo'patra, ii. 3 ; fell by ambition, Henry VIII., Hi. 2 ; love good men, Henry VIII., ii. 2 ; visions of, Henry VIIL, iv. 2 ; beauty of, Romeo and Juliet, ii. 2 ; are bright still, Macbeth, iv. 3 ; and ministers of grace, Hamlet, i. 4 ; heavenly guards, Hamlet, Hi. 4 ; sing thee to thy rest, Hamlet, v. 2. Angel(s), (gold coins with the figure of an angel or saint). Merry Wives of Windsor, i. 3 ; Mercha7it of Venice, ii. 7 ; King John, Hi, 3 ; II. Henry IV., i. 2 ; an ancient. Taming of the Shreiv, iv. 2. The meaning of the last is obscure, but perhaps one of the old stamp, a true coin. Some understand it to be a word cognate to angle, and to mean either the bait or the victim — that angled with or that angled for. Anger, in a woman, Taming of the Shreiv, v. 2, " A woman moved," etc. ; the king's, I. Henry IV., i. 3 ; like a full horse, Henry VIIL, i. 1 ; sudden, Henry VIIL, Hi. 2 ; my meat, Coriolanus, iv. 2 ; B, short madness, Timon of Athens, i. 2 ; of Cassius, Julius CcBsar, iv. 3 ; more in sorrow than in, Hamlet, i. 2 ; righteous, Lear, ii. 2, " hath a privilege " ; Othello, Hi. J/., " There's matter in't," etc.; never made good guard for itself, Antony and Cleopatra, iv. L Anglers, scene of part of King John and of I. Henry VL, v. 3 ; addresses to citizens of. King John, ii. 1 or 2. Angling, Much Ado about Nothing, Hi. 1; Antony and Cleo- patra, ii. 6 ; for hearts, L Henry IV., iv. 3. Angus, a thane of Scotland, character in Macbeth, appears in i. 3. Angus, Earl of, /. Henry IV., i. 1. Animals, souls of, in men, The Merchant of Veiiice, iv. 1 ; cru- elty to. As You Like Lt, ii. 1 ; Cymbeline, i. 5 ; defend their young, III. Henry VI., ii. 2 ; know their friends, Coriolanus, ii. 1; strife among, Timon of Athens, iv. 3. Anjou, scene of I. Henry VL, v. 2, 4; lost to England, 11. Henry VL, i. 1 ; iv. L Anjou, Margaret of. See Margaret. Anna, the confidant of Dido, Taming of the Shrew, i. L INDEX TO SHAKSPERE'S WORKS. 13 Anne, Princess of Wales, widow of the son of Henry VI., and daughter of Warwick, a character in Richard IIL, where she ap- pears first in i. 3, and is successfully wooed in the street, while fol- lowing the coffin of Henry VI., by Gloster (Richard III.), his mur- derer and the murderer of her husband. In iv. 2, he resolves that she shall die, so that he may marry his brother's daughter, and her death is announced in iv. 3 (March 16, 1485). Her ghost appears to Richard in v. 3. Anne Boleyn. See Boleyn. Annotanize (stilted for annotate). Love's Labour's Lost, iv. 1. Annoy, farewell to, ///. Henry VL, v. 7. An old hare hoar (an old song), Romeo and Juliet, ii. 4. Anon, Merry Wives of Windsor, Hi. 3 ; I. Henry IV., ii. 4. A waiter's usual answer, used as " coming " is now. Answer, you shall never take her without her answer, unless you take her without her tongue. As You Like It, iv. 1 ; to fit all questions, AlVs Well that Ends Well, ii, 2. Antenor, a Trojan commander, character in Troilus and Cres- sida, passes through in i. 2, and is described by Pandarus. In Hi. 2 it is proposed to exchange him for Cressida, which is done, iv. 1. Antenorid.es (name of a gate of Troy), Troilus and Cressida, prologue. Anthropophagi, and men whose heads, etc., Othello i. 3. Ra- leigh described such men in the account of his voyage to Guiana ; there is another allusion in The Tempest, Hi. 3, to men whose heads stood in their breasts. Anthropophaginian (cannibal), used in fun by the Host, Merry Wives of Windsor, iv. 5. Antiates (of Antium), Coriolanus, i. 6. Antic (buffoon in a farce), Much Ado about Nothing, Hi. 1, and in other passages. The word antic, or antique, is also used as the name of a dance, Macbeth, iv. 1 ; Love's Labour's Lost, v. 1. Anticipation, Merchant of Venice, ii. 6 ; pleasure of, AlVs Well that Ends Well, ii. 4; Richard IL, ii. 3; the imaginary relish, Troilus and Cressida, Hi. 2. Antigonus, a character in A Winter's Tale, a lord at the court of Leontes, introduced in H. L Like his wife, Paulina, he is at first an outspoken advocate of the suspected queen ; but he afterward weakens and is sent by the king to dispose of Perdita. He is killed by a bear. Hi. 1, when on the way to his ship after leav- ing her on the desolate coast of Bohemia ( ! ). 2 14 INDEX TO SHAKSPERE'S WORKS. Antioch, scene of a part of Pericles. Antiochus, King of Antioch, character in Pericles, Prince oi Tyre, introduced in i. 1 ; his death, ii. Jf.. His daughter, also a char- acter in the play, a beautiful woman whose many suitors were given the alternative of guessing a riddle or having their heads set on the palace-gate, is introduced in i. 1 ; her death, ii. 4. Antiopa, Jlidsummer-JSfighfs Bream, ii. 1. An Amazon, daughter of Mars. Antipathies, instinctive, Mer chant of Venice, iv. 1; of con- traries, Lear, ii. 2. Antipholus, the name of twin brothers in the Comedy of Er- rors, who were separated in infancy, one being taken to Ephesus, the other to Syracuse. The resemblance between them and that between their servants, the Dromios, is the source of the errors. Antipholus of Ephesus is introduced in Hi. 1, Antipholus of Syracuse in i. 2. Antipodes, the, Mucli Ado about Nothing, ii. 1 ; Merchant of Venice, v. 1; Richard II., Hi. 2 ; III. Henry VI., i. 4- Antiquity, Hamlet, iv. 5 ; Sonnet Ixviii ; the service of the antique world, As You Like It, ii. 3. In the sense of age, see Age. Antium, the Volscian capital, scene of Coi'iolanus, iv. 4, 5. Antoniad, the, Cleopatra's ship, ArUony and Cleopatra, Hi. 8 or 10. Antonio, brother of Prospero, in The Tempest, whose place and title as Duke of Milan he has usurped, first appears in i. 1. So far from repenting of his crime, he urges Sebastian, brother of the King of Naples, to commit a similar crime, and is willing himself to be the assassin. Antonio, father of Proteus in the Two Gentlemen of Verona, appears in i. 3. Antonio, brother of Leonato, in Mucli Ado about Nothing, in- troduced in i. 2. Antonio, the merchant who is to lose the pound of flesh in The Merchant of Venice. He is the first speaker in the play. Although possessed of great wealth, he seems to care neither for hoarding nor spending it. The only passion he seems to have shown is his hatred of Shylock's usurious practices, intensified by the Christian hatred of his age for Shylock's race. Quiet, melancholy, and somewhat negative in character, he stands among the more lively personages of the play a sufferer rather than an actor. Antonio, a sea-captam in Twelfth Night, introduced in ii. i, a constant friend of Sebastian. INDEX TO SHAKSPERE'S WORKS. 15 Antonius, Marcus, Marc Antony, character in Julius Ccesar, introduced in i. 2 ; Cassius proposes that he shall die with Ciesar, ii. 1; his message to Brutus, and lament over Caesar, m. 1; his funeral oration, Hi. 2. Also a character in Antony and Cleopatra, introduced in i. 1 ; his soldierly endurance, i, 4; Lepidus's praise of, travestied, iii. 2 ; in defeat, ^^^. i"; complaint against Caesar, m. ^; his division of his kingdoms, iii. 6 ; resolved to fight by sea. Hi. 7 ; at Actium, Hi. 8- 10; shame and despair, iii. 9 or 11, 11 or 13 ; challenge to Caesar, iii. 11 or 13, iv. 1 ; parting with his followers, iv. 2 ; portent of his fall, m ^; in supposed victory, iv. 8; in despair, iv. 10 ov 12 ; 12 or 14; his death, iv. 12 or 14; 13 or 15 ; lamented by Caesar, v. 1; by Cleopatra, v. 2. " He refined the rough features of Marc Antony into the charac- ter of an Alcibiades. He passed silently over the youth of his hero, he took from him his tendency to cruelty, covered the misdeeds of the triumvirate with a veil, showed only the best side of his rapacity and lavish prodigality, spoke loudly of his warlike past, his victory over Brutus and Cassius, his heroic endurance of hunger and want after his defeat at Modena, and strove especially to make his hero interesting on the score of brilliant natural gifts. It is not to be dis- puted that Shakspere by these touches brought out the most attract- ive side of Antony. Even in the voluptuary and the profligate there is an alluring charm in the ready versatility, the natural supe- riority, the variety of talent, the abundance of resources, and in the natural aptness to fill any part. Antony was indeed a man thus variously endowed," — Gervinus. " Antony is a man of genius, with many splendid and some gen- erous qualities, but self-indulgent, pleasure-loving, and a daring adventurer, rather than a great leader of the state." — Dowden. Antony and Cleopatra, a tragedy, first published in the folio of 1623, is supposed to have been written in or near the year 1607, both from internal evidence and from the fact that in 1608 a book bearing the name was registered for publication, though for some reason it was not published, by Edward Blount, publisher of the first folio. It follows Plutarch's " Life of Antony " closely, beginning in the year 40 b. c, when Fulvia died, and covering a period of about ten years. The scenes are laid in Alexandria, Rome, Mise- num, Athens, near Actium, Messina, and on a plain in Spia. White calls this, poetically, the most splendid creation of Shakspere's genius, an opinion in which he follows Coleridge, who says : " Of all Shakspere's historical plays, Antony and Cleopatra is by far the most wonderful. There is not one in which he has followed history so minutely, and yet there are few in which he impresses the 16 INDEX TO SHAKSPERE'S WORKS. notion of angelic strength so much, perhaps none in which he im- presses it more strongly. This is greatly owing to the manner in which the fiery force is sustained throughout, and to the numerous momentary flashes of nature counteracting the historic abstraction." Antres (caves), Othello, i. 3. Ape(s), the famous, Hamlet, Hi. 4, allusion to some forgotten story; foreheads of. The Tempest, iv. 1; lead, in hell, 3Iuch Ado about Nothi7ig, ii. 1 ; Taming of the Shrew, ii. 1. The proverbial future punishment of old maids was to lead apes in hell. Apemantus, a cynic, character in Timon of Athens, introduced in i. 1. "Diogenes, in Lily's 'Alexander and Campaspe,' sat to the poet for Timon's contrast, the cynic Apemantus ; the quick, strik- ing, epigrammatic answers to questions, which seem to be inserted here and there too much for the sake of eliciting witty replies, are quite on this model. The description of this antique fool is so per- fect in its way that it is supposed Shakspere must have seen the short sketch of a cynic, which, in Lucian's ' Public Sale of Philoso- phers,' is put into the mouth of Diogenes. It is there said that, in order to belong to this sect, a man must be bold and shameless, and revile every one from the king to the beggar ; thus he will draw all eyes upon him, and appear manly. His speech must be barbarous, his voice dissonant, and exactly like a dog's ; his face rigid, his ex- pression the same, and altogether he must be brutish and rough. Shame, equity, and moderation must be dispensed with, and blushes must be wholly banished from his countenance." — Gervinus. Aphrodisiacs, the potato, eringo, 3Ierry Wives of Windsor, V. 5. Apollo, lute of, Love's Labour's Lost, iv. 3 ; and Daphne, Mid- summer-NigMs Dream, ii. 1; Troilus and Cressida, i. 1; plays, Taming of the Shrew, Induction, 2 ; oracle of, consulted, A Winter's Tale, ii. 1 ; Hi, 1, 2 ; v. 1. Apologies : Proteus's to Valentine, Two Gentlemen of Verona^ V. 4 ; Antony's to Octavius, Antony and Cleopatra, ii. 2. Apostle-spoons. See Spoons. Apothecary, and his shop, Romeo and Juliet, v. L Apparel, honour in the meanest, Taming of the Shrew, iv. 3 ; oft proclaims the man, HamJet, i. 3 ; vices appear through mean. King Lear, iv. 6. Apparitions : of hunters and hounds, The Tempest, iv. 1 ; of Caesar, Julius Ccesar, iv. 3; of Macduif, Malcolm, and the eight kings, llacbeth, iv. 1. These are the Stuart kings to James V., said to have been descended from Banquo. The many more, some with twofold balls and treble sceptres, James YI. (James I. of England) INDEX TO SHAKSPERE'S WORKS. 17 and his posterity, who were to reign over the united kingdom ; of Hamlet's father, Hamlet, i. 1, 4, 5. See also Ghosts. Appeached (accused), AWs Well that Ends Well, i. 3. Appeal, the boisterous late, Richard II., i. 1. The accusation made against Norfolk of high treason. Appearance, judging by the, Jlerchant of Venice, ii. 7 ; Hi. 2 ; Tweljth Night, i. 2, " There is a fair behaviour," etc. ; Pericles, ii. 2. Apperil (endanger), Timon of Athens, i. 2. Appetite, of her eye. Merry Wives of Wi^idsor, i. 3 ; digestion wait on, 3Iacbeth, Hi. 4 ; grown with what it fed on, Hamlet, i. 2 ; and judgment, Lovefs Complaint, I. 166. Applause, Henry VIII, iv. 1, "Such a noise arose," etc. Apple-Johns (apples with wrinkled skin), that would keep two years, II Henry IV., ii. ^. Apply (ply). Taming of the Shrew, t. 1. Appreciation, after loss, AlVs Well that Ends Well, v. 3. Approbation, receive her (enter on her probation), Pleasure for Measure, i. 3. Apricock (apricot), Midsummer-JSighf s Dream, Hi. 1; Richard II., Hi. 4. April, spongy. The Tempest, iv. 1 ; love like, Two Gentlemen of Verona, i. 3. Aquitaine (a duchy in southwestern France), surrender of, Love's Labour's Lost, i. 1; H. 1. Arabia, wilds of. Merchant of Venice, ii. 7 ; perfumes of, 3IaC' beth, V. 1; trees of, Othello, v. 2 ; bird of, Antony and Cleopatra, Hi. 2 ; Cymheline, i. 7. Arch, (chief), King Lear, H. I Archbishop, an, rebuked for rebellion, //. Henry IV., iv. 2. Archbishops of Canterbury. See Bourchier, Canterbury, CranmeRo Archbishops of York. See Rotherham, Scroop, York. Archelaus, King of Cappadocia, Antony and Cleopatra, Hi. 6. Archery, allusions to : wide o' the bow-hand (far from the mark). Love's Labour's Lost, iv. 1; flight and bird bolt (long and short shot) — to cry aim (to encourage). Merry Wives of Windsor, ii. 3 ; Hi. 1; King John, H. 1; in a bottle like a cat. Much Ado about Nothing, i. 1; the very pin of his heart cleft, etc., Romeo and Juliet, H. 4. The clout, which was the pin, the very centre of the target, is spoken of in many places. Love's Labour's Lost, iv. 1; II. Henry IV., Hi. 2 ; King Lear, iv. 6. 18 INDEX TO SBAKSPERi:'S WORKS, Archibald, Earl of Douglas. See Douglas. Archidamus, an unimportant character in A Winter's fate, all attendant of Polixenes, appears in ^. 1. Arde, in Picardy, Henry VIII., i. 1. Ardea (a city south of Eome), siege of, Lucrece, argument, and 1.1. Arden, the forest of. See As You Like It. Argier (old English name of Algiers), The Tempest, i. 2. Argosy (ies), Antonio's, Merchant of Venice, i. 1, 3; Hi. 2; choked with an, Taming of the Shrew, v. h Argument (cause), Henry F., Hi. 1 ; Troilus and Cressida, i. 1; Hamlet, iv. 4.. Argus, the hundred-eyed. Love's Labour's Lost, Hi. 1 ; Troilus and Cressida, i. 2. Ariachne (Arachne, the spider), Troilus and Cressida, v. 2. Ariadne (daughter of Minos, King of Crete ; she was deserted by her lover Theseus, whom she had rescued from the labyrinth), Two Gentlemen of Verona, iv. 4 ; Midsummer-Night's Dream, ii. L Ariel, an airy spirit in The Tempest, whose service Prospero has secured by the exercise of his magic power. " Grace, tenderness, speed, and especially freedom and lightness, the properties of his element, are peculiar to him. . . . Whilst the other spirits hate the magician, yet are compelled to serve him, Ariel obeys him thankfully and truly, without lies, without mistakes, without a murmur ; for this, his perfect freedom, his all, is promised him within a certain time, and of this time, for good service, one year is abated. But even to wait this abridged time is painful to him. It is exquisitely conceived and very beautiful. What a pecul- iarly melancholic character the poet has cast over the being and re- lations of this creature, divided as he is between a superior nature and the aspirings of higher feelings ! . . . His lord will miss him when he has given him his freedom ; but he, the airy creature, will feel no longing after his dear master, whom he only seems to love for the sake of his promised freedom. He asks for more, for speed- ier freedom, and Prospero must, once in a month, recount to the quickly forgetting spirit the benefit he has received of his hands; then the variable servant struggles with his fluctuating nature, and is again all obedience, fidelity, and promptness." — Gervinus. Aries (the ram), Titus A7idronicus, iv. 3. Arion, rescued by the dolphin. Twelfth Night, i. 2. Aristotle, Taming of the Shreiv, i. 1 ; quoted by Hector, Troilus and Cressida, ii. 2. Aristotle lived 800 years after the Trojan war. Ark, couples coming to the, As You Like It, v. 4. Armado, Don Adrian© de, a character in Love's Labour's Lost, INDEX TO SHAKSPERE'S WORKS. 19 introduced in i. 2, a fantastical Spaniard, full of sounding words and boastings, but cowardly and of low instincts, chosen by the king to amuse him and his fellow-students in their seclusion. Armagnac, Earl of, /. Henry VI., v. 5. Arm-gaunt, Antony and Cleopatra, i. 5. There is no satisfac- tory explanation of this word. It is sometimes read "arm-girt," covered with armour. Armigero (armiger), Merry Wives of Windsor, i. 1. One who bears arms, a gentleman. Written after the name in law-papers. Arms, coats of. See Heraldry. Arm.y, composition of an, King John, ii. 1 ; coming of an. King John, iv. 4 ; appeal to an, Henry V., Hi. 1 ; embarkation of an, Hen- ry v., Hi., chorus; spoiled trappings of an, Henry V., iv. S; a, ragged, //. Henry VI., iv. 4 ; contempt for an opposing, Richard III., v. 3. Aroint (avaunt), Macheth, i. 8 ; King Lear^ Hi. 4. Said to be still used in the north of England, in some places pronounced rynt. Aragon, the Prince of, one of the suitor? of Portia in Merchant of Venice, appears in ii. 9, and loses her by choosing the silver casket. Arras, hide behind the, I. Henry IV., ii. 4, and in many other places. It was placed on wooden frames or on hooks far enough from the wall to keep it from dampness ; figures on, Cymheline, ii. 2. Arrogance, fed by supple knees, Troilus and Cressida, Hi. 3. Art, magic. The Tempest, i. 2 ; modifying nature, A Winter'' s Tale, iv. 3 ov 4; in painting, Lucrece, I. 1373. See Painting and Pictures. Artemidorus, a sophist of Cnidos, character in Julius Cmsar, appears in ii. 3 and Hi. 1, with a warning for Caesar. Plutarch says he was a doctor of Greek rhetoric, and, knowing the designs of the conspirators, with whom the practice of his profession had brought him into contact, tried to warn Caesar. His warning, ii. 3 ; Hi. 1. Arteries and Veins, Merchant of Venice, Hi. 2; Love's Labour's Lost, iv. 3 ; King John, Hi. 3 ; Richard III., i. 2 ; Troilus 2nd Cressida, iv. 1 ; Coriolanus, v. 1; Romeo and Juliet, v. 1; Ham- let, i. 4. See also Blood, Circulation of the. Arthxir, Duke of Brittany, a character in King John, was the nephew of John and of Richard I., and by the latter designed, at one time at least, as his successor, Arthur was born in 1188, and is supposed to have been put to death at John's orders after being made prisoner by him in 1202. He was imprisoned at the castle of Falaise in Normandy, and afterwards in the castle of Rouen, where 20 INDEX TO SHAKSPERE'S WORKS. he is supposed to have met his death — not, as in the play, in Eng- land. He was undisputed heir to Anjou, Toui'aine, and Maine, and Duke of Brittany. As such he was a vassal of Philip, who took up his cause for his own interest, and went to war with John. Arthur first appears in ii. 1. He is gentle, innocent, and unambitious, yet in the scene with Hubert shows a high degree of childish -Wisdom. This scene is one of the finest in the play. His death, iv. 3. Arthur's Show, II. Henry lY., Hi. 2. An exhibition of arch- ers, who took the names of Arthur's knights. Sir Dagonet was a sort of fool to the king. Arundel, Archbishop. See Canterbury. Arviragus, son of Cymbeline, disguised under the name of Cad- wal. See Guiderius. Ascanius (son of ^neas), //. Henry VI., in. 2. It was Cupid disguised as Ascanius that talked to Dido. Ascapart (a legendary giant), II. Henry VI., ii. 3. Asher House, Henry VIII., Hi. 2. See Esher House. Ashes, as the phcenix. III. Henry VI., i. 4> show cinders through, Antony and Cleopatra, v. 2. Asmath, a spirit, //. Henry VI., i. 4. Asp, the, Antony and Cleopatra, v. 2. Aspiration, shown by the gait, Troilus and Cressida, iv. 5. Ass, a thrice double. Tempest, v. 1 ; Dogberiy would be writ down an, Much Ado ahout Nothing, iv. 2 ; Bottom transformed into an, Midsummer-Nighf s Dream, Hi. 1, 2 ; more captain than the lion, Timon of Athens, Hi. 5 ; beating an, Hamlet, v. 1 ; allusion to the fable of the old man and the ass. King Lear, i. 4. " Thou borest thine ass,'' etc. Assinego (little ass), Troilus and Cressida, H. 1. Associates, influence of, 3Iercliant of Venice, Hi. 4, " Iii com- panions," etc. ; pitch doth defile, I. Henry IV., ii. 4 / let men take heed of their company, //. Henry IV., v. 1; keep where wit is stirring, Troilus and Cressida, ii. 1 ; thou art noble, Julius Ca}sar, H 2 ; converse with him that is wise, Kinq Lear, i. 4. Assurance, made doubly sure, 3Iacbeth, iv. 1. Astonishment, signs of, A Winter's Tale, v. 2 ; " They spake not a word," etc., Richard III, Hi. 7 ; at prodigies, Julius Ccesar, i. 3. Astringer, a Gentle, character in All's Well that Ends Well, in- troduced in V. 1, A falconer that kept goshawks was so called. Astrology, allusions to, The Tempest, i. 2; Two Gentlemen of Verona, ii, 7 ; born under Saturn, JIuch Ado about Nothing, i. 3 ; un- INDEX TO SHAKSPERE'S WORKS. 21 der a dancing star, 3Iuc}i Ado about Notliing, ii. 1 ; under a rhyming planet, Much Ado about Nothing, v. 2 ; under Mars, AlVs Well that Ends Well, i. 1 ; the hiekiest stars, AlVs Well that Ends Well, i. 3 ; the most received star, AlVs Well that Ends Well, ii. 1 ; born under Taurus, Iwelfth Night, i. 3 ; constellation right apt, Twelfth Night, i. 4 ; sfers shine darkly. Twelfth Night, ii. 1 ; in my stars I am, Twelfth Night, ii. 5; a bawdy planet, A Winter's Tale, i. 2 ; some ill planet, A Winter's Tale, ii. 1 ; dishonour my fair stars, Richard II., iv. 1 ; malevolent to you, 1. Henry IV., i. 1 ; Glendower's na- tivity, I. Henry IV., Hi. 1; ruled like a wandering planet, II. Henry VI., iv. 4 ; my thwarting stars. III Henry VI., iv. 6 ; star-crossed lovers, Romeo and Juliet, i., prologue ; yet hanging in the stars, Ro- meo and Juliet, i. 4; inauspicious stars, Romeo and Juliet, v. 3 ; not in our stars, Julius Ccesar, i. 2 ; fortune's star, Hamlet, i. 4. ; out of thy star, Hamlet, ii. 2 ; orbs from whom we exist. King Lear, i. 1 ; ecHpses, King Lear, i. 2 ; the stars ■ blamed for the vices of men, King Lear, i. 2 ; your great aspect. King Lear, ii. 2 ; it is the stars, King Lear, iv. 3 ; my good stars, Antony and Cleopatra, Hi. 11 or 13 ; our bloods obey, Gymbeline, i. 1 ; learned indeed, Cymbeline, Hi. 2 ; senate-house of planets, Pericles, i. 1 ; stars that frown, Peri- cles, i. ^ ; a chiding nativity, Pericles, Hi. 1 ; mortal stars, Lucrece, I. 13; not from the stars. Sonnets xiv., xv. ; in favour with their stars. Sonnet xxv. ; whatsoever star. Sonnet xxvi. ; crooked eclipses. Sonnet ix. Astronomers, have no more profit, Love's Laboiifs Lost, i. 1. Astronomy (astrology). Sonnet xiv. As You Like It, a comedy first printed in 1623, though it was entered in the "Stationers' Register" for publication in 1600. It must have been written between 1598 and 1600. The story is taken from a tale by Thomas Lodge, " Rosalynde : Euphues' Golden Lega- cie," first published in 1590, and reprinted at least ten times before 1642. The characters of Jaques, Touchstone, and Audrey are not in the story ; and Shakspere changed the names of those he took, ex- cepting Rosalind, Phcebe, Charles, and Adam (Adam Spencer in the story). The scene of the play is in the Forest of Arden and in France, though it does not correspond to Ardennes, and both place and time are indefinite, intentionally so, as the character of the play does not require definiteness in these respects. Atalanta, the better part of, As You Like It, Hi. 2, verses. Ate (goddess of Discord), 3Iuch Ado about Nothing, ii. 1 ; King John, H. 1 ; Julius Ccesar, Hi. 1. 22 INDEX TO SHAKSPERE'S WORKS. Ates, more, Love's Labour'' s Lost, v. 2. Athens, scene of the Midsummer-NigM s Dream, Timon of Athens, and part of Antony and Cleopatra. Athol, Earl of, L Henry lY., i. L Atlas (the Titan supposed to support the heavens), 111. Henry ' VI., V. 1; Antony and Cleopatra, i. 5. • Atomies, shut coward gates on, As You Like It, Hi. 5; a team of, Romeo and Juliet, i. ^. Atone (to reconcile or be reconciled), Coriolanus, iv. 6; Othello, it . 1. Atonement of Christ, reference to the, Measure for Measure, a. 2, " Why, all the souls," etc. Atropos (one of the Fates, the one that cut off the thread), II. Henry IV., ii. 4- Attempt, the, confounds us, Macbeth, ii. 2. Attorney (substitute). Comedy of Errors, v. 1. Audacious (spirited). Love's Labour's Lost, v. 1. Audacity, arm me, Cymbeline, i. 7. Audit, Coriolanus, i. 1 ; Sonnets iv., xlix. See Account. Audrey, an» honest and ugly country gii'l in As You Like It, married to the clown Touchstone, introduced in Hi. 3. Aufidius, Tullus, general of the Volscians, character in Corio- lanus, introduced in i. 2 ; his bravery, i. 1; fights with Marcius {Coriolanus), i. 8; his hatred to him, i. 10; joins him, iv. 5 ; his jealousy, iv. 7. He has the same desire for military glory that Coriolanus has; but he is of a much smaller and meaner nature. His great ambition is to conquer Coriolanus, and for this he is M^ill- ing to use any means, however dishonourable ; and Coriolanus falls at last through his malicious trickery. Augurer. See Soothsayer. Auguries, of success, Cyinbeline, iv. 2 ; "Last night the very gods," etc. See Omens. Augustus Ceesar, demands tribute, Cymbeline, Hi. 1; charac- ter in Antony and Cleopatra. See C^sar. Aumerle, Edward, Duke of, son of the Duke of York, character in Richard I I, first appears in i. 3. He was high constable, and was deprived of his dukedom for adhering to Richard, but allowed to retain the earldom of Rutland, " Call him Rutland " {v. 2). In Henry V. he is again spoken of, now an old man and Duke of York, as dying on the field of Agincourt {Henry V., iv. 6). " The character of the Duke of Aumerle, who plays no brilliant part in Richard II. after his mother had saved him from the pun- INDEX TO SEAKSPERE'S WORKS, 23 ishment of high treason, and has prayed to God to make 'her old son new,' is again silently brought forward by the poet in Henry V., a new man indeed, who has become great with the heroic age, and dies the death of a hero at Agincourt." — Gervinus. Aunt, an old, Troilus and Cressida, ii. 2, Hesione, sister of Priam. Austria, Leopold, Archduke of, a character in King John, where he is made identical with Vidomar, Viscount of Lymoges, in a quarrel with whom Richard I. of England fell, having been shot by one of the viscount's vassals while besieging the castle of Chaluz. The archduke died before Richard. Authority, the demigod, — new, Measure for Measure, i. 3; " Whether it be the fault," etc. ; a little brief, — hath a medicine in itself. Measure for Measure, ii. 2 ; abuse of, Measure for Measure, ii. 4; vice in. Measure for Pleasure, iv. 2 ; danger of divided, Corio- lanus, Hi. 1; Si dog in office — great image of, Ki7ig Lear, iv. 6. Authorship. Following is a summary of the plays that are generally supposed to have been written in part by other hands than Shakspere's : Titus Andronicus is thought by most critics to have been the work of an earlier dramatist and merely touched up by Shakspere, though some suppose it to be mainly his own work, and attribute its inferiority to the fact of its being his earliest play. The three parts of King Henry VI., which are recasts of two older plays, show other hands than Shakspere's. The general opin- ion seems to be that Marlowe, Greene, Peele, and possibly Shakspere wrote the old plays, and that they were revised by Shakspere, with possibly the help of Marlowe. King Richard III. is referred in part to Marlowe by some critics ; others suppose that the passages ascribed to Marlowe were written by Shakspere under the influence of Marlowe, his probable collabo- rator on King Henry VI. A large part of Henry VIII. is Judged to be by Fletcher, viz., act i., scenes 3 and ^ ; the first two scenes of act ii. ; all of the third act except the second scene to the exit of the king ; and all the re- mainder except the first scene of act v. The first and second acts of Pericles, and the second, fifth, and sixth scenes of the fourth act, and the choruses, are attributed to some other author or authors, Shakspere's part in Taming of the Shrew is limited by some critics to those parts in which Petruchio, Katherine, and Grumio appear prominently. 24 INDEX TO SHAKSFERE'S WORKS. Parts of the witch-scenes in Macbeth have been conjectured to be the work of Thomas Middleton, author of the play " The Witch," who is supposed to have assisted in preparing Macbeth for the stage. Others have seen traces of other hands in small portions of the Comedy of Errors, Much Ado about Nothing, the part of Hymen in As You Like It, Romeo and Juliet, and Timon of Athens; and the passage at the end of act Hi. in Jleasure for Measure, the song be- ginning act iv., and the fool's rhymes at the end of King Lear, Hi. 2, are supposed to be interpolations. Many plays have been ascribed to Shakspere that are not in- cluded in the ordinary editions of his works. Of these The Two Noble Kinsmen has the greatest weight of opinion in its favour. It purports to be the work of Fletcher and Shakspere. A part of the first and all of the second act of Edward III. have been attributed to him, and he is also supposed by some to have had a hand in The Yorkshire Tragedy. Other plays that have been thought to bear traces of his hand are Arden of Feversham, The Birth of 3IerUn, Fair Emm, George a Green, ^Larum for London, The Merry Devil of Edmonton, Mucedorus, and Warning for Fair Women. Autolycus, an amusing and unique character in A Winter's Tale, a pedlar, thievish and witty. " The art of thieving as practised by him is no crime, but the gift of some knavish god. He does not trample on the laws of morality, but dances or leaps over them with so nimble a foot that we forbear to stay him." — Dowden. Auvergne, Countess of, a character in /. Henry VI, first ap- pears in a. 3, having sent for Talbot {ii. 2), in hopes to keep him as a prisoner. This incident is not in history. Avarice, Malcolm accuses himself of, Macbeth, iv. 3. Aversions, instinctive, Merchant of Venice, iv. L Avoid, (avaunt), Comedy of Errors, iv. 3. Away with, cannot (cannot endure), II. Henry I V., Hi. 2. Awful (law-abiding), Two Gentlemen of Verona, iv. 1 ; (respect- ful toward authority), //. Henry IV., iv. 1. Awkward (perverse), Pericles, v. L Aye-word, gull him into an (make a by-word of him by gulling him ?), Tivelfth Night, ii. 3. Macbeth, i. 7 ; at my breast (the asp), Antony and Cleopatra, v. 2. Baccara (to check over-forwardness), Taming of the Shrew, ii. t. INDEX TO SHAKSPERE'S WORKS. 25 Bacchus, song to, Antony and Cleopatra, ii. 7. Bachelor, of threescore, a. Much Ado about Nothing, i. 1 ; de- teniiinatioii to live a, 3Iuch Ado about Nothing, i. 1, ii. 3 ; less hon- ourable, As You Like, It, Hi. 3. Backgaminon, spoken of under its old name "tables" in Love's Labour's Lost, v. 2. Bafla.e, I Henry IV., i. 2. To hang up by the heels ; punish- ment of a recreant knight, probably alluded to again in //. Henry IV., i. 2, "to punish him by the heels," and in AlFs Well that Ends Well, iv. 3, " his heels have deserved it," etc. Baflled (abused), Richard IL, i. 1. Bagot, Sir William, a character in Richard IL, introduced in i. 3, a parasite of the king. Bag-pipe, the melancholy, A Winter's Tale, iv. 3 ; I. Henry IV., i. 2. Bailie (give). Merry Wives of Windsor, i. 4. Bajazet's mute, AlVs Well that Ends Well, iv. L Meaning un- known. Balcony-scene, Romeo a?id Juliet, ii. 2. Balked (heaped or buried), I Henry IV., i. 1. A balk is a little mound or ridge. Ballad(s) : of the king (Cophetua) and the beggar. Love's La- bour's Lost, i. 2 ; Quince to write a, Midsummer-Night's Dream, iv. 1 ; sale of, A Winter's Tale, iv. ' Richard II., Hi. 2 ; iv. 1 ; III Henry VI., v. 7. Pilate, Richard II., iv. 1; Richard III, i. 4. Barabbas, 3Ierchant of Venice, iv. 1. Golgotha, Richard II, iv. 1 ; Macbeth, i. 2. The keys of Saint Peter, Othello, iv. 2. Saint Philip's daughters, /. Henry VL, i. 2. Will have mercy on whom he will have mercy, Measure for 3Ieasure, i. 3. Lead into temptation, Measure for Measure, ii. 2. Spirits in prison, Measure for Measure, ii. 3. Call brothers fools, Merchant of Venice, i. 1. The Nazarite, Merchant of Venice, i. 3. The prayer for mercy. Merchant of Venice, iv. 1. He that feeds the ravens. As You Like It, ii. 3. So holy writ in babes hath judgment shc^wn, etc.. All's Well that Ends Well, ii. 1. The canon of the law, etc.. King John, ii. 1, an allusion to the second commandment. The leopard change his spots, Richard II, i. 1. Wisdom cries, I. Henry IV., i. 2. Return to vomit, //. Henry IV., i. 3 ; Henry V., Hi. 7. Book of Numbers quoted, Henry V., i. 2. Demon with lion gait, Henry V., ii. 2. Another fall of man, Henry v., ii. 2. Wolf in sheep's clothing, I. Henry VL, i. 3. '■''Medice te," etc., II. Henry VL, ii. 1. Prayer for enemies, Richard III, i. 3. As snow in harvest, Richard HI, i. 4.. Woe to that land, etc., Richard III, ii. 3. Of better luck than your master, Henry VIII., V. 1. The hill of Basan, Antony and Cleopatra, Hi. 11 or 13. Biggin, II. Henry IV., iv. 4. A head-band or cap of coarse linen. Bigot, Robert (correctly Roger), second Earl of Norfolk, a char- acter in King John, introduced in iv. 3. He was one of the twenty- five barons opposed to the king. See Norfolk. Bilbo (sword). Merry Wives of Wiiidsor, i. 1; Hi. 5. Fine swords were made at BUboa in Spain. Billiards, Antony and Cleopatra, ii. 5. An anachronism, as it is a modern game. Bills, on their necks, As You Like It, ii. 1. Alluding to the weapon called a bill. Biondello, one of the servants of Lucentio in Taming of the Shrew, introduced in i. 1. Birds, singing of, dependent on the listener. Merchant of Venice, V. i. The ousel, throstle, wi-en, etc.. A Midsummer-Night's Bream, Hi. 1, song. For other references, see under names of species. INDEX TO SHAKSPERE'S WORKS, 37 Birnam. Wood, prophecy conceniing, 3Iacbet/i, ilk 1; its fulfil- ment, V. 4, 5. Biron or Birone. See Berowne. Birth, crying at, King Lear, iv. 6. Birth. See Blood and Rank. Bis coctus (twice cooked), Love's Labour's Lost, iv, 2. Bisson (blinding), Hamlet, ii. 2 ; Coriolanus, ii. 1 ; Hi. L Blackbird, the. See Ousel. Black-Friars, London, scene of Henry VIII., ii. 4- Blackheath, in Kent, six miles southeast of London, scene of 77. Henry VI., iv, 2 and S. Black Monday, Jlerchant of Venice, ii. 5. Easter Monday, so called from the violent storm of wind, hail, and lightning, April 14, 1360, to which King Edward III., with his army, was exposed on that day, near Chartres in France. Blanch of Spain, daughter of Alphonso, King of Castile, and niece of King John, appears in King John, ii. 1. Blasphemy, in the lowly and in the great, Pleasure for Pleasure, ii. 2 ; Sebastian called, Tlie Tempest, v. h Blench (move). Measure for Measure, iv. 5. Blessedness, single, A Midsummer-Niglif s Dream, i. 1. Blessings, invoked. The Tempest, v. 1 ; Two Gentlemen of Ve- rona, i. 1 ; Twelfth Night, Hi. 1 ; Richard III, ii. 2 ; Coriolanus, i. 5; Othello, ii. 1. Blind man, a pretended, //. Henry VI., ii. 1. Blindness, the best use of one's eyes, to see the way of, Cymhe- line, V. 4- Blindworm, A Midsummer-Nighf s Dream, ii. 2; Machetli, iv. 1. A little snake with very small eyes, supposed to be very venomous. Blood, swooning at sight of. As You Like It, iv. 3 ; drunk by the earth, /. Henry IV., i. 1 ; stains of, Macbeth, ii. 2 ; v. 1 ; will have blood — "I am stept in so far," Macbeth, Hi. 4; circulation of the. Measure for Pleasure, ii. 4 ; King John, Hi. 3 ; II. Henry IV., v. 2 ; II. Henry VI., Hi. 2 ; Coriolanus, i. 1 ; Romeo and Juliet, iv. 1 ; Julius Cmsar, ii. 1; Macbeth, ii. 2; Hamlet, i. 5; Othello, iv. 2 : Lucrece, I. 1747. Blood (in the sense of ancestry), claims of, As You Like It, i. 1 ; distinctions of, AlVs Well that Ends Well, H. 3 ; no sure foundation of. King John, iv. 2 ; sacredness of royal, Richard II., i. 2 ; conduct unworthy royal, I. Henry IV., Hi. 2 ; weighed against learning (a 38 INDEX TO SHAKSPERE'S WORKS. beggar's l)ook), Henry VIII., L i ; a boil, etc., in my, Kuig Lear, ii, 4 ; ties of, and evidence of good, Cymheline, iv, 2, 4- Blood-boltered (clotted), Macbeth, iv. 1, Blow, blow, thou winter wind — song. As You Like It, ii. 7. Blue-caps (Scotchmen, so called from their blue bonnets), I. Henry IV., ii. 4- Blunt, Sir James, character in Richard III., first appears in v. 2, a partisan of Richmond. He was a great-grandson of the Sir Wal- ter Blunt in I. Henry IV. Blunt, Sir Thomas, mentioned in Richard II., v. 6, as having been executed. Blunt, Sir Walter, character in I. Henry IV., introduced in i. 1, where the king calls him " a dear, a true industrious friend." In the battle of Shrewsbury, act v., scene 3, he is dressed in one of the king's coats, and Douglas, mistaking him for the king, kills him. His son, Sir John Blunt, is mentioned in the next play, iv. 3. Bluntness, Julius Ccesar, Hi. 2, " I have neither wit," etc. ; King Lear, ii. 2. Blushes, Much, Ado about Nothing, iv. 1 ; AlVs Well that Ends Well, ii. 3 ; Lucrece, I. 59. Boar, the (Richard HI., whose device was a boar), Richard III., Hi. 2 ; of Thessaly, Antony and Cleopatra, v. 2 ; iv. 13 ; hunting the wild, Venus and Adonis, lines 6 14-, 1105. Boar's Head Tavern. See Eastcheap. Boasters. See Braggarts. Boasting, Merry Wives of Windsor, ii. 3 ; As You Like It, i. 2 ; King John, ii. 1; ii. 2 ; Henry V., Hi. 7 ; iv. 3, 4; foolish, Lucrece, 1.33. Boatswain, a, character in The Tempest, i. 1. Bobbed (got by cheating), Otliello, v. 1. Bocchus, King of Lydia, Antony and Cleopatra, Hi. 6. Bodies, our, our gardens, Othello, i. 3, lago ; over-care of, Son- net cxlvi. Bohemia, scene of part of A Wintei^'s Tale. Bohun, Edward, Henry VIII., ii. 1. See Buckingham, Edward Stafford, Duke of. Boldness, in a subject, I. Henry IV., i. 3. Boleyn (or BuUen), Anne, maid of honour to Queen Katherine and afterward queen, a character in Henry VIII., introduced in ^. 4, where she dances with the king, an incident that took place at a banquet given by the king in 1527 to ambassadors from Francis I. INDEX TO SHAKSPERE\S WORKS 39 She would not be a queen, ii. 3 ; made a marchioness, ii. 3 ; mar- ried, Hi. 2. This was January 25, 1533, or, according to some writ- ers, November 14, 1533. In Hi. 2, Suffolk says, "I persuade me, from her will fall some blessing to this land, which shall in it be memorized," a reference to her daughter Elizabeth. In the same scene, Wolsey speaks of her as the weight that pulled him down, he having planned that the king should marry the sister of the King of France after being divorced from Katherine. Anne's coronation and beauty, iv. 1 ; the birth of Elizabeth, v. 1. Anne was beheaded in 1536. " With what a delicate and yet luxuriant grace is she sketched off, with her gaiety and her beauty, her levity, her extreme mobility, her sweetness of disposition, her "tenderness of heart, and, in short, all lier femalities ! How characteristic that she should first express unbounded pity for her mistress, insisting chiefly on her fall from her regal state and worldly pomp, thus betraying her own disposi- tion ! " — Mrs. Jameson, Bolingbroke, Henry of, Duke of Hereford, and afterward Henry IV. See Henry IV. Bolingbroke, Roger, a conjuror in //. Henry VI. ; first appears in i. 4. Bolt, the fool's. See Proverbs. Bolting-hutch, /. Henry IV., ii. 4. A bm where meal is bolted. Bombast (cotton used for wadding garments). Love's Labour's Lost, V. 2 ; I. Henry IV., ii. 4. Bombard, (a leather drinking-vessel), I. Henry IV., ii. 4 / Henry VIIL, V. 4. Bona, Lady, the Princess Bonne of Savoy, a sister of the French queen, character in III. Henry VI., introduced in Hi. 3. In ii. 6, Warwick proposes to ask her in marriage for Edward, which he does in Hi. 3, just before the news of Edward's marriage with the Lady Grey is announced by post. Edward's treatment of her is used against his heir by Richard in Richard III., Hi. 7. The story of Edward's suit to her is not well authenticated. Bona-robas (courtesans), //. Henry IV., Hi. 2. Bona terra, etc., II. Henry VI., iv. 7. Good land, bad people. Bond(s), his words are. Two Gentlemen of Verona, ii. 7 ; for a pound* of flesh, a. Merchant of Venice, Hi. 2, 3, 5 ; iv. 1 ; of heaven, Troilus and Cressida, v. 2 ; of life, the, Macbeth, Hi. 2. Bondage, is hoarse, Romeo and Juliet, H. 2 ; deliverance from, Jzuius (kesar, i. 3 ; & way to liberty, Cymheline, v. ^ Bonfire, the everlasting, Macbeth, ii. 3. 40 INDEX TO SHAKSPERE'S WORKS, Book, of songs and sonnets, Merry Wives of Windsor, i, 1 ; quar- relling by, As You Like It, v. Jf. ; advice for a, Sonnet Ixvii. Book (magic). The Tempest, v. L Book (learning), //. Henry VI, iv. 7 ; Henry VIIL, i. 1. Book (writing on a tablet), Cymheline, v. 4. Book-knowledge, ridiculed in Armado, in Love's Labour's Lost. Book of Life, the, Richard II, i. 3. Books, women are the, Love's Labour's Lost, iv. 3, near the end ; in brooks. As You Like It, ii. 1 ; of our forefathers, II Henry FX, iv. 7 ; binding of, Romeo and Juliet, i. 3 ; Hi. 2 ; love in, Sonnet xxiii. Books (favour), in one's, 3Iuch Ado about Nothing, i. L Boot (advantage), I. Henry YI, iv. 6. Borachio, the villainous follower of Don John in 3Iuch Ado about Nothing, who invents the plot against Hero and acts the part of her pretended lover ; first appears in i. 3. Bore, a, /. Henry IV., Hi. 1, " he's as tedious," etc. ; Venus and Adonis, I. 84S. Boreas (the north wind), Troilus and Cressida, i. 3. Bores (stabs), Henry VIII, i. 1. Borough, the head (in some modern editions the third). Verges in 3Iuch Ado ahout Nothing. The former was an officer of the bor- ough ; the third borough was a constable. Borrowing, dulls husbandry, Hamlet, i. 3. Bosworth Field, battle of, August 22, 1485. This battle, where Richmond, afterward Henry VII., defeated Richard III., was the last of the Wars of the Roses. The field, or moor, is in Leicester- shire. It is the scene of Richard HI, v. 3, 4- Botcher (cobbler), AlVs Well that Ends Well, iv. 3. Bottle (bundle), of hay, Jlidsummer-Nighfs Dream, iv. 1. Bottom (spool, shuttle), of thread, Two Gentlemen of Verona, Hi. 2 ; Taming of the Shrew, iv. 3. Bottom, Nick, a weaver, character in A Jlidsummer-Nighfs Dream, introduced in i. 2. In the play before the duke he takes the part of Pyramus. "Bottom, in his broad-blown self-importance, his all but impene- trable self-satisfaction, stands a head and slioulders higher in ab- surdity than any other comic personage in Sliakspere's early plays. He is the admitted king of his company, the cock of his walk, and he has a consciousness that his gifts are more than equal to his op- portunities." — DOWDEN. INDEX TO SHAKSPERE'S WORKS. 41 Bouciqualt, mentioned, Henry V., in. 5 ; iv. 8, Boult, a servant, in Pericles ; first appears in iv. 3. Bounds. See Limits. Bounty, should have eyes behind, Timon of Athens, i. 2 ; mars men, Timon of Athens, iv. 2 ; that begs to be asked, Antony and Cleopatra, Hi. 11 ; no winter in, Antony and Cleopatra, v. 2. Bourbon, John, Duke of, character in Henry V. ; first appears in Hi. 5, where he talks vaingloriously of the easy conquest that will be made of the English. Bourbon, Lord High Admiral, addressed in III. Henry VI., Hi. 3. He was a grandson of the preceding. Bourchier, Thomas, Archbishop of Canterbury and Cardinal, character in Richard III., first appears in Hi. 1. His mother was a daughter of the Duchess of Gloucester in Richard II. He had taken sides with the Yorkists, and crowned Edward IV., Richard IIL, and Henry VII. (Richmond). Bourdeaux, scene of /. Henry VI., iv. 2, 5. Bourn (burn, rivulet, or boundary), Troilus and Cressida, H. 3 ; this chalky. King Lear, iv. 6 ; of the undiscovered country, HamUi, Hi. 1. Bowling, allusions to. Taming of the Shrew, iv. 5 ; Richard II., Hi. 4; Coriolanus, v. H ; rub on, etc., Troilus and Cressida, Hi. 2 ; kissed the jack, Cymheline, H. 1. Bow, the, is bent and drawn. King Lear, i. 1. Boyet, a lord attending on the Princess of France in Lovers La- bour's Lost, an accomplished courtier wittily described by Berowne (Biron) in act v., scene 2. He first appears in ii. 1. Boy(s), the whining schoolboy. As You Lilie It, ii. 7 ; life and ideas of, A Winter's Tale, i. 2 ; demureness in, II. Henry VI., ii. 3 ; a bright, Richard IIL, Hi. 1 ; unrespective, Richard IIL, iv. 2 ; sacrifice to present pleasure, Antony and Cleopatra, i. 4. Brabant, Duke of, mentioned, Henry V., Hi. 5 ; iv. 8. Brabantio, a Venetian senator, character in Othello, introduced in i. 1, the father of Desdemona. His death, v. 2. Brach. (a hound), Taming of the Shrew, Induction i. Bracy, Sir John, mentioned in I. Henry IV., ii. 4. Braggarts, Much Ado about Nothing, v. 1; Two Gentlemen of Verona, ii. 4 ; All's Well that Ends Well, ParoUes in, iv. liis punishment, v., end. Cleopatra, Queen of Egypt, introduced in the first scene of An- tony and Cleopatra. Her complexion, i. 1, 5 (she was of Greek ex- traction, and probably therefore not black) ; her age, i. 5 (she was INDEX TO SHAKSPERE'S WORKS. 65 then twenty-eight) ; her splendor, ii. 2 ; anger and jealousy, ii. 5 ; carried in a mattress, ii. 6 ; Queen of Syria, Hi. G ; purpose to go into the war, Hi. 7 ; at Actiuin, iii. 8-10 ; her submission to Cccsar, Hi. 11 or 13 ; charged by Antony with betraying him, ii\ 10 or 12 ; feigns death, iv. 11, 12 or 13, 14 ; her grief for Antony, iv. 13 or 15 ; her horror of being carried to Eome, her message to Caesar, and her death, v. 2. " I have not the slightest doubt that Shakspere's Cleopatra is the real historical Cleopatra, the 'rare Egyptian,' individualized and placed before us. Her mental accomplishments, her unequalled grace, her woman's wit and woman's wiles, her irresistible allure- ments, her starts of ungovernable temper, her vivacity of imagina- tion, her petulant caprice, her fickleness and her falsehood, her tender- ness and her truth, her childish susceptibility to flattery, her mag- nificent spirit, her royal pride, the gorgeous Eastern colouring of the character — all these contradictory elements has Shakspere seized, mingled them in their extremes, and fused them into one brilliant impersonation of classical elegance. Oriental voluptuousness, and gipsy sorcery. What better proof can we have of the individual truth of the character than the admission that Shakspere's Cleo- patra produces exactly the same effect on us that is recorded of the real Cleopatra f She dazzles our faculties, perplexes our judgment, bewilders and bewitches our fancy ; from the beginning to the end of the drama, we are conscious of a kind of fascination against which our moral sense rebels, but from which there is no escape." — Mrs. Jameson. Allusions to Cleopatra : As You Like It, iii. 2, song ; a gipsy, Romeo and Juliet, ii. Jf.; her figure on tapestry, Cyrnbeline, ii. 4- Clepe (call), Hamlet, i. 4, and elsewhere. Clergy, the, like an effeminate prince, /. Henry VI., i. 1 ; robbed, II. Henry VI, i. 3. Clergynian(nien), good-humoured ridicule of, Merry Wires of Windsor, Hi, 1 ; reproaches against a, /. Henry III, iii. 1 ; in war, //. Henry IV., i. 2 ; office of, II. Henry IV., iv. 2. Cliff (clef). Troilus and Cressida, v. 2. Clifford, John, Lord, son of Thomas, character in II. Henry VI., where he appears in v. 1 and 2 as " young Clifford," and in ///. Henry VI., introduced in the first scene. In revenge for his father's death, he kills the young Earl of Rutland in cold blood, i. 3, and for his cruelty he receives the name of " the butcher," act ii., scene 2. In i. 4 he is represented as stabbing York, and in H. 3, Warwick's brother, and fighting with Richard, ii. 4. His death at the battle of Towton, ii. G. He was in reality slain shoi-tly lieforc that battle, at Ferrybridge (March 28, 14G1), where he first defeated the Yorkists, QQ INDEX TO SHAKSPEUE'S WORKS. and was then defeated by them under Lord Faleonberg. His murder of Rutland is again spoken of in Richard III., i. 2. Clifford, Thomas, Lord, character in II. Henry VI., introduced in V. 1. He was a grandson of Hotspur, and a partisan of Henry. He was killed at the battle of St. Albans (February 17, 1461), v. 2. Cliffs, at Elsinore, Hamlet, i. 4 ; at Dover, King Lear, iv. 6 ; Comedy of Errors, Hi. 2; II. Henry VI., Hi. 2. Clifton, Sir John, at Shrewsbury, /. Henry IV., v. J^ Cling (wither), JIacbeth, v. 5. Clinquant, tinsel, Henry VIIL, i. 1. Clip (to clasp, embrace), 11. Henry VI., iv. 1, and elsewhere. Clitus, a servant of Brutus in Julius Ccesar, appears in v. 5. Cloak, an old, makes a new jerkin. Merry Wives of Wi?idsor, i. 3 ; on a horse, II. Henry VI., iv. 7 ; my inky, Hamlet, i. 2. Clock(s), a woman like a German, Love's Lahoufs Lost, Hi. 1, end ; time hath made me his, Richard II., v. 5 ; their arms are set to strike on like, Henry VI., i. 2. Cloten, son of the queen in Cymheline, introduced in i. 2. He was intended by the king and queen for Imogen's husband. His wickedness, i. 1 ; encounter with Posthumus, i. 1, 2 ; Imogen's opin- ion of, Hi. 4 ; his death, iv. 2. " The character of Cloten, the conceited, booby lord, and rejected lover of Imogen, though not very agreeable in itself, and at present obsolete, is drawn with great humour and knowledge of character." — Hazlitt. Clothair, Henry V., i. 2; Henry VIIL, i. 3. Clothes, the soul of a man, AlVs Well that Ends Well, ii. 5 ; tattered clothes, King Lear, iv. 6; but one suit of. Taming of the Shrew, induction, 2, " What raiment I'll wear," etc. Clotpolt(s) (blockheads), Oswald a, King Lear, i.4; Troilus and Cressida, ii. 1 ; Cymheline, iv. 2. Cloud, in the face, Antony and Cleopatra, Hi. 2. A horse is said to have a cloud in his face when he has a dark spot between the 3yes. Cloud(s), when, appear, wise men put on their cloaks, Richard III., ii. 3 ; overcome us, like a summer, Ilacbeth Hi. 4; forms ol The Tempest, ii. 2 ; Hamlet, Hi. 2 ; Antony and Cleopatra, iv. 12 Clout, the. Love's Labour's Lost, iv. 1 ; King Lear, iv. 6, and elsewhere. The bull's-eye of the target, a piece of white cloth. Clowder, name of a dog, Taming of the Shreu\ induction, 1. INDEX TO SHAKSPERE'S WORKS. 67 Clown, a, character in AlVs Well that Ends Well, introduced in the third scene. Clown, a character in A Winter''s Tale, appears first in iii. 3. Clown(s), acting by, Midsummer- JVighfs Dream, v. 1 ; meat and drink to see a, As You Like It, v. 1 ; Hamlet, iii. 2. See Jesters. Clubs, cry of, /. Henry YI, i. 3 ; Henry YIIL, v. 4. A rallying- cry among apprentices. Clytus, mentioned, Henry Y., iv. 7. Coals, carry, Henry Y,, iii. 2 ; Romeo and Juliet, i. 1. To bear insults. Coat(s) of arms, the dozen white luces in their, Merry Wives of Windsor, i. 1; lions of England's, I. Henry YI.,i.5; in heraldry, Midsummer-NighV s Dream, Hi. 2. Cobbler, a, Julius Cmsar, i. 1. Cobham, Edward Brooke, Lord, mentioned in III. Henry YI, in the second scene. Cobham, Eleanor. See Gloucester, Duchess of. Cobham, Reginald, Lord, mentioned in Richard II, ii. 1, as one of the adherents of Bolingbroke. He was the grandfather of the Duchess of Gloucester in II Henry YI. Cobloaf (a small, misshapen loaf), Troilus and Cressida, ii. 1. Alluding to the misshapen head of Thersites. Cobweb, a fairy in the Midsummer-Nighf s Dream, iii. 1. Cock, the word sometimes used as a corruption of " God," Ham- let, iv. 5, and elsewhere. Cockatrice, or basilisk, Richard III, iv. 1. It was fabled to be hatched by a toad or serpent from the ^g^ of a cock ; kills by a look. Twelfth Night, Hi. 4; Romeo and Juliet, Hi. 2; Lucrece, L S40. See also Basilisk, Cock-a-whoop, set (begin a fight), Romeo and Juliet, i. 5. Cock-crow, The Tempest, i. 2, song ; Richard III, v. 3 ; ghosts vanish at, Hamlet, i. 1, 2 ; at Christmas, Hamlet, i. 1. Cock-fighting, allusions to, Antony and Cleopatra, ii.3; Ham- let, V. 2, " The potent poison quite o'ercrows," etc. Cockle-hat, Hamlet, iv. 5, song. Hat with a cockle-shell, the pilgrim's badge, on it. Cockney (perhaps an under-cook, originally), Twelfth Night, iv. 1 ; King Lear, ii. 4. Cock-shut time, Richard III, v. 3. Evening twilight, when nets, called cock-shuts, were set in the woods for woodcocks. Cocytus, Titus Andronicus, ii. 3 or ^. The river of lament 68 INDEX TO SHAKSPERE'S WORKS. Codling (an unripe apple), Tivelfth Nigld, i. 5. Cod's head, to change the, for the salmon's tail, Othello, ii. 1. Coeur de Lion (Richard I.), King John, i. 1 ; I. Henry VI., in. 2. Cog (to load dice, to cheat), Love's Labour's Lost, v. 2 ; Richard III., i. 3 ; Troilus and Cress ida, v. 6, and elsewhere. Coigne of vantage (jutting point of a wall), Ilacbeth, i. 6. Coil, Two Gentlemen of Verona, i. 2; I am not worth this, Ki7ig John, it. 1 ; this mortal, Hamlet, Hi. L Colbrand, King John, i. 1 ; Henry VIII., v. 3. A Danish giant with whom Guy of Warwick fought before King Athelstane. Colchos, or Colchis, on the eastern shore of the Black Sea, where was the Golden Fleece, Iderchant of Venice, i. 1. Coleville, Sn- John, character in II. Henry IV., introduced in iv. 3. He is a rebel, surrenders to Falstaff, and is ordered to execu- tion at York by Prince John of Lancaster. CoUatinus, husband of lAicrcce, argument and I. 7. Collatium, southeast of Rome, scene of Lucrece. Collector(s), of knowledge, As You Like It, ii. 7 ; of trifles, As You Like It, v. 4; A Winter's Tale, iv. 2. CoUied (black, as in the collieries), 3Iidsummer-Nighfs Dream, i. 1 ; Othello, ii. 3. Collier (term of reproach), Twelfth Night, Hi. 4 ; Romeo and Juliet, i. I CoUop (a slice of flesh ; figuratively, a child), A Winter's Tale, i. f ; /. Henry VI., v. 4. Colme-Kill (Colomb's Cell), 3Iacbeth, ii. 4. The island Icolm- kill or lona, one of the Hebrides, where Saint Colomb landed in the sixth century. The cathedral was a burial-place for kings. Forty- eight ScotcTi, four Irish, and eight Norwegian kings, besides many lords of the isles, are said to be buried there. Colossus, like a, Julius Cmsar, i. 2 ; Troilus and Cressida, v. 5. Colours, colourable (those not fast f ), Love's Labour's Lost, iv. 2. Colt (trick), /. Henry IV., ii. 2. Columbine, Hamlet, iv. 5. It was emblematic of lovers for- saken. Combat, clapper-clawing, Troilus and Oressida. v. 5 ; challenge to single, L Henry IV., i. 3 ; v. 1 ; Troilus and Cressida, i. 3. See Challenges, Combined, combinate (pledged), Pleasure for Pleasure, Hi. 1 : iv. 3. Come away, come away. Death, song, Twelfth Night, ii. 4. INDEX TO SHAKSPERE'S WORKS. 69 Come-off (come down, pay), Merry Wives of Windsor, iv. 3. Come, thou m.oiiarch of the vine, song, Antony and Cleo- patra, a. 7. Com.e unto the yellow sands, song, The Tempest, i. 2. Comedy, the most lamentable, 3Iidsummer-Nighfs Dream, i. 2 ; a sweet, iv. 2 ; catastrophe of the old, King Lear, i. 2. Comedy of Errors, the, might be called a farce, so glaringly improbable are the incidents; was first published in the folio of 1623, but written long before, probably among the earliest of the plays. (See Henry IV. of France.) It is known to have been acted at the Christmas Revels at Gray's Inn in 1594. The plot is from a transla- tion by W. W. (William Warner) of the " Menaechmi " of Plautus, published in 1595, but made and circulated in manuscript some time before, or from an earlier English play, " The Historie of Error," acted at Hampton Court in 1576. A similar story is told in Goularb's "Admirable and Memorable Histories," 1607; and Dryden's play, " The Two Sosias," is founded on that of Plautus. In the original there is but one pair of twins. The play is full of anachronisms, and the time of action is indefinite. The scene is in Ephesus, a city that had a bad reputation for sorcery and all kinds of villainy. Comet(s), omens of evil. Taming of the Shrew, Hi. 2 ; I. Henry VI., i. 1 ; Hi. 2 ; Julius Ccesar, ii. 2 ; wondered at like a, 1. Henry IV., Hi. 2. Comfort, made of losses, AlVs Well that Ends Well, iv. 3 ; cold. King John, v. 7 ; in heaven, Richard II., ii. 2 ; in thoughts of others' misfortunes, Richard II., v. 5 ; hateful to the despairing, Richard II., Hi. 2 ; too late, Henry VIIL, iv. 2. Comforters, profitless. Much Ado about Nothing, v. i. Cominius, a general, character in Coriolanus, introduced in i. 1. Commandments, the ten, Measure for Measure, i. 2 ; (the fin- gers) //. Henry VI, i. 3. Commentaries, Caesar's, II. Henry VI, iv. 7. Com.mentary, fearful, is servitor to dull delay, Richard III, iv. 3. Commission, Angelo's, Jleasure for Measure, i. 1; to right wrongs, a. King John, ii. 1; an altered, Hamlet, v. 2. Commodity (law or justice). Merchant of Venice, Hi. 3; (self- interest), power of. King John, end of act ii. Commons, the, love in their purses, Richard II., ii. 2. Commonty (comedy). Taming of the Shrew, induction, 2. Commonwealth, an ideal, The Tempest, ii. 1. This is taken 70 INDEX TO SHAKSPERE'S WORKS. from Montaigne ; the king's, Love's Labour's Lost, iv. 1 ; disease of the, //. Henry 1 V., iv. 1. Companions, young, A Winter'' s Tale, i. 2; evil,//. Henry IV., iv. 4' Company (companion). All's Well that Ends Well, iv. 3. Company, too lavish of one's, /. Henry IV., Hi. 2, " God pardon i:hee," etc. ; caution concerning one's, /. Henry IV., ii. 4 ; IL Henry 1 v., V. L Comparative (one that makes comparisons, a would-be wit), /. Henry IV,, i, 2 ; Hi. 2. Comparisons, are odorous, Much Ado about Nothing, Hi. 5. Compassed (circular) window, Troilus and Cressida, i. 2. Compassion, ///. Henry VL, i. 4, had he been slaughterman, etc. ; a grace of the gods, Coriolanus, v. 3. Compensations, for losses, All's Well that Ends Well, iv. 3 ; Richard III.^ iv. 4, " The liquid drops," etc. ; Cymbeline, iv. 2, " Some falls," etc. Competency, advantage of a moderate, 3Ierchant of Venice, i.2. Competitors (confederates). Love's Labour's Lost, ii. 1 ; Twelfth Night, iv. 2. Complexion, fair, Twelfth Night, i. 5, " 'Tis beauty truly blent," etc. ; a dark. Merchant of Venice, ii. 1 ; Comedy of Errors, Hi. 2 ; " Mislike me not for my," etc., Othello, i. 2 ; Sonnets cxxvH., cxxx., cxxxi., cxxxii. Compliment(s), Two Gentlemen of Verona, H. 4 ', Love's Labour's Lost, i. 1 ; like the encounter of dog-apes. As You Like It, H. 5 ; ex- change of, As You Like It, Hi. 2 ; lowly feigning called. Twelfth Night, Hi. 1 ; Heaven walks on earth. Twelfth Night, v. 1 ; A Win- ter's Tale, iv. 3 or 4. See also Flattery. Composition (what was compounded for), Pleasure for Measure, V. 1 ; (consistency), Othello, i. 3. Compromise, inglorious. King John, v. 1 ; Richard II., ii. L Compt (judgment), Othello, v. 2. Comptible (accountable, sensitive), Twelfth Night, i. 5. Concealment, like a worm i' the bud, Twelfth Night, H. 4' Concealments (mystic arts), /. Henry IV., Hi. L Conceit(s), winged, Love's Labour's Lost, v.2; nearer death than the powers. As You Like It, ii. 6 ; derived from some forefather grief, Richard IL, ii. 2 ; strongest in weakest bodies, Hamlet, Hi. 4; may rob the treasury of life, King Lear, iv. 6. INDEX TO SIIAKSPERE'S WORKS. 71 Conclusion, lame and impotent, Othello, ii. 1; a foregone, Othello, Hi. 3. Conclusions (experiments), to try, Hamlet, Hi. 4 ; Cymbeline, i. 5. Concolinel, Love's Labour's Lost, Hi. 1. Probably the begin- ning of a forgotten song. Condition (disposition), Merchant of Venice, i. 2; L Henry I V,, i. 3 ; (art) Timon of Athens, i, L Conduct. See Behaviour. Coney-catching (poaching, cheating). Merry Wives of Windsor, i. 1, 3 ; Taming of the Shrew, iv. 1 ; v. L Confect, Count, applied by Beatrice to Benedick, Much Ado about Nothing, iv. 1. Confession, of Borachio, 31uch Ado about Nothing, v. 1; of Leontes, A Winter^s Tale, Hi. 2 ; exhortation to, Richard IL, i. 3 ; riddling, Romeo and Juliet, ii, 3. Confidence, in a leader, Julius Ccesar, ii. 1; in one's cause, Richard II., i. 3 ; rash, AlVs Well that Ends Well, Hi. 6. Confiners (borderers), Cymbeline, iv. 2. Confiscation, threatened, As You Like It, Hi. 1 ; Merchant of Venice, iv. 1 ; Comedy of Errors, i. 2 ; of John of Gaunt's property, Richard IL, H. 1. Confound (consume), I. Henry IV., i. 3 ; Coriolanus, i. 6. Confusion, how soon bright things come to, Midsummer-Nighf s Dream, i. 1; like a raven. King John, iv. 3; let confusion live, Timon of Athens, iv. L Conjurer (exorciser). Pinch in Comedy of Errors, v. L Conqueror, noise before and tears behind a, Coriolanus, ii. 1 ; afraid to speak, a, Love's Labour's Lost, v. 2 ; came over with the, Taming of the Shrew, induction, i. Sly calls him Richard. Conquest, a, with no profit in but the name, Hamlet, iv. 4. Conrade, one of the followers 01 Don John in Much Ado about Nothing, introduced in i. 3. Conscience, The Tempest, ii. 1 ; Hi. 3 ; examination of. Measure for Measure, H. 2, 3 ; and the fiend, Mercha?it of Venice, ii. 2 ; si- lenced by interest, King John, iv. 2 ; tumult in. King John, iv. 2 ; clog of, Richard IL, v. 6 ; a good, II. Henry IV., v. 5 ; outward, Henry V., iv. i ; a corrupted, II. Henry VI., Hi. 2, " Thrice is he armed," etc. ; fears of a guilty, III. Henry VI., v. 6, " The thief doth fear," etc. ; in a purse — makes cowards, Richard III, i. 4 ; hath a thousand tongues — is a coward and a word that cowards use, Richard IIL, V. 3 ; Q. tender place, Henry VIIL, ii. 2 ; accusations of, Henry 72 INDEX TO SHAkSPERE'S WORKS. VIIL, n.4; a still and quiet, Henry VllL, Hi. 2 ; tortures of, Mac- heth, Hi. 2 ; v. 3 ; those thorns that in the bosom lodge, Hamlet, i. 5 ; makes cowards, Hamlet, Hi. 1 ; ii. 4; sl fettered, Cymbeline, v. 4; whose is entirely free, Othello, Hi, 3 ; warning of, Lucrece, 1. 190 ; in love, Sonnet cli. See also Remorse and Guilt. Consequence, yet hanging in the stars, Romeo and Juliet, i. 4; cannot be trammelled up, Macbeth, i. 7. Consideration, Julius Ccesar, i. 2 ; like an angel came, Henry v., i. L Consort (concert), Two Gentlemen of Verona, Hi. 2 ; (company), Two Gentlemen of Verona, iv. L Conspectuities (perceptions), Coriolanus, ii. 1. Conspiracies : The Tempest, ii. 1 ; of the Percys, 1. Henry IV,, i. 3 ; iL 3, 4 ; Hi. 1 ; iv. 1 ; against the king's life, Henry V., H. 2 ; II. Henry VI., i. If. ; of Richard and Buckingham, Richard III., Hi. 1 ; against CcTsar, Julius Ccesar, ii. 1. Conspiracy, beginning of, Julius Ccesar, i, 2; in darkness — ripened, Julius Ccesar, ii. 1 ; popular, Coriolanus, Hi. L Conspirators, Henry V., ii., chorus ; leanness of, Julius Ccesar, i. 2 ; justifying themselves and anticipating their fame, Julius Ccesar, Hi. 1. Constable of France, Charles Delabreth or D'Albret, the, char- acter in Henry V., first appears in ii. 4- He is perhaps the finest character among the French nobles introduced into the play. He fell at Agincourt, October 25, 1415, iv. 8. Constance of Brittany, mother of Arthur in King John, intro- duced in ii. 1. After the death of Geoifrey Plantagenet, her hus- band, she was married by her father-in-law against her will to Ran- dal de Blondeville, whom she afterward separated from and then married Guy of Thouars. She died in 1201, before John gained pos- session of Arthur, though she is represented in the play as still liv- ing at that time and still a widow. Dramatically, Constance is a fine character. Her whole nature is dominated by her love for her son and her ambition for him. Without much principle or any fairness cf mind, she is impassioned, imaginative, and eloquent where his rights are concerned, and some of the highest strains of poetry in the plays are uttered by her. See especially the scolding scene between her and Elinor, act ii., scene 1, and also act Hi., scenes 1 and 4. Constancy, want of, Two Gentlemen of Verona, v. 4 ; protesta- tion of, A Winter's Tale, iv. 3 or 4; v. 1 ; persistent, Troilus and Cressida, i. 3; Troilus a name for, Troilus and Cressida, Hi. 2 ; INDEX TO SHAKSPERE'S WORKS. 73 Julius Ccesar, in. 1 ; vows of, Cymbeline, i. 1 ; of wives, Henry VIIL, ii.2 ; Othello, iv. 2 ; Romeo and Juliet, iv. 1. See Love, con- stancy IN, Constantine, /. Henry VI., i. 2. Constantinople, Henry Y., v. 2. Consulship, election to the, Coriolanus, ii. 2 , Hi. 3, Consumption, of the purse, //. Henry IV., i. 2. Contagion, pretended fear of, Measure for Measure, i. 2. Contain (retain), Mercha7it of Venice, v. 1. Contemporaries, judging one's self by his. Sonnet xxiL Contempt, consequences of, /. Henry I V., Hi. 1, " In faith, my lord," etc. ; epithets of, I. Henry IV., ii. 4; III. Henry VI, i. 4. Contemptible (contemptuous), 3Iuch Ado about JSothing, ii. 3. Content, commend you to your own. Comedy of Errors, i. 2 ; sleep of, //. Henry IV., iv. 5; a life of. III. Henry VI., ii. 5 ; a. crown, ///. Henry VI., Hi. 1 ; lowly birth with, the best having, Henry VIII., ii. 3 ; the best state, without, Timon of Athens, iv. 3 ; one's desire obtained without, Macbeth, Hi. 2 ; farewell to, — with poverty, Othello, Hi. 3 ; blessedness of, Oymbeline, i. 7. Contention, broke loose, //. Henry IV., i. 1. See Quarrels. Continent (container), Antony and Cleopatra, iv. 12, and else- where. Contriving (sojourning), Antony and Cleopatra, i. 2. Con tutto il core, etc. (with all my heart, well met), Taming oj the Shrew, i. 2. Convent, a, the scene of Measure for Measure, %. 5. Convent (summon). Measure for Measure, v. 1 ; Henry VIIL, V. 1 ; Coriolanus, ii. 2 ; (to be convenient), Twelfth Night, v. i. Conversation, Love's Labour's Lost, v. 1 ; on a journey, Rich- ard II, ii. 3 ; soft parts of, Othello, Hi. 3. Convert ites (converts), As You Lilce It, v. 4; King John, v. 1; Lucrece, I. 7/^. Convey, conveyance (stealing craft), 3Ierry Wives of Windsor, i. 3, and elsewhere ; (manage), Ki7ig Lear, i. 2. Convulsions, caused by magic. The Tempest, iv. L Cookery, fine Egyptian, Antony and Cleopatra, ii. 6 ; Imogen's, Cymbeline, iv. 2. Copatain hat (sugar-loaf hat), Taming of the Shrew, v. 1. Cope (reward). Merchant of Venice, v. 1. Cophetua, King, Love's Labour's Lost, iv. 1 ; IL Henry IV., v, 8 ; Romeo and Juliet, ii. 1. 74 INDEX TO SHAKSPERE'S WORKS, Copper-spur (a prisoner), Measure for Measure, iv. 3, Copy (burden), of conference, Comedy of Errors, v. L Coram, used by Slender as a title of Shallow, Merry Wives of Windsor, i. 1, eithor for quorum, because he was a justice of quorum, or quoted like armigero from a phrase used in warrants, coram me , armigero, before me , knight. Coranto, AlVs Well that Ends Well, ii, 3; Twelfth Night, i. 3, and elsewhere. A lively Italian dance. Cord, charity of a penny, Cymheline, v. J/.. Cordelia, the youngest daughter of King Lear. She refuses to make professions of love to her father, as her sisters do, is disinher- ited, and betrothed to the King of France, i. 1 ; returns with an army to restore her father. Hi. 7 ; iv. 2, 3, 4; the battle, iv. 6, 7 ; v. 1, 2 ; she is defeated and taken, v. 2 ; put to death in prison, v. 3. " Everything in her seems to lie beyond our view, and affects us in a manner which we feel rather than perceive. The character ap- pears to have no surface, no salient points upon which the fancy can readily seize ; there is little external development of intellect, less of passion, and still less of imagination. It is completely made out in the course of a few scenes. ... It is not to be comprehended at once or easily. . . . The impression it leaves is beautiful and deep, but vague. Speak of Cordelia to a critic or to a general reader, all agree in the beauty of the portrait, for all must feel it ; but when we come to details, I have heard more various and opposite opinions relative to her than any other of Shakspere's characters. . . . What is it, then, which, lends to Cordelia that peculiar and individual truth of character, which distinguishes her from every other human being % It is a natural reserve, a tardiness of disposition, ' which often leaves the history unspoke which it intends to do ; ' a subdued quietness of deportment and expression, a veiled shyness thrown over all her emo- tions, her language, and her manner ; making the outward demon- stration invariably fall short of what we know to be the feeling with- in." — Mrs. Jamesox. Corin, the old shepherd in As You hike It, introduced in n. ^ for whom Rosalind and Celia buy his master's flock and pasture. Corinth, in Greece, Comedy of Errors, i. 1 ; v. 1; Timon of Athens, ii. 2. Corinthian, Z Henry IV., ii. 4. Slang for a wild roystering fellow. Coriolanus, a tragedy first published in 1623, and from the evi- dences of style supposed to have been written at a late period of the author's work, 1608-1610. The material was drawn from the trans- lation of Plutarch by Sir Thomas North, many passages and expres- sions being copied literally, though there are variations from the INDEX TO SHAKSPERE'S WORKS, 75 story. The time of action fills about four years — 494 to 490 b. c. It is one of the finest of the plays, dealing with the struggles between the patricians and the plebeians of Rome. Coriolanus, Caius Marcius, surnamed, enters in the first scene of the drama that bears his name. His pride and disdain of the poor, i. 1 ; bravery, i. 4, 6, 8. 9 ; in. 2 ; his sincerity. Hi. 1 ; wounded, ^. 5 ; fights with Aufidius, i. 8 ; refuses spoils, i, 9 ; receives his sur- name, i. 9 ; the people's hatred of him, ii. 1 ; his triumph and wounds, ii. 1; made consul, ii. 2 ; the tribunes' treachery, ii. 3 ; his arrest and sentence, m. 1; will not sue to the people. Hi. 2 ; goes to Au- fidius, iv. 4, 5; marches against Rome, iv. 6 ; Aufidius's opinion of him, iv. 7 ; besought to return to Rome, v. 1 ; he is accused, v. 6 ; his death, v. 6. Coriolanus is a noble and heroic character, ruined by his haughty, contemptuous, unbending spirit. When he is banished he goes away in bitterness and takes up arms against his country, but lays them down at the suit of his wife and mother. His relations with them form a relief to his hateful pride of rank and contempt for the people. Corioli, the city taken by Coriolanus from the Volscians, about 494 B. c, act i., scetie 10, from which his surname was taken ; scene of a part of the play. Cormorant, the, allusions to its voracity. Love's Labour's Lost, i. 1; Troilus and Oressida, ii. 2 ; Coriolanus, i. 1. Cornelia, mother of the Gracchi, Titus Andronieus, iv. 1. Cornelius, a courtier in Hamlet, introduced in i. 2. Cornelius, a physician in Cymbeline, introduced in i. 5, to whom the queen applies for poisons to administer to Imogen. Cornwall, Duke of, Regan's husband, ni Ki7ig Lear, introduced in the first scene. He is slain by his servant when " going to put out the other eye of Gloucester," iv. 2. Coronation, a second, King John, iv. 2 ; of Bolingbroke, Rich- ard II., V. 2 ; procession, Henry VIII., iv. 1. Corpse(s), like a flower-strewn, A Winter's Tale, iv. 3 ov 4 ; an unhandsome, /. Henry IV., i. 3; decay of, Hamlet, v. 1; the sail- or's superstition that it is unlucky to have one on board, Pericles, Hi. 1 ; regarding one bleeding; Richard III., i. 2. Correction, degrading, Kiiig Lear, ii. 2 ; difficulties of, II. Henry IV., iv. 1. Corruption, through bad company, I. Henry IV., i. 2, Corruption, in Vienna, Pleasure for Measure, v. 1 ; wins not 76 INDEX TO SHAKSPERE'S WORKS. more than honesty, Henry VIIL, Hi. 2 ; honoured by the name of Cassius, Julius Cmsar, iv. 3 ; rank, Hamlet, Hi. 4. See also Bribery. Corvinus, King of Hungary, who took Vienna in 1485, Measure for Measure, i. 2. Corydon, lament of, Passionate Pilgrim, xviii. Cost, fashion to avoid. Much Ado aiout Nothing, i. 1 ; counting the, II. Henry IV., i. 3. Costard, a clown in Love's Labour's Lost, introduced in i. 1, a blunderer in the use of long words in imitation of the pedantry of his superiors, but blundering into some shrewd sayings. Costumes, brought from France, Henry VIIL, i. 3. Coted, come to the side of, Hamlet, ii. 2. Cot-quean, Romeo and Juliet, iv. 4- ^ inan meddling with kitchen affairs. Cotsall, 3Ierry Wives of Windsor, i. L See Cotswold man. Cotswold man, a (an athlete), II. Henry IV., Hi. 2. The Cots- wold Hills, in Gloucestershire, were the scene of rural sports on Thursday in Whitsun-week, the Cotswold games. Counsel, to the sorrowing, Much Ado about Nothing, v. 1 ; the cripple, Merchant of Venice, i, 2 ; friendly, /. Henry VL, Hi. 1 ; is a shield, Richard III., iv. 3; Christian, Henry VIIL, Hi. 1; too late, Julius Ccesar, ii. 4. ; two may keep, Romeo and Juliet, ii. 4. See also Advice. Counsellors, the winds truthful, As You Like It, H. 1 ; good, lack no clients. Measure for Pleasure, i. 2 ; love's, Cymbeline, Hi. 2. Countenance(s), lay my, to pawn, Mer.ry Wives of Windsor, ii. 2 ; almost chide God for making you that, you are. As You Like It, iv. 1; one more in sorrow than in anger, Hamlet, i. 2. Counter. See Hunting. Counter-caster, Othello, i. L Allusion to the use of counters in casting accounts. Counter-check, quarrels in. See Duelling. Counterfeit, to die is to be a, /. Henry IV., v. 4 ; of passion, Much Ado about Nothing, ii. 3. Counter-gate, love to walk the (a prison-gate). Merry Wives of Windsor, Hi. 3. Counterpoints (counterpanes), Taming of the Shrew, H. L Countries, on a fat woman, Comedy of Errors, Hi. 2. Country, the, manner of, at court, As You Like It, Hi. 2. Country, an unsettled, King John, iv. 3 ; v. 1 ; the undiscovered Hamlet, Hi. 1 ; disease of a, Macbeth, v. 3. See also Patriotism. INDEX TO SHAKSPERE'S WORKS. 77 Courage, boasts of, Merry Wives of Windsor, i, 1; ironical praise for, Merry Wives of Windsor, Hi. 1; boasted, Merchant of Venice, ii. 1 ; Much Ado about Nothing, i. 1 ; mounteth with occa- sion, King John, ii. 1 ; exhortation to, King John, v. 1 ; of feeble, 11. Henry IT., Hi. 2 ; the dauphin's, Henry V., Hi. 7; French boasts of, Henry V., Hi. 7 ; iv. 2 ; prayer for, Henry V., iv. 1 ; of Fluellen, Henry Y,, iv. 7 ; of the English, Henry V., iv. 3 ; after loss, 111. Henry VI., v. 4; Coriolanus, ii. 2, Hi. i, "His nature is too noble," etc., Hi. 3 ; true, Timon of Athens, Hi. 5 ; sticking point of, Jlacbeth, i. 7 ; for anything material, Macbeth, Hi. 4; boasts of, Macbeth, v. 3 ; Goneril's boasts of. King Lear, iv. 2. See also Bravery and Valour. Course, the holy, Julius Ccesar, i. 2. "That day [the feast Lupercalia] there are divers noble mens sons, yong men, which run naked through the citie, striking in sport them they meete in their way, with leather thongs, hair and all on, to make them give place." — North's " Plutarch." Court, a soldier in the king's army in Henry V., who first appears in iv. 1. Court, a beauty of the, Merry Wives of Windsor, Hi. 3 ; life at, As You Like It, ii. 1 ; All's Well that Ends Well, i. 1 ; Hi. 2 ; man- ners of. As You Like It, Hi. 2 ; All's Well that Ends Well, ii. 2 ; do you take the court for Paris garden, Henry VIIL, v. 3 ; holy- wa- ter of the (flattery), King Lear, Hi. 2 ; news of, King Lear, v. 3 ; folly of seeking preferment at, Oymbeline, Hi. 3. Court-cupboard (a sideboard), Romeo and Juliet, i. 5. Courtenay, Sir Edward, mentioned in Richard III, iv. 4, to- gether with his brother Peter, Bishop of Exeter. Courtesan, a, a character in the Comedy of Errors, iv. 3. Courtesy, advice concerning, AlVs Well that Ends Well, ii. 1; to an oyster-wench, Richard IL, i.4; without love, Timon of Athens, i. 1, speech of Apemantus; dissembling, Cymbeline, i. 2 ; to cover sin, Pericles, i. 1 ; of the wrong breed, Hamlet, Hi. 2. Courtier(s), a model for, AlVs Well that Ends Well, i. 1, 2 ; the curse of kings to be attended by. King John, iv. 2 ; inconstancy of, Richard IL, iv. 1; description of a, I. Henry IV., i. 3; discord among, /. Henry IV., iv. 1; hypocrisy of, Oymbeline, i. 1; poor wretches, Oymbeline, v. 4. Courtney, Sir Edward, in arms, Richard III, iv. 4. Courtship. See Love and Lovers. Covent (old form for convent). Measure for Measure, iv. 3„ 6 78 INDEX TO SHAKSPERE'S WORKS. Coventry, a city in Warwickshire, and roads near, scene of the meeting of Bolingbroke and Norfolk in Richard II., of part of i. Henry IV., and III. Henri/ VI., v. L Coventry, a mayor of, III Henry VI., v. 1. Covetous, the, Lucrece, 1. 134. Covetousness, skill confounded in. King John, iv. 2. Cow, a curst, has short horns, Much Ado ahout Nothmg, ii. I Cowardice, hated by women, Two Oentlemen of Verona, iii. 1 ; of a parson, Jlerry Wives of Windsor, iii. 1 ; of preferring life to honour. Measure for Measure, iii. 1 ; refuge of, As You Like It, v^ 4 ; AlVs Well that Ends Well, i. 1 ; religious in. Twelfth Night, iii. 4 ; hoxes (cuts the hamstrings of) honesty, A Winter's Tale, i. 2 ; a calf's skin for — strong on the stronger side, King John, iii. 1 ; in the noble, Richard II., i. 2 ; I. Henry IV., ii, 3, 4 ; iv. 3 ; of sui- cide, Romeo and Juliet, iii. 3 ; the gods shame, Julius Ccesar, ii. 2 ; accusations of, King Lear, iv. 2; self -accusation of, Hamlet, ii. 2 ; of procrastination, Hamlet, iv. 4 ', Antony and Cleopatra, iii. 9 or 11; Gymheline, iii. 6 ; slanderous. Much Ado about Nothing, v. 1; Henry V., iv. 5 ; I. Henry VI., i. 5 ; infectious, ///. Henry VI., v. 4; i. 4- Coward(s), a, that hath drunk. The Tempest, iii. 2 ; boast of a, Merry Wives of Windsor, i. 1; Merchant of Venice, iii. 2; with martial outside, As You Like It, i. 3 ; a, high-born, Taming of the Shrew, induction, 2 ; description of a, AlVs Well that Ends Well, iii. 6 ; iv. 3 ; the gift of a. Twelfth Night, i. 3 ; like the hare in the proverb, King John, ii. 1; three, I. Henry IV., i.2; on instinct a, I. Henry IV., ii. 4; description of a, Henry V., iii. 2 ; iv. 3 ; souls of geese, Coriolanus, i. 4, 6 ; die many times, Julius Ccesar, ii. 2 ; to live a, Macbeth, i. 7 ; made by tailors. King Lear, ii. 2 ; milk-livered, King Lear, iv. 2 ; bred by plenty, Cymbeline, iii. 6 ; father cow- ards, Cymbeline, iv. 2 ; brave by example, Cymbeline, v. 3. Cowish (cowardly). King Lear, iv. 2. Cowl-staff (for carrying a burden on the shoulders of two men), Merry Wives of Windsor, iii. 3. Cowslips, The Tempest, v. 1, song ; 3Iidsummer-Night'' s Dream^ ii. 1 ; freckled, Henry V.. v. 2 ; Cymbeline, ii. 2. Coxcombs. See Dandy. Coyness, Much Ado about Nothing, iii, L Coystril (an army-follower), Twelfth Night, ii. 3. Cozened, would all the world might be. Merry Wives of Wind- sor, iv. 5, INDEX TO SHAKSPERE'S WORKS. 79 Coziers (botchers), Twelfth Night, ii. 3. Crab, name of a dog, Two Gentlemen of Verona, ii. 3. Crab, backward like a, Hamlet, ii. 2. Crabs (apples), roasted, Love's Labour's Lost, v. 2 ; Midsum- mer-Night's Dream, ii. 1. A favourite drink for winter nights, espe- cially at Christmas-time, was '' lamb's wool," made of ale with crabs roasted in it, and flavoured with nutmeg. Crack of jioom, Macbeth, iv. L Crack (a bold boy), Coriolanus, i. 3 ; IL Henry IV., Hi. 2. Crack (to load), Macbeth, i. 2. Cracker (a braggart). King John, ii. 1. Crack-hemp (gallows-bird). Taming of the Shrew, v. 1. Craft, richer than innocency. Measure for Measure, Hi, 2 ; de- nunciation of. Twelfth Night, v. 1 ; of the fox, III. Henry VI., iv. 7 ; met with craft. Hamlet, Hi. If., end. Craftsmen, wooed with craft, Richard IL, i. 4. Cramps, invoked by magic, The Tempest, iv. 1 ; v. L Crants {Krantz, garlands), Hamlet, v. 1. The only instance known of the use of the word in English. Cranmer, Thomas, Archbishop of Canterbury, character in Hen- ry VIIL, introduced in v. 1 ; spoken of by Henry, ii. 4, end ; his zeal for the divorce. Hi. 2 ; & heretic, Hi. 2 ; his accusation by Gardi- ner and interview with the king, v. 1 ; disgraced and tried for heresy, and championed by the king, v. 2 ; the popular opinion of, v. 2 ; his prophecy concerning Elizabeth, v. If.. He was put to death in 1556, (aet. sixty-six) during the reign of Mary, who hated him both as a Protestant and for his agency in the divorce of her mother. Crare (or crayer, a small,, clumsy ship), Cymbeline, iv. 2. Crassus, a gentleman mentioned in Measure for Measure, iv. 5. Crassus, Marcus, his death avenged, Antony and Cleopatra, Hi. 1. Crecy, battle of (Aug. 3, 1346), mentioned, Henry V., i. 2 ; ii. 4. Credent (unquestionable). Measure for Measure, iv. 4. Credit (credulity), Comedy of Errors, Hi. 2. Credit, give no, Henry V., ii. 3. Creditor(s), duns of, Timon of Athens, H. 1, 2 ; Hi. 4 ; nature a, Measure for Measure, i. L Credulity, Othello, iv. 4 ; Antony and Cleopatra, v. 5 ; Cymbe- line, V. 5. Cressets (torches), I. Henry IV.. Hi. 1. Cressida, daughter of Calchas, heroine of Troilus and Cressida^ 80 INDEX TO SIIAKSPERE'S WORKS. first appears in i. 2. In her, Coleridge says, Shakspere " has drawn the portrait of a vehement passion, that, having its true origin and proper cause in warmth of temperament, fastens on, rather than fixes to, some one object by liking and temporary preference." Cres- sida is introduced in i. 2 of Troilus and Cressida. Her beauty and wit, i. 1. She is exchanged {iv. 1, 2, 3) for Antenor and sent to the Greek camp; forgets Troilus and loves Diomedes. Ulyssee divines her character, iv. 5; her inconstancy discovered by Troi- lus, V. 2. She is artful and coquettish, passionate but not affection- ate, and therefore ardent and inconstant. Ulysses says of her : "... Her wanton spirits look out At every joint and motive of her body." Allusion? to Cressida: Cressida's uncle (Pandarus), AlVs Well that Ends Well, it. 1; Cressida to this Troilus, Twelfth Night, Hi. 1. Cressy. See Crecy. Crest, the devil's. Measure for Measure, ii. 4 ,' prouder than blue Iris, Troilus and Cressida, i. 3. Crete, the desperate sire of, 7. Henry VI., iv. 6 ; fool of. III. Hen- ry VI., V. 6. Daedalus, who made wings for himself and his son Icarus. Crickets, merry as, I. Henry IV., ii. 4 / cry of, ominous, Mac- beth, ii. 2 ; song of, at night, Cymbeline, ii. 2. Crime, suggestions of, The Tempest, ii. 1 ; Hi. 2, 3 ; petty. Two Gentlemen of Verona, iv. 1 ; unpunished. Measure for Measure, i. 4 ; cherished by virtues, AlVs Well that Ends Well, iv. 3 ; plans for. As You Like It, i. 1 ; ii. 3 ; A Winter's Tale, i. 2 ; hints for. King John, Hi. 3 ; effects of. King John, Hi. 4 ', results of declaring the purpose to commit and the sight of means, King John, iv. 2 ; not inherited, Timon of Athens, v. 5 ; the mind before a, Julius Ccesar, ii. 1 ; first suggestion of, Macbeth, i. 3 ; for naught, Macbeth, Hi. 1 ; to se- cure results of crime, Macbeth, Hi. 2, 4 ; will out, Hamlet, i. 2, end , a gross, Hamlet, Hi. 4 ; revelations of. King Lear, Hi. 2 ; planned, King Lear, iv. 6 ; accusation of, Othello, i. 3 ; time for shrift of, Othello, V. 2. Crisis, the, King John, Hi. 4 ; Macbeth, iv. 2, " Things at the worst," etc. Crispian (Crispin and Crispianus), Saint, feast of, October 25th5 Henry V., iv. 3. Saint Crispin made shoes to render himself inde- pendent while preaching Christianity, and is the tutelar saint of shoemakers. Critical, nothing if not, Othello, ii. 1, INDEX TO SHAKSPERE'S WORKS. 81 Criticism, on men, Much Ado about Nothing^ Hi. 1. Critics, satire on. Love's Labour's Lost, iv. 2, speech of Holofer- nes, near the end. Croaker, a, Troilus and Cressida, v. 2. Crocodile, the mournful, IL Henry VL, in. 1 ; Antony's de- scription of the, Antony and Cleopatra, ii. 7 ; tears of the, Othello, iv. 1 ; eat a, Hamlet, v. 1. Cromer, Sir James, //. Henry VL, iv. 7. Cromwell, Thomas, subordinate of Wolsey in Henry VIIL, in- troduced in Hi. 2. Wolsey's advice to him, Hi. 2 ; preferments of, iv. 1 ; V. L He entered Parliament and defended Wolsey ; the king made him Earl of Essex, and he became chancellor and vicar-gen- eral. He was the most influential adviser of the king, and it was through his policy that the Church of England separated from the Papacy. After Henry's marriage with Anne of Cleves, however, which he brought about, he fell in favour, and was finally arrested on a charge of treason and beheaded in 1540. Crosby Place, Richard III., i. 2, 3. A house still standing in Bishopsgate Street, London. Cross, the bitter, /. Henry IV., i. 1 ; you Pilates have delivered me to my, Richard IL, iv. 1. Crosses, wayside, Merchant of Venice, v. 1 ; (coins which had crosses on the back). Love's Labour's Lost, i. 2. Cross-row, the alphabet in the primer, called so because headed by a cross, Richard III, i. 1. Cross- ways, suicides buried at, where stakes were driven through the bodies, Midsummer-Night's Dream, Hi. 2. Crow(s), singing of the. Merchant of Venice, v. 1 ; over a battle- field, He-.iry V., iv. 2 ; ominous, Julius Cmsar, v. 1 ; 3IacbetJi, Hi. 2; Troilus and Cressida, iv. 2 ; the treble-dated, the Phoenix and the Turtle. Crow-flowers, Hamlet, iv. 7. Said to have been the ragged robin. Crow-keeper, Romeo and Juliet, i. If.; King Lear, iv. 6. A man or boy who drives crows from fields, or a scarecrow. Crowd, a, foolishness of. Measure for Measure, i. 4 ; in London, Henry VIIL, v. 4. Crown, the imperial, A Winter's Tale, iv. 3 or 4 ; cares go with — like a well — resigning a, Richard II., iv. 1 ; uneasy lies the head that wears a, //. Henry IV., Hi. 1 ; an ill-gotten — weight of a — the prince takes the, //. Henry 1 V., iv. 4 ; would the, were red-hot steel, 8^ INDEX TO SHAKSPERE'S WORKS. Richard III., iv. 1. This may be an allusion to the punishment oi a burning crown for regicides and usurpers. Sweet to wear, III. Henry FZ, i. 2 ; for York, III. Henry VI., i. 4; of content, ///. Henry VI, Hi. 1 ; ambition for, IIL Henry VI., Hi. 2; offered, Julius Ccesar, i. 2 ; Hi. 2 ; might change the nature, Julius Cmsar, ii. 1; gift of a. King Lear, i. 1, 4; a thousand flatterers in a, Rich- ard II., ii. 1 ; Hi. 2, 3 ; a fruitless, Macbeth, Hi. 1. Crowner (coroner), Twelfth Night, i. 5 ; Hamlet, v. 1. Crucifixion of Christ, the, I. Henry IV., i. 1. Cruels (cruelties), King Lear, Hi. 7. Cruelty, 3Ierchant of Venice, iv. 1, " A stony adversary," etc. ; prayer for, Macbeth, i. 5 ; Hamlet, Hi. 2, 4 ; in a woman, ///. Hen- ry VI., i. 4> " tiger's heart," etc. ; inhuman, King Lear, Hi. 7, " Because I would not see," etc. ; toward Lear, iv. 7 ; to the falling, Henry VIII., v. 2; Othello, v. 2. Crusades, the, Richard II, iv. 1 ; I. Henry IV., i. 1; II. Henry IV., Hi. 1 ; iv. 4. Crusadoes (Portuguese coins of gold stamped with a cross), Otliello, Hi. 4. Cry, They come, Macbeth, v. 5 ; you and your, Coriolanus, iv. 6 ; of players, a, Hamlet, Hi. 2. A cry was a pack of hounds ; aim (give encouragement), Merry Wives of Windsor, Hi. 2. Cubiculo (chamber, lodging). Twelfth Night, Hi. 2. Cuckold(s), Jlerry Wives of Windsor, ii. 2 ; Hi. 5 ; v. 5 ; Meas- ure for Measure, v. 1 ; Much Ado about Nothing, ii. 1 ; Merchant of Venice, v. 1 ; All's Well that Ends Well, i. 3 ; A Winter's Tale, i. 2 ; Coriolanus, iv. 5 ; Antony and Cleopatra, i. 2 ; Troilus and Cressida, iv. 1; Cymbeline, ii. 4> Othello, Hi. 3 ; iv. 3 ; calamity the only true, Twelfth Night, i. 5. Cuckoo, the. Merry Wives of Windsor, H. 1 ; Love's Labour's Lost, V. 2, song ; voice of, Midsummer- Night's Dream, Hi. 1 ; Mer- chant of Venice, v. 1 ; in June, /. Henry IV., Hi. 2 ; in the sparrow's nest, I. Henry IV., v. 1 ; Antony and Cleopatra, ii. 6 ; King Lear, i. 4 ; sings in kind, ^.^^5 Well that Ends Well, H. 1. Cuckoo-buds, Love's Labour's Lost, v. 2. Variously supposed to be the cowslip, crowfoot, and pile- wort. Cuckoo-flower, King Lear, iv. 4. Probably ragged robin. Cucullus non facit monachum (the cowl does not make the monk), 31easure for Measure, v. 1 ; Twelfth Night, i. 5. Cullion, -ly (scullion), Taming of the Shrew, iv. 2 ; King Lear, ii, 2 ; Henry V., Hi. 2. ; II. Henry VI., i. 3. INDEX TO SHAKSPERE'S WORKS. 83 Cum privilegio, etc., the words of an old grant of privilege for printing a book with the sole right of putting to press, Taming of the Shrew, iv. 4. Ciuming, bashful, The Tempest, Hi. 1 ; skilled, Taming of the Shrew, i. 1; ii. 1 ; to be strange, Romeo and Juliet, ii. 2 ; plaited. King Lear, i. 1; errs in ignorance, not in, Othello, Hi. 3. Cupid, introduced as a character in Timon of Athens, i. 2. Cupid, foiled. The Tempest, iv. 1 ; Merry Wives of Windsor, v. 5 ; challenged. Much Ado about Nothing, i. 1 ; ii. 1 ; iii» 1, Love's Labour's Lost, i. 2 ; ii. 1 ; iiji. 1; iv. 3 ; v. 2 ; Midsummer- NigMs Dream, i. 1 ; ii. 1, 2 ; Hi. 2 ; Merchant of Venice, ii. 6. 9 As You Like It, iv. 1, end ; ATVs Well that Ends Well, i. 1 ; Hi. 2 Troilus and Cressida, Hi. 2, 3 ; Romeo and Juliet, i. 1, 4, ; ii. 1, 5 Othello, i. 3 ; King Lear, iv. 6 ; his brand in a boiling spring. Son- nets cliii., cliv. Cur(s), small, /. Henry VI., Hi. 1 ; bark when their fellows do, Henry VIII., ii. 4 ; that like nor peace nor war, Coriolanus, i. 1 ; Casca like a, Julius C(Esar, v. 1 ; Ajax and Achilles, Troilus and Cressida, v. 4' Curan, a courtier in King Lear, introduced in ii. L Curds and cream, queen of, A Winter's Tale, iv. 3 or 4. Curfew, the solemn. The Tempest, v. 1 ; Measure for Measure, iv. 2 ; Romeo and Juliet, iv. 4 — a slip for matin, probably. Curio, a gentleman attending on the duke in Twelfth Night, in- troduced in the first scene, an unimportant character. Curiosity, woman's. Two Gentlemen of Verona, i. 2 ; As You Like It, Hi. 2 ; (exact scrutiny), King Lear, i. 1; (fastidiousness), Timon of Athens, iv. 3 ; (fine distinctions). King Lear, i. 2. Current(s), course of an unhindered, Two Gentlemen of Verona, ii. 7 ; corrupted, of this world, Hamlet, Hi. 3 ; of the sea, Othello, Hi. 3. Curses, on Prospero, The Tempest, ii. 2 ; of the church, King John, Hi. 1, 3 ; for murder, King John, iv. 3 ; on Judases, Richard IL, Hi. 2 ; of Suffolk — recoil of, II. Henry VI., Hi. 2 ; v. 1 ; Anne's, Richard III, i. 2 ; Margaret's, Richard III., i. 3 ; Hi. 3, 4; iv. 1; teaching of, Richard III, iv. 4 ; of a, mother on her son, Richard III, iv. 4; York's on Margaret, Richard III., i. 3 ; of Thersites, Troilus and Cressida, v. 1 ; on Romans, Coriolanus, i. 4 ,' i^- -?> ^ >' Timon of Athens, Hi. 6 ; iv. 1, 3 ; Julius Ccesar, Hi. 1 ; not loud but deep, Macbeth, v. 2 ; a father's. King Lear, i. 1, 4; ii. 4; on a liar, Othello, V. 2 ; Diicrece, I. 967. See also Maledictions. 84 INDEX TO SHAKSPERE'S WORKS. Curst (cross, scolding, ill-tempered). Two Gentlemen of Verona, Hi. 1 ; Taming of the Shreiv, i. 1, 2 ; Richard III., i. 2 ; and oth- ers. Curtal, name of a horse, AlVs Well that Ends Well, ii. 3. Curtal dog (curtail), a. Merry Wives of Windsor, ii. 1. Curtis, one of the servants of Petruchio in the Taming of the Shreiv, introduced in iv. 1. Curtle-axe (cutlass), As You Like It, i. 3. Custard, leaped into the, AWs Well that E7ids Well, ii. 5. An allusion to the custom of having a clown leap into a custard at a feast. Custard cofB.n (the crust of a pie was called a coffin), Taming of the Shrew, iv. 2. Custoni(s), if obeyed in all things, Goriolanus, ii. 3 ; one honoured in the breach, Hamlet, i. 4 ; that monster, Hamlet, Hi. 4. ; makes in- sensible, Hamlet, v. 1 ; nice, courtesy to kings, Hamlet, v. 2 ; the plague of, King Lear, i. 2 ; new, Henry VIII., i. 3. See Habit, Fashion. Cut, the unkindest, Jidiiis Ccesar, Hi. 2. Cut, Twelfth Night, ii. 3. A name applied to a horse. Cut and long tail (short- and long-tailed dogs — that is, people of all ranks). Merry Wives of Windsor, Hi. 4. Cutpurse, requisites for a, A Winter's Tale, iv. 3 or 4. Cuttle, play the saucy, II. Henry IV., ii. 4. Perhaps an allu- sion to the cuttle-fish, which hides itself by throwing out a black juice from its mouth. Cyclops, Titus Andronicus, iv. 3 ; Hamlet, ii. 2. Cy dnus River, the, in Cilicia, Antotiy and Cleopatra, ii. 2 ; v. 2 ; Gymheline, ii. 4' Cymbals, Goriolanus, v. 4. Cymbeline, a play classed with the tragedies, though not tragic in its ending. It was first printed in 1623, and is supposed to have been written in 1609 or 1610. The historic material for it, that regarding the Roman tribute, is taken from Holinshed. The story of Posthumus and his wife is from one of the novels of the " De- cameron." The time, as nearly as can be determined of a play that utterly disregards consistency in time as well as in other regards, is shortly before the Christian era. The vision or dream of Posthumus, in iv. 4, is supposed to be by some other hand than Shakspere's. Hazlitt calls Gymheline " one of the most delightful of Shakspere's historical plays," and Swinburne says of it, " I may say I have always INDEX TO SHAKSPERE'S WORKS. 85 /oved this one above all other children of Shakspere." The greatest charm of the play is in the character of Imogen. Cymbeline, King of Britain, first appears in the drama that bears his name, toward the close of the first scene. He is weak, and entirely under the influence of his queen. Cynic(s), Timcn and Apemantus in Timon of Athens ; curses of a, Timmi of Athens, iv. 1, 3 ; quarrel of, Timon of Athens, iv. 3 ; epitaph on a, Timon of Athens, v. 4 ,' vile rhymes of a, Julius Ccesar, iv. 3. Cynicism, of Cassius, Julius Ccesar, i. 2, " I do not know the man," etc. ; Sonnet Ixvi. Cynthia, Venus and Adonis, I. 727. The moon, or Diana. Cypress, let me be laid in, Twelfth Night, ii. 4. Coflins were made of cypress-wood. Cyprus, an island in the Mediterranean, scene of the last four acts of Othello. Cyprus (a veil of crape). Twelfth Night, Hi. 1. Cytherea (Venus), Taming of the Shrew, induction, 2 ; A Win- ter's Tale, iv. 3 ov 4; Cymbeline, ii. 2 ; Passionate Pilgrim, iv., vi., ix., xi. Daff (doff, put off). Much Ado about Nothing, v. 1 ; Othello, iv. 2. Daffodils, A Winter's Tale, iv. 3, 4. Dagger(s), a phantom, Macbeth, ii. 1 ; %ii. 4 ; in thoughts, II. Henry IV., iv. 4; speak, Hamlet, %ii. 2 ; worn in the mouth, Cym- beline, iv. 2. Dagonet, Sir, King Arthur's jester, whom he made a knight, IL Henry IV., Hi. 2. Daintry (Daventry in Northamptonshire), III. Henry VI., v. 1. Daisies, pied, Love's Labour's Lost, v. 2. Dalliance, The Tempest, iv. 1 ; the primrose path of, Hamlet, i. 3 ; in time of action, /. Henry IV., v. 2 ; Troilus and Cressida, Hi. 3 ; Othello, i. 3. Dalmatians, Cymbeline, Hi. 1, 7. Damascus, in Syria, I. Henry VI., i. 3. Damascus was said to be on the spot wliere Cain killed Abel. Damnation, 31erry Wives of Windsor, Hi. 2 ; Much Ado about Nothing, iv. 1 ; King John, iv. 2 ; OtJiello, Hi. 3 ; a, more delicate way than by drowiiing, Othello, i. 3 ; ancient, Romeo and Juliet, Hi. 8 ; by not being at court, As You Lil'e It, Hi. 2 ; no warrant can defend from, Richard III., i. 4 ; of his taking off, 3Iacbeth, i. 7. 86 INDEX TO SHAKSPERE'S WORKS. Damned, torment for the. The Damon, Hamlet, iii. 2. Applied to Horatio. Dances, Bergomask, Midsummer -NigMs Dream, v. 1. See Brawl, Canary, Cinque-Pace, Coranto, Hay, Jig, Lavolta, Meas- ure, Pa VAN, Roundel, Sword-Dance, Trip-and-Go, Upspring. Dances, of shepherds, A Winter's Tale, iv. 3 or ^. Dancing, Twelfth Night, i. 3 ; A Winter's Tale, iv. 3 or 4 ; Ro- meo and Juliet, i. 5 ; Venus and Adonis, I. I4.6. Dandy(ies), a, Love's Labour's Lost, i. 1 ; iv. 3 ; v. 2, " This is he that," etc. ; Hotspur's description of a, /. Henry IV., i. 3, " He was perfumed," etc., Hamlet, v. 2 ; Othello, v. 2. Danes, drinking habits of tlie, Hamlet, i. 4 ; Othello, ii. 3. Danger, makes unscrupulous, King John, iii. 4 ; Richard II., ii. 1 ; the nettle, I. Henry IV., ii. 3 ; of the great, Richard HI., i. 3, " They that stand high," etc. ; subtly taints, Troilus and Cressida, iii. 3 ; more dangerous than, Julius Coesar, ii. 2 ; in, of the scotched snake, Macbeth, iii. 2 ; to be too busy is some, Hamlet, iii. 4; de- viseth shifts, Venus and Adonis, I. 690 ; lurking, I. Henry VL, v. 3 ; II. Henry VL, iii. 1 ; of pride when in power, Troilus and Oressida, i. 3. See Omens. Daniel, a, come to judgment. Merchant of Venice, iv. L Danskers (Danes), Hamlet, ii. 1. Dante, imagery reminding of, Pleasure for Measure, iii. 1, " To bathe in fiery floods," etc. Daphne, the nymph that was changed into a laurel-tree when flying from Apollo, Taming of the Shrew, induction, 2 ; Midsum- mer-Night's Dream, ii. L Dardan (Troy, Trojan), Lucrece, 1. 1436 ; Dardanian wives. Mer- chant of Venice, iii. 2. Dardanius, a servant of Brutus in Julius Ccesar, appears in V.6. Daring, becoming a man, Macbeth, i. 7 ; of an adventurous spirit, /. Henry IV., i. 3 ; damnation, Hamlet, iv. 5. Darius, King of Persia, 7. Henry VL, i. 5. Darkness, makes hearing more acute. Midsummer - Night' s Dream, iii. 2. Darlings, curled, Othello, i. 2. Darnel, I. Henry VL, Hi. 2 ; King Lear, iv. 4; Henry V., v. 2. Darraign (arrange), II. Henry VL, ii. 2. Dartford, a town in Kent, seventeen miles from London, II. Henry VL, v. 1. INDEX TO SHAKSPERE'S WORKS. 87 Datchet - mead (iDleaching-place), Merry Wives of Windsor, Hi. 3. Datchet is a hamlet adjoining Windsor. Dates, pies oi,AlVs Well that Ends Well, i. 1; Troilus and Cress i da, i. 2. Dates at which the plays were written and published. See Or- der AXD Dates. Daub (keep up the pretence), King Lear, iv. 1. Daugliter(s), still harping on my, Hamlet, ii. 2 ; unkind, King Lear, ii. 4 ; Hi. 4 ; trust not, Othello, i. 1. Dauphin, the (afterward Louis VIII.), treachery of. King John, V. 4. See Melun. Dauphin, the, crowned Charles VII., I. Henry VI., i. 1. David's (St.) Day (March 1st), the leek worn upon, Henry V., iv. 7. See Leek. Davy, servant of Justice Shallow in II. Henry IV., first appears in V. 1. Dawn, lluch Ado about Nothing, v. 3. " The gentle day," etc. See MoRxixG. Day, the time of, I. Henry IV., i. 2 ; the tell-tale, II. Henry VI., iv. 1 ; Lucrece, I. 806 ; prying, Lucrece, I. 1088 ; jocund, Romeo and Juliet, Hi. 5 ; stirring passage of the. Comedy of Errors, Hi. 1 ; who dares not stir by, King John, i. 1. Day(s), better. As You Like It, ii. 7 ; Timon of Athens, iv. 2 ; an unseasonable, AlVs Well that Ends Well, v. 3 ; of reconciliation — of ill omen, King John, Hi. 1 ; evil. Sonnets Ixvi. to Ixviii. ; never such a, since Caesar, II. Henry IV., i. 1. Day-woman (dairy), Love's Labours Lost, i. 2. Day is sup- posed to be an old word for milk. Dead, the, appreciation of, AlVs Well that Ends Well, v. 3, " well excused," etc. ; spirits of, A Winters Tale, Hi. 3 ; indignities to, /. Henry IV., i. 1 ; of this year, quit for the next, //. Henry IV., Hi. 2 ; eulogy on, /. Henry VI., i. 1 ; appeasing of, by vengeance, Titus Andronicus, i. 1 or 2 ; flowers for the, Henry VIIL, iv. 2 ; Romeo and JuUet, iv. 5 ; v. 3 ; Hamlet, iv. 5 ; v. 1; Cymbeline, iv. 2 ; Pericles, iv. 1 ; arms hung over the, Hamlet, iv. 5 ; Titus An- dronicus, i. 1 ; borne with uncovered face, Romeo and Juliet, iv. 1 ; Hamlet, iv. 5, song ; among the, Romeo and Juliet, Hi. 5 ; base uses of, Hamlet, v. 1 ; sorrow for. Sonnets xxx., xxxi.,lxxi. ; hair of. Son- net Ixviii. ; praise of. Sonnet Ixxii. Dead men's fingers, a plant, Hamlet, iv. 7. Supposed to be the purple orchis, spoken of in the same sentence as long purples. 88 INDEX TO SHAKSPERE'S WORKS. Deafness, a tale to cure, The Tempest, i. 2. Dear, so bloody and so, Twelfth Night, v. i. Dear and dearth from dere, to hurt. Dearn (lonely), Pericles, Hi., prologue. Death, preparation for, Measure for Ifeasure, ii. 2 ; better than dishonour. Measure for Measure, ii. 4- ; the fool of, see Life ; terrors of. Measure for Measure, Hi. 1 ; a great disguiser, Measure for Meas- ure, iv. 2 ; life that is past fearing, Measure for Measure, v. 1 ; the end of woes. Comedy of Errors, i. 1 ; penalty of, for traffic between cities, Comedy of Errors, i. 1 ; effect of, Much Ado about Nothing, iv. 1 ; good inspirations at, 3Ier chant of Venice, i. 2 ; sought. As You Like It, i. 2 ; conceit nearer to it than the powers, As You Like It, ii. 6 ; and sleep. Taming of the Shrew, inductiori, 1 ; tests of, A Winter's Tale, Hi, 2 ; feasts by quarrels of kings, Ki7ig John, ii. 1 or 2 ; order for Arthur's, King John, Hi. 3 ; welcome. King John, Hi. 4 ; effect of report of Arthur's, King John, iv. 2 ; no life achieved liy others', King John, iv. 4 ; truth in. King John, v. 4 ; besieging the mind. King John, v. 7 ; value of words at, Richard II., ii. 1 ; prophecy before, Richard II., ii. 1 ; I. Henry IV., v. 4; nothing our own but — an antic throned in the crown, Richard II., Hi. 2 ; owed to God, I. Henry IV., v. 1; counterfeited, I. Henry IV., v. 4; allu- sion to the notion that it takes place at ebb-tide, Henry V., ii. 3 ; friendship in, Henry V., iv. 6 ; the umpire of men's miseries, I. Hen- ry VI., H. 5 ; like the removal of a court, /. Henry VI., H. 5 ; the end of misery, I. Henry VI., Hi. 2 ; thou antic (harlequin), I. Henry VI., iv. 7 ; signs of a violent, II. Henry VI., Hi. 2 ; fear of, //. Henry VI., Hi. 3 ; coming of, III. Henry VI., i. 4, " The sands are numbered," etc. ; summons to, Troilus and Cressida, iv. 4 ; defiance of, Coriolanus, Hi. 2, 3 ; apparent, Romeo and Juliet, iv. 5 ; v. 3 ; lamentation for, Romeo and Juliet, iv. 5 ; merriment at, Romeo and Juliet, V. 3 ; beauty in, Romeo and Juliet, v. 3 ; and honour, Julius Ccesar, i. 2 ; fear of, Julius Ccesar, ii. 2 ; Hi. 1; lament for, Julius Ccesar, Hi. 1 ; time of, the only anxiety, Julius Ccesar, Hi. i ; a be- coming, Macbeth, i. 4; omens of, Macbeth, ii. 3, see also Omens; peace of, Macbeth, Hi. 2 ; in life, Macbeth, iv. 3, " The quean, etc. ; dusty, JIacbeth, v. 5; a soldier's, Macbeth, v. 7; common, Hamlet, i. 2 ; without absolution, Hamlet, i. 5 ; what may come after, Ham- let, Hi. 1 ; proud — a fell sergeant — why should, be shunned, Hamlet, V. 2, " Not a whit," etc. ; men must await their, King Lear, v. 2 ; suf- fered hourly, Ki7ig Lear, v. 3 ; effect of, Antony and Cleopatra, i. S ; lament for, Antony and Cleopatra, iv., end; study for an easy, # INDEX TO SHAKSPERE'S WORKS. 89 Antony arid Cleopatra, v. 2 ; end of fear, Cymbeline, iv. 2, song ; sought, Cymheline, v. 3 ; the sure physician — the after-inquiry, Gym- heline, v. 4 ; like a mirror, Pericles, i. 1; apparent, Pericles, Hi. 2; apostrophe to, Venus and Adonis, lines 931, 997 ; preferred to dishon- our, Lucrece, I. 1723 ; of the childless, Sonnets i.. Hi., iv., vi., x., xii., xiii., xiv. ; defeated by verse. Sonnets xviii., cvii. ; the churl, Sonnet xxxii. ; longing for. Sonnet Ixvi. ; knell of, //. Henry IV., i. 1 ; Son- net Ixxi. ; Venus and Adonis, I. 701 ; a fell arrest. Sonnet Ixxvi. ; feeds on men. Sonnet cxlvi. ; of a youth. Passionate Pilgrim, x. Deaths, pangs of three several, Measure for 3Ieasure, Hi. 5. Deborah., the sword of, /. Henry VI., i. 2. Deboshed, in many passages for debauched. Debts, paid by death. Tempest, Hi. 2; desperate, Timon of Athens, Hi. 4- Decay, this muddy vesture of, MercJiaiit of Venice, v. 1. Deceit, justified. Measure for Pleasure, Hi. 1; iv. 1; of men, Much Ado about Nothing, ii. 3, song ; under smiles, 3Ierchant of . Venice, i. 3 ; Hamlet, i. 5 ; of a traitor, //. Henry VI., Hi. 1 ; steals gentle shapes, Richard HI, ii. 2 ; in a gorgeous palace, Romeo and Juliet, Hi. 2 ; m. friendship, Julius CcBsar, iv. 2 ; in prophecy, 3Iac- beth, V. 7, " And be these juggling," etc. ; commended, Othello, i. 1 ; Macbeth, i. 5, 7 ; in a face, Lucrece, I. 1506 Midsummer-NigM s Dream, Hi. 2 ; A Winter's Tale, i. 2 ; II. Henry VI., Hi. 2 ; IIL Henry VI., Hi. 2. Decimation, and a tithed death, Timon of Alliens, v. 5. Decision. See Promptness. Decius Brutus, one of the conspirators in Julius CcBsar, first appears in i. 2. His real name was Decimus Junius Brutus Alba- nus. Shakspere took this form of the name from his English Plu- tarch. Decline (incline), Comedy of Errors, Hi. 2. Deed(s), ill, double, Comedy of Errors, Hi. 2 ; high and worthy, Much Ado about Nothing, v. 1 ; light of a good, Merchant of Ven- ice, V. 1 ; dying tongueless, A Winter's Tale, i. 2 ; without a name, Macbeth, iv. 1 ; foul, will rise. Hamlet, i. 2 ; must go with the pur- pose, Macbeth, iv. 1. Deep- vow, a prisoner. Measure for Measure, iv. 3. Deer, killed my. Merry Wives of Windsor, i. 1 ; see Shallow ; the killing of, As You Like It, ii. 1 ; let the stricken, go weep, Ham- let, Hi. 2 ; the frightened, Lucrece, I. II49 ; England's timorous, /. Henry VI., iv. 2. See also Hunting. 90 INDEX TO SHAKSPERE'S WORKS, ♦ Defeat, everlasting' shame, Henry V., iv. 5. Defeatures (disfigurement), Comedy of Errors, ii. 1 ; v. L Defect(s), influence of one, Hamlet, i. 4 ; sometimes prove com- modities (advantages), King Lear, iv. 1 ; made perfections, Antony and Cleopatra, ii. 2. Defence, in cases of, weigh the enemy more mighty than he seems, Henry Y., ii. 4,, Defiance (refusal). Measure for Measure, Hi. 1. Defiance, King John, i. 1 ; iv. 3 ; v. 2 ; Richard II., i. 1 ; iv. 1 ; Henry V., i. 2 ; ii. 4 ; Hi. 6 ; iv. 3 ; Julius Cmsar, iv. 3 ; v. 1 ; The Tempest, Hi. 3 ; Much Ado about Nothing, v. 1; I. Henry IV., i. 3 ; iv. 1; II. Henry IV., v.2; Coriolanus, Hi. 3 ; Macbeth, Hi. 4.; Troilus and Cressida, iv. L Deformed, the, in shape and manners, Tempest, v. 1; talk of one. Much Ado about Nothing, v. 1 ; only ambition left for the, III. Henry VI., Hi. 2 ; called stigmatics, //. Henry VI., v. 1 ; III. Hen- ry VL, H. 2. Deformity, Richard III., i. 1-3 ; Hi. 1 ; King Lear, iv. 2. Defuse (disorder). King Lear, i. 4. Degeneracy, of descendants of the great. Taming of the Shrew, induction, 2 ; Jidius Ccesar, i. 3 ; Coriolanus, Hi. 1 ; I. Henry IV., i. 3 ; of the world. Measure for Measure, Hi. 2 ; Richard III., i. 3. Degree, observance of, Troilus and Cressida, i. 3. Deign (to honour). Two Gentlemen of Verona, i. 1. Deiphobus, son of Priam, character in Troilus and Cressida, in- troduced in iv. 1. Deity, used in the sense of an attribute of deity, ubiquity, Twelfth Night, v. 1, " Nor can there be that deity," etc. Delabreth, Charles, Constable of France. See Constable. De la Pole. See Suffolk. Delations, close (secret accusations ?), Othello, Hi. 3. Delay (s), danger of, All's Well that Ends Well, v. 3, " Let's take the instant by the forward top," etc. ; I. Henry IV., Hi. 2, end ; I. Henry VI., Hi. 2 ; leads to beggary, Richard III., iv. 3 ; take swift advantage of the hours, Richard III, iv. 1 ; Troilus and Cressida, Hi. 3 ; Timon of Athens, v. 1 ; Julius Cmsar, iv. 3, " We must take the current," etc. ; Hamlet, iv. 7, " That we would do," etc. : Henry VIII., iv. 2 ; Romeo and Juliet, i. 4 ; the flighty purpose never is o'ertook unless the deed go with it, Macbeth, iv. 1. Deliberation. See Delay. Delighted spirit, the, 3Ieasure for Measure, Hi. 1. INDEX TO SHAKSPERE'S WORKS. 91 " A difficult word to explain in this connection. It is variously understood as referring to the previous condition of the spirit, as being used in the sense of delightful, as in Othello, i. 3, ' If virtue no delighted beauty lack ' ; and as meaning de-lighted, deprived of light, a manner of using the prefix not uncommon among writers of Shak- spere's time." — Hudson. Delights, the vainest, Love's Labour's Lost, i, 1; violent, Ro- meo and Juliet, ii. 6. Delirium, King John, v. 7. Delphos, oracle at, consulted, A Winter's Tale, ii. 1 ; Hi. 1, 2. It is spoken of as an island in Hi. 1, as it is in the story on which the play was founded. Delusion, Hamlet, Hi. 4; Cymheline, iv. 2. Demerits (merits), Coriolanus, i. 1. Dem.etrius, character in Midsummer-NighV s Dream, introduced in i. i ; a lover of Hermia at first, af^terward of Helena. Dem.etrius, son of Tamora in Titus Andronicus ; is introduced in i. i or ^ as a prisoner of the Romans, and is set free by the em- peror ; plots against Lavinia, ii. 1, 3, 4 ; is killed, iv. 2. Like his brother, he is pure brute. Demetrius, character in Antony and Cleopatra ; introduced in i. 1, a friend of Antony. DemLOn, thy, thy spirit which keeps thee, Antony and Cleopatra, ii. 3. Demon here is used in the sense of guardian angel. Dem.ureness, in boys, //. Henry IV., iv. 3. Denayed (denied), II. Henry VI., i. 3. Denis, Saint, patron of France, Henry V., v. 2; I. Henry VI., Hi. 2. Denmark, something rotten in, Hamlet, i. 4. Dennis, one of Oliver's servants in As You Like It, i. 1. Denny, Sir Anthony, character in Henry VIII. ; introduced in V. 1. Denny, Lady, the name sometimes given as that of the old lady, friend to Anne Bolcyn, in Henry VIII. Denunciation, of Leontes by Paulina, A Winter'' s Tale, ii. 3 ; of Perdita and Florizel, iv. 3 or 4. Denunciation (proclamation), Pleasure for Measure, i. 3* Depart (rather part with). Love's Labour's Lost, ii. L Deputy, power entrusted to a, Measure for Measure, i. 1 ; state of a. Merchant of Venice, v. 1. Derby, Earl of. See Stanley, Thomas, Lord. Dercetas, character in Antony and Cleopatra ; introduced in iv, 14, friend of Antony ; his desertion, iv. 12 or I4. 92 INDEX TO SHAKSPERE'S WORKS. Derivative (inheritance), A Winter'' s Tale, in. 2. Descant (part added to a song), Two Gentlemen of Verona, i. 2. Descent, poor, hated by women, Two Oentlemen of Verona, Hi. 2. Desdemona, wife of Othello, first appears in i. 3 ; described, ii. 1 ; the story of her marriage. Hi. 1 ; she intercedes for Cassio, Hi. 3, ^; is murdered, v. 2. " In Desdemona we cannot but feel that the slightest manifesta- tion of intellectual power or active will would have injured the dra- matic effect. She is a victim consecrated from the first — ' an offer- ing without blemish,' alone worthy of the grand final sacrifice ; all harmony, all grace, all purity, all tenderness, all truth ! " — Mrs. Jame- son. See also Imogen, Desert, an inaccessible. As You Like It, ii. 7. Desert, your, speaks loud, Measure for Measure, v. 1; used after one's, Hamlet, ii. 2. Desertion, remorse for, Antony and Cleopatra, iv. 6, 9 ; in mis- fortune, Antony and Cleopatra, iv. 10 or 12. Desire, gratified, without content, Macbeth, Hi. 2 ; Cymheline, i. 7. Desolation, King John, ii. 2 ; Richard II., i. 2 ; Henry VIII., Hi. 1; Cynibeline, Hi. 3. Despair, King John, Hi. 4 ; iv. 3 ; Hamlet, i. 2, " That this too, too solid flesh would melt," etc. ; trifling with, to cure. King Lear, iv. 6 ; Cymbeline, i. 1 ; Antony and Cleopatra, Hi., end ; iv. 10 or 12, 12 or 14; Comedy of Errors, v. 1; Richard II., ii. 2 ; Richard III, v. 3; Titus Andronicus, Hi. 1; Macbeth, v. 5; Merchant of Venice, Hi. 2. Desperate (magic) studies. As You Like It, v. 4- Desperation, Macbeth, Hi. 1 ; v. 7 ; III. Henry VI., i. 4 ,' King John, Hi. 4; Romeo and Juliet, v. 3 ; Othello, v. 2 ; Julius Ccesar, v. 5 ; Antony and Cleopatra, Hi. 9 ; iv. 13. Despondency, Richard II., Hi. 2 ; Richard III, v. 3 ; Timon of Athens, iv. 3. Destiny, The Tempest, Hi. 3 ; Richard III, iv. 4 ; Othello, Hi. 3 ; hanging and wiving go by, 3Ierchant of Venice, ii. 9. Determination. See Resolution. Detraction. See Calumny, Slander. Detractions, they that hear their. Much Ado about Nothing, ii. 3. Deucalion, A Winter's Tale, iv. 3 or 4. The Noah of Greek mythology. De Vere, John. See Oxford. INDEX TO SHAKSPERE'S WORKS. 93 Devil, the, will not have me damned, Merry Wives of Windsor^ V. 5; a cunning enemy, Measure for Measure, ii. 2; write good angel on his horn (that is, give a false seeming), Measure for Meas- ure, ii. 4 ; crest of, Measure for Measure, ii. 4 ; seek redemption of the, Measure for Measure, v. 1; his burning throne, Measure for Measure, v. 1 ; a long spoon to eat with the, Comedy of Errors, iv. S ; can cite Scripture, Merchant of Venice, i. 3 ; in the likeness of a Jew, Mercliant of Venice, Hi. 1 ; AlVs Well thai Ends Well, iv. 5 ; lead the measure (of fashion), AlVs Well that Ends Well, ii. 1 ; thy master, AlVs Well that Ends Well, ii. 3 ; possession by, Twelfth Night, Hi. 4; treated with courtesy. Twelfth Night, iv. 2 ; in like- ness of a bride. King John, Hi. 1 ; selling the soul to — due of, /. Henry IV., i. 2 ; Glendower's league with, I. Henry IV., ii. 2 ; com- mand — tell truth and shame the, I. Henry IV., Hi. 1 ; seem a saint and play the, Richard III., i. 3 ; mistake of, Timon of Athens, Hi. 3 ; Julius Caesar, i. 2 ; " can the, speak true ? " Macbeth, i. 3 ; a painted, JIacbeth, ii. 2 ; sold to, for Banquo's children, Macbeth, Hi. 1 ; hath power to assume a pleasing shape, Hamlet, ii. 2 ; with visage of de- votion, Hamlet, Hi. 1; prince of darkness, King Lear, Hi. 4; in the voice of a nightingale. King Lear, Hi. 6 ; reference to the cloven foot of, Othello, V. 2, " I look down toward his feet," etc. Devil(s), a born, The Tempest, iv. 1 ; speaking, The Tempest, v. 1 ; a demi-devil, The Tempest, v. 1 ; crime too inhuman for a, A Winter's Tale, Hi. 2 ; aifect sanctity, Othello, H. 3 ; names of, Ki?ig Lear, Hi. 4. See FiEXDS. Devotion, Two Gentlemen of Verona, ii. 7 ; Henry VIII., iv. 1 ; pretence of, 3Ierchant of Venice, ii. 2 ; Othello, ii. 3 ; the devil su- gared over with the visage of, Hamlet, Hi. L Dew, from Bermuda's wicked, The Tempest, i. 2 ; tears of flow- ers. Midsummer- NighVs Dream, Hi. 1; the, Midsummer-NighVs Dream, iv. 1; falling, King John, ii. 1 ; the air doth drizzle, Ro- meo and JuUet, Hi. 5 ; honey-dew, Titus Andronicus, Hi. 1. Pliny says that honey-dew is the saliva of the stars, or a liquid produced by the purgation of the air. Diana, the goddess, introduced in Pericles, v. 1 (or 2), where she appears to the king in a vision. Her livery, ii. 5 ; in the fountain. As You Like It, iv. 1. Dianas at fountains were not uncommon ; one set up in 1596 at West Cheap, London, poured water from the breasts; seemed as, Much Ado about Nothing, iv. 1; chaste as, Merchant of Venice, i. 2 ; bud of (Agnus Castus, chaste tree), Mid- summer-NigMs Dream, iv. 1; knights of, AlVs Well that Ends 7 94 INDEX TO SHAKSPERE'S WORKS, Well, i. 3; from thy altar fly, AlVs Well that Ends Well, ii. 3; her foresters, I. Henry IV., i. 2 ; the stars her waiting- women, Troilui and Cressida, v. 2. Diana, a young girl, daughter of a widow in Florence, character in AlVs Well that Ends Well, introduced in in. 5. Dice, Henry V., iv., 'prologue; King Lear, iii. 4.; Antony and Cleopatra, ii. 3. See Gourd. Dick, a butcher, follower of Jack Cade in II. Henry VI., iv. 2, 3. Dickens, the. Merry Wives of Wiiidsor, iii. 2. Dickon (Richard III.), Richard III., v. 3. Dictator, a, Antony and Cleopatra, ii. 6. Dictynna (Diana), Love's Labour's Lost, iv. 2. Dido, Queen of Carthage, The Tempest, ii. 1 ; Merchant of Ven- ice, v. 1; Midsummer-Night'' s Dream, i. 1 ; II. Henry VI., iii. 2; Titus Andronicus, ii. 3 ; Antony and Cleopatra, iv. 12 or llf.. Die, to, is to be a counterfeit, /. Henry IV., v. If. ; without a sign, IL Henry VI., iii. 3; when the brains were out, the man would, Macbeth, iii. Jf.. Dieu vous garde, etc. (God guard you, sir, and you also you? servant), Twelfth Night, iii. L Di faciant, etc. (the gods grant this may be the last triumph). Ill Henry VI., i. 3. DifEiculty, as great as for a camel, etc., Richard IL, v. 5. Diffused (wild, elf-like). Merry Wives of Windsor, iv. 4. Digest (? dissolve or receive). King Lear, i. 1. Digestion, described, Coriolanu^, i. 1, fable; of unquiet meals, Comedy of Errors, v. 1 ; Troilus and Cressida, ii. 3 ; wait on appe- tite, Macbeth, Hi. 4. Dighton, John, a murderer, Richard III, iv. 3. Dignity(ies), of office, II. Henry IV., v. 3 ; Henry VIII., iii. 1 ; clay and clay differ in, Cymbeline, iv. 2. Dildos and fadings, refrains of songs, A Winter's Tale, iv.3or 4. Dilemmas (plans), AlFs Well that Ends Well, iii. 6. Diluculo surgere, etc. (to rise early is most healthful), Twelfth Night, ii. 3, from Lily's Latin Grammar. Dimples, A Wiiiter's Tale, ii. 3 ; Venus and Adonis, I. 242. Dinner, a man is unforgiving before, Coriolanus, v. 1; haste for, King Lear, i. 4. Diomedes, Grecian general, character in Troilus and Cressida, introduced in ii. 3. Cressida deserts Troilus for him, and they fight in V. 6. Alluded to in III. Henry VI., iv. 2. INDEX TO SHAKSPERE'S WORKS, 95 Diomedes, an attendant of Cleopatra in Anto7iy and Cleopatra, introduced in iv. 14. Dion, one of the lords sent to consult the oracle in A Winter^s Tale, a. 1 ; Hi. 1, 2. Dionyza, wife of Cleon, in Pericles, introduced in i. 4. ; plots against Marina, iv., prologue, 1, 3 or 4 ; burned in the palace, v. 3. Dirges, Cymbeline, iv. 2, " Notes of sorrow out of tune." Dis, Tlie Tempest, iv. 1 ; wagon of, A Winter's Tale, iv. 3 or 4. Pluto, god of the realms of the dead. Disappointment, in one beloved, Sonnets xxxiv. to xlii. Disasters, attributed to planets. King Lear, i. 2 ; Hamlet, i, 1 ; Julius Ccesar, Hi. 1; m lofty actions, Troilus and Cressida, i. 3. Discipline, of war, Henry V., Hi. 2 ; iv. 1; Richard III., v. 3 ; Troilus and Cressida, ii. 3. Discomfort, from the seeming spring of comfort, Macheth, i. 2. Discontent, brows full of, Richard II., iv. 1 ; with the present, Ih Henry IV., i. 3 ; popular, King John, Hi. 4; Henry VIII., i. 2 ; winter of, Richard III, i. 1 ; in poverty, Richard III., iv. 2 ; with one's talents. Sonnet xxix. ; Romeo and Juliet, Hi. 3. Discord, civil, II. Henry IV., i. 1. Discord, gives strength to the enemy, Troilus and Cressida, i.3. Discretion, the better part of valour is, I. Henry IV., v. 4 ; want of, in age. King Lear, ii. 4, " You are old," etc. ; honourable not to outsport, Othello, ii. 3. Discrimination, of man, Cymbeline, i. 6. Discussion, keen encounter of wits, Richard III, i. 2. Disdain, Lady, applied to Beatrice by Benedick, 3Iuch Ado ahout JTothing, i. 1. Disease(s), Measure for Measure, i. 2 ; worst before cure, King John, Hi. 4 ; vanity of sickness. King John, v. 7 ; (anxiety) I. Henry VI., H. 5 ; King Lear, i. 1 ; turn to commodity — of not listening, //. Henry 1 V., i. 2 ; of the mind, Macheth, v. 3 ; concealed, Hamlet, iv. 1 ; desperate, need desperate remedies, Hamlet, iv. 3 ; bestow the fee upon the, King Lear, i. 1 ; Venus and Admiis, I. 739. Diseases, rotten, of the south, Troilus and Cressida, v. 1 ; list of, Venus and Adonis, I. 739 ; ague. The Tempest, ii. 2 ; King John, Hi. 4; Richard IL, H. 1; I. Henry IV., Hi. 1 ; Henry VIII., i. 1 Troilus and Cressida, Hi. 3 ; Macheth, v. 5 ; apoplexy, allusions to, II. Henry IV., i. 2 ; iv. 4 ; II. Henry VI., Hi. 2 ; Coriolanus, iv. 5 cataract, or pin-and-web, A Winter's Tale, i. 2 ; King Lear, Hi. 4 96 INDEX TO SHAKSPERE'S WORKS. c-onsumption, Timon of Athens, iv. 3 ; King Lear, iv. 6 ; dropsy, Tlie Tempest, iv. 1 ; 1. Henry IV., ii. Jf. ; epilepsy, the, allusions to, Julius Ccesar, i. 2 ; Othello, iv. 1 ; fevers. Comedy of Errors, v. 1 ; Measure for Measure, v. 1 ; King John, v. 3 ; II. Henry I V., iv. 1 ; Henry V., ii. 1 ; Julius Ccesar, i. 2 (see ague, above) ; fistula, AlVs Well that Ends Well, i. 1; green-siekness, //. Henry IV., iv. 3 ; Romeo a7id Juliet, Hi. 5 ; Antony and Cleopatra, Hi. 2 ; Pericles, iv. 6 ; gout, As You Like It, Hi, 2 ; Cymbeline, v. 4 ; heart-break, A Winter's Tale, Hi. 2; Richard III, i. 3; Macbeth, iv. 3 ; hys- teria. King Lear, ii. If. ; indigestion, The Tempest, ii. 2, " My stom- ach is not constant ; " Comedy of Errors, v. 1 ; Love's Labour's Lost, i. 1 ; Midsummer-Night's Dream, ii. 2 ; iv. 1, " Like a sickness," etc.; jaundice, Troilus and Cressida, i. 3; leprosy (see measles); malady of France, Measure for Measure, i. 2 ; Henry V., v. 1 ; Peri- cles, iv. 2, 6 ; measles (leprosy), Coriolanus, Hi. 1 ; Timon of Athens, iv. 1, 3 ; nightmare. King Lear, Hi. 4 ; palsy, allusions to, Richard IL, ii. 3 ; II. Henry VI., iv. 7 ; Troilus and Cressida, i. 3 ; plague or pestilence. Love's Labour's Lost, v. 2 ; Troilus and Cressida, iL 3 ; Coriolanus, i. 4 ; iv. 1 ; Romeo and Juliet, v. 2 ; King Lear, ii. 4 ; plurisy (plethora), Hamlet, iv. 7 ; rheumatism, Midsianmer-Night's Dream, H. 1 ; Julius Ccesar, H. 1 ; sciatica, the, Measure for Meas- ure, i. 2 ; Timon of Athens, iv. 1; scrofula or king's evil, Timon of Athens, iv. 3, "Consumptions sow," etc.; Macbeth, iv. 3 ; serpigo. Measure for Measure, Hi. 1 ; Troilus and Cressida, ii. 3 ; swooning, Measure for Measure, ii. 4; As You Like It, iv. 3; toothache, Much Ado about Nothing, Hi. 2 ; v. 1 ; Othello, Hi. 3 ; Cymbeline, v. 4. Disedged, satiated, a term in falconry, Cymbeline, Hi. 4. Disguise, wickedness of, Twelfth Night, ii. 2. Disguises, of Julia, Two Oentlemen of Verona ; of Portia, Mer- chant of Venice; of Rosalind and Celia, As You Like It ; of Viola, Twelftli Night, i. 2; of Feste, Twelfth Night, iv. 2; of Edgar, King Lear, ii. 3 ; of Kent, King Lear, i. 4 ; of Falstaff, Merry Wives of Windsor, iv. 4; of Imogen, Cymbeline, Hi. 6. Dishonour, compared with death. Measure for Pleasure, Hi. 1 ; Lucrece, I. 1723 ; unconsciousness of one's own, Othello, iv. 1. See Honour. Dislike (displease), Romeo and Juliet, ii. 2. See Mislike. Disloyalty, rebuke of. Two Oentlemen of Verona, iv. 2, 4- Dismes (tens), Troilus and Cressida, ii. 2. Disobedience, Two Oentlemen of Verona, Hi. 1 ; Midsummer' Night's Dream, i, 1 ; Merchant of Venice, Hi. 1. INDEX TO SHAKSPERE^S WORKS, 97 Disparity, of years, Passionate Pilgrim, xiL ; Midsummer- Mghfs Dream, i. 1 ; Othello, L 3. Dispatch. See Promptness, Display, aversion to, Measure for Pleasure, %. 1. Ji-. Displeasure, rash, AlVs Well that Ends Well, v. 3. Disposer (attendant or handmaid), Troilus a/nd Cressida, Hi. 1. Dissemble (disguise), Twelfth Night, iv. 2. Dissembling, allowable, Coriolanus, iif\ 2. Dissensions, civil, 1. Henry VI., Hi. i; iv. 1, end; between army leaders,/. Henry VL, iv. 3, 4; should be healed, III Henri VL, iv. 6. Dissimulation. See Deceit, Falsehood, Dissolution, of the earth. The Tempest, iv. 1 ; a man of con- tinual dissolution, and thaw. Merry Wives of Windsor, Hi. 5. Distaff, give the, to my husband. King Lear, iv. 2; turned to a lance, Cymheline, v. 3. Distain (eclipse), Pericles, iv. 3 (or 4). Distress, makes uncivil, As You Like It, ii. 7. Disunion, Troilus and Cressida, i. 3; King Lear, ii. 4- Disvouched (contradicted), Pleasure for Measure, iv. 3. Dive-dapper, a small bird, Ve7ius and Adonis, I. 86. Dives (Luke xvi. 19), allusion to, /. Henry IV., Hi. 3. Divine, a, that follows his own instructions. Merchant of Venice, i. 2 ; needed more than the physician, Macbeth, v. 1. Divine (immortal) soul, my, Richard II., i. 1. Divinity, the, that doth hedge a king, Hamlet, iv. 5 or 2 ; that shapes our ends, Hamlet, v. 2 ; in odd numbers, 3Ierry Wives of Windsor, v. 1 ; reasoning in, Henry V., v. L Division (variations), /. Henry IV., Hi. L Divorce, Henry VIII., ii. 1, 2, 4. Divorced, doubly, Richard II., v. L Dizzy, a prisoner, 3Ieasure for Measure, iv. 3. Doctor, death will seize the, Cymheline, v. 5. Doctors, two, characters in Macbeth : one, an English doctor, appears in iv. 3 ; the other, Scotch, attending Lady Macbeth, v. 1, 3. Document (lesson), Hamlet, iv. 5 (or 2). Dog, Launce's, Two Gentleinen of Verona, ii. 2, 5 ; iv. 4. Dog(s), spirits in form of, The Tempest, iv. 1 ; dank as a, I. Henry IV., ii. 1; howling of, ominous, II. Henry VI.,i.4; III Henry VI., v. 6 ; rather be a, Julius Ccesar, iv. 3 ; various kinds of, Macbeth, Hi. 1 ; w- have his day, Hamlet, v. 1 ; obeyed In oflace. 98 INDEX TO SHAKSPERE'S WORKS, King Lear, iv. 6 ; not a word to throw at a, As You Like It, i. 3 ; of war, Julius Ccesar, Hi. L Dogberry, a blundering and conceited constable in Much Ado about Nothiiig, introduced in Hi. 3, " It is a charming incongruity to find, while Leonato rages and Benedick offers his challenge, that the solemn ass, Dogberry, is the one to unravel the tangle of threads." — DOWDEN. Dog-days, Romeo and Juliet, Hi. 1, " For now, these hot days," etc. ; Henry VIIL, v. 3. Doing, if doing were as easy as knowing what to do, Merchant of Venice, i. B. Doit, John, II. Henry IV., Hi. 2. Doit, Merchant of Venice, i. 3. Equal to about half a far- thing. Dolabella, a friend of Caesar in Antony and Cleopatra, intro- duced in Hi. 12 ; his message to Cleopatra, v. 2. Dole (portion, lot), happy man be his, Merry Wives of Windsor, Hi. 4,' A Winter's Tale, i. 2, and elsewhere. Dole (wailing). As You Like It, i. 2. Doll Tearsheet, a low woman, character in II. Henry IV., first appears in H. 4. In Henry V., ii. 1, Pistol recommends her to Nym. It has been suggested that htr name is corrupted from Tear-Street, which would explain the remark of the prince, " This Doll Tearsheet should be some road " {II. Henry IV., ii. 3). Dolphin, the. See Dauphin. Dolphin chamber, the, II. Henry IV., H. L Domineer (bluster), Taming of the Shrew, Hi. 2. Donalbain (Donald Bane), younger son of King Duncan in Mac- beth. He escapes to Ireland after the murder of his father. He suc- ceeded his brother Malcolm on the throne of Scotland in 1093, Don Pedro. See Pedro. Doom, the crack of, Macbeth, iv. 1 ; the general, Romeo and Ju- liet, Hi. 2. Doomsday, Richard III, v. 1 ; Julius Ccesar, Hi. 1 -• is near, 1 Henry IV., iv. 1, end ; Hamlet, ii. 2. Dorcas, a shepherdess, introduced in A Winter's Tale, iv. 4' Doricles, name assumed by Florizel, A Winter's Tale. iv. 3 or 4. Dorset, Thomas Grey, first Marquis of, character in Richard III., son of Queen Elizabeth, first appears in i. 3. He joined Buck- ingham's rebellion, but escaped to Brittany after its faihire. His marriage with the daughter of William Bonville, Lord Harrington, INDEX TO SHAKSFERE'S WORKS. 99 is spoken of in III. Henry VI.., iv. 1. Lady Jane Grey was his great-granddaughter. Double meanings, Macbeth, v. 7, " Keep the word of promise to our ear and break it to our hope." Doublet and hose, courage due from, As You LiTce It, ii. 4 ; in my disposition, As You Like It, Hi. 2. Doubt, beacon of the wise, Troilus and Cressida, ii. 2 ; worse than certainty of evil, Cymbeline, i. 6. Doubts, are traitors, Measure for Measure, i. 5. Doubts (suspicions), the noble cast away, Henry VIII., Hi. 1. Dough, the cake is. Taming of the Shrew, i. 1; v. 1. Douglas, Archibald, Earl of, character in /. Henry IV., intro- duced in iv. 1. His defeat at Holmedon or Homildon Hill, Septem- ber 14, 1402, by Hotspur, is described in i. 1. He afterward became the ally of the Percys when they rebelled against Henry IV. On the field of Shrewsbury, July 23, 1403, he kUls Lord Stafford and Sir Walter Blunt, mistaking them for the king. When he meets the king at last, the prince comes to his father's rescue, and Douglas flies. Taken prisoner afterward, he is set free by the prince, v. 5. He is brave, fearless, and faithful. Dove(s), allusions to : Modest as. Taming of the Shrew, ii. 1 ; A Winter's Tale, iv. 4 (turtles) ; spirit of peace, //. Henry I V., iv, 1 ; Mahomet's, I. Henry VI., i. 2 (see Mahomet) ; like a pair of, 1. Henry VI., ii. 2 ; innocence of, II. Henry VI., Hi. 1 ; faithfulness of, Troilus and Cressida, Hi. 2 (turtle) ; love and, Romeo and Juliet, H. 1 ; young of, Hamlet, v. 1 ; doves of Venus, The Tempest, iv. 1 ; presents of. Merchant of Venice, ii. 2 ; Midsummer-NighVs Dream, i. 1 ; Venus and Adonis, I. 1190 ; of Paphos, Pericles, iv., prologue. Paphos is on the island of Cyprus, where Venus was worshipped. Dover, England, scene of part of King Lear ; cliffs of, King Lear, iv. 1, end ; iv. 6. Dowland, John, an English musician (1562-1626), who called himeelf a " lutenist," and published song-books. Passionate Pilgrim, via. Wood says, "We are assured that John Dowland was the rarest musician that his age did behold." Dowry, a curse for a. King Lear, i. 1 ; Hamlet, Hi. 1. Dowsabel, name applied to a fat woman, Comedy of Errors, iv. 1. Drachma (about sevenpence), Julius Ccesar, Hi. 2. Draft, of soldiers, I. Henry IV., iv. 2. Dragon(s), on the chariot of night, Midsummer-Night's Dream, 100 INDEX TO SHAKSPERE'S WORKS. Hi. 2 ; Cijmhdine^ ii. 2 ; St. George and the, on sign-boards, ^m^ 'Jolin, ii. 1; spleen of ^evj, Richard III., v. 3; like to a lonely, Coriolanus, iv. 1 ; between a, and his wrath, King Lear, i. 1. Dreams, The Tempest, Hi. 2 ; such stuff as, The Tempest, iv. 1; of money-bags, Merchant of Venice, ii. 5; if, be thus. Twelfth Night, iv. 1 ; are toys, A Winter's Tale, Hi. 3 ; of war, I. Henry IV., ii. 3 ; of the Duke and Duchess of Gloucester, //. Henry VI., i. 2 ; of Clarence, Richard III, i. 4; of Stanley, Richard III., Hi. 2 ; of Richard and Richmond, Richard III, v. 3 ; of Andromache, Troilus and Oressida, v. 3 ; Queen Mab in — substance of, Romeo and Juliet, i. 4 ; presaging, Romeo and Juliet, v. 1 ; of Caesar's wife, Julius Cmsar, ii. 2 ; evil suggestions in, Macheth, ii. 1 ; bad, Hamlet, ii. 2 ; Cymbeline, v. 4 ; iv. 2, " 'Twas but a bolt of nothing," etc. ; of one loved. Sonnet xliii. ; that may come in the sleep of death, Haw^- let. Hi. 1. Dress, of a bridegroom. Taming of the Shrew, Hi. 2; women's, TQ,ming of the Shrew, iv. 3 ; unimportance of. Taming of the Shreiv, iv. 3 ; devotion to, AlVs Well that Ends Well, i. 2, "Whose Judg- ments are," etc.; neat and trim, /. Henry IV., i. 3; extravagance in, Henry VIII., i. 1, " Manors on their backs," etc. ; rule for, Ham- let, i. 3 ; Oymheline, Hi. 4i *'^'« ^ > Richard III., i. 2. Drink, Twelfth Night, i. 3 ; Macheth, ii. 3 ; an enemy in the mouth, Othello, ii. 3. Drinking, the English experts in, Othello, H. 3. See Drunk- enness. Drinking-scenes, The Tempest, H. 1; Hi. 2 ; Twelfth Night, ii. 3 ; Othello, ii. 3 ; Aiitony and Cleopatra, ii. 7. Drinking-song, Antony and Cleopatra, ii. 7. Dromios, the two, of Ephesus and Syracuse, twin brothers, serv- ants of the twin Antipholuses in the Comedy of Errors, introduced in i. 2 and Hi. 1. Dromio of Syracuse is described by his master as " A trusty villain, sir, that very oft, When I am dull with care and melancholy, Lightens my humour with his merry jests." Drop, one, seeks another. Comedy of Errors, i. 2. Drop-Heir, a prisoner. Measure for Measure, iv. 3. Drowned, not born to be, The Tempest, i. 1 ; Two Gentlemen of Verona, i. 1. Drowning, longing of the, for land, The Tempest, i. 1, end; dream of, Richard III, i. 4 ; death by, Hamlet, iv. 7 or 4; suicide by, Othello, i. 3. INDEX TO SHAKSPERE'S WORKS. 101 Drowning-mark, The Tempest, i. 1 ; v. 1. Drum, let him fetch ofE his, AlVs Well that Ends Well, Hi. G. Drum, John, entertainment of (a beating), AWs Well that Ends Well, Hi. 6. Drunk, in godly company, Merry Wives of Windsor, i. 1. Drunkard, one loves another, Love's Lahoufs Lost. iv. 3. Drunken man, what like, Twelfth Night, i. 5. Drunkenness, The Tempest, Hi. 2 ; iv. 1 ; v. 1 ; folly of, Othel- lo, a. 3 ; Merry Wives of Windsor, i. 1, 2 ; Taming of the Shreiv, mduction, 1 ; Much Ado about Nothing, Hi. 3. Dry-beat (beat soundly), Romeo and Juliet, Hi. 1. Dry-foot, draws (follows the scent), Comedy of Errors, iv. 2. Ducats, gild myself with, 3Ierchant of Venice, ii. 6 ; my daugh- ter and my, Merchant of Venice, ii. 8 ; fourscore spent, Merchant of Venice, Hi. 1. Ducdame, As You Like It, H. 5. Of uncertain meaning. Some read it Due ad me, lead to me. Duck, swim like a, The Tempest, ii. 2. Dudgeon (handle), Macbeth, ii. 1. Duel(s), contemplated, Merry Wives of Windsor, i. 4 ; H. 1, 3 ; Hi. 1; Much Ado about NotJmig, v. 1; Tivelfth Night, Hi. 4; threats of a, All's Well that Efids Well, ii. 3 ; between Horner and Peter, II. Henry VI., ii. 3 ; Hamlet, i. 1. See Challenges. Duelling, causes for. Love's Labour's Lost, i. 2, end ; satire on rules of. As You Like It, v. 4. The passage is supposed to have been suggested by a book on the punctilio of duelling, by Vincentio Savi- olo, published in 1596. Terms of, Romeo and Juliet, H. 4; Hi. 1 ; Taming of the Shrew, Hi. 5. Duke, the, in As You Like It, who is living in the Forest of ..4rden, his brother having usurped his place. He is introduced in ii. L He is just and moderate, unembittered by the wrong he has suffered, and as happy in the forest as at the court. Duke of Dark Corners, the, Meastire for Measure, iv. 3. Dull, a stupid constable in Love's Labour's Lost, introduced in i. 1. Dulness, Hamlet, iv. 1. Dumbleton, a merchant spoken of in II. Henry IV., i. 2. Dumain, one of the lords attending on the king in Love's La- hour's Lost, introduced in the first scene — " For he hath wit to make an ill shape good, And shape to win grace though he had no wit." 102 INDEX TO SHAKSPERE'S WORKS, Diiinain, Captain, f^landeroiisly described by Parolles in All\ Well fiuif Ends Well, iv. 3. Dumps (sad music), Tivo Gentleineii of Verona, Hi. 2 ; Lucrece I. 1127, and elsewhere. Dun, if thou art, Romeo and Juliet, i. 4. Allusion to the game Dun-is-in-the-Mire. Dun was a log of wood, which stood for a horse and was said to be in the mire. Two of the company tried to pull him out, calling one after another of the rest to their assistance, until all were helping, and Dun was at length pulled out. Dunbar, George, Earl of March, in Scotland called Lord Mor- timer, letter from, 1. Henry lY,, ii. 3 ; Hi. 2. His title March led to the mistake of calling him Mortimer. Duncan, King of Scotland, character in Macbeth, described by Macbeth in *. 7. He first appears in i. 2, visits Macbeth's castle, i, 6, and is murdered, ii. 1. The circumstances of the murder are taken from the account of the assassination of King Duff. In other respects, the play follows the traditionary story, as told in Holinshed, quite closely. The real Duncan, whose death took place by the treachery of Macbeth, Mormaer of Moray, in 1040, is said to have been an unjust and somewhat weak sovereign. The gracious char- acter ascribed to him in the play is according to the chronicle. Duns, of creditors, Timon of Athens, ii. 1, 2 ; Hi. 4.' Dunsinane, a hill nine miles northeast of Perth, 3Iacbeth, iv. 1, scene of act v. ; battle of, v. 6, 7, 8. Dunsmore, III. Henry YI, v. 1. Dunstable, Henry Y^II-> *^' -^' Dupe, an easy. King Lear, i. 2. Duplicity. See Deceit, Falsehood. Duty, to make virtue known, Measure for Measure, i. 1 ; service sweat for. As You Like It, ii. 3 ; promptings of, 3Iidsummer- Nighfs Dream, v. 1 ; did never want his meed. Two Gentlemen of Yerona, ii. ^; unswerving, Henry YIlL,iii.2 ; Hamlet, ii. 2; can- not be silent, King Lear, ^^ 1, 4. Eagle(s), the sight of, Love's Labour's Lost, iv. 3 ; III. Henry VL, ii. 1 ; flight of, Timon of Athens, i. 1 ; age of, Timon of Athens, iv. 3 ; suffer little birds to sing, Titus Andronicus, iv. 4 ; omens of victory, Julius Ccesar, v. 1 ; Cymbeline, i. 1 ; iv. 2 ; a hungry, Ye7ius and Adonis, I. 55; eye of, Romeo and Juliet, Hi. 5; Richard II,, Hi. 3 : England the, Henry Y., i. 2 ; the holy, Cymbeline, v. 4* Ear (to plough), Antony and Cleopatra, i. 2, 4. INDEX TO SHAKSPERE'S WORKS. 103 Ear(s), what fire is in my, 3Iuch Ado about Nothing, Hi. 1. Al- lusion to the supposed burning of the ears when one is talked of. Locks worn by the, 3Iuch Ado about Nothing, Hi. 3 ; v. 1 ; biting the, Romeo and Juliet, ii. 3^.; thy fair, large, Midsummer-Nighf s Dream, iv. 1 ; ear of man hath not seen, Ilidsummer-Nighf s Dream, iv. 1 ; deaf to counsel, not to flattery. Timon of Athens, i. 2 ; prom- ise kept to the, Macbeth, v. 8 ; give every man thine, Hamlet, i. 3 ; light of (ready to hear scandal). King Lear, Hi. 4. Early rising, Twelfth, Night, ii. 3. Early training, //. Henry VI., Hi. 1, " Now 'tis the spring," etc. ; Hamlet, i. 3, " The canker galls," etc. Earth, the, I task (throw down my gage), Richard II., iv. 1 ; curse on, Timon of Athens, iv. 3, " That nature," etc. ; mother and tomb of nature, Romeo a?id Juliet, ii. 3 ; a, sterile promontory, Ham- let, ii. 2 ; a, girdle round the, Jlidsummer-Nighfs Dream, li. 1 ; nothing lives on, but crosses, Richard II., ii. 2 ; more things in heaven and, Hamlet, i. 5. Eartliquake(s), As You Like It, Hi. 2 ; explanation of, /. Henry IV., Hi. 1 ; Romeo and Juliet, i. 3. Perhaps an allusion to one felt in England, April 6, 1580. The earth feverous, Ilacbeth, ii. 3. Eastcheap, in London, scene of parts of /. and II. Henry I V., and Henry V., which are at the Boar's Head Tavern, kept by Mrs. Quickly. A tavern with that sign stood near Blackfriars Play- house. Eastcheap was near the mansion assigned to the Prince of Wales. Easter, allusion to the custom of wearing new clothes at, Romeo and Juliet, Hi. 1, " Wearing his new doublet before Easter." Eater, a hearty. Much Ado about Nothing, i. 1, "A valiant trencher-man." Eating. See Appetite, Digestion, Din^'er. Ebony, black as. Love's Laboufs Lost, iv. 3. Eaves, made of reeds, The Tempest, v. L Eaves-dropper, play the, Richard III., v. 3. Ecce signum (behold the sign), I. Henry IV., ii. 4- Eche (eke), Pericles, Hi., prologue. Echo, babbling gossip. Twelfth Night, i. 5 ; cave of, Romeo and Juliet, ii. 2; Taming of the Shrew, induction, 2; Titus Androni- cus, ii. 3. Echo, name of a dog. Taming of the Shreiv, induction. 1. Eclipses, ominous, Macbeth, ii. 3 ; iv. 1 ; Hamlet, i. 1 ; King Lear, i. 2 ; Othello, v. 2 ; Antony and Cleopatra, Hi. 13. 104 INDEX TO SHAKSPERE'S WORKS. Ecstasy (madness), The Tempest, iii. 3; Hamlet, Hi. 4, and elsewhere. Edgar, son of Gloucester, in King Lear; introduced in i. 2 ; his brother's plot against him, i. 2; ii. i ; Ais flight, ii. 1; his feigned madness, ii. 3 ; Hi. 4, 6 ; iv. 1 ; fights with Oswald, iv. 6 ; is restored to his place, v. 3. The chai-acter of Edgar is contrasted with that of Edmund ; both are able, but Edgar's uprightness and unsuspicious- ness make him at first an easy prey to his brother's scheme ; yet he carries out his own designs with patience and skill. Edmund, Earl of Rutland. See Rutland. Edmund, an important character in King Lear, illegitimate son of Gloucester, introduced in the first scene. He is able, bold, and wicked, his wickedness finding some excuse in the fact that he is em- bittered by the stain upon his birth, and the consequent injustice which he feels he labours under, and some mitigation in the fact that he is not a hypocrite to his own conscience, but writes himself down "plain villain." His plot against Edgar, i. 2; ii. 1; his double- dealing with Regan and Goneril, iv. 5, 6 ; v. 1, 3. Education, for a gentleman. As You Lilce It, i. 1. See Grammar. Edward, the Confessor (1004-1066), Macbeth, iii. 6. Edward III. (1312-1377), Henry V., ii. 4; at Crecy, i. 2. Edward, the Black Prince (1330-1376), Richard II., ii. 1, " In war was never," etc. : Henry V., i. 2 ; ii. 4. Edward, Prince of Wales (1453-1471), son of Henry VI., char- acter in III. Henry VI., introduced in i. 1; disinherited, ii. 2; knighted, ii. 2 ; captured and killed, v. 5. It is not certain whether he fell in battle or was put to death afterward. Edward IV. (1442-1483), character in II. and ///. Henry VI., and Richard III. In the first he appears as Edward, son of the Duke of York, only in v. 1. In ///. Henry VI. he is introduced in i. 1, as Earl of March. On the death of his father at Wakefield, i. 4, he becomes Duke of York and claimant to the throne. He de- feats the Lancastrians at Mortimer's Cross, ii. 1. This scene gives the traditional origin of his device of the three suns. He went to London and was proclaimed king, then went north and won the battle of Towton (March 29, 1461), ii. 4. and returning to London was crowned king. His marriage with Lady Grey gives offence in France and turns the Earl of Warwick against him, iii. 3 ; iv. 1. His capture and rescue are in iv. 3, 5, 6 ; in v. 2, the battle of Bariiet (April 14, 1471), where Warwick was kiUed, and in v. 4 that of Tewks- bury (May 4, 1471), where Margaret's forces were defeated. These INDEX TO SHAKSPERE'S WORKS. 105 victoi'ies and the death of Henry VI. made him secure on the throne. The })rofligate character attributed to him in the phiy is matter of history. In Richard III. he is introduced in ii. 1 ; his remorse for the fate of Chirence, ii. 1 ; his death, ii. 2. Edward, Prince of Wales (Edward V.), son of Edward IV., character in Richard III, appears first in Hi. 1, where he is sent to the Tower. His beauty, Hi. 1, 2 ; declared illegitimate by Bucking- ham, Hi. 7 ; his death, iv. 2, 3 ; his ghost, v. 3. In the mere hints given of his character he appears as having a delicate tact, with precocity of discretion and caution, quite in contrast with the saucy wit of his younger brother, little Richard of York (1470-1483). Eels, King Lear, ii. 4. Allusion to the opinion that they were roused by thunder, Pericles, iv. 3. Effeminacy, loathed, Troilus and Cressida, Hi. 3 ; of Antony, Antony and Cleopatra, i. 4- Egeus, father of Hermia, in Midsummer-Night's Dream, intro- duced in i. 1. Eggs, to steal, from a cloister, AlVs Well that Ends Weil, iv. 3 ; for money (proverb), A Winter's Tale, i. 2. Eglamour, a character in the Two Geiitlemen of Verona, who helps Silvia to escape, iv. 3. Egypt, name applied to Cleopatra in Antony and Cleopatra. Egyptian fog, Twelfth Night, iv. 2. Egyptian thief. Twelfth Night, v. 1. Thyamis, chief of a band of robbers, who killed his mistress when surprised by a stronger band, that he might have her company in the other world. Eisel (vinegar). Sonnet cxi. See also Esill. Elbow, rub the, I. Henry IV., v. 1. Allusion to the notion that an itching elbow was a precursor of change. Elbow, an ignorant and amusing constable in Measure for Meas- ure, introduced in ii. 1, whose use of English is much like Dogberry's. He arrests " two notorious benefactors " who are " void of all profa- nation in the world that good Christians ought to have." Elder-tree, allusion to the belief that it grows where blood has been shed, Titus Andronicus, ii. 4; emblem of grief, Cynibeline, iv. 2. Judas was said to have hanged himself on an elder. Love's Labour's Lost, v. 2. Eleanor, Duchess of Gloucester, in Richard II. See Gloucester. Eleanor, wife of Humphrey, Duke of Gloucester. She was the daughter of Reginald, Lord Cobham, and celebrated for her beauty and bad morals. She is a character in //. Henry VI., introduced in 106 INDEX TO SHAKSPERE'S WORKS. i. 2, where her ambition to become queen is expressed, and her deter- mination to resort to witchcraft ; her meeting with the witch, i. 4; charge against her, ii. 1 ; sentenced to banishment, ii. 3 ; led bare- foot through the streets, ii. 4. It was charged that she or her accom- plices melted before the fire a waxen image of the king, that his life might waste away as the wax melted. Her trial took place in 1441, and Queen Margaret did not arrive in England till 1445, so that their meeting in i. 3 is by dramatic license. The " Hali of Justice " is St. Stephen's Chapel. Westminster. Eleanor was imprisoned in Chester Castle, and afterward in Kenilworth, where she died in 1454. Election, the doctrine of. Measure for Measure, i. 3, " On whom it will, it will," etc. Elements, a word over-worn, Twelfth Night, Hi. 1 ; the four, Twelfth Night, ii. 3 ; Antony and Cleopatra, v. 2 ; Sonnets xliv., xlv. ; so mixed, Julius Ccesar, v. 5 ; alluding to the idea that the body is composed of the four elements, and that health and ability depend on their due proportion ; Lear's appeal to the. King Lear, Hi. 2. Elephant, the, an inn. Twelfth Night, Hi. 3. Elephant, the, Troilus and Cressida, ii. 3. Alluding to the notion that the elephant had no joints, and could not bend its knees or lie down. Betrayed with holes (pitfalls), Julius Ccesar, ii. 1. Elf-locks, Romeo and Juliet, i. 4. Fairies were supposed to mat and tangle the manes of horses into " elf-locks." Elinor of Aquitaine, widow of King Henry II., character in King John, introduced in the first scene. She is the inspirer of the worst deeds of her son John. Constance, whom she hates and tor- ments through Arthur, calls her an offence to morality. She had before incited her sons against their father, Henry II. (1122-1204). Elizabeth Woodville (Lady Grey), queen of Edward IV., char- acter in Richard HI., introduced in i. 3. In iv. 4, she entertains the proposal for her daughter's hand, of the king, the enemy of her house, and the one responsible for the murder of her sons. She was the daughter of Richard Woodville, Earl Rivers, and the first English woman that was raised from the rank of subject to that of royalty after the Conquest. Her first husband was Sir John Grey, who was slain at St. Albans fighting for the House of Lancaster. His estate was confiscated when the Yorkists came into power. Tradition says that she first met Edward IV. in a forest near Grafton, her father's residence, where he was hunting, and where she sought him to peti- tion for the restoration of her husband's estate to her and -her chil- INDEX TO SIIAKSPERE'S WORKS. 107 dren. The tree under which they were said to have met was known for centuries as the Queen's Oak. For other members of her family, see Edward V., Elizabeth, Richard, Rivers, and Scales. Elizabeth, the princess, daughter of Edward IV. Richard III. resolves to marry her, iv. 2, 3, and proposes it to her mother, iv. 4, who professes to entertain the proposal while secretly planning to marry her to Richmond in case of his success. She is betrothed to Richmond, v. 5. This united the title of the House of York to that of Henry VII., which was very slight. Elizabeth, Queen, her birth, Henry VIIL, v. 1; christening, v. 2, 3, 4. ; Cranmer's prophecy concerning her, v. 4. In Hi. 2, Suffolk makes something like a prophecy of her reign when speaking of her mother, " There's order given," etc. See Boleyx. The passage in Midsummer-Nigh fs Dream, H. 1, beginning " That very time I saw," is supposed to be an allusion to Elizabeth (1533-1603). Elm and vine, figure of the, Comedy of Errors, ii. 2 ; Midsum- mer-NighVs Dream, iv. 1. Elopements, Two Gentlemen of Verona, ii. 4 / *^i'- 1 ; v. 2 ; Merry Wives of Windsor, iv. 6 ; v. 5 ; Merchant of Venice, ii. 6, 8 ; 3Iidsummer-Nighfs Dream, i. 1; iv. 1; A Winter's Tale, iv. 3 or 4; Othello, i. 1-3. Eloquence, Love's Labour's Lost, ii. 1, " Aged ears play tru- ant," etc. ; Henry V., i. 1, " The air, a chartered," etc. ; Lover's Com- plaint, I. 120 ; a tapster's, I. Henry IV., ii. 4. Elsinore, in the island of Seeland, Denmark, scene of a part of Hamlet ; cliff at, i. 4- Elves, offices of. The Tempest, v. 1. See Fairies. Elvish-marked, Richard III, i. 3. AUusion to the notion that deformity was due to evil fairies. * Ely, John Fordham. Bishop of, from 1388 to 1425, character in Henry V., enters in scene first in conference with the Archbishop ol Canterbury, to whom he plays second throughout. Ely, John Morton, Bishop of, character in Richard III, first appears in Hi. 4; the strawberries in his garden. Hi. 4. In iv. 3 he flees to Richmond. He was made Bishop of Ely in 1478, and of Canterbury in 1486, and Lord Chancellor in 1487. The marriage of Richmond and Elizabeth was his suggestion. Sir Thomas More was a member of the bishop's household in his youth, and doubtless used information received from him in the life he afterward wrote of Richard in Latin, which furnished the chroniclers with a part of their material regarding his reign. 108 INDEX TO SHAKSPERE'S WORKS, Ely House, London, scene of a part of Richard II. Elysium, Tivo Gentlemen of Verona, ii. 7 ; Twelfth Night, i. 2 ; II. Henry VI., i. 2 ; Cyrnbeline, v. 4,. Emballing, Henry VIII., ii. S. Receiving the ball given to sovereigns at coronation. Emblems, at coronation, Henry VII I., iv. 1. See Roses. Em.bossed (foaming at the mouth from hard running — hence, run nearly to death), Taming of the Shrew, induction, 1 ; AlVs Well that Ends Well, Hi. 6 ; Antony aiid Cleopatra, iv. 13. Embowelled (embalmed), I. Henry IV., v. 4. Embrace, before battle, I. Henry IV., v. 2, end. Em.ilia, an attendant of the queen in A Wi^iter's Tale, ii. 2. Em.ilia, lago's wife, in Othello, introduced in ii. 1. " Emilia is a perfect portrait from common life, a masterpiece in the Flemish style : and though not necessary as a contrast, it cannot be but that the thorough "vulgarity, the loose principles of this ple- beian woman, united to a high degree of spirit, energetic feeling, strong sense, and low cunning, serve to place in brighter relief the exquisite refinement, the moral grace, the unblemished truth, and the soft submission of Desdemona." — Mrs. Jameson. Emmanuel, clerk of Chatham, IL Henry VI., tv. 2, " They use to write it on the top of letters." The name was written at the head of public papers. Em.m.ew (keep in a cage or mew by terror, as a falcon does a fowl), Jleasure for Measure, Hi. 1, " And follies doth emmew." Emotions, AlVs Well that Ends Well, Hi. 2 ; silent. Much Ado about Nothing, ii. 1; Henry VIII, v. 1; conflicting, A Winter's Tale, V. 2 ; King Lear, iv. 3 ; of joy, Pericles, v. 1. Empericeutic (empiric), Coriolanus, ii. 1. In some old texts it is " empyric qutique." * Emperor of Rome, candidates for the oJfice of, Titus Androni- cus, i. 1 or 2. Empirics, AlVs Well that Ends Well, ii. 1, " We thank you." Employm.ent, affects nature. Sonnet cxi. Empress, station of an, Titus Andronicus, ii. 1. Emulation (rivalry). Troilus and Cressida, ii. 2, end ; hath a thousand sons, Troilus and Cressida, Hi. 3 ; virtue cannot live out of the teeth of, Jidius Ccesar, ii. 3. Enceladus, Titus Andronicus, iv. 2. The fabled giant under Mount ^tna. End, the, justifies the means, Lucrece, I. 528 ; crowns all, King John, i. 1 ; Troilus and Cressida, iv. 5. INDEX TO SHAKSPERE'S WORKS, 109 Endurance. See Fortitude. Endymion, a beautiful shepherd, beloved by Diana, Merchant of Venice, v. 1. Enemy(ies), at my mercy, Tlie Tempesi, iv. 1 ; during a truce, Troilus and Cressida, iv. 1 ; dearest, /. Henry IV., Hi. 2 ; praise of an, 1. Henry IV., iv. 1, " Ko more," etc. ; wisdom of accounting him strong, Henry V., ii. 4> combination against. King Lear, v. 1; ^nion before a common, Antony and Cleopatra, ii. 1, 2 ; folly of imitating an, Henry V., iv. 1 ; causeless, Henry VIII., ii. 4 ; drink is an enemy in the mouth, Othello, ii. 3. Engaged (held as a hostage), /. Henry IV., iv. 4 ; v. 2. Engine (instrument of torture). King Lear, i. 4. Engineer, hoist with his own petar, Hamlet, Hi. 4, end. England, curiosity in. The Tempest, ii. 2 ; Comedy of Errors, Hi. 2 ; white-faced shore of, Ki7ig John, ii. 1 ; M only true to itseK, King John, v. 7 ; praise of — evil times in, Richard II., ii. 1 ; an un^ tended garden, Richard II., Hi. 4; claim of kings of, to France. Henry V., i. 2 ; a little body with a mighty heart, Henry V., ii., chorus ; the defence of. III. Henry VI., iv. 1 ; in Elizabeth's time, Henry VIII, v. 5. See Britain. English, the, bravery of, Henry V., Hi. 5, 6 ; French opinion of, Henry V., Hi. 7 ; iv. 1,2 ; diet of, /. Henry VI., i.2 ; Froissart's ac- count of, /. Henry VI., i. 2 ; tenacity of, /. Henry VL, i. 2, " Rathei with their teeth," etc. ; have angels' faces, Henry VIII., Hi. 1 ; epi- cures, Macbeth, v. 3 ; drinking habits of, Othello, ii. 3 ; dress of one of the. Merchant of Venice, i. 2. English (language), the king's. Merry Wives of Windsor, i. 4 ; a fellow that frights it out of his wits, Merry Wives of Windsor, H. 1 ; let them hack our. Merry Wives of Windsor, Hi. 1 ; makes fritters of, Merry Wives of Windsor, v. 5 ; a lesson in, Henry V., Hi. 4. Enlarge (set at liberty). Twelfth Night, v. 1, and elsewhere. Enmity. See Hatred. Enobarbus, Domitius, character in Antony and Cleopatra, in- troduced in i. 2 ; his desertion, iv. 5 ; remorse, iv. 6, 9 ; death, iv. 9. " Enobarbus, who sees through every wile and guile of the queen, is, as it were, a chorus to the play, a looker-on at the game ; he stands clear of the golden haze which makes up the atmosphere around Cle- opatra ; and yet he is not a mere critic or commentator (Shakspere never permitting the presence of a person in his drama who is not a true portion of it). Enobarbus himself is under the influence of the charm of Antony, and slays himself because he has wronged his mas- ter." — DOWDEN. 110 INDEX TO SHAKSPERE'S WORKS. Enskied (in heaven). Jleasure for Measure, i. 5. Enterprise(s), want of, AlVs Well that Ends Well, i. i ; a des- perate, I. Henry VI., ii. 1 ; failure of great, by iii'esolution, Hamlet^ Hi. 1. Entertain (take into service), Julius Ccesar, v. 5. Entrails, as if, were hairs, Henry V., Hi. 7. Alluding to the bounding of a tennis-ball, which was stuifed with hair. Envoy (a stanza, first or last, conveying the moral of a poem, or addressing it to some person). Love's Labour's Lost, Hi. 1. Envy (generally in the sense of malice). Merchant of Venice, iv. 1 ; As You Like It, i. 2 ; of the world, As You Like It, ii. S ; of a, father, I. Henry IV., i. 1; Richard III., iv. 1; Henry VIII., Hi. 2^ "Follow your envious courses," etc.; v. 2; lean-faced, //. Henry VI, Hi. 2 ; Troilus and Cressida, H. 1 ; Lucrece, I. 39. Ephesians (slang for carousers), II. Henry IV., ii. 2. Ephesus, scene of the Comedy of Errors. Its quarrel with S)Tacuse and its bad name for sorcery adapted it for the scene of the extravagant incidents of the play. It is also the scene of a part of Pericles. Epicurean, Cassius an, Julius Ccesar, v. 1. Epidamnum, in Illp'ia, Coynedy of Errors, i. 1, 2 ; v. L Epidaurus, Comedy of Errors, i. 1. Epilepsy, or falling-sickness, JuUus CcBsar, i. 2 ; Othello, iv. 1. Epilogues, to TJie Tempest (not by Shakspere, probably, perhaps by Ben Jonson) ; to As You Like It; to AWs Well that Ends Well, probably not by Shakspere; to II. Henry IV., probably not by Shakspere; to Henry V. ; to Henry VIII., probably not by Shak- spere. Epitapli(s), on Hero, 3Iuch Ado about Nothing, v. 3 ; on the deer. Love's Labour's Lost, iv. 2 ; lying, ATTs Well that Ends Well, ii. 3, " And these breed honour," etc. ; on Timon, Timon of Athens, v. 4. This is made up of two, one said to have been written by Timon himself, the other by the poet Callimachus. Better have a bad, than, etc., Hamlet, ii. 2. Epitheton (epithet), Love's Labour's Lost, i. 2. Epithets, sweetly vai'ied. Love's Labour's Lost, v. 2 ; pretty, fond, adoptions Christendoms, All's Well that Ends Well, i. L Equality, of man, A Winter's Tale, iv. 3, " Once or twice I was about to speak," etc. ; Henry V., iv. 1, "■ The king is but a man," etc. ; Richard III., i. 4, " Princes have but," etc. ; Coriolanus, i. 1, " The gods sent not corn," etc. INDEX TO SUAKSPERE'S WORKS. HI Equinox, atorms at the vernal, Machetlt, i. J, " As whence tlie sun," etc. Equinox (opposite, counterpart), Othello, ii. 3. Equipage (slang for stolen goods), Merry Wives of Windsor, li. 2. Equivocator, here's an, Macbeth, ii. 3. Supposed allusion tc the doctrine of equivocation, as professed by the Superior of the Jesuits, on trial for complicity in the gunpowder plot, in 1606. Ercles (Hercules), Midsummer-Nigh fs Bream, i. 2, Erebus (the passage to Hades), Merchant of Venice, v. 1 ; Jidius Ccesar, ii. 1. Eringo, the (held to be an aphrodisiac). Merry Wives of Wind- sor, V. 5. Eros, friend of Antony, introduced in Hi. 5 of Antony and Cleo- patra. In iv. 12 or i^ he kills himself rather than be the instru- ment of Antony's death. Erpingham, Sir Thomas, mentioned, Richard II., ii. 1. Erpingham, Sir Thomas, character in Henry V., first appears in iv. 1, an old man, treated with great reverence by the king. It w^as he who set the English army in order for battle at Agincourt, and gave the signal for the attack by throwing his truncheon in the air, calling, " Now strike ! " He built the Erpingham Gate at Nor- wich. He was a Lollard. The first mention of him is in Richard II, ii. 1, where he is mentioned among the companions of Boling- broke. Error, melancholy's child, Julius Ccesar, v. 3 ; translated to truth, Sonnet xcui ; unavoidable, A Winter's Tale, i. 2; popular. King Lear, iv. 1. Errors, of men. See Faults. Escalus, an ancient lord, character in Measure for Measure, in- troduced in the first scene. He is wise, moderate, and merciful in his unregarded counsel to Angelo. Escalus, Prince of Verona, character in Romeo and Juliet, intro= duced in i. 1, where he appears in the scene of the quarrel and dis= perses the combatants, and in Hi. 1 banishes Romeo. Escanes, a lord of Tyre, in Pericles, introduced in *. 3. Escapes, hair-breadth, Othello, i. 3. Escoted (paid), Hamlet, ii. 2. Esher House, or Asher House, residence of the bishops of Win- chester, once occupied by Cardinal Wolsey, who is ordered to retire to it in Henry VIIL, Hi, 2. Esher is in Surrey, southwest of London, 11*2 INDEX TO SHAKSPERE'S WORKS. on the river Mole. An old Gothic building on Esher Place, with a castellated gateway, is known as " Wolsey's Tower." It was tenanted, but not built by the cardinal, and is said to have been erected by a bishop of Winchester nearly a century before Wolsey's time. Esill (or eisel), Hamlet, v. i. A word not understood ; by some supposed to be the riv^er Yesel, by others vinegar. Esperance (hope), /. Henry IV., ^^. 3 ; King Lear, iv. 1, and elsewhere. It was the motto of the Percys. Essex, Countess of. See Maidenhood. Essex, Geoffrey Fitz-Peter, Earl of, a character in King John, introduced in the first scene. Essex, Robert Devereaux, Earl of, allusion to his expedition to Ireland, Henry Y., v., prologue. He was sent over in April, 1599, to suppress Tyrone's rebellion. For his conduct of the war, and the terms on which he made peace, he was tried and dismissed from all offices. He formed a conspiracy to force his way to the queen's presence and remove his enemies Dy force of arms, for which he was tried and condemned for high treason, and executed February 25, 1601. This passage was written, of course, during the summer, before his failure in Ireland. Estate (bestow), The Tempest, iv. 1 ; dispute his own (debate about his property), A Winter's Tale, iv. 3 or Jf.. Estimate, is the worth in the, Troilus and Cressida, ii. 2. Estimation (conjecture), /. Henry IV., i. 3. Estridges (ostriches), /. Henry IV., iv. 1; Ant. and Cleo., Hi. 13. Et bonum., etc., the older the better, Pericles, i., prologue. Etliiop, a swarthy. Two Gentlemen of Verona, ii. 6 ; jewels of an, Romeo and Juliet, i. 5. Et tu, Erute ? Julius Ccesar, Hi., and thou, too, Brutus ? There is no record that Csesar uttered these words ; but Suetonius, who wrote about one hundred and seventy-five years later, has it that tradition reported him as saying in Grfeek, " Thou too, my son ? " Euphonius, character in Antony and Cleopatra, introduced in Hi. 10 or 12, where he is called Antony's schoolmaster. Euphuism.s, Hamlet, v. 2, speech of Osric ; Love's Labour's Lost. Europa, daughter of Agenor, Taming of the Shrew, i. 1 ; 31erry Wives of Windsor, v. 5 ; Much Ado about Notliing, v. 4. Evans, Sir Hugh, a Welsh parson and schoolmaster, character in the Merry Wives of Windsor, introduced in the first scene. " The title Sir was applied to the inferior clergy ; such as had it were not graduates at the university, being in orders, not in degrees." His INDEX TO SHAKSPERE'S WORKS. 113 bad Englisli nnd his simplicity, which is not without a touch of shrewdness, make him a very amusing character. He is challenged by Doctor Caius, and prepares to meet him, in a very funny scene, the first of Act III. Evasion, I. Henry IV., ii. 4 ; iv. 1 ; exhausted, AlVs Well that Ends Well, ii. 2; Falstaff's, with the chief justice, //. Henry IV., ',. 2 ; ii. 4, "1 dispraised him before the wicked," etc. Eve, Richard II., Hi. 4; the legacy of. Two Gentlemen of Ve- rona, Hi. 1 ; our grandmother, Love's Labour's Lost, i. 1. Even-Christian (fellow-Christian), Hamlet, v. 1. Evening", Venus arid Adonis, I. 529 ; Macbeth, Hi. 2, 3. Evidence, circumstantial, Cymbeline, H. 2, 4. Evil, to allow, is to order, Measure for 3Ieasure, i. 4 ; the beau- teous, Twelfth Night, Hi. 4; the sight of means for. King John, iv. 2 ; some soul of goodness in, Henry V., iv. 1 ; lives in brass, Henry VIII., iv. 2 ; doing, for good, Troilus and Cressida, v. 3 ; some good in, Romeo and Juliet, ii. 3, " Nought is so vile," etc. ; none wholly free from, Othello, Hi. 3 ; playing with, Othello, iv. 1 ; mending evil by, Othello, iv. 3, end ; that men do lives after them, Julius Ccesar, Hi. 2 ; attributed to a divine thrusting on, King Lear, i. '2. Evils, of age and hunger, As You Like It, ii. 7 ; worst before departure. King Jolin, Hi. 4', of the age. Sonnet Ixvi. Examination, an, Hamlet, Hi. 4; of Prince Hal, /. Henry IV., ii. 4. Example, of our virtues. Measure for Measur&, i. 1; power- lessness of, AlVs Well that Ends Well, Hi. 3 ; and precept, Hamlet, i. 3, " Do not, as some ungracious pastors," etc. ; of vice. Measure for Measure, ii. 2. Excellence, modesty a witness of. Much Ado about Nothing, ii. 3 ; attributed, Tempest, Hi. 1 ; Cymbeline, v. 6. Except before excepted (an unmeaning use of a law-term), Twelfth Night, i. 3. Excess, Measure for Measure, i. 3, " From too much liberty," etc. ; Jlidsummer-Nighfs Bream, ii. 3, " A surfeit of the sweetest things," etc. ; in ornamentation, Ki7ig John, iv. 2 ; advice concern- ing, Richard II., H. 1; Henry VIII. , i. 1, Norfolk to Buckingham; Romeo and Juliet, H. 6 ; Hi. 3 ; consequences of. King Lear, iv. 1, near end ; allow not nature more than nature needs. King Lear, ii. 4. Exclamations. See Oaths and Exclamations. Excommunication, King John, Hi. L 114 INDEX TO SIIAKSFEliE'S WORKS. Excuses, often make faults worse, King John, iv. 2. Executioner, Measure for Pleasure, iv. 2 ; the common, As You Like It, Hi. 5. Exempt (separated). Comedy of Errors, ii. 2. Exeter, Thomas Beaufort, Duke of, character in Henry V., en- tering in i. 2, and in /. Henry VI., entering in the first scene. He was uncle of Henry V., and was appointed governor of Henry VI. after his father's death. He was Earl of Dorset only, and not Duke of Exeter, until after Agincourt, and was not present at that battle, being at that time Governor of Harfleur, Hi. 3, where he displayed great prowess in defending the place in two attacks by the French. He died in 1427. Exeter, Henry Holland, Duke of, character in ///. Henry VI., introduced in i. 1. He was a son of the Earl of Huntingdon, men- tioned in Henry V., v. 2, was a faithful Lancastrian, and served at the battles of Wakefield, Towton, and Barnet. He was attainted in 1461 under Edward IV., and became so poor that Commines saw him, as he says {Memoirs, Hi. Ji), begging for bread. He was found dead in the Straits of Dover in 1473. Exeter, Peter Courtenay, Bishop of, mentioned in Richard IIL, iv. 4. Exeter, castle at, Richard III., iv. 2. Built in the time of Will- iam I., destroyed in the Civil War. Exhalations (meteors or flashes of lightning), Henry VllL, Hi. 2 ; Julius Ccesar, H. 1. Exhibition (allowance of money, still used for pensions allowed to scholars in English coUeges), Two Gentlemen of Verona, i. 3 ; King Lear, i. 2 ; Othello, i. 3. Exile, As You Like It, ii. 1 ; a speechless death, Richard JI, i. S; worse than death, Romeo and Juliet, Hi. 3. See Banishment. Exorcisms (summoning spirits), II. Henry VI, i. 4. Exorciser and exorcist used in a like sense. All's Well that Ends Well, v. 3 ; Julius Ccesar, ii. 1; Cymheline, iv. 2. Expectation, mistaken, AlVs Well that Ends Well, ii. 1; of evil, disappointed, /. Henry IV., i. 2, end; to a child, Romeo and Juliet, Hi. 2 ; in war-time, Troilus and Cressida, prologue ; Othello, ii. 1. Expedience (expedition), Antony and Cleopatra, i. 2. Expedient (expeditious), King John, ii. 1. Experience, achieved by industry. Two Gentlemen of Verona, i. 3; a jewel, Merry Wives of Windsor, ii. 2 ; want of, Romeo and INDEX TO SHAKSPERE'S WORKS. 115 Julief, a. 2, " He jests at scars," etc. ; must be schoolmaster to the wilful, King Lear, ii. 4 ; learning by others'. Lover's Complaint, I. 155. Experiments, deep, L Henry IV., Hi. 1. Expiate (expired, or, to end), Richard III., Hi. 3 ; Somiet xxii. Explosion, a threatened, Hamlet, Hi. 4.. Expression, in the whole body, Troilus and Cressida, iv. 5, '•' There's a language," etc. See Faces, Language, Words. Expulsed (expelled), I. Henry VI., Hi. 3. Exsufflicate (swollen), Othello, Hi. 3. Extended, extent (seized, attachment, a law-term). As You Like It, Hi. 1 ; Antony and Cleopatra, i. 2. Extenuation, begged for youthful errors, i. Henry IV., Hi. 2 ; intention of, disclaimed, Othello, v. 2. Extirped. (extirpated), I. Henry VI., Hi. 3. Exton, Sir Pierce of, character in Richard II., first appears in V. If, ; murders Richard, v. 5 ; and is condemned for it by Henry, v. 6. Some historians are of opinion that Richard was starved to death in captivity, others that he starved himself in grief, though many follow the story as Shakspere has it. Henry IV. executed several who said that Richard had escaped. A remarkable resemblance be- tween him and his chaplain, Mandelain, led some to believe that it was the chaplain who suffered death and whose body was shown. Extravagance, Timon of Athens, ii. 1, 2. Extravagant (wandering), Othello, i. 1. Extremes, As You Like It, iv. 1. Eyas, or eyas-musket (a young hawk). Merry Wives of Windsor, Hi. 3. Eye(s), a blue and sunken, As You Like It, Hi. 2 ; blueness about the eyes was thought a sign of being in love ; all senses locked in the. Love's Lal)ow's Lost, ii. 1, near the end ; a still-soliciting. King Lear, i. 1 ; the evil eye, referred to in the word " o'erlook," which means to cast the evil eye upon, in Merry Wives of Windsor, v. 5 ; Merchant of Venice, Hi. 2; like Mars, Hamlet, Hi. 2; doth not behold itself, Troilus and Cressida, Hi. 3 ; spies. The Tempest, v. 1 ; coward gates of, As You Like It, Hi. 5 ; woman's. Love's Labour's Lost, iv. 3 ; crystal. Two Gentlemen of Verona, ii. 4 / to be put out, King John, iv. 1 ; King Lear, Hi. 7 ; praise of, Romeo and Jtdiet, H. 2 : green (hazel), Romeo and Jidiet, Hi. 5, the nurse's speech ; closing in death, Antony and Cleopatra, v. 2; blue, Venus and Adonis, I. 48I ; like the moon in water, Venus and Adonis, I. 4-91 : 116 INDEX TO SHAKSPERE'S WORKS. darkened, Venus and AdGiiin, I. 1037 ; beauty of, Sonnet xvii. ; hearing with. Sonnet xxiii. ; the painter. Sonnet xxiv. ; dark. Son- nets cxxvii., cxxxii. ; in distraction. Lover's Complaint, I. 22. Eyebrows, ladies', A Winter's Tale, ii. 1. Eyelids, fringed curtains, The Tempest, i. 2 ; advanced, The Tempest, iv: 1. Fabian, a witty fellow, servant in the house of Olivia, in Twelfth Night, introduced in ii. 5. Fable, of the fox and the grapes, AlVs Well that Ends Well, ii. 1 ; of the belly and the other members, Coriolanus, i. 1. Face (to pretend), I. Henry VI., v. 3. Face(s), jest on a, Love's Labour's Lost, v. 2, " A cittern head,'' etc. ; was this the, Richard II., iv. i; a red, I. Henry IV., Hi. 3; a royal, II. Henry IV., i. 2 ; commanding, Coriolanus, iv. 5 ; of Paris, Romeo and Juliet, i. 3 ; no art to read the mind in, like a book, Mac- beth, i. 4, 5 ; round, are foolish, Antony and Cleopatra, Hi. 3 ; ex- pression of. Sonnets xciii., xciv ; of men and of women, Antony and CJeojKitra, ii. 6 ; judgment of, Othello, Hi. 3 ; pleasant, Pericles, i. L Facinorous (atrocious). All's Well that Ends Well, ii. 3. Fact, those of your (of the same deed as you), A Winter's Tale, Hi. 2. Factions, cause weakness, Troilus and Cressida, i. 3. Faculties, use of. Measure for Measure, i. 1, " Heaven doth with us," etc. ; Hamlet, iv. 4, " What is a man," etc. ; Othello, i. 3, " Our bodies are our gardens," etc. Fadge (to fit, or be suitable). Love's Labour's Lost, v. 1 ; Twelfth Night, H. 2. Fadings. See Dildos. Failure, the result of striving for better than well, King John, iv. 2 ; of a soldier to prosper in time of peace, Coriolanus, iv. 7 ; pos- sible, 3Iacbeth, i. 7. Fair, was the morn, Passionate Pilgrim, vH. ; is my love, ix. Fairies, forms assumed by, and pranks of. The Tempest, i. 2 ; ii. 2 ; V. 1 ; Midsummer-Night' s Bream, ii. 1 ; Romeo and Juliet, i. 4; offices of. The Tempest, v. 1; rings made by the dances of. The Tempest, v. 1 ; see Ringlets ; superstitions regarding, Merry Wives of Windsor, iv. 4- ; sl personation of. Merry Wives of Windsor, iv. 4, 5 ; death the penalty of speaking to, Merry Wives of Windsor, v. 5 ; land of, Comedy of Errors, ii. 2 ; malevolent, Cow.edy of Errors, iv. 2 ; introduced as characters in the Midsummer-Night's Dream; lore INDEX TO SHAESPERE'S WORKS. 117 of, Midsummer- Nighfs Dream, ii. 1 ; swiftness of — offices of, 3Iid- summer-JS'ighfs Dream, in. 1; gold of, A Winter's Tale, Hi. 3 ; changelings of, 1. Henry IV., i. 1 ; description of Queen Mab — her chariot, Romeo and Juliet, i. 4; allusion to their office in keeping away worms from the dead, Cymbeline, iv. 2; Midsummer-Nighf s Dream, ii. 2. Faith, plural, in love, Two Gentlemen of Verona, v. 4 ; a charm against witchcraft, Comedy of Errors, Hi. 2 ; worn as the fashion, Much Ado about Nothing, i. 1 ; speaks from need, not from faith, King John, Hi. 1 ; want of, see Friexds, Lovers, Treachery. Faitours (traitors), II. Henry IV., ii. 4- Falconry, or hawking, allusions to, sometimes called birding. Merry Wives of Windsor, Hi. 3, 5 ; iv.2; the staniel (kestrel-hawk). Twelfth Night, ii, 5 ; the tercel-gentle or tassel-gentle, Romeo and Juliet, ii. 1; this is a male goss-hawk, which is gentle and easily- tamed; the gentle astringer (hawk-tamer), AWs Well that Ends Well, V. i ; the falcon's bells. As You Like It, Hi. 3 ; III. Henry VI., i. 1 ; Lucrece, I. 511 ; jesses (straps on the falcon's legs by which it was held), Othello, Hi. 3 ; hood my unmanned blood, Romeo and Ju- liet, Hi. 2 ; an unmanned hawk, one not used to man, was hooded to prevent fright ; haggards (wild hawks). Much Ado about Nothing, Hi. 1, end ; Twelfth Night, Hi. 1 ; Othello, Hi. 3 ; a, hooded valour, Henry V., Hi. 7 ; to check (start away from the lure). Twelfth Night, Hi. 1 ; Hamlet, iv. 7 ; the method of taming hawks. Taming of the Shrew, iv. 1; to seel up the eyes, as was done to the hawk in train- ing by sewing the eyelids up, II. Henry IV., Hi. 1 ; Macbeth, Hi. 2 ; Othello, i. 3 ; Hi. 3; imp, Richard II., H. 1 ; to imp a hawk was to mend broken feathers by grafting or piecing them out ; mailed up (wrapped), II. Henry VI., ii. 4 ; mew up or emmew. Measure for Measure, Hi. 1; Taming of the Shrew, i. 1 ; Romeo and Juliet, Hi. 4; to tower, II. Henry VI., ii. 1; Macbeth, H. 4; Lucrece, I. 506 ; baiting (fluttering), Romeo and Juliet, Hi. 2 ; to tire (feed raven- ously), III. Henry VI., %. 1 ; Timon of Athens, Hi. 6 ; Cymbeline, Hi. 4 ; disedged (satiated), Cymbeline, Hi. 4 ; whistle her oif and let her down the wind, Othello, Hi. 3 ; will coast (hover about) my crown, ///. Henry VI., i. 1; quarry, Coriolanus, i, 1; Macbeth, iv. 3; Hamlet, V. 2. Fall (let fall). Comedy of Errors, ii. 2, and elsewhere. Fall, of Caesar, the, Julius Ccesar, Hi. 2, Antony's speech ; of Percy, /. Henry IV., v. 4; of a queen, Richard III, iv. 4; of a king, Richard II., Hi. 2; of man, Henry V., ii. 2 ; of Woisey, Henry 118 INDEX TO SHAKSPERE'S WORKS. VIII., Hi. 2 ; of the great, Macbeth, ii. 4 ; Antony and Cleopatra, iii, 10 ; iv. 10, 13. Falling, the, cruelty to, Henry VIII., iii. 2 ; v. 2. Falling-sickness. See Epilepsy, under Diseases. Falsehood, caused by trust. The Tempest, i. 2 ; hated by women, Two Oentlemen of Verona, iii. 2 ; in love. Two Gentlemen of Verona, iv. 2; goodly outside of, Merchant of Venice, i. 1; cures falsehood, King John, iii. 1 ; hidden, Richard III., ii. 1 ; Cressida a name for, Troilus and Cressida, iii. 2 ; of Diomed, Troilus and Cres- sida, V. 1. Falsity, of women, A Winter's Tale, i. 2, " Were they as false as o'er dyed blacks." Falstaff, Sir John, appears in the two parts of Henry I V. and the Merry Wives of Windsor. He is the leader of the dissolute band that surround the Prince of Wales. In /. Henry IV. he first ap- pears in i. 2. This scene and ii. 4 are full of bantering epithets and allusions to his size, directed against him by his companions. His adventure at Gadshill, ii. 2; takes the character of Henry IV., n. ^; his account of his soldiers, iv. 2 ; he counterfeits death at the battle of Shrewsbury, v. If.. In the Merry Wives of Windsor he is introduced in the first scene. His character in this play appears much more de- graded than in Henry IV. The time is probably shortly before the death of the king. His wit, or at least his shrewdness, seems to have deserted him, and he is outwitted by simple people whom he despises. Gervinus, who finds a moral design in everything, thinks that Shak- spere exhibited the deterioration of his character, and threw it into contrast with the ennoblement of the prince's, to show his essential baseness, and do away with whatever bad impression may have been made by the glamour that his wit throws over his moral qualities. However that may be, the reader is prepared by this play for the dis- grace that overtakes him, which otherwise would seem cruel and not altogether deserved. His hypocrisy and inconsistency, ii. 1; ridicule of his size, ii. 1 ; iii. 5 ; iv. 4, 5 ; his honour, ii. 2 ; epithets applied to him, i. 3 ; iii. 1; v. 5 ; his adventure in the buck-basket, iii. 3 ; in a woman's clothes, iv. 2 ; at Heme's oak with the fairies, V. 5. See Merry Wives of Windsor. He is introduced in II Hen- ry IV., in i. 2, where he talks with the chief justice ; arrested at the instance of Mrs. Quickly, ii. 1 ; overheard by the prince in disguise, ii. 4 ; ridiculed, ii. 2, 4 ; iv. 3 ; his recruits for the army, Hi. 2 ; his expectations from the prince, v. 3; disappointed, v. 5; banished from the prince, v. 5. His death is described by Mrs. Quickly in INDEX TO SHAKSFERE'S WORKS. 119 Henry V., ii. S, and he is spoken of by Fluellen in iv. 7 of the same play The name of this character was at fii-st Sir John Oldcas- tle, q. V. " Falstaff, not a degraded man of genius, like Burns, but a man of degraded genius, with the same consciousness of superiority to his companions [as lago and Richard III.], fastened himself on a young prince, to prove how much his influence on an heir-apparent would exceed that of a statesman. With this view he hesitated not to adopt the most contemptible of all characters, that of an open and professed liar ; even his sensuality was subservient to his intellect ; for he ap- peared to drink sack that he might have occasion to show oif his wit. One thing, however, worthy of observation, is the perpetual contrast of labour in Falstatf to produce wit with the ease with which Prince Henry parries his shafts ; and the final contempt which such a char- acter deserves and receives from the young king, when Falstaff ex- hibits the struggle of inward determination with an outward show of humility." — Coleridge. Fame, all men hunt after, Love's Labour's Lost, i. 1 ; antici- pated, Henry V., iv. 3 ; living in, Richard III., iii. 1; of heroes, Troilus and Cressida, ii. 2, end; best gained in second place, Corio- lanus, i. 1, end; fold in this orb, Coriolanus, v. 6 ; of good and evil deeds, Julius CcBsar, iii. 2 ; danger of acquiring too high a, Antony and Cleopatra, iii. 1 ; undying. Measure for Jleasare, v. 1 ; Richard HI, iii. 1 ; brevity of. Much Ado about Nothing, v. 2 ; effect of, Troilus and Cressida, i. 3 ; I. Henry IV., v. 4 ; Henry VIII., iv., 2 ; would be exchanged for a pot of ale, Henry V., iii. 2. Familiarity, with an inferior, Comedy of Errors, ii. 2 ; too great, Hamlet, i. 3. Fam.ily pride, of Sly, Taming of the Shrew, induction, 1. Fam.ine, Pericles, i. 4; makes valiant, Cymbeline, iii. 6. Fancies, the humour of forty, stuck for a feather in an old hat, Taming of the Shrew, iii. 2. Fancy, where bred. Merchant of Venice. Hi. 2, song ; sweet and bitter. As You Like It, iv. 3 ; (love) followers of, Midsummer-Nigh fs Dream, i. 1 ; full of shapes. Twelfth Night, i. 1 ; nature wants stuff to vie with, Antony and Cleopatra, v. 2 ; every one to his own, AlVs Well that Ends Well, iv. 1. Fancy-free, Midsummer-NigM s Dream, ii. 2. Fang, one of the sheriff's oiiicers in II. Henry IV., who appears in ii. 1. Fangled (capricious), Cymheline, v. 4. Fap (tipsy), Mer^ y Wives of Windsor, i. 1. Fare-well(s), to greatness, Henry VIII, iii. 2; Troilus and 120 INDEX TO SHAKSPEEE'S WORKS. Cressida, iv. If.; an everlasting, Julius Ccesar, v. I; Antony and, Cleopatra. Hi. 2 ; Sonnet Ixxxvii. See Parting. Farmer, the, that hanged himself, Uacbeth, ii. 3. Farthingale, Tivo Gentlemen of Verona, ii. 7 ; Merry Wives of Windsor, Hi. 3 ; Taming of the Shrew, iv. 3. Fashion, wears out more apparel than the man — a deformed thief, JIuch Ado about Nothing, Hi. 3 ; infected with. Taming of the Shrew, Hi. 2 ; following the, AlVs Well that Ends Well, ii. 1 ; from Italy, Richard II., ii. 1, common in Shakspere's time but not at time of the play; of France, Henry VIII., i. 3; behind the, Julius Cmsar, iv. 1, Antony speaking on Lepidus; the glass of, Hamlet, Hi. 1 ; in speech, Hamlet, v. 2 ; garments out of, Cymbeline, Hi. 4; less without, and more within, a new, Cymheline, v. 1. Fast and Loose, Antony and Cleopatra, iv. 10 or 12, a game played by gypsies. A belt was folded and knotted up and placed on a table, and the victim made a wager that he could hold it fast to the table ; he would then place a skewer through what seemed to be the central fold, when the gypsy would take hold of the two ends and pull it away. Fastidiousness, the extreme of, /. Henry I V., i. 3, Hotspur's description. Fasting, oath concerning. Love's Labour's Lost, i. 1 ; effect of, on the disposition, Coriolanus, v. 1. Fastolfe, Sir John, character in /. Henry VI. He was lieuten- ant-general to Bedford in Normandy, and deputy regent. His cow- ardice at the siege of Orleans is spoken of in i. 1, and Talbot exe- crates him in i. Jf,. He first appears in Hi. 2, and is deprived of the garter and banished in iv. 1. He died in 1469. Fat, to be, to be hated, L Henry IV., ii. 4; men, Merry Wives of Windsor, ii. 1 ; men, not dangerous, Julius Ccesar, i. 2 ; woman, description of a, Comedy of Errors, Hi. 2. Fatality, Jleasure for Jleasure, " The words of heaven," etc. ; Hamlet, v. 2, " There's a divinity," etc. ; King Lear, i. 2, " This is the excellent foppery," etc. See also Free Will. Fate, The Tempest, Hi. 3 ; no escape from. Love's Labour's Lost iv. 3, " The sea will ebb," etc. ; malignancy of, Twelfth Night, ii. 1 ; the book of, II. Henry IV., Hi. 1; no resisting, III. Henry VI., iv. 3 ; men masters of their, Julius Ccesar, i. 2 ; unavoidable, Julius Ciesar, ii. 2 ; Othello, v. 2 ; Hamlet, Hi. 2 ; v. 2 ; in an auger-hole, Macbeth, ii. 3 ; challenge to, Macbeth, Hi. 1 ; makes desperate, Ham- let, i. 4 ; bewailing one's, Sonnet xxix. INDEX TO SHAKSPERE'S WORKS. 121 Father, praise by a, The Tempest, iv. 1 ; an angry, Two Gentle- men of Verona, iii. 1; shame of a, Much Ado about Nothing, iv. 1; that knows his child, Merchant of Venice, ii. 2 ; right of a, Midsum- mer-Nighfs Bream, i. i ; at his son's nuptial, A Winter's Tale, iv. 3 ; anger of a, A W%nter's Tale, iv. 4 ; vote of, against a son, Rich- ard II., i. 3 ; judgment on a, 1. Henry IV., iii. 2 ; desperation of a, //. Henry IV., i. 1 ; cares of a, //. Henry IV., iv. 4 ; grief of a, Titus Andronicus, iii. 1; anger of a. King Lear, i. i; in rags. King Lear, ii. 4 ; who would be a, Othello, i. 1 ; an infirm, Sonnet xxxvii ; duty to a, and to a husband, Othello, i. 3. Fauconberg, mentioned, Henry V., iii. 6 ; iv. 8. Faulconbridge, an English baron, one of the suitors of Portia, mentioned in Jlerclumt of Venice, i. 2. Faulconbridge, Philip, half-brother of Robert F., in King John, and natural son of Richard I., enters in the first scene. His name is changed by John to Richard Plantagenet. He is cynical, coarse, and skeptical in conversation, but brave, straightforward, and patriotic in action. He revolts at the murder of Arthur, iv. 3, but will not on that account turn against his country as Salisbury does. Faulconbridge, Robert, son of Sir Robert Faulconbridge, char- acter in Ki7ig John, first appears in i. 1. Faulconbridge, Lady, character in King John, introduced in the first scene. Faulconbridge, William Neville, Lord, mentioned in the third part of King Henry VI. Fault, sometimes used for misfortune. Fault(s), condemn the. Measure for Measure, ii. 2 ; best mould- ed out of. Measure for Measure, v. 1; hearing one's. Much Ado about Nothing, ii. 3 ; excuses make worse. King John, tv. 2 ; turned to good, II. Henry IV., i. 2, "I will turn diseases to commodity"; of the rich, Timon of Athens, i. 2 ; one, Hamlet, i. 4; truth about, Antony and Cleopatra, i. 2 ; made glaring by virtues, Antony and Cleopatra, i. 4 ; punishment of, Cymbeline, v. 1, " You snatch some hence," etc. ; all men make, Sonnet xxxv. ; made graces, Sonnet xcvi ; his worst is, that he is given to prayer. Merry Wives of Windsor, i. 4', abundance of, As You Like It, iii.2 ; of men. Much Ado about Nothing, iv. 1; Coriolanus, i. 1 ; a, headstrong. Twelfth Night, iii. ^ ; a man is the abstract of all, Antony and Cleopatra, i. 4. Fauste, precor, etc. (Faustus, I pray when the herd chews the cud in the cool shade). Love's Labour's Lost, iv. 2. A quotation from Battista Spagnolus, of Mantua. 122 INDEX TO SRAKSPERE\S WORKS. Faustus, Dr., Merry Wives of Windsor, iv. 5. Favour, of the great, Richard III., Hi. 4; Cymheline, v. 4, Favour, defeat thy (disguise thy face), Othello, i. 3. Favourites, that abuse their privilege, //. Henry IV., iv. S; Much Ado about Nothing, Hi. 1. Fawning, Julius Ccesar, i. 2 ; Hi. 1; Richard II., ii. ,?; " Grace me no grace," etc. Fay (faith), Hamlet, ii. 2. Fear (to frighten). Taming of the Shrew, i. 2, and elsewhere. Fear, gives the foe strength, Richard II., Hi. 2 ; this living, Richard II., v. 4 ; not spoken of in Scotland, I. Henry lY., iv. 1 ; of death, Julius Ccesar, ii. 2 ; Hamlet, i. 4; impostors to true, Mac- beth. Hi. 4 ; pale-hearted, Macbeth, iv. 1 ; v. 3 ; expression of, Cym- heline, Hi. 4; extreme, Lucrece, I. 230 ; most accursed of all base passions, I. Henry VI., v. 2 ; &, sm in war, Cymbeline, v. 3 ; leads to hate, Antony and Cleopatra, i. 3; led by reason, Troilus and Cressida, Hi. 2. Fear no more the heat of the sun, song, Cymbeline, iv. 2. Fears, of a woman. King Jolin, Hi. 1 ; make devils of cherubins, Troilus and Cressida, Hi. 2 ; make traitors, Macbeth, iv. 2 ; taste of, forgotten, Macbeth, v. 5. Feast(s), beginning of, suits a keen guest, /. Henry IV., iv. 2 ; to false friends a, Timon of Athens, Hi. 6 ; must be given with wel- come, 31acbeth, Hi. 4; a good man's. As You Like It, v. 1 ; sheep- shearing, A Wi7iter's Tale, iv. 4 ; Capulet's, Romeo and Juliet, i. 2. Feated (moulded), Cymbeline, i. 1. Feather, life tested by a, King Lear, v. 3 ; II. Henry IV., iv. 4. Federary (confederate), A Winter's Tale, H. 1. Feehle, a recruit in II Henry IV., appears in Hi. 2. Feeders (dependents), Antony and Cleopatra, Hi. 11 or 13. Feeding (pasture tract), A Winter's Tale, iv. 3 or 4. Feint, a, Othello, i. 3. Fellow-feeling, Merry Wives of Windsor, ii. 2, " Sir, I hear," etc. ; Measure for Jleasure, H. 2 ; Hi. 2. Fencing, allusions to, and terms of. Merry Wives of Windsor, i. 1 ; ii. 3 ; Hi. 2 ; Love's Labour's Lost, i. 2 ; v. 1 ; description of, Hamlet, iv. 7 or 4. " Feney " or " venue " and " staccato " signrSy a quick, sharp stroke ; " montant " or " montanto," an upward thrust ; " punto reverso," a backward, and " passado," a forward thrust. Fennel, //. Henry IV, ii. 4; Hamlet, iv. 5. Fennel was hot, find therefore deemed exciting ; it was also emblematic of a flatterer. INDEX TO SHAKSPERE'S WORKS. 123 Fenton, a gentleman in the Merry Wives of Windsor, a suitor and afterward the husband of Anne Page. He ha^i formerly been one of the prince's roguish companions, but through the influence of Anne Page, whom he at first seeks for her money, his character is transformed. He first appears in ^. 4. Feodaiy (companion), Pleasure for Measure, ii. 4 ; Cymheline, Hi. 2. Ferdinand, son of the King of Naples in Tlie Tempest, intro- duced in i. 2, and the lover of Miranda. Ferdinand, King of Navarre, character in Love's Labour's Lost, introduced in the first scene. He has set up a " little Academe," a school of culture for himself and three companions. That for women in Tennyson's " Princess " is somewhat after the same plan. Fere (mate), Titus Andronicus, iv. 1 ; Pericles, i., prologue. Fern-seed, /. Henry 1 V., ii. 1. It was supposed to render one invisible. Ferrers, Walter, Lord, his death, Richard III., v. 5. Feste, the fool in Twelfth Night, introduced in i. 5, one of Shakspere's airiest and most delicate clowns. Festinate, -ly (speedy, speedily), Love's Labour's Lost, Hi. 1 ; King Lear, Hi. 1. Festival, a Roman, Julius Ccesar, i. 2. Fet (fetched), Henry Y., Hi. 1. Fettle (prepare), Romeo and Juliet, Hi. 5. Feuds, between Somerset and Plantagenet, /. Henry VI., ii. 4. ; between their adherents, Hi. 4 / *^'- ^, 3 ; between Gloucester and Winchester, I. Henry VL, i. 3 ; Hi. 1 ; v. 1 ; II. Henry VI., i. 1 ; ii. 1; between Wolsey and Buckingham, Henry VII I., i. 1; of Montague and Capulet, Romeo and Juliet, i. 1, 5 ; Hi. 1; v. 3. Fever, a fit of madness. Comedy of Errors, v. 1 ; sensations di. King John, v. 7. Fewness (few words), Measure for Measure, i. 5. Fickleness, Two Gentlemen of Verona, ii. 4 / Twelfth Night, H. 4. See Inconstancy. Fico (fig). Merry Wives of Windsor, i. 3 ; Henry V., Hi. 6. Fidelity. See Constancy, Faith, Loyalty. Fie on sinful fantasy, song, Merry Wives of Windsor, v. 5. Field of the Cloth of Gold, expense of, Henry VIII., i. 1. Fiend(s), temptations of. Merchant of Venice, ii. 2 ; summoned by Joan, /. Henry VI., v. 3 ; lies like truth, Macbeth, v. 5 ; descrip- tion of a, King Lear, iv. 6. See Mahu. 124 INDEX TO SIIAKSPERE';S WORKS. Fife, the wry-necked, 3Ierchant of Venice, ii. 5. Fife, in Scotland, scene of a part of Macbeth. Macduff was Thane of Fife. Fife, Mordake, Earl of, spoken of in /. Henry IV., i. 1, as son of Douglas, was son of the Duke of Albany. The mistake was occa- sioned by an ambiguity in Holinshed, caused by defective punctua- tion. Fifteens (fifteenths of the personal property), one-and-twenty, II. Henry VI., iv. 7. Fighting, by book, Romeo and Juliet, Hi. 1. Fights (pieces of cloth hung around a ship to keep men out of sight during an engagement). Merry Wives of Windsor, ii. 2. Fights, As You Like It, i. 1 ; Twelfth Night, iv. 1 ; v. 1 ; Troi- lus and Cressida, iv. 5. Filberts, The Tempest, ii. 2. File (number). Measure for Measure, Hi. 2. File, the valued (list with estimates of value), Macbeth, Hi. 1. Filed (polished). Love's Labour's Lost, v. 1. Filial love and duty. Two Gentlemen of Verona, Hi. 1; A Winters Tale, iv. 4; King Lear, i. 4; ii. 1, 4; iv. 2, 7. Fineless (endless), Othello, Hi. 3. Finsbury, I. Henry IV., Hi. L Then open fields and a favourite resort, now a part of London. Fire, that's closest kept, Two Gentlemen of Verona, i.2 ; shunned, Two Gentlemen of Verona, i. 3; cannot melt out of me. Much Ado about Nothing, i. 1; drives out fire, Coriolanus, iv. 7 ; a mighty, Ju- lius Ccesar, i. 3 ; a. wheel of. King Lear, iv. 7. Fire-drake (variously explained as the Will o' the wisp, a sort of firework, and a mild form of lightning), Henry VIII., v. 4.. ' Fire-new (brand-new). Love's Labour's Lost, i. 1, and elsewhere. Fire out. Sonnet cxliv. Fires (a disease like the strangles). Taming of the Shrew, Hi. 2. Firmament, the, Hamlet, ii. 2, " I will tell you why," etc. Firmness, Julius CcBsar, Hi. 1. Fish, to eat no. King Lear, i. 4 ; of fortune's buttering, All's Well that Ends Well, v. 2 ; finless, Comedy of Errors, Hi. 1; I. Henry IV., Hi. 1. Fishermen, moralizing by, Pericles, H. 1. Fishes, the great eat the little, Pericles, H. 1. Fishing, nothing to be got nowadays except by, Pericles, ii. 1. Fistula, disease of the king, All's Well that Ends Well, i. L INDEX TO SHAKSPERE'S WORKS. 125 • Fitcliew (pole-cat), Othello, iv. 1, and elsewhere. Fitzwalter, a character in Richard II., introduced in iv. 1. Flaminius, a servant of Timon of Athens, introduced in ii. 2. Owing to confusion in the original copy, where the steward is some- times known as Flavius, and that name is also given to this servant, later editions vary. See Flavius. Flannel, made in Wales, Merry Wives of Windsor, v. 5. Flap-dragons, Love's Labour's Lost, v. 1 ; A Winter's Tale, Hi. 3 ; II. Henry IV., H. 4. Substances set on fire and placed on the top of liquor, skill being required to drink without being burned. Sometimes they were candle-ends. Flatterers, of a king, Richard II., ii. 1 ; of the rich, Timon of Alliens, i. 1, 2 ; ingratitude of, Timon of Athens, ii. 2 ; Hi. 2, 5 ; all men are, Timon of Athens, iv. 3 ; Julius Ccesar, ii. 1; iv. 3 ; v. 1 ; Passionate Pilgrim, xx. Flattery, of Falstaff, Merry Wives of Windsor, ii. 2 ; Hi. 3 ; of Evans, Merry Wives of Windsor, Hi. 1; of Mrs. Ford, Merry Wives of Windsor, Hi. 3 ; conquers strife. Comedy of Errors, Hi. 2 ; Love's Labour's Lost, ii. 1 ; of Hero, Much Ado about Nothing, Hi. 4 ,' As You Like It, ii. 1 ; of a king, Richard II., i. 1 ; Hi. 2 ; thought truth, I. Henry IV., iv. 1 ; of King James I., Henry VIII, v. 5 ; poured on AJax, Troilus and Cress ida, ii. 3 ; of the people, Corio- lanus, ii. 2 ; Hi. ^ ; contempt for, Coriolanus, Hi. 1, '• Neptune for his trident," etc. ; men deaf to counsel, but not to, Timon of Athens, i. 2 ; Hi. 3 ; necessity for, Macbeth, Hi. 2 ; profitable, Hamlet, Hi. 2, to Horatio; Othello, iv. 2, "I grant, indeed," etc.; King Lear, i, 1; fault contrary to — sarcastic. King Lear, ii. 2; Cymbeline, i. 6; Pericles, i. 2 ; iv. 4 ; which melteth fools, Julius Ccesar, Hi. 1. Flavius, a gentleman, mentioned in Measure for Measure, iv. 5. Flavius, one of the tribunes in Julius Ccesar, first appears in i. 1. See Marullus. Flavius, steward of Timon of Athens, introduced in i. 2. In some editions he is mentioned simply as the steward, and those copies have the name Flavius for the servant Flaminius. The difference arises from some confusion in the original copy. The steward re- mained faithful and disinterested after Timon's false friends had deserted him, iv. 3, end. Flaws (sudden gusts of wind), //. Henry IV., iv. 4 ; II. Henry VI., Hi. 1 ; Venus and Adonis, I. 456. Fleance, son of Banquo, in Macbeth, first appears in ii. 1. In 9 126 INDEX TO SHAKSPERE'S WORKS. Hi. 3, he escapes from the mui'derers that are set upon him and his father. Fleece, hair like a golden, Jlerchant of Venice, i. 1 ; Hi. 2, Fleet, description of a, Henry V., Hi., chorus. Fleet (the prison), II. Henry IV., v. 5. Flemish drunkard, a. Merry Wives of Windsor, ii. 1. Flesh, the pound of, Merchant of Venice, i. 3 ; Hi. 1, 3, 5 ; iv, 1 ; as regards the original story, see under Merchant of Venice ; and blood, my own. Merchant of Venice, Hi. 1 ; more, more frailty, 1. Henry IV., Hi. 3 ; this too solid, Hamlet, i. 2. Fleur-de-lys. See Flower-de-luce. Flew'd (with flews or large chaps), Midsummer-Nighfs Dream^ iv. 1. Flibbertigibbet, a fiend, King Lear, Hi. 4 ; iv. 1. See Mahu. Flight, of Hotspur's soldiers, II. Henry IV., i. 1 ; of Antony at Actium, Antony and Cleopatra, Hi. 8 or 10, 11 or 13 ; Macbeth,v. 3. Flint Castle, in Wales, scene of Richard II., Hi. 3. Flirtation, Hamlet, i. 3, " The trifling of his favours," etc. Flood, the great, Julius Ccesar, i. 2. Deucalion's (g. v.). Flood, loss by. King John, v. 6, 7. John once lost his baggage and treasure by a flood while on his way from Lynn to Lincolnshire. Florence, Italy, scene of a part of AlVs Well that Ends Well. Florence, Duke of, an unimportant character in AlFs Well that Ends Well, introduced in Hi. 1. Florentius, Taming of the Shrew, i. 2. Allusion to an old story told by Gower in "Confessio Amantis." Florentius bound himself to marry a deformed hag if she would solve for him a riddle on which his life depended. Florizel, character in A Wiyiter's Tale, first appears in iv. 4. He is the son of the King of Bohemia and lover of Perdita, to whom he is first known as Doricles. His character is pure, disinterested, and romantic. Flote (wave), The Tempest, i. 2. Flout 'em and scout 'em, song, The Tempest, Hi. 2. Flower-de-luce, A WHiter's Tale, iv. 3 or 4 ; I. Henry VI., i. 2 ; II. Henry VI, v. 1; cropped on the, /. Henry VI., i. 1, alluding to the losses in France ; the three fleurs-de-lis of France were on the arms of England until the beginning of this century. It is a corrup- tion of '• Fleur de Louis," from Louis VII., who chose it for his em- blem when about to start on his crusade. Flower(s), Two Gentlemen of Verona, ii. 4 ; Midsummer-NighVt INDEX TO SHAKSPERE'S WORKS. 127 Dream, ii. 1,2; A Winter\s Tale, iv. 4; significance of, Hamlet, iv. 5 (or 2) ; Romeo and Juliet, iv. 5 ; Hamlet, v. 1 ; for the dead, Cym- heiine, iv. 2 ; Pericles, iv. 1 ; from the blood of Adonis, Venus and Adonis, I. 1168. Fluellen, a Welshman, character in Henry V., introduced in iii. 2. He talks with an affectation of learning, but is in reality- straightforward, simple, true, and serious. In iv. 1 the king says of him : " Though it appear a little out of fashion. There is much care and valour in this Welshman." The name is found among those of contemporaries of Shakspere at Stratford. Flute, Francis, a bellows-mender, character in Midsummer- Nigh fs Bream, introduced in i. 2. He takes the part of Thisbe in the play before the duke. Fly, killing of a, Titus Andronicus, Hi. 2. Perhaps an allusion to the belief that evil spirits sometimes took the form of a fly. Foe, a furnace heated for a, Henry VIII., i. 1; my dearest, Hamlet, i. 2. Foes, profit by, in self-knowledge, Tivelfth Night, v. 1. Foil, use of a, I. Henry IV., i. 2, end. Foins (passes in fencing), 3Iuch Ado about Nothing, v. i ; King Lear, iv. 6. Foison (abundance), The Tempest, iv. 1 ; Macbeth, iv. 3. Foix, a French lord, killed at Agincourt, mentioned, Henry V., iii. 5 ;- iv. 8. Folly, of love. Two Gentlemen of Verona, i. 1; ii. 1; of the wise. As You Like It, ii. 7 ; Love's Labour's Lost, v. 2 ; waited on by wisdom, AlVs Well that Ends Well, i. 1; of fools and wise, Twelfth Night, iii. 1. Food, influence of. Comedy of Errors, ii. 2 ; Love's Labour's Lost, i. 1. See Beef. Fool, of King Lear, the, introduced in i. 4, of the play. " The fool is no comic buffoon to make the groundlings laugh. ... He is as wonderful a creation as Caliban ; his wild babblings and inspired idiocy articulate and gauge the horrors of the scene." — Coleridge. Fool-begg'd patience, Comedy of Errors, H. 1. Supposed allusion to the custom of oegging the king for the guardianship of rich idiots. Foolhardiness, Cymbeline, iv. 2, "Being soartie madp up," etc. 128 INDEX TO SHAKSPERE'S WORKS. Fooling, Twelfth Night, ii. 3 ; Troilus and Cressida, v. 2; Ilamht, in. 2, Foolishness, monopoly of, King Lear, i. 4. Fool(s), let me play the, Merchant of Venice, i. 1 ; whetstones of wit, As You Like It, i. 2 ; wit of. As You Like It, i. 2 ; to call, As You Like It, ii. 5 ; a. motley, As You Like It, ii. 7 ; liberty of, As You Like It, ii. 7 ; thinks he is wise. As You Like It, v. 1 ; made better by infirmity. Twelfth Night, i. 5 ; wise men that crow at, Twelfth Night, i. 5 ; no slander in, Twelfth Night, i. 5 ; wit re- quired for playing the. Twelfth Night, Hi. 1 ; Troilus and Cressida, ii. 3 ; livery of, white and green, Romeo and Juliet, ii. 2 ; old. King Lear, i. 3 ; constancy for. King Lear, ii. 4 ; of fortune, King Lear, iv. 6 ; to suckle, Othello, ii. 1 ; a son of a crafty devil, Cymheline, ii. 1; bolt of, soon shot (proverb), Henry V., Hi. 7 ; paradise of, Romeo and Juliet, ii. 4. ; let him play the fool nowhere but in his own house, Hamlet, Hi. 1. Football, allusions, Comedy of Errors, ii. 1 ; King Lear, i. 4. Foot land-rakers (footpads), /. Henry IV., ii. 1. Footsteps, light, Venus and Adonis, I. 1028. Fop, a, AWs Well that Etids Well, ii. 5, " The soul of this man is in his clothes." See Dandy. Fopp'd (fooled), Othello, iv. 2. Forbid (bewitched, set apart), Macbeth, i. 3. Ford, Frank, a character in the Merry Wives of Windsor, intro- duced in ii. 1. Pistol arouses his jealousy toward Falstaff, and he disguises himself, and is introduced to the knight as Mr. Brook. Ford, Mistress, one of the Merry Wives of Windsor. Incensed by Falstaff's outrageous love-making, she and Mrs. Page, to whom he had sent the " twin brother " of the love-letter he sent to her, combine to punish him, and their scheme forms the plot of the play. Fordham, John. See Ely, Bishop of. Fordoes (undoes), Hamlet, ii. 1; Othello, v. 1. Foreboding, A Winter's Tale, Hi. 3, " The skies look grimly ; " Richard II., H. 2, " Some unborn sorrow is coming toward me ; " Henry V., iv. 1, " Even as wrecked men ; " Romeo and Juliet, i. 4, " Some consequence yet hanging in the stars ; " Hi. 5, " I have an Ul-divining soul ; " Macbeth, ii. 1, " A heavy summons lies like lead upon me." See Omens. Foreheads, low. The Tempest, iv. 1 ; Two Gentlemen of Verona, iv.4; Antony and Cleopatra, Hi, 3; armed and reverted. Comedy of Errors, Hi. 2. INDEX TO SHAKSPERE'S WORKS. 129 Forester, a character in Love' s Labour' s Lost, introduced in iv. 1. Forfeit, all souls were once, Measure for Measure, ii. 2. Forfeits (fines on loungers), Measure for Measure, v. 1. Forgery (imagination), Hamlet, iv. 7 (or 4). Forgetfulness, like a dull actor now, I have forgot my part, Coriolanus, v. 3. Forgiveness, Tempest, v. 1; All's Well that Ends Well, v. 3 ; Hamlet, Hi. 3 ; Cymheline, v. 5 ; Two Gentlemen of Verona, v. 4; All's Well that Ends Well, v. 3. It was an old custom for the exe- cutioner to ask forgiveness of the condemned before inflicting the penalty. See also Mercy and Pardon. Formal (normal). Comedy of Errors, v. 1 ; Antony and Cleopatra, ii. 5 ; Twelfth Night, ii. 5. Forms, effect of changing old, King John, iv. 2. Forres, a town about twenty-five mUes from Inverness, on the Moray Frith, scene of a part of Macbeth. Forrest, Miles, a murderer, Rich'ard IlL, iv. 3. Forslow (delay), HI. Henry VI., ii. 3. Forthcoming (in custody), //. Henry VI., ii. 1. For shame ! deny that thou bear'st love, Sonnet x. Forthright, a prisoner. Measure for Measure, iv. 3. Fortinbras, King of Norway, slain by Hamlet, i. 1, father of the prince of that name in the play. Fortinbras, Prince, nephew of the King of Norway, Hamlet, i. 2 ; character in Hamlet, appears in iv. 4 (or 1), and v. 2. Fortitude, Timon of Athens, Hi. 5, " He's truly valiant," etc. ; Troilus and Cressida, i. 3, " In the reproof of chance," etc. ; An- to7iy a?id Cleopatra, iv. 12, " Nay, good my fellows," etc. Fortune, all is but. The Tempest, v. 1 ; girl that flies her. Two Gentlemen of Verona, v. 2 ; with her wheel. As You Like It, i. 2 ; III. Henry VI., iv. 3 ; King Lear, ii. 2, end ; v. 3 ; Lucrece, I. 952 ; out of suits with. As You Like It, i. 2 ; railed on, As You Like It, ii. 7, " Call me not fool till," etc. ; play upon thy helm, All's Well that Ends Well, Hi. 3 ; displeasure of. All's Well that Ends Well, v. 2 ; a good lady. All's Well that Ends Well, v. 2 ; accident and flood of, Twelfth Night, iv. 3 ; fickleness of. King John, Hi. 1 ; Macbeth, i. 2 ; Romeo and Jidiet, Hi. 5 ; Passiojiate Pilgrim, xxi. ; most threaten- ing before favoring, King John, Hi. 4 ; never has both hands full, IL Henry IV., iv. 4 ; the blind goddess, Henry V., Hi. 6 ; proves men, Troilus and Cressida, i. 3 ; men fallen out with, Troilus and Crebsida, Hi. 3 ; blows of, to the noble, Coriolanus, iv. 1 ; fool of. 130 INDEX TO SHAKSPERE'S WORKS. Romeo mid Juliet, Hi. 1 ; King Lear, iv. 6 ; changes of, Timon of Athens, i. 1 ; every step (grise) of. Timon of Athens, iv. 3 ; at odds with, Timon of Athens, iv. ,?; in a merry mood, Julius Ccesar, Hi. 2 ; & tide that leads to, Julius Ccesar, iv. 3 ; we are not the button on the cap of, Hamlet, ii. 2 ; turn Turk, Hamlet, Hi. 2 ; men that are not a pipe for, Hamlet, Hi. 2 ; a good man's, King Lear, ii. 2 ; ne'er turns the key to the poor. King Lear, ii. 4 ; friends in good King Lear, ii. 4; the worst. King Lear, iv. 1 ; tame to blows of, King Lear, iv. 6 ; two loved and hated by. King Lear, v. 3 ; mark of harsh, Antony and Cleopatra, ii. 6 ; laughed away, Antony and Cleopatra, ii. 6 ; scorned most, Antony and Cleopatra, Hi. 9 or 11 ; and Antony part, Antony and Cleopatra, iv. 10 or 12 ; false house- wife, Antony and Cleopatra, iv. 13 or 15 ; knave of, Aritony and Cleopatra, v. 2 ; uncertainty of, Cymbeline, Hi. 3 ; brings in boats not steered, Cymbeline, iv. 3 ; spite of, Sonnets xxxvii., xc. ; respon- sibility of. Sonnet cxi. Fortune-hunter, not a. Twelfth Night, ii. 4. Fortune, my foe, an old song, alluded to. Merry Wives of Wind- sor, Hi. 3. Fortune-telling, Merry Wives of Windsor, iv. 2 ; Comedy of Errors, v. 1 ; Antony and Cleopatra, i. 2 ; allusions to the use of a glass in. Measure for Measure, H. 2 ; Macbeth, iv. 1, Forum, Roman, scene of Coriolanus, ii. 3. Fountain, a warm. Sonnets cliii., cliv. Fowling, allusions to, stale (decoy), The Tempest, iv. 1; stalk on, Much Ado about Nothing, ii. 3 ; limed a bush, II. Henry VI., i. 3 ; H. 4 / dare with his cap like larks, Henry VIII, Hi. 2. Larks were " dared by small mirrors on scarlet cloth, which dazed them while the net was thrown over them." The allusion here is to the cardinal's red hat. Fox, a drawn, /. Henry IV., Hi. 3, drawn from cover ; never trusted, /. Henry IV., v. 2 ; thou diest on point of, Henry V., iv. 4- The last alludes to a sword with the figure of a fox on it, originally used by Ferrara as a trade- mark. Allusions to the cunning of the, II. Henry VI., Hi, 1 ; III. Henry VI, iv. 7 ; Henry VIII., i. 1 ; Timon of Athens, iv. 3 ; Lear, Hi. 4; this lion is a fox for his A^alour, Midsummer Niyhfs Dream, v. 1. Fox and grapes, the, AWs Well that Ends Well, ii. 1. Frailty, of women, 3Ieasure for Measure, ii. 4 ; Hamlet, i. 2 ; human, Henry VIII., v. 3 ; we are devils to ourselves when we tempt the frailty of our powers, Troilus and Cressida, iv. 4. INDEX TO SHAKSPERE'S WORKS. 131 Frampold (uncomfortable), Merry Wives of Windsor, li. 2. France, scene of parts of King John, Henry V., I. and III. Henry VI., Alls Well that Ends Well. Allusion to the war in, in 1589, against Henry IV., Comedy of Errors, Hi. 2 ; the Salique law in, Henry Y., i. 2. The errors in the passage where the bishop states the case, are taken, with all the other statements, from Holinshed. Besides the evident mistake in the number of years. Charlemain is spoken of instead of Charles the Bald as father of the Lady Lingare, and Louis X. is mentioned in place of Louis IX., St. Louis. Eng- lish claim to the crown of, Henry V., i. 1 ; ii. 4 > boasting in the air of, Henry V., Hi. 6 ; English losses in, I. Henry VI., i. 1 ; wounds of, /. Henry VI., Hi. 3 ; compact of, with England, I. Hen- ry VI., V. 4 ; English wars and losses in, II. Henry VI., i. 1 ; Hi. 1 ; better using than trusting, III. Henry VI., iv. 1; following the fashions of, Henry VIIL, i. 3. France, King of, a fine and noble character in AlVs Well that Ends Well, introduced in the second scene. France, King of, character in King Lear, introduced in i. 1, as a suitor for Cordelia, afterward her husband. France, Kings of. See Charles VIL. Louis XI. France, Princess of, one of the principal characters in Love's Labour's Lost, introduced in ii. 1. She comes to ask Aquitaine from the young King of Navarre in his " Academe." She and her ladies are lively if not altogether refined, full of drollery and mischief. Francis, a friar in Much Ado about Nothing, introduced in iv. 1, "a near spiritual kinsman of Friar Laurence in Romeo and Juliet." Francisca, a nun, character in Measure for Measure, appears in i.5. Francisco, a lord, character in The Tempest, introduced in ii. 1. Francisco, a soldier in Hamlet, introduced in i. 1, as a sentinel. Frank (stye), //. Henry IV., ii. 2. Franked (penned), Richard III, i. 3 ; iv. 5. Frateretto, a fiend. King Lear, Hi. 6. See Mahu. Frederick, brother of Mariana in Measure for Pleasure, who had been shipwrecked with his sister's dowry in his charge, men- tioned in Hi. 1. Frederick, the usurping duke in As You Like It, first appears in i. 2. He " is called, even by his daughter, a man of harsh and envious mind ; he appears to be perpetually actuated by gloomy fan- 132 INDEX TO SHAKSPERE'S WORKS. cies, by suspicion and mistrust, and to be urged on by covetousness." He repents in the end, and becomes a hermit. Free (pure), TweJfth Night, ii. 4; A Winter's Tale, ii. 3. Freedom, with foppery, Pleasure for Measure, i. 3 ; of spirit, Julius Ccesar, i. 3 ; real, King Lear, i. 1. Freetown, Romeo and Juliet, i. 1. Literal translation of Yilla Franca. Free will, of men, AlVs Well that Ends Well, i. 1, " Our reme- dies oft in ourselves," etc. ; Julius Ccesar, i. 2, " Men at some time are masters," etc. ; Othello, i. 3, " 'Tis in ourselves," etc. French, the, II. Henry IV., i. 3. A large French force was sent over during this rebellion to Milford Haven in aid of Glen- dower. Defeat of, Henry V., iv. 5 ; those killed at Agincourt, iv. 8 ; inconstancy of, /. Henry VI., Hi. 3 ; supposed fear of Henry V. of, I. Henry VI., i. 1 ; fashions from, Romeo and Juliet, ii. 4 ; charac- teristics of, Merchant of Venice, i. 2 ; lack language to deny if girls of Italy demand, AlVs Well that End's Well, ii. 1. French, language, scenes or parts of scenes in, Henry V., Hi. 4; iv. 4; V. 2. Frenzy, humours his, Comedy of Errors, iv. 4 ; melancholy the nurse of. Taming of the Shrew, induction, 2. Frets, the stops on lutes, guitars, and viols, Taming of the Shreiv, ii. 1 ; Hamlet, Hi. 2. Friar, the duke disguised as a, Pleasure for Measure, ii. 3. Friars, not allowed to go alone, Romeo and Juliet, v. 2. Friend remembered not, song. As You Like It, ii. 7. Friend(s), must needs be proportion in. Merchant of Venice, Hi. 4; keep thy, AlVs Well that Ends Well, i. 1; in misery, ^s You Like It, ii. 1 ; abused by praise of. Twelfth Night, v. 1 ; happiness in remembering, Richard II., ii. 3 ; backing of, /. Henry IV, ii. 4 / desertion of, Henry VIII., ii. 1; Troilus and Cressida, Hi. 3, " 'Tis certain greatness," etc. ; praise of, Coriolanus. v. 2 ; need the oppor- tunity of, Timon of Athens, i.2; an over-generous, Timon of Athens, ii. 1 ; reliance on, Timon of Athens, ii. 2 ; false, Timon of Athens, i. 1 ; Hi. 1, 3 ; iv. 2, 3 ; " Not by his breath," etc. ; old and new, Hamlet, i. 3 ; who needs not shall never lack a, Hamlet, Hi. 2, speech of the player king ; in misfortune, Antony and Cleopatra, iv. 10 or 12 ; be not last to desert a. Sonnet xc. ; a true. Passionate Pilgrim, xxi. ; duty of a, Othello, Hi. 3 ; Julius Ccesar, iv. 3 ; description of, Hmrilet, Hi. 2 ; Merchant of Venice, Hi. 2 ; As You Like It, i. 3, Friendship, of Valentine and Proteus, Two Gentlemen of Ve- INDEX TO SHAKSPERE'S WORKS. 133 rona ; treachery to, Two Gentlemen of Verona, ii. 6 ; in. 1 ; v. 4 ; constant in all but, Much Ado about Nothing, ii. 1 ; of Helena and Ilermia, Midsummer-Nighfs Dream, Hi. 2 ; of Rosalind and Celia, As You Like It, i. 2, 3 ; of the kings, A Winter's TaJe, i. 1 ; of York and Suffolk, Henry V., iv. 6 ; not knit by wisdom, TroiJus and Cres- sida, ii.o ; needs no ceremony, Timon of Athens, i. 2 ; coolness in, Julius Ccesar, i. 2 ; iv. 2 ; caution and constancy in, Hamlet, i, 3 ; brittleness of, Coriolanus, v. 4 ; falsehood to. Sonnet xxxiv. Friendship is feigning, song, As You Like It, ii. 7. Frieze, made in Wales, Merry Wives of Windsor, v. 5. Fright, appearance of, Hamlet, Hi. 4, " Alas ! how is't ? " Frippery (a second-hand shop). The Tempest, iv. 5. Frogmore, Merry Wives of Windsor, ii. 3. Frogmore House is half a mile east of Windsor. Froissart, Jean, /. Henry VI., i. 2. Author of the " Chroni- cles," who lived from 1837 to 1410. Frontiers (forts on the frontiers), I. Henry IV., ii. 3. From east to western Ind, love-verses, ^6- You Like It, Hi. 2. Froth, a foolish man in Measure for Measure, introduced in ii. 1, where he is under arrest, but is discharged on account of his evi- dent incapacity. Froth and lime, let me see thee. Merry Wives of Windsor, i. 3. Froth beer and lime sack, to make it sparkle. Frown, a, Henry VIII, ii. 2; v. 1 ; of majesty, King John, iv.2. Frush (break to pieces), Troilus and Gressida, v. 6. Full fathom five, song, The Tempest, i. 2. Fullam. See Gourd. Full many a glorious morning, Sonnet, xxxiii. Fulvia, Antony's first wife, spoken of in Antony and Cleopatra, I. 1, 2 ; ii. 2. Function (ability to act), Macheth, i. 3. Funeral(s), of Henry V., I. Henry VI., i. 1 ; of Caesar, Julius CcBsar, Hi. 1, 2; followed by marriage, Hamlet, i. 2 ; of Ophelia, Hamlet, v. 1; of Cleopatra, Antony and Cleopatra, v. 2; of the sons of Titus, Titus Andronicus, i. 1; music for a, the Phoenix and the Turtle ; song for a, Cymbeline, iv. 2. Furs, of foxes, and lamb-skins, significance of, Measure for Measure, Hi. 2. Fury, Henry V., iv. 4; III. Henry VI, i. 4; Troilus and Cressida, ii. 3; fire-eyed, Romeo and Juliet, Hi. 1; 1 understand a fury in your words, Othello, iv. 2 ; a. noble, Cymbeline v. 5. 134 INDEX TO SHAKSPERE'S WORKS. Fury, the apparition of a hound, The Tempest, iv. 1. Furze, The TemjJest, i. 1. Fust (mould), Hamlet, iv. 4 (or 1). Future, the, if it were known, //. Henry IV., in. 1 ; Julius Ccesar, v. 1 ; if you can look into, Macbeth, i. 3 ; dread of, Hamlet, Hi. 1 ; Measure for Measure, Hi. 2 ; we know not, Hamlet, v. 5. See Prophecies. G., the letter, prophecy regarding, Richard III., i. 1. Gaberdine, The Tempest, ii. 2 ; Merchant of Venice, i. 3. A long, frock-like coat. Gadfly. See Breese. Gads-Hill, scene of a part of /. Henry IV. On the Kentish road near Rochester. Gadshill, a character in /. Henry IV., introduced in ii. 1. He is one of FalstafE's company, and so disreputable that the carriers are afraid to trust him with their lanterns. In ii. 2 he takes part in the robbery, and in the lying in %i. 4- Gage. See Challenge. Gain, be my lord. King John, end of act ii. ; seekers of, King Lear, ii. 4.. Gaingiving (misgiving), Hamlet, v. 2. Gait, a springing, Troilus and Oressida,iv. 5; a majestic. Love's Labom-'s Lost, v. 1 ;- Antony and Cleopatra, Hi, 3 ; Lear, v. 8 ; A Wi?iter's Tale, iv. 3; of a shuffling nag, /. Henry IV., Hi. L Galathe, Hector's horse, Troilus and Cressida, v. 5. Galen, Merry Wives of Windsor, ii. 3 ; Hi. 1; AlVs Well that Ends Well, ii. 3 ; II. Henry IV., i. 2 ; Coriolanus, ii. 1. Gall, in ink. Twelfth Night, Hi. 2. Galliard (a sprightly dance). Twelfth Night, i. 3 ; Henry V., %. 2. Galliass, Taming of the Shrew, ii. L A large galley with three masts and seats for thirty-two rowers. Gallimaufry (medley), Merry Wives of Windsor, ii. 1; A Win- ter's Tale, iv. 4. Gallow (frighten). King Lear, Hi. 2. Gallowglasses (troops each " armed with a scull, a shirt of mail, and a galloglas-axe "), Macbeth,H. 2 ; II. Henry VI., iv. 9. Gallows, born for the. The Tempest, i. 1 ; v. 1 ; Love's Labour's Lost, V. 2 ; 1. Henry IV., i. 2 ; abolition of the, I. Henry IV., i. 2 ; a fat pair, I. Henry IV., ii. 1 ; Hamlet, v. 1. See Hanging. INDEX TO SBAKSPERE'S WORKS. 135 Gallus, character in Antony and Cleopatra, introduced in v. 1, a friend of Caesar. Gam, Davy, his death, Henry V., iv. 8. Gaming, the varnish of a complete man, Love's Labour's Lost, i. 2. Gam.ut, Hortensio's, Taming of the Shrew, Hi. 1. Ganym.ede, name assumed by Rosalind, As You Like It, i, 3. Garboils (tumult), Antony and Cleopatra, i. 3 ; ii. 2, Garden, order in a, Richard IL, Hi. If,. Gardener, a, Richard IL, Hi. Jf. Gardening, //. Henry VI, Hi. 1, " Now 'tis the spring," etc. ; Henry V., ii. 4; Adam's profession, Richard IL, Hi. 4>' H' Henry VL, iv. 2 ; Hamlet v. L Gardiner, Stephen, Bishop of Winchester, character in Henry VIIL, introduced in ii. 2 ; his unscrupulousness, ii, 2. In v. 1, he expresses enmity to Cromwell and Cranmer. He favored the divorce and the Anglican Church under Henry, but became a papist again under Mary, in whose reign he was chancellor, and vv^hose measures against the Protestants he was largely concerned in. Gargantua, As You Like It, Hi. 2. A giant in the writings of Rabelais, who swallowed five pilgrims with their staves in a salad. Gargrave, Sir Thomas, character in /. Henry VL, appears in i. 4, at the siege of Orleans, and is killed. Garlands, A Winter's Tale, iv. 3 or 4; oaken, Coriolanus, ii. 1 ; wheaten, Hamlet, v. 2 ; willow, Othello, iv. 3, song. Garment, the everlasting, Comedy of Errors, iv. 2. Garter, Knights of the. Merry Wives of Windsor, v. 5. Garter, Order of the, I. Henry VL, iv. 1 ; Richard III., iv. 4. Garter king at arms, Henry VIIL, iv. 1. order of the corona- tion. Thomas Wriothesley, grandfather of Henry Wriothesley, to whom Ve7ius and Adonis and Lucrece were dedicated. Garter Inn, the, scene of a part of the Ilerry Wives of Windsor. The Host, one of the characters, first appears in i. 3, Gascoigne, Sir William, Lord Chief Justice, character in II. Henry IV., first appears in i. 2. One of the legends about the wild Prince Hal is that he gave the chief justice a cuff on the ear, and was sent to prison for it by the justice. In v. 2, Sir William defends his action, and is unexpectedly praised for it and retained in office by the young king. Gascony, in southwestern France, scene of /. Henry VL, iv. •S,4. 136 INDEX TO SHAKSPERE'S WORKS. Gate, the strait, AWs Well that Ends Well, iv. 5. Gaudy night, one other, Antony and Cleopatra, Hi. 13. Gaudy days — that is, days of joy — is a term for feast-days. Gaunt, John of, Duke of Lancaster, character in Richard II., enters in the first scene. He was born in 1339 in Ghent, whence his name. At the opening of the play he was fifty-eight, though ad- dressed as a very old man. He is a fine and stately character. His patriotism is shown in his reproaches to Richard for his sins against his country, and his eulogy on England in ii. 1, just before his death (1399). His line. III. Henry VI., i. 1 ; his wisdom, IIL Henry VI., Hi. J^. Gawsey (Gausel or Goushill), Sir Nicholas, I. Henry IV., v. 4. Gear (business), Merchant of Venice, i. 1 ; II. Henry VI., i. 4 ; Troilus and Cressida, i. 1. Geek (fool, fop). Twelfth Night, v. 1 ; Cymbeline, v. 4. Gelidus timor, etc., //. Henry VI., iv. 1. Cold fear seizes my limbs. Gender (sort), Hamlet, iv. 7 (or 4). General (the common people). Measure for Measure, ii. 4 / cavi- are to the. See Caviare. General (the public weal), Julius Ccesar, ii. 1. General, fame of a, Coriolanus. i. 1, end. Generation (children). King Lear, i. 1. Generation, to yonder (or the under), Measure for Measure, iv. 3. The under would mean the antipodes ; yonder may mean those outside the prison. Genius, the (the soul), Jidius Cmsar, ii. 1 ; Twelfth Night, Hi. 4; (the tutelar angel), Troilus and Oressida, iv. 4- Gentility, law against — the influence of women, Love's Labours Lost, i. 1. Gentleman, characteristics of a. Two Gentlemen of Verona, ii. 4; a fine, Love's Labour's Lost, v. 2 ; signs of a. Twelfth Night, i. 5 ; born a, 3Ierry Wives of Windsor, i. 1 ; A Winters Tale, v. 2 ; a brave, I. Henry IV., v. 1 ; a, framed in the prodigality of nature, Richard III., i. 2 ; bears him like a, Romeo and Juliet, i. 5 ; the most ancient, Hamlet, v. 1. Gentlemen, who neither envy the great nor despise the low, Pericles, ii. 3. Gentleness, a strong enforcement. As You Like It, ii. 7 ; neces- sary for success, Coriolanus, Hi. 1. Gentry (courtesy), Hamlet, ii. 2. INDEX TO SHAKSPERE'S WORKS. 13Y Gentry, degrees of, Mtiry Wivts of Wmdsor, ii. 1, " Not alter the article,' etc. ; inheritance of, A Winter's Tale, i. 2. Geoffrey Plantagenet, the father of Prince Arthur, mentioned in King John. Geography, Merchant of Venice, i. 1, " Peering in maps for ports and piers and roads." Geologic changes, II. Henry IV., Hi. 1, " God, that oiie might read," etc. George, look on my, II. Henry VI., iv. 1 ; Richard III, iv. 4. The Knights of the Garter wore a figure of St. George on horseback. George, St., battle-cry of English soldiers, Henry V., Hi. 1 ; I. Henry VI., iv. 2 ; Richard III, v. 3 ; feast of, April 23d, I.Henry VI., i. 1 ; and the dragon, King John, ii. 1. Allusion to the picture used as an innkeeper's sign. Germans, the, Merry Wives of Windsor, iv. 3, 5. It has been found by Mr. Knight that the Duke of Wiirtemberg travelled in England with a retinue in 1592, and went to Windsor, under the name of Count Morabeliard (Mumplegart), his title at the time, and no doubt this is a reminiscence of that event. Garmomble, almost an anagram of Mumplegart, appears in the copy of 1602. An order was found from the lord chamberlain that the count should have post-horses free. Apparently the host intends to take it out of the rest of the company. Germans are honest men. Merry Wives of Windsor, iv. 5 ; all slops (loose breeches) from the waist downward like, 3Iuch Ado about Nothing, Hi. 2 ; are hasty, ///. Henry VI., iv. 8. Germany, the heresies in Upper, Henry VIII., v. 3. Alluding to the " following of Thomas Muncer in Thuringia in 1521." Gertrude, Queen of Denmark and mother of Hamlet, first ap- pears in i. 2. In the history her name is Geruth or Gerutha. It is left doubtfid whether she knew of the poisoning of Hamlet's father, but her affe*ction for Hamlet and for Ophelia make it probable that she was weak rather than cruel. She dies, v. 2, of the poison in- tended for Hamlet. Gest, A Winter's Tale, i. 2. An appointed stage in a royal progress ; sometimes used for an appointed limit of time. Get you hence, song, A Winter's Tale, iv. 3 or 4. Ghost (corpse), II. Henry VI., Hi. 2. Ghost (soul), vex not his. King Lear, v. 3. Ghost(s), returning, Midsummer-Nighfs Dream, Hi. 2 ; appear to Richard and Richmond, Richard III., v. 3 ; of Caesar, Julius Cc&sar, iv. 3; v. 5; of Banquo, Macbeth, Hi. 3, 4; of Hamlet's 138 INDEX TO SHAKSPERE'S WORKS. father, Hamlet, i. 1, 2, 4, 5; ii. 2, end; Hi. 4; make the, gaze, Art tony and Cleopatra, iv. 12 or 1^ ; disbelief in, A Winter's Tale, Hi. 3. Giant, a. Twelfth Night, i. 5, meaning a guardian giant ; strength of, Measure for Measure, ii. 2 ; pangs of, in death, Measure for Measure, Hi. 1 ; robe of a, Macbeth, v. 2. Gib-cat (an old cat), I. Henry IV., i. 2. Gifts, slight. As You Like It, i. 2, " Wear this for me," etc. ; that are locked in the heart, A Winter's Tale, iv. 3 ; win with. Two Gen- tlemen of Verona, Hi. 1 ; of love, Midsummer-Night's Dream, i. 1 ; returned, Hamlet, Hi. 1 ; gain praise. Love's Labour's Lost, iv. 1 ; seven hundred pounds and possibilities is good, Merry Wives of Windsor, i. 1 ; of rich men, Timon of Athens, v. 1, Gig (a kind of top). Love's Labour's Lost, iv. 3 ; v. 1. Giglot (giddy, inconstant), /. Henry VI., iv.7 ; Cymbeline, Hi. 1, Gilded, by liquor. The Tempest, v. 1, 2. Gillyvors (gillyflowers), A Winter's Tale, iv. 3 or 4. Giminals, or gimmers, machinery or jointing of an automaton, I. Henry VI., i. 2. A gimmal-ring was a jointed one, two or three fastened together, used by lovers. " Grimmal-bit " is used in Henry v., iv. 2. Ginger, shall be hot i' the mouth. Twelfth Night, ii. 3, Gipsy, Cleopatra called a, Anto7iy and Cleopatra, i. 1; iv. 10 or 12. Gird (raO at), Coriolanus, i. i ; a kindly, I. Henry VI., Hi. J. The right kind of reproof. Girdle, turn his (challenge by turning the buckle to the back), Much Ado about Nothing, v. 1. Girdle, round the earth. Midsummer-Night's Dream,, H. 1, Gis, Hamlet, iv. 5 (or 2). Meaning unknown. Giving vein, the, Richard III., iv. 2. Glamis, Macbeth made thane of, by the death of 'his father, Sinel, Finel, or Finlay, Macbeth, i. 3. Glansdale, Sir William, character in I. Henry VI., appears in i, 4, and is killed in the same scene. Glass, a prophet looks in a, Pleasure for Measure, ii. 2. Allu- sion to fortune-tellers that prophesied from looking into a beryl or crystal glass. — Hudson. Gleek(s), jests or gibes, Midsummer-Night's Dream, Hi. 1 ; I. Henry VI., Hi. 2 ; Romeo and Juliet, iv. 5. Glendower, Owen, a Welsh nobleman, character in I. Henry IV., introduced in Hi. 1, His victory over Mortimer is reported in i. 1, INDEX TO SHAKSPERE'S WORKS. 139 He joins in rebellion with the Percys. He believes himself to be possessed of supernatural power, and talks pompously {Hi. 1) of the portents at his birth, and, Hotspur says, kept him at least nine hours " in reckoning up the several devils' names that were his lackeys." His death, //. Henry /F., Hi. 1. As a matter of fact, he did not die till 1415, after Henry's death. Allusions to, Richard II.. Hi. 1 ; II. Henry VI., ii. 2. It was Lord Grey, of Ruthven, who was held captive as described in the last passage. Globe, this, shall dissolve, The Tempest, iv. 1. Globe Theatre, called " this wooden 0," in the chorus to act i., Henry V. Glory, guilty of crimes, Love's Labour's Lost, iv. 1 ; the greater dims the less. Merchant of Venice, v. 1 ; departure of, Richard II., ii. 4 ; like a circle in water, /. Henry VI., i. 2 ; view of earthly (Field of the Cloth of Gold), Henry VIII, i. 1 ; of the world, Henry VIII., Hi. 2 ; of this life, madness, Timon of Athens, i. 2. See also Fame. Gloucester, Thomas of Woodstock, Duke of, uncle of Richard II. He was arrested for treason in 1397, condemned, and given into the charge of Norfolk, who, it was said, by order of the king, secretly made away with him. In Richard IL, i. 1, Bolingbroke charges Norfolk with his death. In iv. 1, Aumerle is accused of being the instrument of it. Gloucester, Richard, Duke of. See Plant agenet, Richard, and Richard III. In ///. Heriry VI., Hi. 2, he is first called Gloucester. Gloucester, Duke of, character in King Lear, introduced in the first scene. He is coarse in conversation and hot and fiery in his condemnation of Edgar ; but the better points of his character come out afterward in his manifestation of loyalty, Hi. 3, 7, and his bear- ing in the sufferings it brings upon him, Hi. 7. Gloucester, dukedom of, ominous. III. Henry VI., ii. 6. It was thought to be unlucky on account of the deaths of three of the dukes. Gloucester, Eleanor de Bohun, Duchess of, a character in Rich- ard IL, enters in i. 2. Her death, H. 2, supposed in the play to be at the duke's castle of Plashy or Pleshy, really occurred at Barking Abbey, one of the most ancient abbeys of England, founded by St. Erkenwald, about 675 a. d. It was seven miles east of London, on the Roding. Nothing now remains of its once fine buildings but a gateway vvith a tower, called the " Fire-Bell Tower," from a tradi- tion that curfew and fire-alarms were rung from it. 140 INDEX TO SHAKSPERE'S WORKS. Gloucester, Eleanor Cobham, Duchess of. See Eleanor. Gloucester, Humphrey, Duke of. See Humphrey. Gloucestershire, scene of a part of Richard II. and a part of II. Henry IV. Shallow's residence was there. Gloves, lovers on, Two Oentlemen of Verona, ii. 1 ; Romeo and Juliet, ii. 2 ; used as gages, Richard II., i. 1; iv. 1 ; Henry V., iv. 1 ; Troilus and Cressida, iv. 4; v. 2 ; Timon of Athens, v. 4; King Lear, v. 2 ; perfumed, Much Ado about Nothing, Hi. 4.. Glow-worm, the, Hamlet, i. 5 ; Midsummer-Nigh fs Bream, Hi. 1. Glutton, the (Dives), 77. Henry IV, i. 2. Gluttony, bankrupts the wits, Love's Labour's Lost, i. 1. Gobbo, an old man, father of Launcelot Gobbo, in the Merchant of Venice, introduced in ii. 2, Gobbo, Launcelot. See Launcelot. Go-between, denunciation of a, Two Gentlemen of Verona, i. 2 ; a zealous. Merry Wives of Windsor, i. 1 ; ii. 2 ; Troil. and Cress., Hi. 2. God, his mercy. Measure for Measure, ii. 2 ; Merchant of Ven- ice, iv. 1 ; II. Henry VL, iv. 8 ; and the rope-maker. Comedy of Er- rors, iv. 3 ; the tuition of. Much Ado about Nothing, i. 1; they hope they serve. Much Ado about Nothing, iv. 2 ; feeds the raven and the sparrow, As You Like It, ii. 3 ; chooses weak ministers, AlVs Well that Ends Well, ii. 1; the widow's champion, Richard II., i. 2; guards his anointed, Richard II., Hi. 2, 3 ; is mustering armies of pestilence, Richard II., Hi. 3 ; King of kings, Henry V., i. 1 ; we are in his hand, Henry V., Hi. 6 ; cannot be escaped, Henry V., iv. 1 ; Hamlet, Hi. 3, " There is no shuffling," etc. ; gives light in dark- ness, 77. Henry VI., H. i; a stay and guide, 77. Henry VL, ii. 3 ; works in all his creatures, 77 Henry VL, H. 1 ; the judge, 77 Henry VL, Hi. 2 ; Henry VLIL, Hi. 1 ; King Lear, iv. 2 ; the all-seeing, Richard III., v. 1 ; the omniscient, AlVs Well that Ends Well, ii. 1; Henry VIII. , Hi. 1 ; is just, Richard III., i. 2 ; Macbeth, iv. 3 ; rewards service, Henry VIII., Hi. 2 ; his spies. King Lear, v. 3. God(s), the, a thousand knees could not move, A Winter's Tale, Hi. 2 ; in shapes of beasts, A Winter's Tale, iv. 3 or 4; the service greater than, Troilus and Cressida, ii. 2; Caesar as a, Julius Cmsa/r, i. 2 ; threatenings of the, Julius Ccesar, i. 3; wants nothing of a, but eternity and a heaven, Coriolanus, v. 4; prayer to, Timon of Athens, i. 2 ; let them find their enemies, King Lear, Hi. 2 ; sport of. King Lear, iv. 1 ; opposeless walls of, King Lear, iv. 6 ; are just. King Lear, v. 3 ; justice and delays of, Antony and Cleopatra, ii. 1; INDEX TO SHAKSPERE'S WORKS. 141 seei our eyes, Antony and Cleopatra, in. 11 or 13 ; detest baseness, Antony and Cleopatra, iv. 12 or llf.; injurious, Antony and Cleo- patra, iv., end ; partiality of, Cymheline, v. 1 ; cross whom they love — their clemency, Cymheline, v. 4,' incense to, Cymheline, v. 5, end; recall their gifts, Pericles, Hi. 1. God save her (a charm), Henry VIII., v. 4. God ye good even (God give yeu), As You Like It, v. 1. See Good Den. Goffe, ]Matthew, character in II. Henry VI., first appears in iv. 7, mentioned in iv. 5. He was a foster-brother of Talbot, Earl of Shrewsbury, and led the Londoners against Jack Cade in 1450. Going, stay not upon the order of, JIacbefh, Hi. 4. Gold, Comedy of Errors, ii. 1 ; all that glisters is not. Merchant of Venice, ii. 7 ; hard food for Midas, 3Ierc7iant of Venice, Hi. 2; fairy gold. A Wiiitefs Tale, Hi. 3 ; authority led by, A Winter'' s Tale, iv. 3 or 4; to gild refined. King John, iv. 2 ; greed for, II. Henry IV., iv. 4,' allusion to the notion that potable gold was a powerful medicine, //. Henry IV., iv. 4; corrupting, Richard III., iv. 2 ; o'erdusted, Troilus and Cressida, Hi. 3 ; worse poison, Borneo and Juliet, v. 1 ; allusion to the punishment in hell of the avaricious by molten gold poured down the throat, Timon of Athens, Hi. 1; power of, Timon of Athens, iv. 3 ; what a god it is! — brings back friends, Timon of Athens, v. 1 ; sin plated with. King Lear, iv. 6 ; power of, Cymheline, ii. 3; worthlessness of, Cymheline, Hi. 6; saint-seducing, Romeo and Juliet, i. 1. Golden age, or world, The Tempest, ii. 1 ; As You Like It, i. 1. Goldsmiths' wives, sentiments from. As You Like It, Hi. 2. Golgotha, Richard II, iv. 1 ; memorize (make memorable), an- other, 3Iacheth, i. 2. Goliases, /. Henry VI., i. 2. Goliaths. Goliath, with a weaver's beam. Merry Wives of Windsor, v. 1. Goneril, one of the daughters of King Lear, introduced in the first scene. Her professions of love, i. 1; treatment of her father, i. 3, 4 ; intrigue with Edmund, iv. 2, 5 ; v. 1 ; plots against her hus- band's life, iv. 6 ; poisons Regan and dies, v. 3. "The monsters Goneril and Regan are gorgons rather than women, such as Shakspere has nowhere else conceived. The aspect of Goneril can almost turn to stone ; in Regan's tongue there is a viperous hiss. Goneril is the more formidable, because the more in- caple of any hatred which is not solid and four-square. Regan acts under her sister's influence, but has an eager venomousness of her own." — DowDEX. 10 142 INDEX TO SHAKSPERE'S WORKS. Gonzago. See Murder of Gonzago. Gonzalo, a loyal and faithful subject of Prospero in The Tent' pest, introduced in i. 5. Good, render, for evil, The Tempest, v. 1, " The rarer action," etc.; As You Like It, iv. 3; AIVs Well that Ends Well, ii. 5; Richard III, i. 3 ; Timon of Athens, Hi. 3 ; to do, sometimes folly, Macbeth, iv. 2 ; apparent, Cyfiibeline, Hi. ^ ; light of deeds of, Mer- chant of Venice, v. 1. Good den (evening). King John, i. 1, and elsewhere. Goodfellow, Robin. See Puck. Good Friday, allusions to fasting on, Kiiig John, i. 1 ; 1. Henry IV., i. 2. Goodness, a fever in, Measure for 3Ieasure, Hi. 2 ; may good- ness and he fill up one monument, Henry VIIL, ii. i ; a kind of, in speaking well, Henry VIIL, Hi. 2 ; brighter after ill behaviour, I. Henry IV., i. 2, end; a soul of, in things evil, Henry V., iv. 1 ; made a net for destruction, Othello, ii. 3, " And what's he," etc. Good-night, Passionate Pilgrim, xiv. ; a hurried, Macbeth, Hi. 4; lovers', Romeo and Juliet, H. 2 ; Venus and Adonis, I. 529. Good things, made too common, //. Henry IV., i. 2. Goodwins, 3Ier chant of Venice, Hi. 1; King John, v. 3, 5. Sands off the coast of Kent, where the castle of Earl Goodwin was said to have been engulfed. Good year (supposed corruption of gougeres, a disease), Much Ado about Nothing, i. 3 ; King Lear, v. 3. Goose, the tailor's, Macbeth, ii. 3. Goose-quills, many wearing rapiers afraid of, Hamlet, ii. 2. Those who wrote plays for children to act. Gorboduc, King of Britain (perhaps), Twelfth Night, iv. 2. Gordian knot, the, Cymbeline, ii. 2 ; Henry V., i. 1. Gordius was a peasant, who was made King of Phrygia because the oracle had said that the future king should come in a wagon, and Gordius came driving into the public square in one just after the oracle had been received. He dedicated his wagon to Jupiter, and tied it up so that the ends of the knot could not be seen. It was believed that he who should untie the knot should be king of all Asia. No one suc- ceeded in untying it, but Alexander the Great cut it with his sword. Gorgon, a new, Macbeth, ii. 3 ; one way like a, Antony and Cleopatra, H. 5. Gormandizing, Love's Labour'' s Lost, i. 1 ; Merchant of Ven- ice, ii 5 ; II. Henry IV., v. 5. INDEX TO SHAKSPERE'S WORKS. 143 Gosford Green, near Coventry, scene of part of Richard II. Gossamer, symbol of lightness, Romeo and Jidiet, li. 6 ; King Lear. ii\ G. Gossips (sponsors), AWs Well that Ends Well, i. 1 ; Midsum- mer- Nighfs Dream, ii. 1; Henry VlII.,v. 5 ; Romeo and Juliet^ Hi. 5. Goths, wars of Rome against the, Titus Andronicus, i. 1. Gough. See Goffe. Gourd and fullam (false dice), Merry Wives of Windsor, i. 3. Fullam is conjectured to be from Fulham, either because they were made there, or because gamblers made that place a resort. They were loaded on one side, while the gourds were hollowed out, mak- ing a secret cavity. Govemnient(s), deputed, Measure for Measure, i. 1 ; order in, like that of bees, Henry V., i. 2 ; that makes women seem divine. III. Henry VI., i. 4 ; resigned, III. Henry VI., iv. 6. Gower, an officer in the army, character in //. Henry IV., intro- duced in ii. 1, and in Henry V., introduced in Hi. 2. Gower, John, the poet, author of "Confessio Amantis," from which the story of Pericles, Prince of Tyre, was taken, and therefore introduced as the chorus in that play. He died in 1408. Grace, forgot, makes all go wrong. Measure for Measure, iv. Jf. ; special, Love's Labour's Lost, i. 1; of men, more sought than God's, Richard III, Hi. 4; opposed to rude will, Romeo and Juliet, ii. 3 ; must look so, Macbeth, iv. 3. Grace before meat, Measure for Measure, i. 2 ; Merry Wives, i. 1 ; not enough for a prologue to egg and butter, i. Henry IV., i. 2 ; used as the, Coriolanus, iv. 7 ; by cynics, Timon of Athens, i, 2 ; Hi. 6. Graceful (gracious), Antony and Cleopatra, ii. 2. Gracefulness, A Winter's Tale, iv. 3 or 4. Graces, some men's, are their enemies. As You Like If, ii. 3 ; a dumb discursive devil in, Titus Andronicus, iv. 4 ; in herbs, Romeo and Juliet, ii. 3 ; her subjects, Pericles, i. 1. Grained (wrinkled), Comedy of Errors, v. 1. Grammar, sin of understanding, //. Henry VI., iv. 7. Grandam, give, kingdom. King John, H. 1. Grandchildren, Richard III, iv. 4. Grandpre, a French lord in Henry V., first appears in iv. 2 ; his death, iv. 8. Grange (a large country house), Mariana in the moated. Meas- ure for Measure, Hi. 1 ; iv. 1, 144 INDEX TO SHAKSPERE\S WORKS, Grass, grows fastest by night, Henry V., i. 1. Gratiano, a character in the Merchant of Venice, introduced in the first scene, a merry, talkative fellow, who, Bassanio says, " speaks an infinite deal of nothing, more than any man in all Venice " (^. 2). Gratiano, an unimportant character in Othello, introduced in v. 2. Gratitude, Macbeth, i. 3, " Your pains are registered " ; King Lear, iv. 7 ; for the poorest service, Tami7ig of the Shrew, iv. 3 ; of an old servant. As You Like It, ii. 3 ; to heaven, //. Henry VI., ii. 1. See Thanks. Gratuity, indirect begging for a. Two Gentlemen of Verona, i.l. Grave-diggers, characters in Hamlet, v. 1. Gravel-heart (stony heart). Measure for Measure, iv. 3. Grave(s), opened by magic — every third thought a. The Tempest, V. 1 ; with sorrow to the. Two Gentlemen of Verona, Hi. 1 ; opened, Midsummer- Nighfs Dream, Hi. 2; v. 2 ; Hamlet, Hi. 2; an old man asks a, Henry VIIL, iv. 2 ; Julius CcBsar, ii. 2 ; Hamlet, i. 1; Hi. 2 ; wrestling in a, Hamlet, v. 1 ; silence of the, Titus Andronicus, i. 1 ; by the sea, a, Timon of Athens, iv. 3 ; v. 1, 3, 4 ; lovers at a, Romeo and Juliet, v. 3 ; position of, east and west, Cymbeline, iv. 2. Gravity, revolted to wantonness, Love's Labour's Lost, v. 2 ; af- fectation of, Jlerchant of Venice, i. 1. Graymalkin, the quasi-personal name for the cat, Macbeth, i. 1. Great, the, mercy in — privileges of — wit in, to jest with saints, Measure for Measure, ii. 2 ; have many blasts to shake them, Rich- ard III, i. 3 ; favour of, Richard III., Hi. 4; criticism of, Henry VIIL, i. 2 ; griefs of, Henry VIII, ii. 3 ; one of, like a colossus, Julius CoRsar^ i. 2 ; have countenance to suicide, Hamlet, v. 1 ; serv- ants of. King Lear. Hi. 1 ; ebb and flow of, King Lear, v. 3 ; pay for demerit of others, Antony and Cleopatra, v. 2. Greatness, rumours concerning. Measure for Measure, iv. 1; some achieve, Tivelfth Night, ii. 5 ; Hi. 4 > ^'' 1 / needs pruning, Richard II., Hi. 4; ingratitude of, I. Henry IV., iv. 3 ; v. 1 ; out of love with, II. Henry IV., ii. 2 ; unsought, //. Henry IV., Hi. 1; highest point of. Henry VIIL, ii. 2 ; farewell to, Henry VIIL, Hi. 2 ; fall of, Richard HI, iv. 4 ; fallen out with fortune, Troilus and Cressida, Hi. 3 ; dangers of, Julius Ccesar, ii. 1 ; not independent, Hamlet, i. 3 ; the fall of, Hamlet, Hi. 3 ; the right, Hamlet, iv. 4 ; departing, Antony and Cleopatra, iv. 11 or 13 ; magnifies faults and merits, Lucrece, I. IOO4. Greek (good fellow), Tivelfth Night, iv. 1. INDEX TO SHAKSPERE'S WORKS. 145 Greeks, the, war of, with the Trojans, Troilus and Cressida ; their ships, prologue ; strength and skill, i. 1 ; discord among, i. 3. Green, Sir Henry, a character in Richard II., first introduced in i. 3 ; his death, in. 2. Green, the colour of lovers, Lova's Labour's Lost, i. 2. Greene, Robert. The name of the play, " The thrice three Muses mourning for the Death of Learning, late deceased in Beggary,"' offered to Theseus in Midsummer-Nicjhfs Dream, v. 1, is by some supposed to refer to his death. See Sources. Green Sleeves, tune of. Merry ^Yives of Windsor, ii. 1; v. 5. The words of this old song are lost, but they are judged, from con- temporary allusions, to have been indecent. Greenwood Tree, Under the, song. As You Like It, ii. 5. Greeting. See Salutation. Gregory, one of Capulet's servants, character in Romeo and Ju- liet, appears in i. 1. Gregory, St., Two Gentlemen of Verona, iv. 2. Three popes of the name were canonized. Gregory, Turk, /. Henry IV., v. 3. Pope Gregory VII. Gremio, an ill-natured old man, suitor of Bianca in the Taming of the Shrew, introduced in i. 1. Grey, Elizabeth Woodville, Lady, afterward queen of Edward IV. See Elizabeth. Grey, Sir Richard (correctly John), spoken of in III. Henry VI., Hi. 2, as having lost his life in the cause of the house of York, and in Richard III, i. 3, as a partisan of Lancaster. The latter is cor- rect. He fell at the first battle of St. Albans in 1455. His widow married Edward IV. Grey, Richard, Lord, son of Lady Elizabeth Grey, character in Richard III, first appears in i. 3; sent to execution. Hi. 3, 4; his ghost, V. 3. The Greys were hated as upstarts by the family of York, and the favour shown them by Edw^ard IV. intensified the feeling. Grey, Sir Thomas, character in Henry V. He conspires with Cambridge and Scroop to murder the king, and is exposed and or- dered to execution in ii. 2. The conspiracy is mentioned in the prologue to the act. Grey, Thomas. See Dorset. Greyhounds, race by, Merry Wives of Windsor, i. 1. Grief(s), beauty's canker. The Tempest, i. 2 ; unspeakable, Com- edy of Errors, i. 1 ; every one can master a, but he that has it, Much Ado about Nothing, Hi. 2; one in, easily led, Much Ado about Noth- 146 INDEX TO SHAKSPERE'S WORKS. ing, ii\ 1 ; comfort in — patch with proverbs, Much Ado about Noth- ing, V. 1 ; that burns worse than tears drown, A Winter's Tale, ii. 1 ; what's past help, should be past, A Winter's Tale, Hi. 2 ; I. Henry IV., Hi. 3 ; III. Henry VI., v. 4; Macbeth, Hi. £; Othello, i. 3 ; a. throne, King John, Hi. 1 ; fills the room of the absent, King John, Hi. 4; houndeth, Richard II., i. 2 ; counterfeit, Richard II., i. 4. ; shad- ows of, Richard II, ii. 2 ; king of my, Richard II, iv. 1 ; eased by- speech, Richard III, iv. 4; Macbeth, iv. 3 ; a. glistering, Henry VlII, ii. 3 ; overflowing, Titus Andronicus, Hi. 1 ; one, cured by another, Romeo and Juliet, i. 2 ; much of, shows some want of wit, Romeo and Juliet, Hi. 5 ; sin of excessive, Hamlet, i. 2 ; Hi. 2 ; expres- sion of, Hamlet, v. 1 ; fellowship in, King Lear, Hi. 6 ; full of, as age. King Lear, ii. 4 ; to deal alone with, King Lear, iv. 3 ; folly of, for cureless ills, Othello, i. 3 ; great, medicine the less, Cymbeline, iv. 2 ; our own forgotten in others', Pericles, i. 4 / bath two tongues, Venus and Adonis, I. 1007 ; testy, Lucrece, I. 1094 ,' best society for, Lucrece, I. 1111 ; dallied with, Lucrece, I. 1120 ; at grievances fore- gone. Sonnet xxx. ; the greatest first, Sonnet xc ; blows a man up, I. Henry IV., ii. 4; weighed with wrongs, //. Henry IV., iv. 1; soft- ens the mind, //. Henry IV., iv.4; moderation in, Troilus and Cressida, iv. 4; speechless, Macbeth, iv. 3. See Sorrow and Tears. GriflB-th, Richard, Queen Katherine's gentleman usher in Henry VIII. , introduced in ii. 4 ; his eulogy on Wolsey, iv. 2. Grise (step, degree), Othello, i. 3, and elsewhere. Grissel, Taming of the Shrew, ii. 1. The patient Griselda, whose story is told by Boccaccio and by Chaucer. Groans, Richard II, i.2 ; v. 1 ; Lear, Hi. 2 ; of a deer, As You Like It, ii. 1. Groat, a half -faced, King John, i. 1. A coin first issued in the reign of Henrj' YII., having a profile on it. Groom, of Richard II, a faithful servant who comes to the de- posed king in prison, and expresses his grief because Richard's horse had carried Henry on his coronation-day. Groundlings, split the ears of, Hamlet, Hi. 2. Grudge, to feed an ancient, Merchant of Venice, i. 3. Grumio, an oddly witty servant of Petruchio in the Taming of the Shrew, introduced in i. 2. Gualtree Forest, II. Henry IV., iv. 1. Guarded (trimmed). Merchant of Venice, ii. 2, and elsewhere. Guards, priestly, princely, or precise, Measure for Measure, Hi. 1, The original reads preiizie, variously supposed to be a mistake INDEX TO SHAKSPERE'S WORKS. 147 for the three words above. Guards were facings or trimmings, and the passage refers to the decorousness of the deputy's dress. Precise was used in the sense of puritanical. Guiana, a region in, Merry Wives of Windsor, i. 3. Guiderius and Arviragus, sons of Cymbeline, introduced in Hi. 3. They pass under the names of Polydore and Cadwal as sons of Belarius, who stole them in their infancy in revenge for his ban- ishment. Their longing for war, iv. 4 ; bravery, v. 3 ; they are dis- covered and knighted, v. 5. Guildenstem, a courtier in Eamlet, introduced in ii. 2. See ROSENCRANTZ. Guildford, Sir Henry, character in Henry VIIL, introduced in t. 4, son of one of the Guildfords mentioned in Richard III. Guildfords, the, Richard III., iv. 4. Sir John and his son Sir Richard. Guildhall, Richard III, Hi. 5. Guilt, consciousness of. King John, iv. 2 ; jealousy of, Hamlet, iv. 5 (or 2) ; revelations of, in the tempest, King Lear, Hi. 2 ; who is quite free from, Othello, Hi. 3 ; to be read in the face, Othello, v. 1 ; makes cowardly, Cymbeline, v. 2. See Conscience, Remorse. Guines, in Picardy, Henry VIIL, i. L Guinevere, Love's Labours Lost, iv. 1. The wife of King Ar- thur. Gulls (fools). Twelfth Night, v. 1 ; Henry V., Hi. 6 ; Timon of Alliens, H. 1 ; Othello, v. 2 ; also used for a trick, as in Much Ado about Nothing, ii. 3 ; I. Henry I V., v. 1, " That ungentle gull." Gull is a provincial name for a nestling. Gun-stones. See Cannon-balls. Gurnet, a soused, /. Henry IV., iv. 2. Used as a term of con- tempt. A gurnet is a sea-fish used for food. Gurney, James, servant of Lady Faulconbridge in King John, appears in the first scene. Guy, Sir, Henry VIIL, v. 3. Sir Guy of Warwick, a crusader of the tenth centuiy, of whose prowess fabulous stories were told. Haberdasher, a, a character in The Taming of the Shreiv, iv. 3. Habit, Two Gentlemen of Verona, v. 4 ; Hamlet, Hi. 4 ; Othello, i.3. Hack. See Knighthood. Hacket, Marian and Cicely, an alewife and her maid, men- tioned, Taming of the Shrew, induction, 2. 148 INDEX TO SHAKSPERE'S WORKS. Haggards (wild hawks), Much Ado ahout Nothing , Hi. 1 ; Tam- ing of the Shreu; iv. 1 ; Tivelfth Night, Hi. 1 ; Othello^ Hi. 3. Hair, the, raised with fright, The Tempest, i. 2 ; II. Henry VI., Hi. 2 ; Richard HI., i. 3 ; Macbeth, i. 3; v. 5; Hamlet, Hi. 4; of professions, Merry Wives of Windsor, ii. 3 ; why time takes, more, than wit, Comedy of Errors, ii. 2 ; Two Gentlemen of Verona, Hi. 2 ; golden. Merchant of Venice, i. 1 ; false. Merchant of Venice, Hi. 2 ; Henry V., Hi. 7 ; Timon of Athens, iv. 3, " Thatch your poor, thin roofs," etc. ; Sonnet Ixviii. ; flaxen. Twelfth Night, i. 3 ; con- ceit of friendship in. King John, Hi. 4. ; used for character, com- plexion, I. Henry IV., iv. 1 ; of Judas, As You Like It, Hi. If.; allu- sion to the belief that a hair turns to a snake in water, Antony and Cleopatra, i. 2 ; dishevelled. Lover's Complaint, I. 29. Hal, Prince. See Henry V. Halcyon beaks, King Lear, ii. 2. Allusion to the belief that the turns of the halcyon's beak indicate changes in the weather. Hialcyon days, I. Henry VI., i. 2. These were fourteen days in winter, when, as was supposed, the halcyon builds its nest, and the sea is calm. Hence it is used for days of peace. Half Can, a prisoner. Measure for Measure, iv. 3. Half Moon, a room in an inn, /. Henry IV., ii. 4- Halidom (holy dame or holy dom ?), Henry VIII., v. 1. Hallowmas (All-Saints' Hay), Richard II., v. 1 ; a beggar at, Two Gentlemen of Verona ii. 1, 2. Hamlet is introduced in i. 2 of the play of the name. Amlettus, Amleth, and Hamblet are older forms of the name. In i. 4 he sees the ghost of his father, and in i. 5 learns the manner of his death and vows revenge ; his soliloquy. Hi. 1 ; he learns by his artifice with the players, n I. i*, that there is no mistake about the king's guilt ; feigns madness, kills Polonius by mistake for the king. Hi. 4 ; is sent to England, iv. 3 ; returns, iv. 6 ; at Ophelia's grave, v. 1 ; fights with Laertes and dies, v. 2. " I believe the character of Hamlet may be traced to Shakspere^s deep and accurate science in mental philosophy. Indeed, that this character must have some connection with the common fundamental laws of our nature may be assumed from the fact that Hamlet has been the darling of every country in which the literature of England has been fostered. ... In Hamlet he seems to have wished to exem- plify the moral necessity of a due balance between our attention to the objects of our senses, and our meditation on the workings of our minds, an equilibrium between the real and the imaginary worlds. In Hamlet this balance is disturbed ; his thoughts and the images of his fancy are far more vivid than his actual impressions, and his very INDEX TO SHAKSPERE'S WORKS. 149 perceptions, instantly passing through the medium of his contem- plations, acquire as they pass a form and a colour not naturally their own. Hence we see a great, an almost enormous intellectual activity, and a proportionate aversion to real action consequent upon it, with all its symptoms and accompanying qualities. This character Shak- spere places in circumstances where it is obliged to act on the spur of the moment ; Hamlet is brave and careless of death ; but he vacil- lates from sensibility and procrastinates from thought, and loses the power of action in the energy of resolve. . . . Shakspere seems to mean all Hamlet's character to be brought together before his final disappearance from the scene ; his meditative excess in the grave- digging, his yielding to passion with Laertes, his love for Ophelia blazing out, his tendency to generalize on all occasions in the dia- logue with Horatio, his fine gentlemanly manners with Osric, and his and Shakspere's own fondness for presentiment : ' But thou wouldst not think how ill all's here about my heart : but it is no matter.' " — Coleridge. Hamlet, Prince of Denmark, a tragedy first published in 1603 in a meagre form, either Shakspere's first draft of the play, or an unauthorized version made up from parts supplied to actors, proba- bly the former. In its enlarged form it appeared in 1604, and in two or three later editions before the folio of 1623 was published. The first appearance of the story of Hamlet, so far as is kno\vn, was in the " Historia Danica " of Saxo Grammaticus, a Danish historian, who wrote it about 1204. A version of the story in Italian by Ban- dello was translated into French by Belleforest, from which it was rendered into English, though no earlier edition of the English trans- lation is known than one of 1608. Besides these there was an older play in English on the subject, which has not come down to us. In the " Hystorie of Hamblet " the time is placed before the introduc- tion of Christianity into Denmark, and in fact before Christ. Shak- spere leaves the time indefinite, though the characters are Christians. The period of action seems to be but a few months. None of the plays has excited more interest or more study and criticism. There is an opinion that the main characters were intended for portraits more or less exact of personages of Shakspere's own time, Hamlet himself being referred to Sir Philip Sidney. Hames Castle, ///. Henry VL, v. 5. Hampton, Henry V., ii. 2. Hand, in any (at any rate), AlVs Well that Ends Well, Hi. 6. Hand-fast (troth-plight), Cymheline, i. 5. Hand.(s), Cressida's, Troilus and Cressida, i. 1 ; indications in, Comedy of Errors, Hi. 2 ; Merchant of Venice, ii. 2 ; Othello, Hi. 4; Antony and Cleopatra, i. 2 ; beauty of, Venus and Adonis, I. 361; 150 INDEX TO SHAKSPERE'S WORKS. Lucrece, l. 393 ; blood on, JIacbeth, ii.2 ; v. 1; Richard 11., ii. 1; proper fellow of my (tall and Avell made), 11. Henry IV., ii. 2 ; Win- ter's Tale, V. 2. Handkerchief, Desdemona's, Othello, Hi. 3, 4. Handwriting, a fair, held base, Hamlet, v. 2. Hanged, born to be, The Tempest, i. 1 ; v. 1 ; Two Gentlemen of Verona, i. 1 ; never undone till, Two Gentlemen of Verona, ii. 5. Hanger-on, a, Much Ado about Nothing, i. 1. Hanging, comfort in, Cymbeline, v. 4 ; many a good, prevents a bad marriage, Twelfth Night, i. 5. Hannibal, Measure for Pleasure, ii. 1; I. Henry VI., i. 5. Happiness, seen through another's eyes, As You Like It, v. 2 ; achieved in not being over-happy, Hamlet, ii. 2 ; by virtue, Taming of the Shrew, i. 1; brevity of, Lucrece, I. 22 ; of kings, Henry V., iv. 1 ; absolute, Othello, ii. L Happy man be his dole, proverbial expression, Taming of the Shrew, i. 1, and elsewhere. Harcourt, character in //. Henry IV., first appears in iv. 4. He is on the side of the king, and brings news of Northumberland's defeat. Perhaps Sir Thomas Harcourt. who was Sheriff of Berkshire. Hardships, cheerful acceptance of, Henry V., iv. 1. Hare, the melancholy, /. Henry IV., i. 2 ; the hunted, Venus and Adonis, I. 679, et seq. Harebell, the, Cymbeline, iv. 2. Hare-lip, Ilidsummer-Nighfs Dream, v. 2 ; Lear, Hi. 4- Sup- posed to be caused by malignant fairies. Harfletir, in France, six miles from Havre, scene of a part of Henry V. ; its surrender. Hi. 3. Harfieur, Governor of, a character in Hejiry V., first appears in Hi. 3, where he surrenders the town to the English (1415). Ha'rford West (Haverford West), Richard III., iv. 5. Hark, hark, the lark, song, Cymbeline, ii. 3. Harm, to do, is often laudable, Macbeth, iv. 2. Haimony, in parts working to one end, Henry V., i. 2 ; of the spheres. Merchant of Venice, v. 1. Harpy, like the, Pericles, iv. 3 (or 4). Haste, too great, Coriolanus, Hi. 1, " unscanned swiftness." Hastings, Lord, character in //. Henry IV., first appears in i. 3. He is one of the party opposed to the king. He was not Lord but Sir Ralph Hastings. Hastings, William, Lord, character in 111. Henry VI., intro- INDEX TO SHAKSPERE'S WORKS. 151 duced in iv. 1 ; and again in Richard III., introduced in i. 1. He was a favourite of Edward IV., and supposed himself to be in favour with Richard, who, however, ordered him to execution. Hi. 4, proba- bly because he saw that Hastings would not go with him in his in- tended crimes against his nephews. The accusations made against him are in Hi. 5, 6 ; his ghost appears to Richard, v. 3. The charac- ter of Hastings in the play is frank, open, and unsuspicious ; on his way to execution he recalls the curses invoked on him by Queen Margaret for looking on at the murder of her son, i. 3. It was not he, but his son, Edward Hastings, who married the daughter of Sir Thomas Hungerford {iv. 1). Lord William Hastings rebuilt the castle of Ashby de la Zouch, mentioned in " Ivanhoe." Hat, a fantastic, Taming of the Shrew, Hi. 2, Hatched, in silver, Troilus and Cressida, i. 3. Inlaid with fine lines of silver. Hatred, Shylock's, for Antonio, Merchant of Venice, i. 3 ; Hi. S ; of a, tyrant, Richard III., i. 1 ; iv. 4 ; of Aufidius, Coriolaiius, i, 10 ; Hi. 1 ; of the plebeians, Goriolanui, u. 1 ; of the race, Mac- beth, iv. 3, "Had I power," etc.; nought in, Othello, v. 2; not for you, Sonnet cxlv ; Margaret's, for York, III. Henry VI., i. 4. Haud credo (I do not believe). Love's Labour's Lost, iv. 2. Have I caught my heavenly jewel ? Merry Wives of Wind- sor, Hi. 3. Quotation from Sidney's " Arcadia." Havoc, cry, King John, ii. 1 ; Coriolanus, Hi. 1 ; Julius Ccesar, Hi. 1 ; a, signal for slaughter. Hawking, allusions to : prune herself and bristle up the crest, /. Henry IV., i. 1; you must be watched, Troilus and Cressida, Hi. 2; hawks were tamed by being kept from sleeping. See also Fal- conry. Hawthorn-buds (ladies' men). Merry Wives of Windsor, Hi. 3. Hay (a boisterous dance), Love's Labour's Lost, v. 1. Hazard, edge of, All's Well that Ends Well, Hi. 3. Head, the gate of the mind, King Lear, v. 4. Head, of the first (in its fifth year), Love's Labour's Lost, iv. 2. Heart, a merry, goes all the way, song, A Winter's Tale, iv. 2. Heart-break, Antony and Cleopatra, iv. 12 or 14. Heart(s), how won, /. Henry IV., Hi. 2 ; a, good, Henry V., v. 2; flinty, Richard III, i. 3 ; a thousand, Richard III., v. 3; seat of the brains (an old belief), Coriolanus, i. 1 ; for the event, Corio- lanus, ii. 1 ; ruddy drops that visit my sad, Julius Ccesar, ii. 1 ; throw away the worser part, Hamlet, Hi. 4 ; now cracks a noble. 152 INDEX TO SHAKSPERE'S WORKS. Hamlet, V. 2 ; cause in nature for hard, King Lear, in. 6 ; burst smilingly, King Lear, v. 3 ; wear my, upon my sleeve, Othello, i. 1 ; pursed up his, Antony and Cleopatra, ii. 2 ; empty of all but grief, Cymbeline, Hi. 4; a quiet cabinet — seat of sensation, Lucrece, I. 4-4^ ,' a light, lives long. Love's Labour's Lost, v. 2 ; courage of an inno- cent, //. Henry VL, Hi. 1, 2. Heaven, served worse than self, Pleasure for Measure, ii. 2 ; splits the oak rather than the mjTtle, Measure for Measure, ii. 2 ; in the mouth, evil in the heart, Pleasure for Measure, ii. 4 / an am- bassador to. Measure for Measure, Hi. 1 ; the sword of. Measure for Measure, Hi. 2 ; appeal to the justice of, Measure for Measure, v. 1 ; help of, AlVs Well that Ends Well, i. 1, last paragraph ; ii. 1 ; recognition va. King John, Hi. 4; comfort in, Richard II., ii. 2 ; aids given by, Richard II., Hi. 2, 3 ; help of. III. Henry VI., iv. 1; Pericles, i. 4; o'er our heads, Richard II., Hi. 3 ; above all yet, Henry VIII., Hi. 1 ; deaf to sorrow, Titus Andronicus, iv. 1 ; tempt- ing, Julius Ccesar, i. 3 ; no bribery before, Hamlet, iii.3 ; appeal to, King Lear, ii. 4 ; judgment of, King Lear, v. 3 ; fire from, Pericles, ii. 4' Hebenon (henbane ?), Hamlet, i. 5. Hecate, in Macbeth, appears in Hi. 5 ; iv. 1 ; that railing, 1. Henry VI. , Hi. 2 ; ban of, Hamlet, Hi. 2 ; King Lear, i. 1. Hector, son of Priam, the great Trojan hero, and one of the most exalted characters in classic literature, is introduced in Troilus and Cressida, i. 2, where he is described, and said to have been struck down by Ajax. His challenge to the Greeks, i. 3 ; fight with Ajax, iv. 5 ; bravery in the field, v, 5 ; his death, v. 9 ; dragged by Achilles, V. 10 ; mentioned. Merry Wives of Windsor, i. 3 ; H. 3 ; Love's La- bour's Lost, V. 2 ; II. Henry IV., ii. 4> Coriolanus, i. 3, 8 ; I. Henry VL, ii. 3; III. Henry VI., iv. 8 ; Antony and Cleopatra, iv. 8 ; in a painting, Lucrece, lines 1430, i486. Hecuba, Queen, Troilus and Cressida, i. 2 ; Coriolanus, i, 3; Titus Andronicus, iv. 1 ; Cymbeline, iv. 2 ; witnessing Priam's death —an actor's grief for, Hamlet, ii. 2 ; in a painting, Lucrece, lines 1447, 1450, 14S5. Hedge (as a verb), Merry Wives of Windsor, ii. 2, and elsewhere. Hedgehogs, or urchins, Midsummer-Night's Dreain, ii. 2; Ricliard III, i. 2 ; Macbeth, iv. 1 ; Tempest, ii. 2. Hedge-priest, Love's Labour's Lost, v. 2, " The pedant, the brag- gart," etc. Hefts (heavings), A Winter's Tale, H. 1. INDEX TO SHAKSPERE'S WORKS. 153 Heigh-ho I (refrain of a song), As You Like It, ii. 7. Heirloom, an, AlVs Well that Ends Well, iv. 2 ; v. 2. Helen, wife of Menelaus, King of Sparta. She chose . him from among many suitors, all of whom took an oath, before her decision was made, to defend and avenge her if necessary, whatever her choice might be. Paris persuaded her to elope with him to Troy, and from this arose the Trojan war. She is talked of in Troilus and Cressida, i. 2 ; the question of giving her up discussed in li. 2 ; she is introduced in Hi. 1 ; at the end of iv. 1, Diomedes bitterly estimates her cost to Greece and Troy; mentioned, As You Like It, Hi. 2, soiig ; AlVs Well that Ends Well, i. 3, song ; III. Henry VI., ii. 2; Lucrece, I. 1368; Sonnet liii; Midsummer - Nighf s Dream, v. 1. Helen, Imogen's attendant in Cymheline, introduced in ii. 2. Helena, character in Midsummer-Nighfs Dream, introduced in i. 1. She is in love with Demetrius, who loves Hermia, who again is in love with Lysander. Lysander returns Hermia's love, except for a short time, when he is under the enchantment produced by the fairies, when he loves Helena. In her self-distrust she thinks it is a jest put upon her by Hermia and her lover. In character she is gentler than Hermia, but not altogether generous, as she runs off to tell of Hermia's elopement. The smaller girl, in her jealousy, calls Helena a " painted Maypole." Helena, heroine of AlVs Well that Ends Well, introduced in the first scene. Taking the repulsive role of the heroine of the origi- nal tale, Shakspere has portrayed a character of great sweetness and strength. Helena is at the same time clever and self-sacrificing, meek and high-spirited, willing to renounce if necessary, and yet quick to see the way to win, and firm and clear-headed in availing herself of it. Many of the most beautiful passages of the play are put into her mouth and express her " pious trust and persevering, steadfast nature, which from her youth up, on account of her lowly position, has rendered her self-dependent," the depth and at the same time the straightforward simplicity of her character. Helenus, son of Priam, character in Troilus and Cressida, in- troduced in i. 2 ; satirized by Troilus, ii. 2. Helicanus, a lord of Tyre, in Pericles, introduced in i. 2. He is an adviser of the prince ; refuses the crown, ii. 4. " A figure of truth, of faith, of loyalty." Helicons, II. Henry IV., v. 3. Helicon was the mountain of the Muses. 154 INDEX TO SHAKSPERE'S WORKS. Hell, set on fire, Merry Wives of Windsor, v. 5 ; cunning livery of, Measure for Measure, Hi. 1 ; gate of, Mucli Ado about Nothing, ii. 1; what hole in, hot enough, 1. Henry lY., i. 2; a fate to re- mind of, I. Henry 1 V., Hi. 3 ; dream of, Richard III., i. 4 ; the porter imagines himself keeper of the gate of, Macbeth, ii. 3. Hell (cant for prison). Comedy of Errors, iv. 2. Hellespont, the. Two Gentlemen of Verona, i. 1. The strait between the Mediterranean and the Sea of Marmora. Hemlock, Macbeth, iv. 1 ; perhaps the " insane root " men- tioned in Macbeth, i. 3. Henry, Kings, IV., V., VI., and VIII., dramas of. See King Henry IV., etc. Henry, Prince, son of King John, appears in the last scene of King John, speaking as a man. In truth, he was but nine years old when his father died in 1216. He reigned under the title of Henry in. Henry IV., first of the Lancastrian kings. He was the son of John of Gaunt, Duke of Lancaster, and was born in 1366, died in 1413. He is a character in Richard II., as well as in the plays that bear his name. In the former play he is called Bolingbroke, a title given liim from the name of the town where he was born. He was Duke of Hereford during Richard's reign. In Richard II. he appears in the first scene in a quarrel with Norfolk concerning the murder of his uncle, the Duke of Gloucester. His meeting with Norfolk, i. 3. His intended marriage is spoken of in ii. 1. He was to marry the cousin of the French king, but Richard hearing of it sent Salis- bury to prevent it. Richard was forced to resign the crown, and Henry was proclamed, iv. 1. A plot against his life was discovered by York, v. 2. In I. Henry I V. he is introduced in the first scene ; in II. Henry IV. in Hi. 1. The rebellion of the Percys and their party embittered his reign, and the wildness of his eldest son was a continual grief to him — evils which he believed sent on him in pun- ishment of his usurpation and in fulfilment of the curse of Richard II. He intended to go on a crusade, but was prevented by the re- bellion. A prophecy had told him he was to die in Jerusalem — a prophecy he understood when he found that the chamber where he was taken with his last illness was called the Jerusalem Chamber, after a fashion of naming the rooms of inns. Henry IV. is brave and wise in action, but at times morbid, distrustful, and suspicious ; prompt and noble at decisive moments, he frets away his leisure with remorse ajjd apprehension. INDEX TO SHAKSPEEE'S WORKS. 155 Henry V., called Henry of Monmouth and Prince Hal, son of Henry IV., born at Monmouth in 1388, reigned from 1413 to 1422. He is a character in the two parts of Henry lY., as well as in the play that bears his name. His dissoluteness is spoken of in Richard II:, V. 3, where he is mentioned as a young man, though in reality only eleven years of age at that time. In /. Henry IV. he is in- troduced in i. 2, and his mad pranks with his wild comrades are represented in that play. In act v. he shows unexpected bravery in the battle of Shrewsbury. In H. Henry IV. he appears first in ii. 2. In the close of that scene he soliloquizes on the company he keeps and his reasons and intentions. He is described by Falstaflf in ii, Jf,. His father's forebodings as to his reign are expressed in iv. 4. ; those of the Chief Justice, in v. 2. At his father's death he reforms, V. 2 and 5 ; dismisses his low companions, and becomes one of the most successful and the best loved of English sovereigns. His versatility, Henry V., i. 1 ; his reputation, ii. 4 ; among his soldiers, iv., chorus ; his piety, iv. 1, 8 ; v., chorus ; at Agincourt, act iv. ; his wooing, V. 2 ; his funeral, /. Henry VI., i. 1 ; his wars in France, //. Henry VI., i. 1. " The prince, whom Shakspere admires and loves more than any other person in English history, afterward to become Shakspere's ideal King of England, cares little for mere reputation. He does not think much of himself and of his own honour ; and while there is nothing to do, and his great father holds all power in his own right hand. Prince Hal escapes from the cold proprieties of the court to the boisterous life and mirth of the tavern. He is, however, only waiting for a call to action, and Shakspere declares that from the first he was conscious of his gi'eat destiny, and, while seeming to scatter his force in frivolity, was holding his true self, well guarded, in reserve." — Dowden. Henry VI., King (1421-1471), character in the three plays that bear his name. He was but nine months old when his father died, though in the first part. Hi. 4, he speaks of remembering what his father said of Talbot. He is introduced in Hi. 1 ; his coronation, at Paris (December 17, 1431), first part, iv. 1 ; his marriage with Margaret of Anjou (1445), second part, i. 1 ; his bookish rule, second part, i. 1, end; his piety, i. 3 ; York's opinion of him, v. i; his cowardice, third part, i. 1; his leniency and conscientiousness, ii. 2; his ill success in the field, ii. 2, 5 ; his weakness, ii. 6 ; his return from Scotland (1465) and capture. Hi. 1, 2. In iv. 6, he makes a prophecy concerning Richmond (Henry VII.), who when he became king asked the pope to canonize Henry VI. on account of it ; but the pope re- X56 INDEX TO SHAKSPERE'S WORKS. fused, on the ground that Henry's saintliness was united with so much weakness that to canonize him would bring saintship into con- tempt. His kindness to his subjects, third part, iv. 8 ; his death, v. 6. During his reign England lost all that she had gained in France under Henry V., and all that was done to save his crown at home was done by his queen — who, however, was very unpopular — and by the partisans of his house. They were successful in the battle of Wakefield, but were defeated at St. Albans, Bloreheath, Northampton, Towton, Hexham, Barnet, and Tewksbury. It was commonly be- lieved that Henry was killed by Gloucester, as in the play. The re- moval of his body to Chertsey, Richard III., i. 2 ; his ghost, v. 3. Henry VII. See Richmond. Henry VIII. (1491-1547), King, enters in the second scene of the play that bears his name. The .divorce from Katherine is talked of in n. 1, is the subject of ii. 2, and is tried in ii. 4; his marriage with Anne Boleyn, iii. 2 ; befriending of Cranmer, v. 3. " Henry, if we judge him sternly, is cruel and self-indulgent ; but Shakspere will hardly allow us to judge Henry sternly. He is a lordly figure, with a full, abounding strength of nature, a self-con- fidence, an ease and mastery of life, a power of effortless sway, and seems born to pass on in triumph over those who have fallen and are afflicted." — Dowden. Henry IV., of France, Comedy of Errors, iii. 2. Allusion to the war in regard to his succession, 1589-93. Hent, a more horrid, Hamlet, iii. 3. Hold, opportunity, or to take hold, Pleasure for Pleasure, iv. 6. Henton (or Hopkins), Nicholas, Henry VIII., i. 1, 2 ; ii, 1. His name was Hopkins, the name of the monastery Henton. Herald, at a masquerade, Love's Labour's Lost, v. 2. Heraldry, allusions to : bear for a difference. A difference is a mark added to a coat of arms to distinguish branches of a family or the sons of one family, lluch Ado about Nothing, i. 1 ; my golden coat, Lucrece, I. 205, an anachronism ; our new, Othello, iii. Jf.. Al- lusion to the red hand on the arms of Ulster, which were placed on the escutcheon of baronets of a new order instituted by James I. for the purpose of subduing Ulster ; the dozen white luces in their coat. Merry Wives of Windsor, i. 1. The arms of the Lucy family {q. V.) bore three pikes or luces. Herbert, Sir Walter, character in Richard III., first appears in V. 2 ; mentioned in iv. 5 as having gone to Richmond. He was a son of the Earl of Pembroke in III. Henry VI. INDEX TO SHAKSPERE'S WORKb\ 157 Herbert, William, Earl of Pembroke. See Pembroke. Herb of grace, or rue, Richard II., Hi. 4 ; Hamlet, iv. 5. Herbs, to remove error, Midsummer- Nighfs Dream, Hi. 2; salad and nose, AlVs Well that Ends Well, iv. 5 ; virtues of, Romeo and Juliet, ii. 3. Hercules, bully, Merry Wives of Windsor, i. 3 ; labours of, 3Iuch Ado about Nothing, ii. 1, near the end ; made to turn a spit, Much Ado about Nothing, ii. 1 ; Love's Labour's Lost, i. 2 ; whip- ping a top — love a, Love's Labour's Lost, iv. 3 ; incorrectly placed among the nine worthies, Love's Labour's Lost, v. 1, 2 ; alluded to, Midsummer-Night's Dream, iv. 1; v. 1; Merchant of Venice, ii. 1 ; invoked, As You Like It, iv. 3 ; I. Henry IV., ii. 4.; III. Hefiry VL, ii. 1 ; if you had been the wife of, Coriolanus, iv. 1 ; did shake down mellow fruit, Coriolanus, iv. 6, allusion to the gardens of the Hes- perides ; and his load, Hamlet, ii. 2 ; Hercules bearing the globe was the sign of the Globe Theatre ; leaving Antony, Antony and Cleo- patra, iv. 3. Hereafter, the all-hail, Macbeth, i. 5. Heredity, none of treason, As You Like It, i, 3; All's Well that Ends Well, i. 1, "His sole child," etc., and "Be thou blest, Bertram, and succeed thy father," etc. Hereford, earldom of, promised to Buckingham, who claimed it as his by right of inheritance from his ancestor, Thomas of Wood- stock, Richard III., Hi. 1 ; the promise urged, iv. 2. Hereford, Henry of (Bolingbroke, afterward Henry IV.), Rich- ard IL, i. 1. Heretics, could not die by drowning, Romeo and Juliet, i. 2. Heresy, hated most by the deceived, Midsummer- Night's Dream, ii. 2 ; Cranmer accused of, Henry VIIL, v. 1, 2. Hermia, a character in the Midsummer- Night's Dream. She is beloved by Lysander and Demetrius, and loves Lysander. Her vix- enish spirit comes out principally in her quarrels with the taller and gentler Helena. She is introduced in the first scene. Hermione, heroine of the first part of A Winter's Tale, wife of Leontes and daughter of the Emperor of Russia. Her character is one of the noblest among Shakspere's women, of mingled sweetness, forbearance, and dignity, strong and calm. See Imogen. Hermits, your (beadsmen to pray for you), Macbeth, i. 6 ; Oym- beline, Hi. 6, " Great men," etc. Hermit-life, Timon of Athens, iv. 3. Herne^ the hunter, his oak in Windsor Forest, Merry Wives of 158 INDEX TO SHAKSPERE'S WORKS. Windsor, iv. 4 ; v. 5. The tree shown as Heme's oak was so decayed in 1795 that it was cut down by the king's order. Hero, of war, a, his defects shown in peace, Coriolanus, iv. 7 ; a pretended, Henry V., Hi. 6; a true, //. Henry IV., ii. 3; Henry v., i. 2 ; Troilus and Cressida, iv. 5. Hero, of Sestos, As You Like It, iv. 1 ; her tower, Tivo Gentle- jnen of Verona, Hi. 1 ; Romeo aiid Juliet, ii. 4. Hero, daughter of Leonato, Governor of Messina, one of the principal characters in Much Ado about Nothing, introduced in the first scene. Benedick describes her appearance at about the middle of the scene. Her mildness and gentleness are sharply contrasted with the fire and spirit of Beatrice, but her wit and power of expres- sion are shown in the scene, Hi. 1, where she is exaggerating her cousin's faults, to be overheard by her, and to carry out the trick against her and Benedick. Herod, of Jewry, Merry Wives of Windsor, ii. 1; Henry V., Hi. 2 ; Antony and Cleopatra, i. 2 ; Hi. 3, 6 ; iv. 6 ; out-Herods, Hamlet, Hi. 2. Herod was a frequent character in the miracle-plays. Heroines, of poetry, Romeo and Juliet, ii. 4. Heronshaw, or hernshaw, perhaps the " hand-saw " of the prov- erb, Hamlet, H. 2. Herring, a shotten, /. Henry IV., H. 4. One that has cast its spawn and looks thin. Hesperides, gardens of the. Love's Labour's Lost, iv. 3 ; Peri- cles, i. L In those gardens were the golden apples given" to Juno at her marriage by the goddess of the Earth, which were under the care of the daughters of Hesperis, assisted by a watchful dragon. Hesperus, sleepy lamp of, AlVs Well that Ends Well, ii. 1. He that has and a little, song, King Lear, Hi. 2. Hey Robin, song by Sir Thomas Wyatt, Twelfth Night, iv. 2. Hie et ubique (here and everywhere), Hamlet, i. 5. Hie ibat Simois, etc., from Ovid, Taming of the Shrew, Hi. 1. "Here Simois flowed; here was the Sigeian land; here stood the lofty realm of old Priam." Hie jacet, or, AlVs Well that Ends Well, Hi. 6. " Here lies." Hide, your, and you. King John, H. 1. Austria was represented as wearing the lion's skin taken from Richard. - Highwaymen, St. Nicholas's clerks— Trojans, /. Henry IV., H. 1 ; gentlemen of the shade, minions of the moon, /. Heiiry IV., i. 2. See Outlaws. Highway robbery, /. Henry IV., ii. 2 ; As You Like It, ii. 3. INDEX TO SHAKSPERE'S WORKS. 159 Hilding (cowardly), II. Henry IV., i. 1 ; Henry F., iv. 2. Hilding (a coarse girl), Taming of the Shrew, ii. 1. Hill, perpendicular, o' horseback up a, /. Henry IV., ii. 4. Hind, the, that would mate with the lion, AlVs Well that Ends Well, i. 1. Hip, to have upon the (a hunting phrase). Merchant of Venice, i. 3 ; iv. 1. Hippocrates, Merry Wives of Windsor, Hi. 1. A Greek physi- cian, born about 460 b. c, called the father of medicine. Hippolyta, Queen of the Amazons, character in the Midsummer- Night's Dream, introduced in the first scene. Her marriage to The- seus is the occasion of the festivities. In classic story Hippolyta was slain by Hercules, who came to obtain her girdle. She would have given it, but, under a false impression of treachery on her part, he slew her and took it. Antiope is the name of the Queen of the Ama- zons whom Theseus carried off. Hippopotamus, supposed to be the "sea monster," mentioned in King Lear, i. If.. Hisperia, an attendant of the princess, mentioned in As You hike It, ii. 2. Historical Plays, the. "It certainly seems that Shakspere's historic dramas produced a very deep effect on the minds of the English people, and in earlier times they were familiar even to the least informed of all ranks, according to the relation of Bishop Corbett. Marlborough, we know, was not ashamed to confess that his principal acquaintance with English history was derived from them : and 1 believe that a large part of the information as to our old names and achievements even now abroad is due, directly or indirectly, to Shakspere." — Cole- ridge. Hit, a palpable, Hamlet, v. 2. ^ Hobbididence, a fiend, King Lear, iv. 1. See Mahu. Hobby-horse, Hamlet, Hi. 2. The figure of a horse fastened to a man, used in the morris-dance. Hobby-horse is forgot. Love's Labour's Lost, Hi. L A line of an old song. Hob nob, is his word, Twelfth Night, Hi. 4. Have or not have. Hogs, shall I keep your. As You Like It, i. 1. Allusion to the parable of the prodigal son. This making of Christians will raise the price of. Merchant of Venice, Hi. 5. Hold you there (keep yourself in that mind). Measure for Measure, Hi. 1. 160 INDEX TO SHAKSPERE'S WORKS. Holiday(s), if all the year were, I. Henry IV., i. ^; a beautiful, Kifig John, Hi. 1. Holland, John, a follower of Jack Cade, II. Henry VI., iv. 2. Holmedon, or Homildon Hill, September 14, 1402, battle at, I, Henry IV., i. 1, 3, between the Scots under Douglas and the king's troops under Hotspur. Holofernes, a character in Lovers Labour's Lost, introduced in iv. 2, an empty, wordy pedant, characterized by the page and the clown as having " been at a great feast of languages and stolen the scraps," and " lived long on the alms-basket of words." He has been supposed to be a caricature of an Italian teacher in London named Florio, who translated Montaigne and published in 1598 a dictionary called " A World of Words," and who had criticised the English dramas as being " neither right comedies nor right tragedies, but perverted histories without decorum." Holy Land, the, /. Henry IV., i. 1. Holy-rood day, /. Henry IV., i. 1. September 14th, feast of the Exaltation of the Cross. Holy thistle, Much Ado about Nothing, Hi. 4. It was used as a specific for heart diseases. Holy water, court (flattery). King Lear, Hi. 2. Homage, a duke's, to a king. The Tempest, i. 1. Home-keeping youth, Two Gentlemen of Verona, i. 1 ; Cymr beline, Hi. 3. Homildon Hill. See Holmedon. Honesty, wrangle with one's own, Merry Wives of Windsor, ii. 1 ; description of Duncan's, AlVs Well that Ends Well, iv. ' shortness of. Sonnet Ix. ; autumn and twilight of. Sonnet Ixxiii. ; man's, is tedious, Cym- beline, Hi. 6 ; love of long, Antony and Cleopatra, i. 2 ; brevity of its greatness, Henry VIII., prologue ; when it is a torment, Othello i. 3 ; its glory like madness, Timon of Athens, i. 2. Ligarius, a conspirator in Julius Ccesar, first appears in ii. 1. Light, sought in books. Love's Labour's Lost, i. 1. See Study. Lightly (usually), Richard III, Hi. L Lightning, its swiftness, Midsummer-Night's Dream, i. 1 ; Richard II., i. 3 ; King Lear,iv. 7 ; Romeo and Juliet, ii.2 ; before death, a, Romeo and Jidiet, v. 3. Light o' Love, a dance-tune. Two Gentlemen of Verona, i. 2; Much Ado about Nothing, Hi. 4. Like as the waves, Sonnet Ix. Like as, to make our appetites more keen. Sonnet cxviii. Lilly (or Lyly), John (about 1553-1600), quotations and allusions to his Latin Grammar, Twelfth Night, ii. 3. Lily (ies), A Winter's Tale, iv. 3 oy 4; Somiet xcix. ; festering, SoJinet xciv. ; to paint the, King John, iv. 2 ; perish like the, Henry VIIL, Hi. 1. Limander (Leander ?), Midsummer-Night 's Dream, v. 1. INDEX TO SHAKSPERE'S WORKS. 201 Limbo Patrum, place where the souls of the patriarchs re- mained till the descent of Christ, Henry VIII., v. 4. Limbo, Tartar, Comedy of Errors, iv. 2. Lim.e, in sack (to make it sparkle). Merry Wives of Windsor, i. 3 ; I. Henry IV., ii. 4. Lim.ed (caught as with bird-lime). Twelfth Night, Hi. 4. Limehouse, limbs of (in some editions Limbo), Henry VIII., v. 4. Limehouse was near Tower Hill, and the tribulation of Tower Hill and the limbs of Limehouse may refer, to the roughs that in- fested the neighborhood. Limits, everything has. Comedy of Errors, ii. 1. Lincoln, John Laugland, Bishop of, character in Henry VIII., introduced in ii. 4. He is said to have made the first suggestion of the divorce. There is a chapel in Lincoln Cathedral planned by him, and named for him, Langland Chapel. Line, the equinoctial. The Tempest, iv. 1. Quibbling allusion to the supposed fact that the heat there caused loss of hair. Line (strengthen), I. Henry IV., ii. 3. Lineage, evidence of good, Cymheline, iv. 2, " thou goddess," etc. ; /. Henry IV., i. 2. See Blood and Rank. Linen, Poins's, II. Henry IV., ii. 2. Linguist, a. Sir Andrew, Twelfth Night, i. 3 ; iv. 1 ; AlVs Well that Ends Well, iv. 3. Link (torch), hats blackened with a, Taming of the Shrew, iv. 1. Lion(s), royal disposition of the. As You Like It, iv. 3 ; in Ar- den, As You Like It, iv. 3 ; better to fall before the, than the wolf. Twelfth Night, Hi. 1 ; the dying, Richard IL, v. 1 ; will not touch a true prince. I. Henry IV., ii. 4/ tbe man that sold the skin of a, He7iry V., iv. 3; allusions, to the story that Richard L tore out the heart of one sent to devour him. King John, i. 1 ; ii. 1. Lion, a character in the interlude in Midsummer-NigM s Dream, V. 1, taken by Snug the joiner. Lion-skin, doff the, Ki7ig John, Hi. 1. Lips, pretty, Midsummer-Nigh fs Dream, Hi. 2; Measure for Measure, iv. 1 ; Richard III., iv. 3 ; coward, Julius Ccesar, i. 2. Lipsbury Pinfold, King Lear, ii. 2. Of unknown meaning. Liquors, hot and rebellious. As You Like It, ii. 3. See Drunk- enness. List (limit, edge of cloth). Measure for Measure, i. 1, 2 ; Twelfth Night, Hi. 1 ; Hamlet, iv. 5 or 2. Liver, the, seat of love, Merry Wives of Windsor, ii, 1 ; Much 202 INDEX TO SHAKSPERE'S WORKS, Ado about Notliing, iv. 1; Twelfth Night, i. 1; ii. 4; Love's La- hour's Lost, iv. 3 ; As You Like It, Hi. 2 ; white, 3Ierchant of Ven- ice, Hi. 2 ; Twelfth Night, Hi. 2. Livery, sue his, /. Henry IV., iv. 3 ; Richard II., ii. 1, 3. Sue delivery of his lands, as an heir who was of age sued for custody of his own property. Living, Falstaif 's plan to get a, Merry Wives of Windsor, i. 3. Lizard, sting of the, //. Henry VL, Hi. 2 ; III. Henry VI., ii, 2 ; leg of, Macbeth, iv. L Loaii(s), to an enemy — without interest, Ilerchant of Venice, i. S ; a, oft loses both itself and friend, Hamlet, i. 3, Lo ! as a careful housewife. Sonnet cxliii. Lo ! in the orient. Sonnet vii. Lob (lubber), Midsummer- NigMs Dream, ii. 1. Lock (love-lock). Much Ado about Nothing, Hi. 3 ; v. 1. Lodovico, a kinsman of Othello's father-in-law, introduced in iv. 1 of the play. Lodowick, Friar, name assumed by the duke in Measure for Measure, v. L Loggats, Hamlet, v. L A game played with- loggats or pieces of wood, which are thrown at a jack. It is somewhat like bowls or skittles. Logic, of the schools, travesty on. Twelfth Night, iv. 2, " What is that but that ? " Lombardy, garden of Italy, Tamiiig of the Shrew, i. 1. London, scene of parts of the historical plays. See Lud's Town. London Bridge, order for the burning of, II. Henry VI., iv. 6. In Shakspere's day there was but the one bridge over the Thames at London, London-stone, II. Henry VI., iv. 6. A stone supposed to have been set up in the time of the Romans, and now built into the wall of St. Swithin's Church. Distances were measured from it. Longaville, one of the lords attending on the king in Love's Labour's Lost, introduced in the first scene. " The only soil of his fair virtue's gloss, If virtue's gloss will stain with any soil, Is a sharp wit matched with too blunt a will." Longing, immortal, Antony and Cleopatra, v. 2. Looker-on in Vienna, a, 3Ieasure for Measure, v. 1. Looking-glass, a, Richard II., iv. 1 ; to court an amorous, INDEX TO SHAK;sPERE'S works. 2U3 Richard III., i. 1 ; at charges for a, Richard III, i. 2 ; to test life, King Lear, v. 3. Look in thy glass, Sonnet Hi. Looks, a war of, Venus and Adonis, I. 355; foreboding, ///. Henry VL, ii. 1. Lop (branches), Henry VIII, i. 2. Lord, a, a character in the Taming of the Shrew. The trick he played upon Sly is said to have been played upon an artisan by Philip the Good, Duke of Burgundy. An account of it is in " Ad- mirable and Memorable Histories," by Goulart, translated by E. Grimstone, 1607, though it had appeared in English in 1570 in a collection of stories by Richard Edwards. It was also in the old play. Lord Chief-Justice Gascoigne. See Gascoigne. Lord have mercy upon us, Love's Labour's Lost, v. 2. An inscription on houses infected with the plague. Lord, how mine eyes, Passionate Pilgrim, xv. Lord Mayor of London, the, a character in III. Henry VI. Lord of my love. Sonnet xxvi. Lord's Prayer, the. Merchant of Venice, iv. 1, " And that same prayer," etc. Lord's sake, for the, Measure for Pleasure, iv. 3, an allusion to the practice of prisoners for debt begging from the window of pass- ers-by, " For the Lord's sake." Lorenzo, the lover of Jessica, in the Merchant of Venice, enters in the first scene, a thoughtless, boyish, romantic personage. Loss, racks the estimation of value, Much Ado about Nothing, iv. 1 ; make comfort of, AlVs Well that Ends Well, iv. 3 ; apprecia- tion after, All's Well that Ends Well, v. 3 ; how men should bear, Julius CcBsar, iv. 3 ; at sea, Merchant of Venice, iv. 1. Lottery, of the caskets, 3Ierchant of Venice, i. 2 ; ii. 1. Louis, the Dauphin, afterward Louis VIIL of France, a charac- ter in King John, introduced in ii. L Louis, the Dauphin of France, character in Henry V., first ap- pears in ii. 4. He is a rash and confident young braggart. In i. 2^ he sends tennis-balls to Henry to intimate that Henry is more fit for that game than for war. Louis X. of France, his title, Henry V., i. 2. Louis XI. of France, character in III. Henry VL, introduced in Hi. 3 : Henry's opinion of his susceptibility, Hi. 1. Louted (treated as a lout, mocked), /. Henry VL, iv. 3. • Louvre, your Pans, Henry V., ii. 4 ; Henry VIIL, i. 3. 204 INDEX TO SHAKSPERE'S WORKS. Love, The Tempest, i. 2 ; Hi. 1 ; trials of. The Tempest, iv. 1 ; folly of, Two Gentlemen of Verona, i. 1 ; marks of, Two Gentlemen of Vero- na, i. 2 ; ii. 1 ; take up, Two Gentlemen of Verona, i. 2 ; like April, Two Gentlemen of Verona, i. 3 ; the chameleon, Two Gentlemen of Verona, ii. 1 ; transformation by. Two Gentlemen of Verona, ii. 4; fickJeness in, Two Ge?itlemen of Vei'ona, ii. J^, 6; Ilidsummer- JVighfs Dream, i. 1 ; iv. 4 ; Troilus and Cressida, v. 2 ; Romeo and Juliet, ii. 3 ; perjury in, Two Gentlemen of Verona, ii. 6; v. 4; against obstacles, Two Gentlemen of Verona, ii. 7 ; treachery in, Two Gentlemen of Verona, Hi. 1; the way to win. Two Gentlemen of Verona, Hi. 1, 2 ; effect of absence on, Two Gentlemen of Verona, Hi. 2 ; spurned. Two Gentlemen of Verona, iv. 2 ; the curse in. Two Gentlemen of Verona, v. 4 ; Reason physician of, Herri/ Wives of Windsor, ii. 1 ; like a shadow flies. Merry Wives of Windsor, ii. 2 ; of another man's wife, Merry Wives of Windsor, H. 2 ; omnipotent, Merry Wives of Windsor, v. 5 ; the dribbling dart of. Measure for Measure, i. 4; temptation to. Measure for Measure, ii. 2, end ; effect of, on gravity, Pleasure for Measure, ii. 4 > increased by unkind- ness, Measure for Measure, Hi. 1, " This forenamed maid," etc. ; jests on. Much Ado about Nothing, i. 1; declared by proxy. Much, Ado about Nothing, ii. 1 ; follies of, Much Ado about Nothing, ii. 3 ; signs of, Much, Ado about Nothing, Hi. 2 ; protestations of, Much Ado about Nothing, iv. 1; Midsummer-NighV s Dream, i. 2 ; Hi. 2; Romeo and Juliet, ii. 6 ; Hi. 2 ; A Wi7iter's Tale, i. 2 ; iv. 3 or 4 > Henry V., v. 2 ; II. Henry VI, Hi. 2 ; Troilus and Cressida, Hi. 2 ; iv. 2, end; iv. 4; King Lear, i. 1; Cymbeline, i. 1, 3 ; the great in, Love's Labours Lost, i. 2 ; and rhyme, Love'^s Labour's Lost, i. 2, end ; symptoms of. Love's Labour'' s Lost, ii. 1 ; how to act in. Love's Labour's Lost, Hi. 1; falling in. Love's Labour's Lost, Hi. 1, end ; iv. 3 ; effect of, on the faculties, Love's Labour's Lost, iv. 3 ; fore- runners of, Love's Labour's Lost, iv. 3. near end; disguised — the wise in — declaration of — trial of. Love's Labour's Lost, v. 2 ; art of, Midsummer-Night's Dream, i. 1, " Call you me fair," etc. ; course of true, Midsummer-Night's Dream, i. 1; spaniel-like, Midsummer' Night's Dream, ii. 1 ; flower producing, Midsummer-Night's Dream, ii. 1, 2 ; and reason, Midsummer-Night's Dream, Hi. 1; blind. Mer- chant of Venice, ii. 6 ; Midsummer-Night' s Dream., i. 1 ; Romeo and Juliet, H. 1 ; confessed, 3Ierchant of Venice, Hi. 2 ; diffidence of ^ As You Like It, i. 2 ; at first sight. As You Like It, i. 2, 3 ; Hi. 5 ; absurdities of. As You Like It, H. 4; marks of a man in. As You Like It, Hi. 4 ; reproof for disdain of. As You Like It, Hi. 5 ; none INDEX TO SEAKSPERE'S WORKS. 205 ever died of, As You Like It, iv. 1 ; what 'tis— sudden, As You Like It, V. 2; Taming of the Shrew, i. 1; rough, Taming of the Shrew, ii. 1; lectures on— pleading for another in, Taming of the Shrew, i. 2; despairing, AlVs Well that Ends Well, i. 1, 3; of one in higher rank— belongs to youth— evidences of, AlVs Well that Ends Well, t. 3; ambition 'm, AWs Well that Ends Well,i. 1; Hi. 4; without. Airs Well that Ends Well, iv. 2; come too late, AlVs Well that Ends Well, v. 2; music the food of— like the sea— one sovereign. Twelfth Night, L 1; and flowers, Tivelfth Night, i. 1, end; messen- ger of, Twelfth Night, i. 4, 5; refused, Twelfth Night, i. 5; hungry —never told. Twelfth Night, ii. 4; offered by a lady, Tivelfth Night, Hi. 1; shows itself. Twelfth Night, Hi. 1; unsought. Twelfth Night, Hi. 1, 4 ; declaration of. Twelfth Night, v. 1 ; indications of, A Win- ter's Tale, i. 2; iv. 3 or 4; prosperity the bond of, A Winter's Tale, iv. 3; turns to hate, Richard II., Hi. 2; this no world for, I. Hen- ry IV., H. 3; worth a million, /. Henry IV., Hi. 3; protestations of, /. Henry IV., iv. 1 ; sincerity in, Henry V., v. 2 ; sudden, I. Hen- ry VI., v. 3; to QX&vQTiCQ, Richard III, i. 1; suing for. Richard III, i. 2; of Troilus, Troilus and Cressida, i. 1; before gained, Troilus and Cressida, i. 2, end; nothing but (song). Troilus and Cressida, Hi. 1 ; enchantment of— will is infinite, Troilus and Cres- sida, Hi. 2; comes with lack, Coriolanus, iv.l; tyrannous and para- doxical, Romeo and Juliet, i. 1 ; sprung from hate, Romeo and Juliet, i. 5 ; infinite— daring of, Romeo and Juliet, ii. 2 ; in the eyes, Ro- meo and Juliet, H. 3; like a natural— slain by, Romeo and Juliet, ii. 4; heralds of, Romeo and Juliet, ii. 5; moderate— lightness of, Ro^ meo and Jidiet, ii. 6 ; shadows of, Romeo and Juliet, v. 1 ; cooling, Julius CcBsar, iv. 2; caution in, Hamlet, i. 3; madness in, Hamlet, ii. 1, 2; inconstant, Hamlet, Hi. 2, player knig; nature is fine (sen- sitive) in, Hamlet, iv. 5 or 2 ; effect of time on, Hamlet, iv. 7 (or 4) ; undemonstrative— in misfortune, King Lear, i. 1 ; penalty for giv- ing charms for, Othello, i. 2, 3; unnatural, Othello, i. 3; doting, Othello, H. 3, " And" what's he," etc. ; its crown and hearted throne. Othello, Hi. 3; deceived, Othello, iv.2; finds grace in frowns, Othel- lo, iv. 3; not wise, Othello, v. 2; Antony and Cleopatra, i. 1, 3, 5; iii. 9 or 11 ; protestations of, Cymbeline, i. 1,3; impatience of, Cym- heline. Hi. 2; reason of, Cymbeline, iv. 2; repelled, Vemcs and Adonis, lines 31, 130, 137; compact of fire, Venus and Adonis, I. 149 ; surfeits not, Venus and Adonis, I. 799 ; ridiculous, Venus and Adonis, I. 985; prophecy concerning. Venus and Adonis. I. 1136; want of. Sonnets viii.-x. ; poetry of. Sonnet xxi. ; hears with eyes. 14 306 INDEX TO SHAKSPERE'S WORKS. Sonnet xxiii. ; of the dead, Sonnet xxxi. ; self-abnegation in, Son- nets xxxv.-xxxix., Ixxxviii-xc, cxlix. ; wrongs of. Sonnets xl., xciL, xciii. ; falsehood of. Sonnets xli., xlii. ; the eye and heart in, Son- nets xlvi., xlvii. ; coldness in, Sonnet xlix. ; renewed, Sonnet Ivi. ; makes a willing slave. Sonnets Ivii., Iviii. ; watchful, Sonnet Ixi. ; change in, Sonnets Ixxxvii.-xc. ; the best. Sonnet xci. ; in absence, Sonnets xcvii., xcviii. ; show of, Sonnet cii. ; constancy in, Sonnet cr. ; prescience of loss in, Sonnet cvii. ; expression of, like prayers, Sonnet cviii. ; wanderings of. Sonnet cix. ; alchemy of, Sonnet cxiv. ; growth of. Sonnet, cxv. ; that alters, when it alteration finds, Sonnet cxvi. ; not time's fool. Sonnet cxvi. ; trial of the constancy of. Sonnet cxvii. ; policy in, Sonnet cxviii. ; renewed. Sonnet cxix. ; reconcilia- tion in. Sonnet cxx, ; independent of circumstance. Sonnet cxxiv. ; of one unworthy. Sonnets cxxvii., cxlii.-cxliv., cL, clii. ; unfaithful- ness in. Sonnets cxxxiii., cxxxiv. ; blind fool. Sonnet cxxxvii. ; de- ceived. Sonnets cxxxvii., cxxxviii. ; despair in. Sonnet cxl. ; not in the senses, Sonnet cxli. ; of two, Sonnet cxliv. ; a fever, Sonnet cxlvii. ; blind, Sonnet cxlviii. ; perjury in, Sonnet clii.; fire of. Sonnets cliii., cliv. ; betrayed, Xoyer's Complaint ; potential, Zot'ers Complaint, I. 264; fickle. Passionate Pilgrim, vii., xvii.; perfect. The Phoenix and the Turtle. Love-broker, report of valour the best. Twelfth Night, Hi. 2. Love-in-idleness, Midsummer-Nighfs Dream, ii. 1. The pansy. Love is my sin and thy dear virtue hate. Sonnet cxlii. Love is too young to know what conscience is, Sonnet cli. Lovel, Francis, Lord, character in Richard III., first appears in iii. 4- He was one of Richard's chief supporters, fled to France after Bosworth, but returned and took the side of Lambert Simnel. Love-Letters, Two Gentlemen of Verona, i. 2 ; ii. 1; iii. 1; Merry Wives of Windsor, ii. 1 ; Love's Labour's Lost, iv. 1, 2 ; v. 2 ; As You Like It, iv. 3 ; Twelfth Night, ii. 3, 5 ; Hamlet, ii. 2 ; Cym- heline, iii. 4 / blanks for. Merry Wives of Windsor, ii. 1. Lovell, Sir Thomas, character in Henry V^II. introduced in i, 2. He was a favourite with both Henry VII. and Henry VIII., was a devout Catholic, endowed the priory at Halliwell, Shoreditch, and built a chapel there, where he was buried. An inscription reads : " All ye nunns of Halliwell, Pray ye both day and night For the soul of Sir Thomas Lovell, Whom Harry the Seventh made Knight." Sir Thomas Lovell is mentioned in Richard III, iv. 4. INDEX TO SHAKSPERE'S WORKS. 207 Love-making, Comedy of Errors, Hi. 2 ; iv. 2 ; Merry Wives of Windsor, ii. 1, 2 ; Hi. 4 ; Midsummer- Night's Dream, i. 1 ; Hi. 2 ; Twelfth Night, i. 5 ; v. 1 ; Richard III., i. 2 ; Antony and Cleo- patra, i. 3 ; Cymbeline, ii. 3 ; Troilus and Gressida, Hi. 2 ; iv. 2 ; V. 2 ; Romeo and Juliet, ii. 1 ; The Tempest, Hi. 1 ; Much Ado about Nothing, iv. 1 ; v.3 ; Taming of the Shrew, Hi. 1 ; A Winter's Tale, iv. If ; Venus and Adonis, lines 1-768. Lover(s), mercenary, Measure for Measure, Hi. 1, " She should this Angelo have married," etc. ; keen faculties of, Love's Lahonr'x Lost, iv. 3 ; trusting a. Love's Labour's Lost, v. 2 ; fantasies of — all compact of imagination, Midsummer-Night's Dream, v. 1 ; sighs of, As You Like It, ii. 7 ; propositions of a. As You Like It, Hi. 2 ; given to poetry. As You Like It, Hi. 4; fickle in everything but love. Twelfth Night, ii. 4; generosity in, A Winter's Tale, iv. 3 or 4; vows of, Troilus and Cressida, Hi. 2 ; sighs of, Romeo and Juliet, i. 1; chaffing a, Romeo and Juliet, H. 1 ; ravings of, Romeo and Juliet, ii. 2 ; impatience of, Romeo and Juliet, ii. 5 ; exiled, Romeo and Juliet, Hi. 3 ; partings of, Romeo and JuUet, Hi. 5 ; Twj Gen- tlemen of Verona, ii. 2 ; Antony and Cleopatra, i. 3 ; meeting of, Othello, ii. 1, " my fair," etc. ; exaggerations of, Antony and Cleo- patra, i. 5 ; tedious, Venus and Adonis. I. 84I ; gifts of, Lover's Complaint, lines 197, 232 ; like misers. Sonnet Ixxv. ; see only the beloved, So7inets cxiii.. cxiv. Lover's Complaint, A, a poem first published in 1609, with the first edition of the Sonnets. From its style it is judged to have been written before the Sonnets and after the other poems. Loves, of the poets, Romeo and Juliet, ii. 4. Love-songs, Hamlet, iv. 5 or 2 ; Troilus and Cressida. Hi. 1. Love-Sonnets, addressed to a man, i.-cxxvi. ; to a woman, cxxvii.-clii. Love's Labour's Lost, one of the earliest, if not the very earli- est, of the comedies, the date commonly assigned to it being the poet's twenty-fifth year. It was first published in 1598 in an edition " corrected and augmented." Shakspere's work on Titus Andronicus is alone thought to be earlier than this in its original form. No play or story is known on which this comedy could have been foundefl. Editors have discovered only a passage in Monstrelet, concerning a negotiation between the Kings of Navarre and France, by which Navarre gave up the castle of Cherbourg, the county of Evreux, and all the other lordships he possessed within the kingdom of France, 208 INDEX TO. SHAKSPERE'S WORKS. and received the duchy of Nemours and two hundred thousand gold crowns. The scene is Navarre. Coleridge says of the play : " The satire is chiefly on follies of words. . . . The frequency of the rhymes, the sweetness as well as the smoothness of the metre, and the number of acute and fancifully illustrated aphorisms, are all as they ought to be in a poet's youth. True genius begins by generalizing and condensing ; it ends in retdizing and expanding." Love's Labour's Won. See All's Well that End's Well. Love-verses, Two Gentlemen of Verona, ii. 1 ; Hi. 1 ; iv. 2 ; Love's Lahoufs Lost, iv. 2, 3; As You Like It, Hi. 2; Twelfth Night, ii. 5 ; directions for writing, Two Gentlemen of Verona, Hi. 2. Lowly, better to be. Henry VIIL, ii. 3 ; Cymheline, i. 6. Loyalty, in service, As You Like It, i. 3 ; ii. 3 ; professions of, Richard II., i. 3 ; Henry VIIL, Hi. 2 ; King John, iv. 2 ; Macbeth, i. 4 ; difficult, of York, Richard II., ii. 2 ; Kent's, King Lear, i. 4 ; pretended, King Lear, Hi. 5 ; to the fallen, Antony and Cleopatra, Hi. 11 or 13 ; where shall it find a harbour in the earth % II. Henry VI., V. L Lozel (good-for-nothing), A Winter's Tale, H. 3. Lubber, the world a great. Twelfth Night, iv. 1. Lubber's Head (leopard's), an inn, //. Henry IV., ii. 1. Lucentio, the successful suitor of Bianca in the learning of the Shreiv, introduced in i. 1, who goes into her father's family as a teacher under the assumed name of Cambio. Luce, servant of Adriana in the Comedy of Errors. Luces, the dozen white, Merry Wives of Windsor, i. 1. A sup- posed allusion to the arms of the Lucy family, in which there were three pike, luce being another name for that fish. See Shallow. Lucetta, Julia's maid in the Two Gentlemen of Verona, who is keen-sighted enough to discover the true character of Proteus, ap- pears in i. 2. Luciana, sister of the wife of Antipholus of Ephesus in Comedy of Errors. She is mild-tempered and gentle, forming a contrast to her vixenish sister, and advocating the theory of wifely submission to which Katherine is brought in the Taming of the Shrew. Lucianus, nephew of the player king, Hamlet, Hi. 2. Lucifer, Merry Wives of Windsor, ii. 2, end ; falls like, Henry VIIL, Hi. 2 ; King John, iv. 3. Lucilius, a servant of TimMn of Athens, introduced in i. 1. Lucilius, a friend of Brutus in Julius Ccesar, appears in iv, 2; made prisoner, v. 4. INDEX TO SHAKSPERE'S WORKS. 209 Lucio, a fantastic in Measure for Measure, introduced in i. 2, a witty but vile and shameless character. Lucius, one of the flattering lords in Timon of Athens, intro- duced in Hi. 2, where he mentions the presents he has received from Timon, and makes an excuse for not lending him money in his need. Lucius, servant of Brutus in Julius Ccesar, introduced in ii. 1. Lucius, character in Titus Andronicus, son of Titus, introduced in i. 1 or 2, where he demands the sacrifice of a prisoner^ to the shades of his brothers; banished. Hi. 1 ; general of the Goths, iv. 4; V. 1 ; made emperor, v. 3. Lucius, Young, a brave child, son of Lucius in Titus Andronicus, introduced in Hi. 2. Lucius, brother of Antony, mentioned in Antony and Cleopatra, i. 2, as in alliance with Fulvia. Lucius, Caius, general of the Roman forces in Cymheline, intro- duced in Hi. 1, where he demands payment of the tribute. Lucius Pella, condemned for taking bribes, Julius Ccesar, iv. 3. Luck, bad, an indication of want of piety, Merry Wives of Wind- sor, iv. 5 ; good, in odd numbers, Merry Wives of Windsor, v. 1. See Omens. Lucrece, a poem published in 1594, dedicated to the Earl of Southampton. The story on which it is founded is told by Ovid and Livy, and is given in the argument that Shakspere prefixed to the poem. Coleridge says : " In this poem [' Venus and Adonis "] and ' The Rape of Lucrece ' Shakspere gave ample proof of his possession of a most profound, energetic, and philosophical mind, without which he might have pleased, but could not have been a great dramatic poet." References to Lucrece, As You Like It, Hi. 2, song; Taming of the Shreiv, ii. 1 ; Twelfth Night, ii. 5. Lucretius, Lucrece, I. 1151. Lucullus, one of the flattering lords in Timon of Athens, intro- duced in Hi. 1. When Timon sends to him for a loan in this scene, he tries to bribe the servant to say to Timon that he had not been seen. Timon's servant calls him " Thou disease of a friend." Lucy, Lady Elizabeth, Richard III., Hi. 7. Lucy, Sir William, character in I. Henry VI, first appears in iv. 3, seeking reenforcements for Talbot. Lucy, Sir Thomas, supposed allusion to, in Merry Wives of Windsor, i. 1. See Luces and Shallow. Ludlow Castle, an ancient and celebrated castle in Shropshire, 210 INDEX TO SHAKSPERE'S WORKS. where the young prince (Edward V.) was living with his uncle, Earl Rivers, Ricliard III., ii. 2. In the time of Elizabeth, the castle was in possession of the Sidney family. Lud's-town (London), Cymbeline, Hi. 1 ; iv. 2. Lunatic, the, imagination of, 3Iidsummer-Nighfs Dream, v. 1; speech of, Cymbeline, v. 4.. See Insane, Insanity, Madness. Lunes (insane freaks). Merry Wives of Wi?idsor, iv. 2 ; A Win- te?''s Tale, ii. 2 ; Troilus atid Cressida, ii. 3 ; Hamlet, Hi. 3. Lupercal, feast of, Julius Ccesar, i. 1 ; Hi. 2. In honour of Lu- percus, a god of the woods and of shepherds, who was supposed to keep away wolves. It fell on February 15th. Lurched (robbed), Coriolamis, li. 2. Lust, wicked fire of, Merry Wives of Windsor, ii. 1 ; though to an angel linked, Hamlet, i. 5 ; Venus and Adonis, I. 794; Sonnet cxxix. Lustick {lustig, merry), AlVs Well that Ends Well, ii. 3. Lute, pleasing of a, Richard III., i. 1 ; melancholy as a lover's, /. Henry IV., i. 2 ; broken over the teacher, Taming of the Shreiv, ii. 1 ; music of the, Henry VIII., Hi. 1. Lutheran, a spleeny, Henry VIII., Hi. 2. Lux tua, etc., Pericles, ii. 2. Thy light is my life. Lying, the world given to, /. Henry IV., v. 3 ; as easy as, Ham- let, Hi. 2 ; becomes only tradesmen, A Winter's Tale, iv. 3 ; old men subject to the vice of, II. Henry I V., Hi. 2. Lychorida, nurse of Marina, in Pericles, first appears in Hi., chorus ; her death, iv. 1. Lymoges, Archduke of Austria. See Austria. Lycurgeses, Coriolamis, ii. 1. Lym, a hunting-dog, King Lear, Hi. 6. Lysander, character in Midsummer-NigM s Dream, introduced in i. 1, a lover of Hermia. Lysimachus, governor of Mitylene, character in Pericles, first appears in iv. 6 ; betrothed to Marina, v. 1 or 2. Mab, Queen, Romeo and JuUet, i. 4. Macbeth is a drama sometimes placed first among the histories, but usually with the tragedies. It was included in the folio of 1623 : the earliest known allusion to it was made in 1610 ; and the date of writing is placed between 1604 and 1610. The story is given mainly as it appears in Holinshed's " Chronicles." The circumstances of the assassination are found in Holinshed's account of the murder o? INDEX TO SHAKSPERE'S WORKS. 211 King Duff by Donwald and his wife in their castle at Fores. The time of the historical action is from 1039 to 1057; but Shakspere has crowded the events together for dramatic effect. Many castles are designated as the one in which Macbeth killed Duncan. Glamis Castle, five miles from Forfar, is one ; Cawdor Castle, six miles from Xairn, is another ; Fores Castle a third, and Macbeth's castle at In- verness a fourth. In Macbeth's time there were no castles of stone and mortar; timber and sods were the materials used. A castle built of these materials stood on an eminence southeast of Inver- ness. This was razed by Malcolm Canmore, son of Duncan, and a new one was built on another part of the hill. It was this castle that Dr. Johnson visited in 1773, supposing it to be the identical castle in which Duncan was murdered. " While in ' Romeo and Juliet ' and in ' Hamlet ' we feel that Shakspere now began and now left off, and refined upon or brooded over his thoughts, Macbeth seems as if struck out at a heat, and imagined from first to last with unabated fervour. It is like a sketch" by a great master in which everything is executed with rapid- ity and power, and a subtlety of workmanship which has become in- stinctive." — DOWDEX. Macbeth, King of Scotland, is introduced in i. 3 of the play, in the scene on the witches' heath; murders Duncan, ii. 1, and is made king ; causes Banquo to be murdered, Hi. 1 ; and Macduff's family, iv. 1, 2 ; meets the English army at Dunsinane, Ad v., and is slain by Macduff, v. 8. As a matter of fact, he was not killed at Dunsinane, but at Lumphanan two years later, in 1057. He is de- scribed by his wife in the fifth scene of the first act ; his ambition has to contend with conscientious scruples ; " What thou wouldst highly, that wouldst thou holily ; " he is " too full of the milk of human kindness to catch the nearest way." These in the beginning are very nearly balanced ; he dwells on the prophecy and the means by which he might realize it ; on the other hand, he dwells on Dun- can's character and the honours he had received from him. The scale inclines to the side of right, when his wife's influence is again exerted, and Duncan's death is resolved upon. Struggling with re- morse of conscience, he confuses it, as Coleridge says, with the feel- ing of insecurity, and plunges into more crime in order to make himself safe in the results of the first. But his is not a character to be contented or happy in infamy ; his conscience and his imagina- tion work upon him till he is as if driven on by an irresistible fate, liaving " stepped so far in blood that returning were as tedious as gi^ng over." So possessed is he with despair, that the news of 212 INDEX TO SHAKSPERE'S WORKS. his wile's death only draws from him the philosophy of hopeless- ness : " And all our yesterdays have lighted fools The way to dusty death." " Although it is difficult to separate the Macbeth of history from the jMaebeth of Shakspere and tradition, he appears to have ruled Scotland well, and to have benefited the church in no small degree." — Dictionary of English History. Macbeth, Lady, character in Macbeth, introduced in i. 5, where she promptly plans the murder of Duncan on hearing that he is to sleep at her house ; spurs on Macbeth to it, ^. 7 ; places the daggers by the guards, ii. 2 ; in the banquet scene. Hi. J^; in the sleep-walk- ing scene, v. 1; the doctor's report, v. 3; her death, v. 5. The wife of Macbeth in history was the Lady Guroch, granddaughter of Kenneth IV., and was a widow before her marriage with Mac- beth. " Lady Macbeth is of a finer and more delicate nature [than' Mac- beth]. Having fixed her eye upon an end — the attainment for her husband of Duncan's crown — she accepts the inevitable means ; she nerves herself for the terrible night's work by artificial stimulants ; yet she cannot strike the sleeping king who resembles her father. Having sustained her weaker husband, her own strength gives way ; and in sleep, when her will cannot control her thoughts, she is pite- ously afflicted by the memory of one stain of blood upon her little hand." — Dowden. Macdonwald, a rebel against Duncan, vanquished and killed, ^Macbeth, i. 2. Macduff, Thane of Fife, an important character in Macbeth, in- troduced in i. 6 ; he discovers the murdered king, ii. 1 ; has fied to England, iv. 1 ; confers with Malcolm and hears of the murder of his family, iv. 3 ; slays ISLacbeth, v. 8. Macduff is loyal, slow to suspect, and unambitious ; but, when roused, he is resolute, brave, and unbending. The remains of Macduff's castle are said to exist about three miles from Dysart, in Fifeshire. Other ruins are also pointed out as his castle. Macduff, Lady, character in 3Iacbeth, introduced in iv. 2, where she witnesses the murder of her little son, and is pursued by the murderers and afterward killed. The news carried to Macduff by Rosse, iv. 3. Macduff, the little son of, Macbeth, iv. 2. Macedon, compared with ]\Ionmouth, Henry V., iv. 7. Machiavel, Jlerry Wives of Witidsor, Hi. 1; I. Henry Vl.,v. INDEX TO SHAKSPERE'S WORKS. 213 4; III. Hennj YI., Hi. 2. He was born in Italy in 1469. Henry VI. died in 1471. MacMorris, Captain, character in Henry F., first appears in Hi. 2. He is an Irish captain, described by Fluellen as having " no more directions in the true discipline of the wars, look you, of the Roman disciplines, than is a puppy dog ! " Madmen, speech of, Cijmheline, v. 4, "Tongue and brain not " ; imagination of, 3Iidsummer-Night''s Dream, v. 1. Madness, symptoms and treatment of. Comedy of Errors, iv. ^ ; Jleasure for Measure, iv. 4 ; cause of. Comedy of Errors, v. 1 ; sense in, Pleasure for Measure, v. 1; letters of. Twelfth Night, v. 1; prayed for. King John, Hi. 4; method in, Hamlet, ii. 2 ; like sweet bells jangled, Hamlet, Hi. 1 ; a test of, Hamlet, Hi. 4, " Ecstasy ! My pulse," etc. ; Ophelia's, Hamlet, iv. 5 or 2 ; harm done in, Ham- let, V. 2, " Give me your pardon," etc. ; prayer concerning, King Lear, i. 5 ; he's that way, King Lear, Hi. 4 ; remedy for, King Lear, iv. 4 ; reason in. King Lear, iv. 6 ; recovery from. King Lear, iv. 7 ; the error of the moon, Othello, v. 2 ; the world mad. King John, ii. 2. See Insanity. Madonna, the, appears to Joan, /. Henry VI., i. 2. Magic, The Tempest, i. 2 ; Hi. 1-3 ; music by. The Tempest, Hi. 2 ; graves opened by — Prospero abjures. The Tempest, v. 1. See Witchcraft. Magician, Rosalind claims to be a. As You Like It, v. 2 ; Glen- dower a, /. Henry IV., i. 3. Magistrate(s), of the people, a, Coriolanus, Hi. 1, " Who puts his shall," etc. ; petty, Coriolanus, ii. 1. Magnanimity, toward enemies, /. Henry IV., v. 5 ; of a sol- dier, Coriolanus, ii. 2. Mag^e Dominator poli, etc., Titus Andronicus, iv. 1. Great lord of the heaven, dost thou so leniently hear of wickedness ? so leniently look upon it ? Magnificoes, Merchant of Venice, iv. 1 ; Othello, i. 2. Magpie, the (magot-pie), Macbeth, Hi. 4 ; (pie) ///. Henry VI., V. 6. Mahomet, inspired with a dove, I. Henry VI., i. 2. Alluding to the story that Mahomet had a tame dove, which he used to feed with wheat from his ear, and which he led his followers to believe was the Holy Spirit. Mahu, a fiend. King Lear, Hi. 4 ; iv. 1. The names of fiends in these two scenes and in Hi. G are said to be taken from a book by 214 INDEX TO SHAKSPERE'S WORKS. one Har>!iet. published in 1603, entitled '' Declaration of Popish Im postni'es.** and giving many details about witchcraft. Maidenhood, Jlidsummer-Highfs Dream, ii. 1. See Elizabeth. It has also been supposed that the " little western flower " may refer to Lettice, Countess of Essex, with whom Leicester carried on an intrigue during her husband's absence in Ireland. The " mermaid on a dolphin's back," once interpreted as referring to Mary Queen of Scots, is now known to refer to a part of the exhibition given by Leicester at Kenilworth for Elizabeth's entertainment, in 1575, a mermaid on a dolphin's back with shooting fires. Maiden(s), to travel alone, As You Like It, i. 3 ; when they sue. Pleasure for Measure, i. 5 ; flowers for, A Winter's Tale, iv. 3 or 4 ; advice to a, Hamlet, i. 3 ; Hi. 1. Maine, an ancient province in France, lost to England, IL Henry VI., i. 1; iv. 1, 7. Majesty, will not endure boldness in a subject, /. Henry IV., i. 3; weariness under,//. Henry IV., iv. If.; sits not so easy, //. Henry IV., v. 2 ; interests dependent on, Hamlet, Hi. 3 ; stoops to folly, King Lear, i. 1. Make (do). As You Like It, i. 1 ; ii. 2, and elsewhere. Makeless (raateless), Sonnet ix. Malady, the lesser dwarfed by the greater. King Lear, Hi. ^. Malchus, of Arabia, Antony and Cleopatra, Hi. 6. Malcolm, afterward Malcolm III., surnamed Canmore, son of Duncan in Macbeth, introduced in i. 2. In i. 4 he is named Prince of Cumberland, which was equivalent to being appointed successor to the throne; flees to England, ii. 1; makes accusations against himself to test Macduff, iv.3 ; returns with his uncle Siward to fight against Macbeth, v. 2 ; is Hailed as king. v. 8. He is represented as able and brave, though cautious and prudent ; and this seems to have been the character of Malcolm III. in history, whose reign extended from 1058 to 1093. Canmore signifies " Great Head." Maledictions, The Tempest, i. 2; ii. 2; Hi. 2; iv. 1; v. 1; Tt^oihis and Cressida, H. 1, 3 ; v. 1. See Curses. Malevolence, expressed, Coriolanus, iv. 5 ; Macletli, iv. 3. Malice, nothing set down in, Othello, v. 2. See Envy. Mall, Mistress, Twelfth Night, i. 3. A character of Shakspere's time usually known as Mall Cutpurse. She dressed in man's cloth- ing, and was the heroine of a play by Middleton and Dekker, " Tlse Roaring Girl," which was acted at the Fortune Theatre and was published in 1611. Her real name was Mary Frith, and her chief INDEX TO SHAKSPERE'S WORKS. 215 exploit was the robbery of General Fairfax on Hounslow Heath, for which she was sent to Xewgate. Malmsey-Butt, Richard HI., i. 4. Clarence has been called from this " Malmsey Clarence." Malt-worms (drunkards), I. Henry IV., ii. 1. Malvolio, Olivia's steward in Twelfth Night, introduced in i. 5. lie is a fool of the solemn pompous order, conceited and Pharisaical, flis puritanical precision incites the conspirators in the household to play their cruel practical jokes upon him, to which his conceit makes him fall an easy prey. Mamilius, the little prince in A Winter's Tale, introduced in i. 2; his talk with the queen's ladies, ii. 1; his illness, ii. 3; his death in consequence of his mother's disgrace, m, 2. " And to the very end I must confess that I have in me so much of the spirit of Rachel weeping in Ramah as will not be comforted because Mamilius is not. It is well for those whose hearts are light enough to take perfect comfort in the substitution of his sister Per- dita for the boy who died of ' thoughts high for one so tender.' Even the beautiful suggestion that Shakspere as he wrote had in mind his own dead little son still fresh and living at his heart, can hardly add more than a touch of additional tenderness to our perfect and piteous delight in him." — Swinburne. Mammering (hesitating), Othello, Hi. 3. Mamimet (puppet), Romeo and Juliet, Hi. 5. Mammock (tear to pieces), Coriolanus, i. 3. Man, varnish of a complete. Love's Labour's Lost, i. 2 ; place for every, All's Well that Ends Well, iv. 3 ; God made him; therefore let him pass for a. Merchant of Venice, i. 2 ; a better, better spared, /. Henry IV., v. 4 / a model, II. Henry IV., ii. 3 ; grace of, sought, Richard III, Hi. 4 ; a, not honoured as man, Troilus and Cressida, Hi. 3 ; one honest, Timon of Athens, iv. 3, " Had I a steward,'' etc. ; nature might say this was a, Julius Ccesar, v. 5 ; died like a, Mac- beth, V. 7 ; taken for all in all, Hamlet, i. 2 ; you cannot play upon* a. Hamlet, Hi. 2 ; to give the world assurance of a. Hamlet, Hi. 4. ; what a piece of work is, Hamlet, ii. 2 ; capability of, Hamlet, ir. 4. or 1 ; more than wit, King Lear, ii. 4 ; unaccommodated (uncivil- ized), King Lear. Hi. 4 ; life of a, tedious, Cymheline, Hi. 6 ; a, with a woman's beauty, Sonnet xx. See Men. Manage (behaviour), As You Like It, i. 1. Mandragora (mandrake), a soporific, Othello, Hi. 3; Antony and Cleopatra, i. '>. Mandrake, Hio. superstition concerning — that it gave a shriek 216 INDEX TO SHAKSPERE'S WORKS, when pulled from the ground, and that an evil fate pursued the one that rooted it up, //. Henry VL, Hi. 2 ; Romeo and Juliet, iv. 3. Mandrake (a small person), II. Henry IV., i. 3. Manhood, forgot on earth. /. Henry lY., ii. 4; degenerated, Much Ado about Nothing, iv. 1 ; is called foolery when it stands against a falling fabric, Coriolanus, Hi. 1. Manner, taken with the (in the act). Love's Labour's Lost, i. 1 , L Henry IV., ii. 4- Manner, born to the, Hamlet, i. 4. The persistent miswriting of this word in the familiar quotation (making it manor) arises from a neglect to consider the context, and also from ignoring the fact that Hamlet was born, not to a manor, but to a whole kingdom. Manners, of the court, in the country, As You Like It, Hi. 2 ; rude. Twelfth Night, iv. 1 ; defect of, I. Henry IV., Hi. 1. Manningtree ox, /. Henry IV., ii. 4- Manningtree was a place in Essex, noted for fairs, where probably an ox had been roasted whole. Mannishness, in a woman, Troilus and Cressida, Hi. 3. Mantle, a magic. The Tempest, i. 2. Mantua, a city in northern Italy, scene of Romeo and Juliet, v. 1. Mantuan, good old, Love's Labour's Lost, iv. 2. Battista Spag- nolus (1443-1516), a writer of Latin verse. Many, converging in one, Henry V., i. 2. Map, a new, with the Indies, Twelfth Night, Hi. 2. " A map to accompany Linschoten's 'Voyage,' published in England in 1598, the first in which the eastern islands were shown." Marcellus, an officer in Hamlet, introduced in i. 1. He was a friend of Hamlet, and to him the ghost appeared before Horatio or Hamlet saw it. In the interpretation of the characters of the play alluded to under the name of the play, the character oi Marcellus is thought to be meant for that of Sir Edward Dyer, friend of Sir Philip Sidney. See under the name of the play. March, Earl of. See Mortimer and Edward IV. March, the Ides of, the 15th, Julius Ccesar, i. 2 ; iv. 3 ; v. 1. Marcians, the house of the, Coriolanus, ii. 3. Marcius, Caius, afterward Coriolanus, q. v. Marcius, Young, son of Coriolanus, introduced in v. 3 of the drama : discussed in i. 3. Marcus Andronicus, character in Titus Andronicus, brother of Titus. He enters in i. 1, where he announces the choice of Titus as emperor ; his grief and generosity, ii. 4 or 5 ; Hi. 1. INDEX TO SHAKSPERE'S WORKS.' 211 Mardian, an attendant of Cleopatra in Antony mid Cleopatra, introduced in i. 5. Margarelon, Priam's natural son, introduced in Troilus and Or ess i da, v. 8. Margaret, a gentlewoman attending on Hero in Much Ado about Nothing, introduced in ii. 1, who is mistaken by the watching prince and Claudio for Hero while she is talking to Borachio froni the chamber-window of her mistress. Margaret of Anjou, queen of Henry VI., and daughter cf Regnier (Rene), King of Naples, Sicily, and Jerusalem, character in the three parts of Henry VI. and in Richard III., first appearing in I. Henry VI., v. 3, where Suffolk has captured and fallen in love with her, and forms the plan of marrying her to Henry VI. The betrothal follows in v. 5. Her contempt for the king is expressed in the second part, i. 3, as well as her jealousy of the Duchess of Gloucester, to whom she gives in this scene a box on the ear ; her affection for Suffolk, Hi. 2. In the third part, i. 1, she resolves to raise an army, in her wrath at Henry for disinlieriting their son. She defeated the Yorkists at Wakefield, i. 3-5, where York was slain, but suffered defeat at Mortimer's Cross, Towton, ii. 3-6, Bar- net, V. 2, S, and lastly at Tewksbury, v. 4, 5, where her son was killed. The Margaret of the play is coarse, fierce, revengeful, unprincipled. But her love for Suffolk is not in history, neither is there sufiicient evidence that she had a hand in Gloucester's death, nor any that she stabbed York. She was confined in the Tower from 1471 to 1475, when she was ransomed by Louis XL, and lived in France till her death in 1482. It is therefore contrary to history to introduce her in the reign of Richard, which began in 1483; but her presence is dramatically effective, as she appears only to curse and watch with greedy eyes for the fulfilment of her curses, Richard III., i. 3 ; iv. If.. Margery Jourdain. See Jourdain. Maria, one of the ladies attending on the princess in Love's Labour's Lost, first appears in ii. 1. . Maria, Olivia's waiting-maid in Twelfth Night, introduced in i. 3, a keen, shrewd, witty woman, who captures Sir Toby Belch through her cleverness in putting up the practical joke on Mai vol io. Marian, Maid, I. Henry IV, Hi. 3. The companion of Robin Hood, and a leading character in the morris-dance, where the part was generally taken by a man. Hence a name for a masculine woman. Mariana, a character in Measure for Measure, first mentioned 21 S INDEX TO SHAKSPERE'S WORKS. in iii. 1, introduced in iv. 1, at " the moated grange at St. Luke's," ;after she has been betrothed to Angelo and deserted by him — a pitiable character. In the original story, the part she takes in the rplay was united with that of Isabella. Mariana, an unimportant character in AlVs Well that E/icl-> Well, ill. 5. Marigold (sunflower), A Winter'' s Tale, iv. 3 or 4. Marina, daughter of Pericles and Thaisa, introduced in the chorus of the third act of Pericles as an infant ; left at Tharsus, iii. S; plot against her, prologue and first scene of Act iv; in Mitylene, iv. 2 ov 3,6 ; her epitaph, iv. 4 ; her accomplishments, prologue to Act v. ; meets her father, v. 1 ; betrothed to Lysimachus, v. 1 or 2. '' She is indeed a nature that appears capable of remaining un- sullied amid the impurest, and, as her persecutor says, ' of making a puritan of the devil.' " — Gervinus. Marjoram, Sonnet xcix. Mark, God save the, Romeo and Juliet, iii. 2, and elsewhere. The meaning is doubtful. It has been suggested that mark may mean omen — save from the disaster threatened. Another sugges- tion is that it means the cross, the mark of the cross. Mark Antony, his genius rebuked by Caesar, Macbeth, iii. 1. See Antonius. Market, the, ended, Lovers Lahour's Lost, iii. 1. Alluding to the proverb, " Three women and a goose make a market." Marie, a French earl, mentioned in Henry V., iv. 8. Marlowe, Christopher (born in the same year with Shakspere, 1564, died in 1593), quoted, Merry Wives of Windsor, iii. 1 ; As You Like It, iii. 5. See Authorship and Passionate Pilgrim, The. Marmoset, the, The Tempest, ii. 2. Marriage(s), rite of. The Tempest, iv. 1 ; v. 1 ; proposals of, Merry Wives of Windsor, i. 1 ; mercenary motives for, Merry Wives of Windsor, Hi. 2, 4.; without love. Merry Wives of Windsor, v. 5, near the end ; railings against, JIuch Ado about Nothing, i. 3 ; H. 1, 3; V. 4; goes by destiny, 3Ier chant of Venice, ii. 9; As You Like It, Hi. 3 ; coldness in. As You Like It, iv. 1 ; a world-without-end bargain, Love's Labour's Lost, iv. 3 ; a mad. Taming of the Shrew, Hi. 2 ; disparity of years in. Twelfth Night, ii. 4; reasons for, AWs Well that Ends Well, i. 3; ofeer of, from a lady, AlVs Well that Ends Well, ii. 3 ; a distasteful, AlFs Well thai Ends Well, ii. 3, end; un- faithfulness in, A Winter's Tale, i. 2 ; a. father's counsel concerning, A Winter's Tale, iv. 3 ; second, A Winter's Tale, v. 1 ; treaty of, INDEX TO SHAKSPERE'S WORKS. 219 King John, ii. 1 or 2 ; promise of, II. Henry IV., ii. 1 ; God the best maker of, Henry V., v.; contract of, /. Henry VI., v. 1, 5 ; proposed, I. Henry VI., v. 3 ; forced, I. Henry VI., v. 5 ; by proxy, II. Henry VI., i. 1 ; hasty, ///. Henry VI, iv. 1 ; with a sister-in- law, Henry VIII., ii. 4 ; of Romeo and Juliet, ii. 6 ; proposed, Ro- meo and Juliet, Hi. 5 ; an abhorred, Romeo and Juliet, iv. i ; of a newly-made widow, Hamlet, i. 2 ; state considerations in, Hamlet, i. 3; no more, to he, Hamlet, Hi. 1; QQQondi, Hamlet, Hi. 2, player queen ; motives in. King Lear, i. 1 ; justification of a secret, Othello, i. 3 ; of Antony and Octavia, Antony and Cleopatra, ii. 2, 6 ; of Imogen, Cymbeline, i. 1 ; urged. Sonnets i.-xvii.; of true minds, Soymet cxvi ; ceremony of. Twelfth Night, v. 1 ; hands, not hearts, Othello, Hi. 4. Married man, Benedick the. Much Ado about Nothing, i. 1; V. 1. Marry, an exclamation used in numberless cases, said to be a corruption of Mary. Marry-trap, Merry Wives of Windsor, i. 1. Hudson says it seems to have been a word of triumph in seeing one caught in his own snare. Mars, of malcontents, Merry Wives of Windsor, i. 3, end; novices of, AlVs Well that Ends Well, ii. 1; the file of, AlVs Well that Ends Well, Hi. 3 ; fear of, AlVs Well that E?ids Well, iv. 1; in swaddling-clothes, I. Henry IV., Hi. 2 ; drave, to faction, Troilns and Cressida, Hi. 3 ; invoked, Coriolanus, i. 4 ; an eye like, Hamlet, Hi. 4. ; in love, Venus and Adonis, I. 98. The Eoman god of war. Mars (planet), born under, AlVs Well that Ends Well, i. 1 ; his true moving, /. Henry VI., i. 2. The irregularities in the move- ments of the planet Mars, consequent on the eccentricity of his or- bit, were puzzling to astronomers until Kepler's " New Astronomy ; or, Commentaries on the Motions of Mars " appeared in 1609. Marseilles, France, the scene of a part of AlVs Well that Ends Well. Marshal, the lord, in Richard II, i. 3, was the Duke of Surrey, who temporarily filled the place, the office being held by Norfolk, one of the combatants. Marshalsea, prison in Southwark, Henry VIII, v. 4. Mart (bargain), Hamlet, i. 1. Martext, Sir Oliver, a vicar in As Yon Like It, determined that " ne'er a fantastical knave of them all shall flout me out of my call- ing." For the use of the title Sir, see under Evans. 220 INDEX TO SHAKSPEBE'S WORKS. Martin, St., summer of, I. Henry F7., i. 2. Fair weather in late autumn —Indian summer. Martins, character in Titus Andronicus, son of Titus, introduced in i. 1 or 2, is taken for the murderer of Bassianus, n. or 4; exe- cuted, Hi. 1. Martlemas (Martinmas, November 11th), II. Henry IV., iu 2, Applied to an old man given to gaiety, because it was the time of St. Martin's or Indian summer. Martlet, the temple-haunting, chooses delicate air, Macbeth^ i, 6 ; builds on the outward wall. Merchant of Venice- ii. 9. "JaruUns, one of the tribunes in Julius Ccesar- first appears in i. 1, where he rebukes the people for forgetting Pompey. He and Flavius tore the scarfs and badges from Caesar's images, and were put to silence, i. 2. Mary, Princess, afterward queen (1553-'58), Henry VIILy iv. 2. Mary, the Virgin, Richard II., ii. 1 ; Henry VIII., v. 2» JilSijry, Q,ueen of Scots. See Maidenhood. Mask(s), sun-expelling. Two Gentlemen of Verona, iv. 4 ; black, Measure for Measure, ii. 4.; Romeo and Juliet, i. 1. They were worn by gentlewomen to protect their faces from the sun and at the theatre. Masque, a, Timon of Athens, i. 2. Masquerades, Much Ado about Nothing, ii. 1 ; Love's Lahoui'*s Lost, V. 2 ; Romeo and Juliet, i. 4, 5 ; Merchant of Venice, ii. 6 ; Henry VIII., i. 4. Mass, evening, Romeo and Juliet, iv. L Master and men, influence of, on one another, II Henry IV.y V. 1, " It is a wonderful thing," etc. Master-gunner, of Orleans, and his son, characters in I. Hen- ry VI., i. 4- Masters, all cannot be, Othello, i. 1. Match, set a (arranged an expedition ?), /. Henry IV., i. 2. Mated (bewildered), Comedy of Errors, Hi. 2 ; v. 1 ; my mind has, Macbeth, v. 1. Material fool, a. As You Lilce It, Hi. 3. A fool with matter in him, or a fool in what is material or essential. Mathematics, Taming of the Shrew, i. 1. Matron, evil passion in a, Hamlet, Hi. 4. Maund (a small basket), Lover's Complaint, I. 36. 'S/Lq^y, as full of spirit as the month of, I. Henry IV., iv. 1 ; of life, fallen into the sere the yellow leaf, Macbeth, v. 3 ; of youth. INDEX TO SHAKSPERE'S WORKS. 221 Henry V., i. 2; allusions to the sports of, Midsummer-Nighfs Dream, i! 1 ; iv. 1; Twelfth Night, Hi, 4; ^^^'s ^eZZ that Ends Well, a. 2 ; Henry VIIL, v. 3. Mayor of London, in L Henry VL, first appears in i. 3. His name was John Coventry. Mayor of London, character in Richard III., first appears in Hi. 1. Sir Edward Shaw, brother of the Doctor Shaw that is men tioned in Hi. 5. Mayor of London, Henry VIIL, iv. 1; v. 4. Sir Stephen Pea- cocke. Mayors of York, Coventry, and St. Alban's. See York, Cov- ENTRY, and St. Alban's. Mean, advantage of being, in that of fortune, Merchant of Venice, i. 2; Nature makes the mean that makes her better, A Win- ter's Tale, iv. 3. Mean (tenor). Love's Lahour's Lost, v. 2 ; A Winter's Tale, iv. 2 or 3; Two Gentlemen of Verona, i. 2. Means, living beyond one's, Merchant of Venice, i. 1 ; slender, 11. Henry IV., i. 2; too humble for the mind, Richard III., iv. 2; wasted, Othello, iv. 2. Meagreness, //. Henry IV., Hi. 2; v. 4. See Leanness. Mealed (sprinkled). Measure for Measure, iv. 2. Measles (distemper), Coriolaims, Hi. 1. Measure, to tread a, Love's Labour's Lost, v. 2; As You Like It, V. 4. A slow, stately dance. Measure for Measure, first published in 1623, is referred to the period that produced the greater plays, Julius Cmsar, Hamlet, Othello, Macheth, and King Lear, and is supposed to have been writ- ten about the year 1603. The plot, originally from a story in the " Hecatommithi " of Giraldi Cinthio, was the foundation of a play, " Promos and Cassandra," published in 1578, by George Whetstone, who afterward translated the Italian story for his " Heptameron of Civil Discourses," 1582. The most notable change made by Shak= spere m the plot was the introduction of the character of Mariana, thus doing away with a repulsive feature of the old plot, the marry- ing of Isabella (Cassandra) to Angelo (Promos). Notwithstanding the repellent story and the disgusting nature of most of the humour, this is in many respects a very noble play— in the general tone of thought in the serious scenes, the strength and purity of Isabella's character, the subtlety with which Angelo's is drawn, and the beauty of single passages. The scene is laid in Vienna, at about the year 15 222 I^DEX TO SHAKSPERE'S WORKS. 1485, the date being fixed by the allusion to Corvinus, King of Hun- gary, in i. 2, who in that year took Vienna. Cinthio lays the scene in Innspruck ; Whetstone in Julio, Hungary. Meats, influence of, on temper. Taming of the Shrew, iv. 1, S. An old book, " The Glasse of Humours," says that a choleric man should "abstain from all salt, scorched, dry meats, from mustard and such things as will aggravate his malignant humours." See Beef. Mecsenas, character in Antony and Cleopatra, introduced in w. S, a friend of Caesar. Mechanics, to wear the signs of their trades, Julius Ccb- sar, i. 1. Medea, Merchant of Venice, v. 1 ; 11. Henry VI., v. 2. Flee- ing from Colchis with her lover Jason, she was pursued by her father ; and to gain time she caused her little brother Absyrtus to be killed and his limbs to be thrown on the water, that her father, in stopping to collect them, might be detained long enough to allow of her escape. Meddlers, Timon of Athens, iv. 3 ; Hamlet, Hi. 4 ; v. 2. Meddle nor make, Troilus and Cressida, i. 1. Medice, etc.. Henry VI., ii. 1. Physician, heal thyself. Medicine, theory and practice of, allusions to : lives consist of the four elements. Twelfth Night, ii. 3 ; bleeding, Love's Labour'' s Lost, ii. 1; Richard IL, i. 1; diagnosis by urine. Two Gentlemen of Verona, ii. 1; Twelfth Night, Hi. 4; IL Henry IV., i. 2; 31ac- heth, V. 3; a. miracle in, AlVs Well that Ends Well, ii. 3; read in Galen, IL Henry IV., i. 2. See under Arteries, Blood, Circula- tion OF THE, Diseases, Digestion, Insanity, Medicines, Physicians, Poisons, Surgery. Medicine (physician), a, AlVs Well that Ends Well, ii. L Medicines : narcotics, Othello, Hi. 3 ; Antony and Cleopatra, i. 5 ; Cymheline, iv. 2 ; aqua vitae, A Winter's Tale, iv. 3; Romeo and Juliet, iv. 5; sherris, IL Henry IV., iv. 3; balm. III. Henry VL, iv. 3 ; Troilus and Cressida, i. 1; Timon of Athens, Hi. 5 ; liquid gold, The Tempest, v. 1 (grand liquor) ; AlVs Well that Ends Well, V. 3; II. Henry IV, iv.4; mummy (a medicine made from em- balmed bodies), Othello, Hi. 4; eisel or vinegar (to prevent con- tagion). Sonnet cxi. ; recipe for, AlVs Well that Ends Well, i. 3 ; H. 1 ; plantain-leaf. Love's Labour's Lost, Hi. 1 ; Romeo and Juliet, i. 2; parmaceti, 7. Henry IV., i. 3 ; cobweb, Midsummer-NighVs, Dream, Hi. 1 ; flax and whites of eggs. King Lear, Hi. 7 ; cathar- INDEX TO SHAKSPERE'S WORKS. 223 cics, As You Like It, Hi. 2 ; Richard Tl., i. 1 ; Henry VI, i. 3; Hi. 2 ; iv. 4; Coriolcmus, Hi. 1; 3Iacbeth, v. 3 ; Sonnet cxmii. Mediterranean Sea, the, Love's Labour's Lost, v. 1. Medlar, the true vii-tue of the, As You Like It, Hi. 2. Meeting, when shall we three meet again, Ilacbeth, i. 1. See Welcome. Mehercle (by Hercules ?), Love's Labour's Lost, iv. 2. Meiny (servants), King Lear, ii. 4- Melancholy, kinsman to despair, Comedy of Errors, v. 1 ; Count John's, Mucli Ado about Nothing, i. 3 ; ii. 1; not conducive to long life, Love's Labour's Lost, v.2 ; turn, to funerals, Midsummer-Night's Dream, i. 1 ; out of a song. As You Like It, ii. 5 ; kinds of. As You Dike It, iv. 1; nurse of frenzy, Taming of the Shrew, induction, 2 ; trick of, All's Well that Ends Well, Hi. 2 ; a, surly spirit, King John, Hi. 3; fashion of, King John, iv. 1; similes for, I. Henry IV., i. 2; cursed,/. Henry IV., ii. 3; effect of, Hamlet, ii. 2 ; Hi. 1; power of, Cymbeline, iv. 2 ; constant, Pericles, i. 2. Melford, commons of, //. Henry VI., i. 3. Melun, a French lord in King John, introduced in v. 2. He is said by Matthew Paris to have disclosed to some of the English barons before his death, which took place in London, that Louis and sixteen earls and barons of France had secretly sworn, that if Louis should conquer England and be crowned king, all the Eng- lish nobility should be killed, banished, or imprisoned as traitors and rebels, he himself being one of the sixteen. The dauphin's oath is in the old play. Memory, made a sinner. The Tempest, i. 2 ; warder of the brain, Macbeth, i. 7 ; of things precious, Macbeth, iv. 3 ; devoted to one subject, Hamlet, i. 5; of old woes, Sonnet xxx. ; of the beloved, Sonnet cxxii. ; ventricle of the, see Ventricle. Memory (memorial), Coriolanus, v. 1. Memphis, pyramid of, /. Henry VI., z. 6. Men, a bill for putting down. Merry Wives of Windsor, ii. 1 ; supremacy of. Comedy of Errors, ii. 1 ; why scanted of hair. Comedy of Errors, ii. 2 ; what they dare do, Much Ado about Nothing, iv. 1 ; should be thankful not to be beasts, Love's Labour's Lost, iv. 2 ; girls dressed like, As You Like It, i. 3 ; more fickle than women. Twelfth Night, ii. 4 ; not three good, unhanged, I. Henry IV., ii. 4; no faith in, Romeo and Juliet, Hi. 2 ; summer-birds, Timon of Athens, Hi. 6 ; ranks of, Macbeth, Hi. 1 ; inconstancy of, Othello, Hi. 4, " 'Tis not a year or two," etc. ; marble minds of, Lucrece, I, 224: INDEX TO SHAKSPERE'S WORKS. l2Jf.O ; old, of less truth than tongiie, Sonnet xvii ; best are moulded out of faults, Measure for Measure, v. 1 ; are as the time is, KhiQ Lear, v. 3. See Man. Menaphon, Duke, mentioned in Comedy of Errors, v. L Menas, character in Aiitony and Cleopatra, introduced in ii. 1, a friend of Pom^Dey, a pirate. Menecrates, character in Antony and Cleopatra, introduced in ii. 1, a friend of Pompey, a pirate. Menelaus, brother of Agamemnon, character in Troilus and Cressida, introduced in i. 3, the husband of Helen. Spoken of also in ///. Henry VI., ii. 2. Menenius Agrippa, character in Coriolanus, appears in i. 1, as an ambassador from the patricians to the people ; description of himself, ii. 1 ; refused, v. 2. In Plutarch, he is said to have been the pleasantest old man in the senate, but nothing further is given of him except the fact of his telling the fable in i. 1. He is an ad- miring friend of Coriolanus, a fluent talker, witty, good-humoured, discreet, and persuasive. Menteith, Earl of, /. Heiiry IV., i. 1. Menteith, a thane of Scotland, character in MacbefJi, appears in V. 2, 4, and 7. Me perdonato, Taming of the Shreiv, i. 1. I being pardoned, or perdonate, pardon me. Mephistopheles, Merry Wives of Windsor, i. L Here used for an ugly fellow. Me pompse, etc., Pericles, ii. 2. Glory leads me on. Mercade, a lord attending on the princess in Lovers Lahour's Lost, appears only in the last scene. Mercatante (merchant). Taming of the Shrew, iv. 2. Mercatio, the rich, mentioned in Two Oentlemen of Verona, i. 2, as one of Julia's suitors. Merchant, a, character in the Comedy of Errors, introduced in i. 2, a friend to Antipholus of Syracuse. Merchant, a, character in TimoJi of Athens, i. 1, where he is seeking patronage. Merchant of Venice, the, a comedy known to have been acted before 1598, and probably the same as " The Venesyon Comedy," acted August 25, 1594. The internal indications are that it was written as early as the latter year, though the date has been placed as late as 1596. It was first published in 1600. No earlier tale or play is now known that unites the two stories contained in this INDEX TO SHAKSFERE'S WORKS, 225 play— that of the pound of flesh and that of the three caskets. But one Stephen Gosson, who published his " School of Abuse " in 1579, mentions a play, " The Jew," which represented '' the greediness of worldly chusers, and bloody minds of usurers." So that Shakspere may have taken his plot directly from this forgotten drama. Both of the stories are very old. That of the pound of flesh, Mr. Collier says, is unquestionably of Oriental origin. It was told by Giovanni Fiorentino in 1378 in a collection of tales, " II Pecorone," the cir- ■ cumstances very much resembling those of the play ; in the " Ora- tor," by Alexander Silvayn, translated into English in 1598, and in some old ballads, " The Northern Lord " and " Gernutus, the Jew of Venice." The story of the three caskets is in the Greek romance of "Barlaam and Josephat," about 800; and was again told in the " Gesta Romanorum," translated in 1577, where the story is entitled " Ancelmus the Emperour." The time of action is Shakspere's own day ; the scene, Venice and Portia's house at Belmont, somewhere on the Continent, probably. The name Belmont is the same used in the story from " II Pecorone." Mercury, god of lying, commerce, and thievery, and messenger of Jupiter, Twelfth Night, i. 5; King John, iv. 2; L Henry IV., iv. 1; Troilus and Cressida, ii. 3 ; Hamlet, Hi. 4; ^ Winter's Tale, . iv. 2 ; Henry V., ii., chorus ; Richard III., ii. 1. Mercutio, friend of Romeo, first appears in i. 4. In Hi. 1 he is slain by Tybalt, who has been seeking a quarrel with Romeo. See Romeo. "Wit ever wakeful, fancy busy and procreative as an insect, courage, an easy mind that, without cares of its own, is at once dis- posed to laugh away those of others, and yet to be interested m them —these and all congenial qualities, melting into the common copula of them all, the man of rank and the gentleman, with all its excel- lences and its weaknesses, constitute the character of Mercutio ! — Coleridge. Mercy, assaulted by prayer. The Tempest, epilogue; obligation to, The Tempest, v. 1, "And shall not myself," etc.; mistaken. Measure for Pleasure, ii. 1, " Mercy is not itself," etc. ; becomes the great— of Heaven, Measure for Pleasure, ii. 2; devilish. Measure for Measure, Hi. 1 ; when made by vice. Measure for Measure, iv. 2 ; recommended to Shylock, 3Ierchant of Venice, Hi. 3; iv. 1; the better part made. As You Like It, Hi. 1 ; beyond the infinite reach of, King John, iv. 3; for small and great offences, Henry V., ii. 2 ; a vice of, Troilus and Cressida, v. 3 ; at differences with honour. Coriolanus, v. 3; nobility's badge, Titus Androuicus, i. 1 or 2 : to 226 INDEX TO SHAKSPERE'S WORKS. murderers, Romeo and Juliet, Hi. 1, end ; emboldens sin, Timon of Athens, Hi. 5 ; show no, Timon of Athens, iv. 3, " That, by killing,'"' etc. ; whereto serves, but to confront the visage of offence, Hamlet, Hi. 3 ; to the falling, Henry VIII., Hi. 2. Mered (limited), Antony and Cleopatra, Hi. 10 or 12. Merit, honours not purchased by. Merchant of Venice, H. 9; value without, Troilus and Cressida, H. 2 ; often overlooked, on ac- count of one defect, Hamlet, i.4; seldom justly attributed. All's Well that Ends Well, Hi. 6 ; men of, sought after, //. Henry IV., ii. 4 ; far beyond recompense, Macbeth, i. 4. Merlin, prophecies of, /. Henry 1 F., Hi. 1 ; King Lear, Hi. 2, end. See Prophecies. Mermaid, music of a. Comedy of Errors, Hi. 2 ; Midsummer- Nighfs Dream, H. 1 ; I^I. Henry VI., Hi. 2 ; Hamlet, iv. 7 ; Ve7ius and Adonis, I. 4^9. Merops, son of. Two Gentlemen of Verona, Hi. 1. Phaethon. Merriman, a hunting-dog. Taming of the Shrew, induction, 1. Merry "Wives of "Windsor, The, a comedy written as we have it probably between 1598 and 1601, though an allusion in iv. 3 has led some to suppose that it was written in or soon after 1592, because then free post-horses were given, by order of Lord Howard, to a German duke who passed through Windsor. There is no reason, however, for supposing that the event might not have been alluded to several years after its occurrence. A plausible explanation is that the play, in an early form which has come down to us, was writ- ten at the former date ; while the amended form was later, perhaps even after the accession of James L (See Knights.) One John Dennis, who remodelled the play in 1702 for the stage, says in the dedication that it was written in fourteen days at the request of Queen Elizabeth ; and another writer adds that it was because she wished to see Falstaff as a lover. The plot is not knoAvn to have been drawn from any other, though some of the incidents had been used before. That between Falstaff and Ford in disguise is said to be in Fiorentino's " Art of Loving," and in Straparola's " Ring." The time is probably before the death of Henry IV., since Falstaff is spoken of as being still in favour at court. There has been consid- erable controversy, both as to the time when this play was written, and as to its place in the series that include the characters of Fal- staff, Mrs. Quickly, Pistol, Nym, and Bardolph. Difficulties are met with under every supposition possible. Some, but few, have sup- posed the Falstaff of the Merry Wives of Windsor not to be the INDEX TO SHAKSPERE'S WORKS. 227 same as the Falstaff of the historical plays, who, as is well known, was at first called Oldcastle. There is more reason to suppose that there are two Mistress Quicklys. The question is of little impor- tance. Messes (grades), A Winter's Tale, i. 2. Messala, a friend of Brutus and Cassius in Julius Ccesar, first appears in iv. 3, bringing news of Portia's death. Messaline (Mitylene f), Twelfth NigM, ii. 1, Messenger, a, is what he knows, Antony and Cleopatra, ii. 5 ; of ill news, The Tempest, ii. 1; II. Eenry IV., i. 1 ; Antony and Cleopatra, ii. 5; Macbeth, v. 5 ; of good news, Merchant of Venice, ii. 9 ; I. Eenry IV., i. 1. Messina, Sicily, scene of Much Ado about Nothing, and a part of Antony and aeopafra. Pompey had a house there, ii. 1. Metaphysical (supernatural), 3Iacbeth, i. 5. Metaphysics, Taming of the Shrew, i. 1. Meteors, his heart's, Comedy of Errors, iv. 2. Allusion to me- teors imagined to look like armies meeting; ominous, Richard II., ii. 4; J. Eenry IV., ii. W, over a ship, The Tempest, I 2, " To every article," etc. ; Romeo and Juliet, Hi. 5 ; King John, v. 2. Metellus Cimber, one of the conspirators in Julius CcBsar, first appears in ii. 1. His suit to Ca3sar for the recall of his banished brother, Hi. 1, was made the occasion for the assassins to gather about Caesar. Mettle, of the English, Eenry V., Hi. 5 ; undaunted, Macbeth, i. 7 ; of a king, King John, ii. 2. Michael, Sir, a friend of the archbishop in L Eenry IV., ap- pears only in iv. J^. Michael, one of the followers of Jack Cade in his insurrection, IL Eenry VI, iv. 2, 3. Michaelmas, Merry Wives of Windsor, i. 1 ; I. Eenry IV, ii. 4. The feast of St. Michael, September 29th. The custom of eating roast goose on that day was at least as early as the fifteenth century. It was also the day for choosing civil magistrates. Micher (truant), I. Eenry IV., ii. 4. Miching mallecho (sly mischief), Eamlet, Hi. 2. Middle-earth (the natural world), Jlerry Wives of Windsor, v. 5. Midnight, almost fairy-time, Midsummer-Night's Bream, v. 1; business at, Eenry VIII, v. 1; the witching time of night, Eamlet, Hi. 2 ; going to bed after, Ticelfth Night, ii. 3. Midsummer madness. Twelfth Night, Hi. 4. 228 INDEX TO SHAKSPERE'S WORKS. Midsummer-Night's Dream., A, a comedy in which three sets of actors appear — the Duke of Athens and his friends, the Athenian handicraftsmen, and the fairy-people. It was first published in 1600, but was mentioned in 1598, and is thought to have been writ- ten between 1594 and 1598, and by some authorities even as early as 1592. Possibly some other dramatist assisted Shakspere in the scenes between the lovers. The life of Theseus in Plutarch may have given some suggestions for the play ; and for the part of the fairies some hints may have been furnished by a little book mentioned under Puck. The scene of the action is ostensibly Athens, and the time three days, ending at midnight of the 1st of May ; but time and place are entirely disregarded. " The epilogue expresses satisfaction if the spectator will regai'd the piece as a dream : for in a dream time and locality are obliterated ; a certain twilight and dusk is spread over the whole. . . . We have before said that the piece appears designed to be treated as a dream ; not merely in outer form and colouring, but also in inner significa- tion. The errors of that blind intoxication of the senses, which form the main point of the play, appear to us to be an allegorical picture of the errors of a life of dreams." — Gervinus. Mighty, the, dead,/. Henry VI., ii. 2; Hi. 2 ; Julius Cmsar, Hi. 1 ; V. 5 ; Coriolanus, v. 5 ; Antony and Cleopatra, v. 1, 2. Milan, Duke of, Prospero, in The Tempest. Milan, Duke of, the father of Silvia in the Two Gentlemen of Verona, introduced in ii. 4. Mile-End Green, AlVs Well that Ends Well, iv. 3 ; II. Eenry TV., Hi. 2. A place for sports and musters. Milford-Haven, Wales, Cymheline, Hi. 2 ; scene of. Hi. 4. Milk of human kindness, the, llacheth, i. 5. Miller, Yead, mentioned in 'Merry Wives of Windsor, i. 1. Milliner, A Winter's Tale, iv. 3 or Jf.. Men were milliners in Shakspere's time. Mill-sixpences, Merry Wives of Windsor, i. 1. They were used as counters. Millstones, wept, Richard III., i. 3, 4 ; Troilus and Cressida, i 2. Milo, Troilus and Cressida, H. 3. An athlete of Crotona, a Greek city of southern Italy, one of whose feats was the carrying of a living bull on his shoulders through the race-course at Olympia. He was born about 520 b. c, and was therefore some hundreds of years before the Trojan war. Mind, the, affected by food. Love's Labour^s Lost, i. 1 ; makes INDEX TO SHAKSPERE'S WORKS. 229 the body rich, Taming of the Shreu\ iv. 3 ; contempt for the work of the, Troilus and Oressida, i. 3 ; tempest in the, King Lear, Hi. If ; infected, diseased, 3Iacbeth, v. 1,3; a noble, o'erthrown, Hamlet, Hi. 1 ; no art to find its construction in the face, Macbeth., i. 4 ; fear- less, climb soonest into crowns. III. Hennj Yl., iv. 7. Mine eye and heart are at a mortal war, Sonnet xlvi. Mine eye hath played the painter, Sonnet xxiv. Mineral (mine), Hamht, iv. 1, or Hi. 5. Minerva, goddess of wisdom. Taming of the Shrew, i. 1. Mines (undermines), As Yoii Like It, i. 1. Minim's rest, a. Merry Wives of Windsor, i. 3. A minim is a half-note in music. Minister, services of a king's, A Winter's Tale, iv. 1 or 2. Minnows, Love's Labour's Lost, i. 1; Sicinius a Triton of the, Coriolanus, Hi. 1. Minola. See Baptista. Minos, King of Crete, III. Henry VI., v. 6. Minotaurs, I. Henry VI.. v. 3. The minotaur was a fabled monster in Crete, having a human head and the body of a bull. It roamed through a labyrinth made by Daedalus, and was fed with hu- man victims. Miracle-plays and Moralities, the, allusions to. See Herod, Termagant, Vice. Miracle(s), past, All's Well that Ends Well, it. 1, 3 ; Henry v., i. 1 ; a pretended, II. Henry VI., ii. 1 ; thy life's a. King Lear, iv. 6. Miranda, the heroine of The Tempest, one of the most exquisite characters in the dramas. Brought up away from society and with no teacher but her father, she is natural, unconventional, but full of native grace and dignity. " She is one of those quiet natures whose mental worth is closed as within a bud, whose depth of character is hidden, like the fire of the diamond, until the occasion comes which strips off the conceal- ing husk, and reveals the richness and splendour of the inner life. Reared in solitude, she is like a blank leaf as regards all social gifts and conventional accomplishments. She is quiet and of few words, but her fancy is full of inward life and playfulness, and her pure soul uninjured hj intercourse with mankind."' " I do not know a more wonderful instance of Shakspere's mas- tery in playing a distinctly rememberable variety on the same re- mem))ered air, than in the* transporting' love-confessions of Romeo and Juliet and Ferdinand and Miranda. There seems more passion in the one and more dignity in the other ; yet you feel that the 230 INDEX TO SHAKSPERE'S WORKS. sweet girlish lingering and busy movement of Juliet, and the calmer and moie maidenly fondness of Miranda, might easily pass into each other." — Coleridge. Mirth, a man of, Love's Labour's Lost, ii. 1 ; tears of, Midsum- mer-^igMs Dream, v. 1 ; goes all the day, A Winter's Tale, iv. 2 ; rather have a fool to make, As You Like It, iv. 1 ; away from home, Henry V., i. 2 ; exhortations to, Merchant of Venice, i. 1 ; ii. 2 ; Midsummer-Niglifs Dream, i. 1 ; Taming of the Shrew, inductiori, 2; A Winter's Tale, iv. 3; I. Henry IV., ii. Jf.; Macbeth, Hi. 4,* a light heart lives long, Love's Labour's Lost, i. 2; all, from the crown of the head to the sole of the foot, Much Ado about Nothing, Hi. 2 ; of a child, A Winter's Tale, i. 2. Misanthrope, a, Timon of Athens, iv. 1, 3 ; v. 2. See Cynics. Mischief, swift to enter the thoughts of the desperate, Romeo and Juliet, v. 1; mourning past mischief, draws new mischief on, Othello, i. 3. Misenum, Italy, scene of a part of Antony and Cleopatra. Misers, Henry V., ii. 4 / like whales. Pericles, ii. 1 ; gold of, Venus and Adonis, I. 767 ; Lucrece, I. 855. Miserable, the, hope the only medicine for, Pleasure for Meas- ure. Hi. 1. Misery, makes strange bedfellows. The Tempest, ii. 2 ; parts the flux of company. As You Like It, ii. 1; willing, Timon of Athens, iv. 3 ; sees miracles. King Lear, ii. 2 ; of one's betters, King Lear, Hi. 6, end; trodden on, Venus and Adonis, I. 707 ; makes sport to mock itself, Richard II, ii. L See also Adversity, Misfortune. Misfortune, turned to advantage, I. Henry IV., iv. i, "You strain too far," etc. ; doomed to, Romeo and Juliet, Hi. 3; friends who desert in. King Lear, ii. 4; Timon of Athens. Hi. 1, 3; ii\ 2, 3. See Adversity, Woe, Sorrow. Misfortunes, come not singly, Hamlet, iv. 5, 7 ; Pericles, i. 4- Mislike (dislike), Merchant of Venice, ii. 1; II. Henry VI, i. 1. Miss (dispense with). The Tempest, i. 2. Missive (messenger), Antony and Cleopatra, ii. 2. Mistakes, a lark taken for a bunting. All's Well that Ends Well, H. 5 ; a drunkard for a god. The Tempest, v. 1. Mistletoe, baleful, Titus Andronicus, ii. 3. Mistress (the jack at bowls), Troilus and Cressida, Hi. 2. Mistrust. See Doubt, Suspicion. Mithridates, of Comagene, Antony and Cleopatra, Hi. 6. Mitylene, in Lesbos, scene of a part of Pericles. INDEX TO SEAKSPERE'S WORKS, 231 Mob(s), a London, Henry VIIL, v. 4; Roman, Coriolanus, i. 1; a. 1; Hi. i, 3; iv. 1, 2, 6; Antony and Cleopatra, v. 2; the fool multitude, Merchant of Venice, ii. 9. , -, -, Mobled, Hamlet, ii. 2. Hastily dressed, or, perhaps, hooded or muffled. Mob-cap is from the same word. ^ Mockery, made serious, Henry V., i. 2 ; of Beatrice, 3Iucli Ado about Nothing, Hi. 1; returned. Love's Labour's Lost, v. 2; solemn Hamlet, Hi. 4; of a man by his own achievements, Troilus and Cressida, iv. 2. Model (platform I), 3Iuch Ado about Nothing, i. 3. Moderation, Midsummer-Nigh fs Bream., ii. 3, " A surfeit," etc. ; commended, Henry VIIL, i. 1; Romeo and Juliet, ii. 6; Hi. 3; Merchant of Venice, i. 2 ; Othello, ii. 3. See Excess. Modem (trivial or ordinary). As You Like It, H. 7; AlVs V, ell that Ends Well, ii. 3; Antony and Cleopatra, v. 2; King John, Hi- 4- ^ TIT Modesty, may more betray our sense, etc.. Measure for Pleasure, H 2 ■ the witness of excellence. Much Ado about Nothing, t*. 3; shown in the face, IIL Henry VL, Hi. 2; too great, Coriolanus, i. 9 • of a girl Othello, i. 3; an excellent touch of, Twelfth Night, %i. 1; the crimson of, Henry V., v. 2; of women in men's apparel, Two Gentlemen of Verona, v. 4 ; Cymbeline, Hi. 4. Modesty (moderation), Taming of the Shrew, induction, L Modo, a fiend, King Lear, Hi. 4; iv. 1. See Mahu. Module (model, outward show), AlVs Well that Ends Well, iv.3;. King John, v. 7. m i ■• .Tt Moe (more), A Winter's Tale, i. 2; v. 2; (to mow). Tempest, %i. 2. Moiety (portion), I. Henry IV., Hi. 1. Moldwarp (mole), I. Henry IV., Hi. L Mole, the blind, The Tempest, iv. 1; A Winter's Tale, iv. o; Hamlet, i. 5. ... j. Mole(s) (marks). Tivelfth Night, v. 1; King John, in. 1; Ham- Itt, i. 4 ; Cymbeline, H. 2, 4 ; v. 5. Mome (fool), Comedy of Errors, Hi. 1. Momentany (an old form of momentary), Midsummer-Night's Dream, i. 1. Monarcho, Love's Labour's Lost, iv. L The nickname of an Italian, a fantastic character of the time. Monarchs, high-arched gates of, Cymbeline, Hi. 3; King John, Hi. 1. See Kings. .. Monasteries, to pay the cost of war, Ki7ig John, i. 1; m. 3. 232 INDEX TO SHAKSPEME'S WORKS. Money, all ways lie open for, Merry Wives of Windsor, ii. 2 ; marrying for, Merry Wives of Windsor, Hi. 4; Taming of the Shrew, i. 2 ; love of, AlVs Well that Ends Well, iv. 3, "Sir, for a quart d'ecu," etc. ; Richard IL, ii. 2, " Their love lies in their purses," etc. ; raised by farming the realm, Richard IL, i. 4,' gained by vi^ means, Julius Ccesar, iv. 3 ; power of, Timon of Athens, iv. 3 ; put, in thy purse, Othello, i. 3 ; despised, Cymbeline. Hi. 6. See also Gold. Monks, are not made by hoods, Twelfth Night, i. 5 ; Henry VIIL, Hi. 1. Monmouth, Henry of. See Henry V. Monmouth, compared to Macedon, Henry V., iv. 7. Monster(s), a shallow, weak, credulous, 2%e Tempest, ii. 2 ; of the sea. Merchant of Ve^iice, Hi. 2 ; Coriolanus, iv. 2; in love with a, 3Iidsummer-Nighfs Dream, Hi. 2, ■ Montacute. See Salisbury. Montacute, Henry Pole, Lord, Henry VIIL, i. 1. Son-in-law of Abergavenny, brother of Cardinal Pole. He was executed in the reign of Henry VIIL on another charge than the one here spoken of. Montague, John Neville, Marquis of, character in ///. Henry VI., introduced in i. 1. He was a partisan of the House of York, but followed his brother, Warwick, to the other side. His death is described in v. 2. Montague, and Lady Montague, father and mother of Romeo, iijtroduced in i. L Montaigne, Michel, a French author, 1533-1593. Gonzalo's ideal commonwealth, The Tempest, ii. 1, is after Montaigne. Montano, governor of Cyprus, character in Othello, introduced in ii. 1. Montgomery, Sir John, character in III. Henry VI., introduced in iv. 7. His name should be given Thomas. He was a favourite of Edward IV., and one of his most intimate friends and advisers. Month's mind, a. Two Gentlemen of Verona, i. 2. Strong desire, a proverbial expression, of doubtful origin. Montjoy, a French herald in Henry V., first appears in Hi. 6, playing a quite important part. " Montjoie " was the battle-cry of the French. Monument, a, in verse, Sonnets Iv., Ixxxi., cvii. ; a living, Ham- let, V. 1 ; goodness and he shall fill up one, Henry VIIL, ii. i. Monument, the, at Alexandria, Antony and Cleopatra, iv. 11 and 13, or 13-15 ; v. 2. INDEX TO SHAKSPERE\S WORKS. 233 Moods, must be indulged, Much Ado about Notliing, i. o ; of Jaques, As You Like It, ii. 1. Moon, the, the man in, The Tempest, ii. 2; controlled by a witch, The Tempest, v. 1; like a silver bow, Midsummer-Nighfs Dream, i. 1; diseases caused by, Midsummer-Nighfs Dream, ii. 1; creep through the earth's centre, Midsummer-Nighfs Dream, %ii. 2 ; the watery star, A Winter's Tale, i. 2; the sea governed by, I. Hen- ry IV., i. 2; envious, Romeo and Juliet, ii. 2; change like, Timon of Athens, iv. 3 ; a. drop from, distilled by witchcraft, Macbeth, Hi. 5 ; eclipse of, portentous, Macbeth, iv, 1 ; Antony and Cleopatra, Hi. 13 ; Eamlet, i. 1 ; to revisit the glimpses of, Hamlet, %. 4 ; error of (lunacy caused by), Othello, v. 2; mistress of melancholy, ^n/o/i?/ and Cleopatra, iv. 9; visiting, Antony and Cleopatra, iv. 13 or 15; ^e^iing, Antony and Cleopatra, v. 2 ; eclipses of , King Lear, i. 2; conjuring, King Lear, ii. 1 ; age of. Love's Labour's Lost, iv. 2. Moon-calf, The Tempest, ii. 2; Hi. 2. A monster supposed to be formed under the moon's influence. Moonlight, sleeping. Merchant of Venice, v. 1. Moons, five, King John, iv. 2. Moonshine, a character in the interlude in 3Iidsummer-Nighfs Dream, v. 1, taken by Starveling, the tailor. Moonshine, fairies in, The Tempest, v. 1. Moorditch, /. Henry IV., i. 2. A part of the ditch about Lon- don, spread to an unwholesome morass, and therefore shunned and melancholy. Moorfields, Henry VIIL, v. 4. The train-bands were drilled there. Moors, changeable in their wills, Othello, i. 3. Mopsa, a shepherdess in A Winter's Tale, iv. 4. Mordake, Earl of Fife, mentioned in /. Henry IV. as one of the prisoners taken by Hotspur. It was Murdach Stuart. More, Sir Thomas, Heyiry VIIL, Hi. 2. Lord Chancellor of Eng- land, born 1480, executed 1535. Morgan. See Belarius. Morisco, II. Henry VL, Hi. 1. Name applied to the Moors left in Spain after the fall of Granada. Morning, The Tempest, v. 1 ; Much Ado about Nothing, v. 3 ; Midsummer-Nighfs Dream, Hi. 2, " For night's swift dragons," etc. ; 1. Henry VI, ii. 2; III. Henry VI., ii. 1; Richard HI, v. 3; Ro- meo and Juliet, i. 1; ii. 3; Hi. 5; Hamlet, i. 1, 5; song on, Cymbe- line, ii. 3; Venus and Adonis, lines 2,853; Sonnet xxxiii.; Pas- 234 INDEX TO SHAKSPERE'S WORKS. sionate Pilgrim, xv. ; King John, Hi. 8 ; Troilus and Cressida, iv, 2 ; Julius Ccesar, ii. 1; Antony and Cleopatra, iv. Jf.. Morocco, the Prince of, one of the suitors of Portia in the Mer- chant of Vt7iice, appears in ii. 1 and 7, and chooses the golden casket. Morris, AlVs Well that Ends Well, ii. 2 ; Henry V., ii. 4. A dance, in which- the characters were generally Robin Hood, Maid Marian, Little John, Scarlet, Stokesley, the Fool, and Tom the Piper. Morris, nine men's, Midsummer- Nigh fs Dream, ii. 1. A square of sod marked into squares like a chess-board for a game. Morris-pike (Moorish pike), Comedy of Errors, iv. 3. Morrow, never shall sun that, see, Macbeth, i. 5. Mortality, As You Like It, ii. 7, " And so from hour to hour," etc. ; King John, v. 7, " When this was now a king," etc. ; Sonnet Ixv.; this muddy vesture of decay, Merchant of Venice, v. 1; if knowledge could have been set up against, All's Well that Ends Well, i. 1. See Death, Life. Mortals, thoughts beyond, Hamlet, i. 4. Mort Dieu ! (God's death), II. Henry VI., i. 1. Mortimer, Edmund, Earl of March, character in /. Henry IV., introduced in Hi. 1, Glendower's son-in-law. In i. 1, his capture by Glendower is spoken of, and in i. 3 Hotspur vows to " lift the down-trod Mortimer As high i' the air as this unthankful king." The Mortimer that was Earl of March was in reality not the one that was Glendower's son-in-law. The latter was Sir Edmund Mor- timer, uncle of the young Earl of March, who had a claim to the crown, and is the Earl of March in I. Henry VI. Mortimer in the play is a rather contemptible character, unwilling to do anything for himself, and basely failing at the critical moment. Mortimer, Edmund, Earl of March, character in I. Henry VI., first appears in ii. 5. He was not kept in confinement during the reign of Henry V.. but held high honours under him, and went with him to the wars in France. He was made Lord Lieutenant of Ire- land in 1422, and died at Trim Castle in 1424. Mortimer, Lady, daughter of Owen Glendower, character in 1. Henry IV., introduced in Hi. 1. She can speak no English, Morti- mer no Welsh, and Glendower interprets, while Hotspur ridicules the absurd love-scene. Mortimer of Scotland, Lord, I. Henry IV., Hi. 2. Perhape George Dunbar, Earl of March in Scotland. INDEX TO SHAKSPEEE'S WORKS. 235 Mortimer, Sir Hugh and Sir John, uncles of York in IIL Henry YL, introduced in i. 2. Mortimer, John, the Duke of York's plan for having Jack Cade assume the name of, II. Henry VI., Hi. 1. History does not impute to York any such connection with Cade's plot. Mortimers, claim of the, to the throne, I. Henry VI., ii. 5. Mortim.er's Crpss, scene of III. Henry VL, ii. 1. A battle was fought there February 2, 1461, between the Yorkists under Edward, Duke of York, afterward Edward IV., and the Lancastrians under the Earl of Pembroke, with victory to York. Morton, a retainer of Northumberland, in II. Henry IV., first appears in i. 1. Morton, John, Bishop of Ely. See Ely. Mot (word, motto), Lucrece, I. 830. Moth, a fairy in the Midsummer-Nigh fs Bream, Hi. 1. Moth, an airy, saucy, witty, little page serving the pompous Spaniard in Love's Labour's Lost, introduced in i. 2. The word was pronounced " Mote." Mother, grief of a. King John, Hi. 4. ; III. Henry VL, v. 5 ; ambition of a, Coriolanus, i. 3 ; one, pleading for her son, Titus Andronicus, i. 1 ov 2 ; and her child, Richard II., Hi. 2 ; I. Henry VL, Hi. 3 ; Julius Ccesar, Hi. 1 ; Macbeth, i. 7. Motion, things in, catch the eye, Troilus and Cressida, Hi. 3. Motion (puppet-show), 2\vo Gentlemerh of Verona, ii. 1 ; A Win- ter's Tale, iv. 2. Motley, to wear, in the brain, Twelfth Night, i. 5; motley- minded, As You Like It, v. 4.. Mouldy, a recruit, character in II. Henry IV., Hi. 2. Mountain, the apparition of a hound. The Tempest, iv. 1. Mountaineers, dew-lapped like bulls. The Tempest, Hi. 3. Mountains, far off. Midsummer- Night's Dream, iv. 1 ; firmness of. Taming of the Shrew, ii. 1; As You Like It, Hi. 2 ; King John, ii. 2. Mountanto, or Montanto, Signior, a name applied to Bene- dick by Beatrice, meaning that he was a great fencer, or professed to be. Much Ado about Nothing, i. 1. Mourning, excessive. Twelfth Night, i. 1, 2, 5 ; AlVs Well that 'Ends Well, i. 1 ; Hamlet, i. 2. Mouse, the most magnanimous, //. Henry VL, Hi. 2; in ab- sence of the cat, Henry V., i. 2. ; Coriolanus, i. G. Mouse-trap, the, Hamlet, Hi. 2. Applied to the play he brings 236 INDEX TO SEAKSPEBE'S WORKS. forward, because it was designed to entrap the king into the betrayal of his guilt. Mouth, a beautiful, Venus and Adonis, lines 451, 50It. Mouthing, by actors, Samlet, Hi. 2. Mowbray, Lord Thomas, character in II. Henry IV., first ap- pears in i. 3. He is on the side opposed to the king. Mowbray. See Norfolk. Moyses, an outlaw metioned in the Two Gentlemen of Verona, V.2. Much Ado about Nothing, a comedy first published in 1600, and probably written in that or the previous year. The plot, so far as regards Hero and Claudio, had already been used by Ariosto, in the story of Ariodante and Ginevra, in the fifth canto of " Orlando Furioso," by an English playwright, who dramatized Ariosto's story by Spenser in the " Faerie Queene," and by Bandello in his story " Timbreo di Cardona," translated by Belleforest into French. The last-named was probably the one used by Shakspere, who united with the serious plot the parts of Benedick and Beatrice. The scene is laid in Messina. Mr. White thinks that a pun is intended in the title of the play on noting and nothing, pronounced very much alike in Shakspere's time. The people in the play make much ado about noting — that is, watching one another — while at the same time much ado is made about the scandal regarding Hero, which rests on a basis of nothing. This is one of the most popular of the comedies, both for reading and for stage representation. Mugs, a carrier in /. Henry IV., ii. 1. Mulier (woman), from the Latin mollis aer (gentle air), Cymbe- line, V. 6. This fanciful etymology is said to have been a favourite notion in Shakspere's time. Mulmutius, first king of Britain, Cymheline, Hi. 1. Multitude, the, rumour among, II. Henry IV., induction; fickleness of, II. Henry IV., i. 3 ; affections of, in their eyes, Ham- let, iv. 3, or V. 7 ; the fool, Mercliant of Venice, ii. 9 ; many-headed, Coriolanus, ii. 3. Mummy, dyed in (in spicy liquor from mummies, supposed to have magic or medicinal virtue), Othello, Hi. 4 > the witches', Mac- beth, iv. i. Munificence, Love's Lahour^s Lost, Hi. 1, " The best ward of mine honour is rewarding my dependents." Murder, sin of, Measure for MeannrQ. ii. 4; for love, Twelfth Night, H. 1 ; see Superstition ; suggestion of — of kings, A Winter's INDEX TO SHAKSPERE'S WORKS. 237 Tale, i. 2 ; of Arthur — excuses for, King John, iv. 2 ; nature's aid to punish — crest of, King John, iv. 3 ; accusation of, Richard II., i. 1 ; of a deposed king, Richard II., v. 5 ; reward for, at a king's in- stance, Richard II., v. 6 ; sentence for, Timon of Athens, Hi. 5 ; of Duncan, the: first suggested to Macbeth, i. 3 ; to Lady Macbeth, i. 5 ; planned, i. 7 ; accomplished, ii. 3 ; of the guards, Macbeth, ii. 3 ; of Banquo — will out, Macbeth, Hi. 4 ', in old times, Macbeth, Hi. 4 ; most foul, Hamlet, i. 5 ; will speak, Hamlet, ii. 2 ; a. brother's, Ham- let, Hi. 3 ; during prayer, Hamlet, Hi. 3 ; no place should sanctu- arize, Hamlet, iv. 7 ; evidences of, //. Henry VI., Hi. 2; against God's law, Richard III, i. 4; ruthless, Richard III., iv. 3 ; of Des- demona, thought sacrifice, Othello, v. 2 ; command to, Cymheline, Hi. 2, 4- ]yiurderer(s), of Clarence in Richard III., i. 3 and 4 > fears of a, Macbeth, H. 1 ; of Banquo, Macbeth, Hi. 1, 3, 4 ; of Macduff's chil- dren, Macbeth, iv. 2 ; of the princes, Richard III., iv. 3 ; of Arthur, King John, iv. 2 ; of the king, Richard II., v. 6 ; denunciation of, ///. Henry VI., v. 5 ; pardon of, Romeo and Juliet, Hi. 1. Murdering-piece, Hamlet, iv. 5 or 2. A small piece of artil- lery often used on ships. Murder of Gonzago, Hamlet, H. 2. The play selected by Hamlet for the actors. Mure (wall), //. Henry IV., iv. 4. Murray, Thomas Dunbar, Earl of, I. Henry IV., i. 1, Muscles, fresh-brook. The Tempest, i. 2. Muscovites (Russians), Love's Labour's Lost, v. 2, Muse, the. See Poetry. Muse (to wonder). Two Gentlemen of Verona, i. 3, and elsewhere,. Muses, the thrice three. See Greene, Robert. Musets (openings in hedges), Venus and Adonis, I. 683. Mushrooms, made by fairies, Tlie Tempest, v. 1. Music, effects of. The Tempest, i. 2 ; iv. 1 ; magic, The Tem- pest, Hi. 2 ; power of, Tivo Gentlemen of Verona, Hi. 2 ; Much Ado about Nothing, H. ' Richard III., iv.4; of spirits, 2 he Tempest, iv. 1 ; of clouds, Antony and Cleopatra, iv. 12 or 14; Two Gentlemen of Verona, iv. 3 ; Troilus and Cressida, iv. 3 ; Othello, i. 3. The pageants were a kind of play like that of the Xine Worthies in Love's Labour^s Lost. Pages, characters in, As You Like It, Taming of the Shrew, and Romeo ajid Juliet. , Paid, he is well, that is well satisfied. Merchant of Venice, iv. 1. Paiii(s), delights that are purchased with. Lovers Labour^s Lost, i. 1 ; one lessened by another, Romeo and Juliet, i. 2 ; pays for every treasure, Lucrece, I. 334. Painted cloth, (tapestry). As You Like It, Hi. 2 ; Lovers La- bour's Lost, V. 2 ; Lazarus in the, I. Henry IV.. iv. 2 ; maxims on, Lucrece, I. 245. See also Tapestry. Painter, a, character in Timon of Athens, introduced in the first scene, where he is seeking patronage from Timon. In v. 1, having heard that Timon has found a treasure, he returns to flatter him. Painter, mine eyes have played the. Sonnet xxiv. Painting, Taming of the Shrew, induction, i.; praise of a, Ti- mon of Athens, i. 1 ; of the siege of Troy, Lucrece, I. 1368. Painting, of the skin, Cymheline, Hi. 4; Timon of Athens, iv. 3 ; Hamlet, Hi. 1. Pajock (peacock), Hamlet, Hi. 2. The peacock had a reputation for evil passion as well as vanity. Palabras (words), Much Ado about Nothing, Hi. 4. Palace, full of tongues, etc., Titus Andronicus, H. 1. Palaces, gorgeous, The Tempest, iv. 1. Palatine, the Count, one of the suitors of Portia, mentioned m the Merchant of Venice, i. 2. Pale (encircle), III. Henry VI., i. 4' Pallas, Minerva, goddess of wisdom, Titus Andronicus, iv. 1. Palliament, Titus Andronicus, i. 1 or 2. The robe worn by the candidate, who was so called from candidus, white, its colour. Palm, an itching, Julius Ccesar, iv. 3. Palmerfs), Alls Well that Ends Welh Hi. 5 ; Richard II. , in. 3 ; II. Htnry VI., v. 1 ; Romeo and Juliet, i. 5. INDEX TO SHAKSPERE'S WORKS. 259 Palmistry, Merchant of Venice, ii. 2, Laiincelot's speech ; Othello, lit. 4 ,' Antony and Cleopatra, i. 2. Pandarus, a character in Troilus and Cressida, uncle of the lat- ter, introduced in ^. L His office was the origin of the noun pan- der. In m. 2, at the end, he says, " Let all goers-between be called to the world's end after my name." " Pandarus, in Chaucer's story, is a friendly sort of go-between, tolerably busy, officious, and forward in bringing matters to bear: but in Shakspere he has 'a stamp exclusive and professional'; he wears the badge of his trade ; he is a regular knight of the game. The difference of the manner in which the subject, is treated arises perhaps less from intention, than from the different genius of the two poets. There is no double entendre in the characters of Chau- cer ; they are either quite serious or quite comic. In Shakspere the ludicrous and ironical are constantly blended with the stately and impassioned." — Hazlitt. Allusions to, Pleasure for Measure, i. 3 ; Twelfth Night, Hi. 1 ; Merry Wives of Windsor, i. 3 ; Much Ado about Nothing, v. 2; Hamlet, Hi. 4. Panders, origin of the word, Troilus and Cressida, Hi. 2, end ; ill requited, Troilus and Cressida, v, 11. Pandion, King, Passionate Pilgrim, xxi. ■ Pandulph (Pandulphus de Masca), Cardinal, legate of the pope in King John, introduced in Hi. 1, a wily and subtle agent in the management of a difficult business. It was not he but Cardinal Grualo who tried to persuade the dauphin to wind up his " threaten- ing colours," V. 2. Pannonians, Cymbeline, Hi. 1, 7. Pannonia was a Roman prov- ince, including in part what is now Hungary. Pantaloon, the lean and slippered. As You Like It, H. 7 ; the old. Taming of the Shrew, Hi. 1. " Pantaleone was a stereotyped character in old Italian come- dy, always aged, lean, slippered, and wearing loose pantaloons." — White. Panthino, servant of Antonio, the Two Gentlemen of Verona i. 3. Pansy, the, Hamlet, iv. 4; called love-in-idleness, Midsummer- NighVs Dream, ii. 1. Paper bullets, of the brain, Much Ado about Nothing, ii. 3. Paphos, in Cyprus, The Tempest, iv. 1 ; Pericles, iv., induction ; Venus a7id Adonis, I. 1193. Paphos was sacred to Venus. Paracelsus, AlFs Well that E7ids Well, ii. 3. A philosopher. 260 INDEX TO SHAKSPERE'S WORKS. physician, and reputed magician, 1493-1541, who used metallic medi- cines, while Galen preferred vegetable. Paradise, the offending Adam out of, Henry V., i. 1 ; what fool is not so wise to lose an oath to win a, Love's Lahoufs Lost, iv. 3. Paradox(es), Timon of Athens, in. 5 ; Troilus and Cressida, i. 3; OtheUo, ii. L Parasite(s), Timon of Athens, i. 2; ii. 2 ; Hi. 6 ; King Lear, ii, 4; A Winter's Tale, ii. 3 ; King John, iv. 2 ; Richard II., Hi. 2 ; hope is a, Richard II, ii. 2. See Flatterers. Parchment, dangerousness of, //. Henry VI., iv. 2. Pard, the, more pinch-spotted than, The Tempest, iv. 1 ; bearded like. As You Like It, ii. 7. Pardon, nurse of second woe, Measure for Measure, ii. 1 ; god- dess of the night, song, 3Iuch Ado about Nothing, v. 3 ; prayers for, Richard II, v. 3 ; offer of, to rebels, I. Henry IV., iv. 3 ; v. 1 ; II. Henry IV., iv. 1 ; II. Henry VI, v. 8 ; royal if given when least expected, Coriolanus, v. 1 ; when the offence is continued, Hamlet, Hi. 3. See Forgiveness, Mercy. Parent, a, suing to a son, Coriolanus, v. 3. See Father, Mother. Parental love, ///. Henry VI., ii. 2 ; v. 5 ; A Winter's Tale, i. 2 ; Coriolanus, v. 3 ; Macbeth, iv. 2. Paris, scene of a part of AWs Well that Ends Well, and of I. Henry VI., Hi. 4; iv. 1. Paris, son of Priam, King of Troy, whose elopement with Helen caused the Trojan war, character in Troilus and Cressida, introduced in i. 2. Alluded to in Taming of the Shrew, i. 2 ; Lucrece, lines U73, U90 ; I. Henry VI., v. 6. Paris, a character in Romeo and Juliet, introduced in i. 2. He is a kinsman of the prince and a suitor for Juliet, who is commanded by her parents to accept him. He is killed by Romeo at Juliet's tomb, v. 3. " The well-meaning bridegroom, who thinks that he has loved Juliet right tenderly, must do something out of the common way ; his sensibility ventures out of its every-day circle, though fearfully, even to the very borders of the romantic. And yet how far different are his death-rites from those of the beloved ! How quietly he scat- ters his flowers ! Hence I cannot ask : ' Was it necessary that this honest soul, too, should be sacrificed ? Must Romeo a second time shed blood against his will ? ' Paris belongs to those persons whom we commend in life, but do not immoderately lament in death ; at his last moments he interests us especially by the request to be laid in Juliet's grave. Here Romeo's generosity breaks forth, like a flash INDEX TO SRAKSPERE'S WORKS, 261 of light from darksome clouds, when he utters the last words of bless- ing over one that has become his brother by misfortune." — Schlegel. Paris-garden, Henry VIII., v. 4. A bear-garden on the Bank- side, London. Parish-top, Twelfth Night, i. 3. A large top was usually, kept in each village in England for the amusement of the villagers. Paritors, Love's Labour's Lost, Hi. 1, end. Otficers of the spirit- ual court who serve citations. Parle (talk). Two Gentlemen of Verona, i. 2, and elsewhere. Parliament, at Westminster, IIL Henry VI., i. 1 ; at Bury St, Edmund's, 11. Henry VI., Hi. 1. Parlous (perilous), As You Like It, Hi. 2, and elsewhere. ParoUes, a character in AlVs Well that Ends Well, introduced in the first scene. The name signifies " words," and Parolles is wordy, a braggart, and a treacherous coward. His duplicity is re- vealed to Bertram in an amusing scene, the third of the fourth act. Parricides, Kirig Lear, ii. 1 ; Ilacbeth, Hi. 1. Parrots, prophesy like the. Comedy of Errors, iv. 4. It was a custom to teach them phrases like the one in the above passage, and say they prophesied. Discourse will grow commendable in none but, Jlerchant of Venice, Hi. 5 ; clamourous before rain, As You Like It, iv. 1 ; quaint wings of the popinjay, /. Henry IV., i. 3 ; of fewer words than a, /. Henry IV., ii. 4- Parrying, skill in. Twelfth Night, v. 1 ; I. Henry IV., ii. 4- Parson, dreams of a, Romeo and Jidiet, i. 4. Parted (endowed), Troilus and Cressida, Hi. 3. Parthians, Antony and Cleopatra, Hi. 1 ; fight flying, Cymbe- line. i. 7. Parting, of lovers. Two Gentlemen of Verona. H. 2 ; Merchant of Venice, ii. 7 ; Romeo and Juliet, ii. 2 ; Hi. 5 ; Troilus and Cres- sida, iv. 4 ; Antony and Cleopatra, i. 3 ; iv. 4, 12, 15 ; II. Henry VL, Hi. 2 ; of husband and wife, 1. Henry IV., Hi. 1 ; Cymbeline, i. 4; of brother and sister, Hamlet, i. 3 ; Antony and Cleopatra, Hi. 2 ; of friends. Merchant of Venice, H. 8 ; Julius Ccesar, v. 1 ; An- tony and Cleopatra, iv. 2 ; of Launce from his family, Two Gentle- men of Verona, ii. 3 ; of Cromwell from Wolsey, Henry VIIL, v. 2. Partition, a witty. Midsummer- Nighf s Dream, v. L Partition, of England among conspirators, I. Henry IV., Hi. 1. Partlet, Dame, A Winter's Tale, ii. 3 or 4; I. Henry IV., 1; Hi. 3. The hen in " Reynard the Fox." Partridge, the, in the puttock's nest, II Henry V., Hi. 2. 202 INDEX TO SHAKSPERE'S WORKS, Pash (smash), TroiJus and Cressida, ii. 3. Pass (care), II. Henry VI., iv. 2. Pass (thought), of pate, The Tempest, iv. 1. Pass, defence of a, Cymbeline, v. 3. Passado (pass in fencing). Love's Labour's Lost, i. 2, end ; Ro- meo and Juliet, ii. Jf. ; Hi, 1. Passes (doings or trespasses), Measure for Measure, v. 1. Passing-bell, the, //. Henry IV., i. 1; Venus and Admiis, I. 7ul ; Sonnet Ixxi. Passion, that hangs weights on the tongue, As You Like It, i. 2 ; dangers of, //. Henry VI.. v. 1, •' Take heed lest by your heat," etc. ; Henry VIII., i. 1 ; man not the slave of, Hamlet, Hi. 2 ; a, torn to tatters, Hamlet, Hi. 2 ; of Lear, King Lear, Hi. 1, 2, 4 ; be- tween extremes of, King Lear, v. 3, Passionate Pilgrim, The, the name given to a collection of poems usually included in Shakspere's works, though many of them are known not to be from his hand. They were collected and printed with his name in 1599 by a piratical publisher. Of the poems com- posing it, five are known to be Shakspere's — namely, those begin- ning, •' When my love swears," '• Two loves I have," " Did not the heavenly," " If love make me forsworn," " On a day, alack the day," the first two of which are in the Sonnets {cxxxviii. and cxliv.), and the others in Love's Labour's Lost, published in 1598. Two of them are by Richard Barnfield, those beginning, "If music and sweet poetry," " As it fell upon a day." The one beginning, " Live with me and be my love," is by Marlowe ; and the answer, " If that the world," is generally attributed to Raleigh. No. xviii.. " My flocks feed not," is from Weelkes's " Madrigals," published in 1597. The authorship of the others is doubtful. Swinburne says of them : " The rest of the ragman's gatherings [excepting the poems from Shakspere], with three most notable exceptions [Marlowe's and Barn- field's], is little better, for the most part, than dry rubbish or dis- gusting refuse ; unless a plea may haply be put in for the pretty commonplaces of the lines on a 'sweet rose, fair flower,' and so forth ; for the couple of thin and pallid, if tender and tolerable, copies of verse on ' Beauty ' and ' Good-Night,' or the passably light and lively stray of song on ' Crabbed age and youth.' " The second title given to the latter part of the collection, " Son- nets to Sundry Notes of Music," was in the original. Passy-measures. See Pa van. Past, the, and the to-come, seem best, //. Henry IV., i, 3 ; good deeds of, forgotten, Troilus and Cressida, Hi. 3, INDEX TO SHAKSPERE'S WORKS. 263 Pastors, that do not practise what they preach, Hamlet, i. 3, "PsiStry (room for pastry), Romeo and Juliet, Hi, 4. Patay, battle of, /. Henry VI., iv. 1. Patch, Comedy of Errors, Hi. 1, 2 ; Macbeth, v. 3, and others. Fool ; originally a jester in a patched dress. Patches, worse than rents. King John, iv. 2. Patchery (roguery), Troilus and Cressida, ii. 3; Timon oj Athens, V. 1. Paths, walking in trodden, As You Like It, i. 3. Patience, at others' troubles, Comedy of Errors, ii. 1 ; exhorta- tion to, Comedy of Errors, Hi. 1, Balthazar's speech ; under sor- row, Much Ado about Nothing, v. 1 ; opposed to fury. Merchant of Venice, iv. i ; on a monument, Twelfth Night, ii. 4. ; is cowardice in nobles, Richard IL, i. 2 ; what goddess she be, Troilus and Cres- sida, i. 1 ; cool, Hamlet, Hi. 4 ; prayer for. King Lear, ii. 4; makes a mockery of injury, Othello, i. 3 ; they are poor that have not, Othello, ii. 3 ; past, Othello, iv. 2 ; is sottish, Antony and Cleopatra, iv., end; gazing on kings' graves, Pericles, v. 1 ; a, tired mare, Henry v., ii. 1; grief and, Cymbeline, iv. 2 ; badge of the Jews, Merchant of Venice, i. 3 ; sovereign aid of, Tempest, v. 1. Patience, an attendant of Queen Katharine in Henry VIII., in- troduced in iv. 2. Patines, Merchant of Venice, v. L " A patine is a small, flat dish or plate (for holding the bread) used with the chalice in the administration of the sacrament." — Dyce. Patricians, complaint against, Coriolanus, i. 1 ; dividing their power, Coriolanus, Hi. 1. Patrick, Saint, Hamlet swears by, i. 5. Patriotism, King John, v. 2; Richard IL, ii. 1 ; Hi. 2; L Henry IV.. iv. 3, " The king is kind," etc. ; a woman's, Coriolanus, i. 3 ; of Comenius, Coriolanus, Hi. 3 ; of Macduil, Macbeth, iv. 3 ; and friendship, Julius Ccesar, i. 2, speech of Brutus, " Passion? of some difference," etc. ; professed, of Brutus, Julius Ccesar, lii. 2. Patroclus, a Grecian general, character in Troilus and Cressida, introduced in ii. 1. In i. 3 Ulysses describes his mimicry of the other Greek leaders for the amusement of Achilles. Pauca verba (few words), Love's Labour's Lost, iv. 2. Paucas pallabris (few words). Taming of the Shrew, induc- tion, 1. Paul, by Saint, a favourite oath of Richard III., i. 1, 3 ; Hi. 4; V.3, 264 INDEX TO SBAKSPERE'S WORKS. Paulina, an important character in A Winter's Tale, a champion of the queen against the jealous king. * " Such are some of the words that boil over from the stout heart of Paulina, the noblest and most amiable termagant we shall any- where find, when, with the new-born' babe in charge, she confronts the furious king. He threatens to have her burnt," and she replies instantly : " ' I care not ; It is an heretic that makes the fire, Not she which burns in't.' If her faults were a thousand times greater than they are, I could pardon them all for this one little speech ; which proves that Shak- spere was, I will not say a Protestant, but a true Christian intellectu- ally, at least, and far deeper in the spirit of his religion than a large majority of the .Church's official organs were in his day, or, let me add, have been any day since. . . . With a head to understand and a heart to reverence such a woman [Hermione], she unites a temper to fight and a generosity to die for her. . . . Loud, voluble, violent, and viraginous, with a tongue sharper than a sword, and an eloquence that fairly blisters where it hits, she has, therewithal, too much honour and magnanimity and kind feeling either to use them without good cause, or to forbear using them at all hazards when she has such cause." — Hudson. Paul's, I bought him in, 11. Henry IV., i. 2. St. Paul's was a resort for all kinds of idlers, and men out of service were to be found there as at an intelligence-office. See under Proverbs. Pavan, Twelfth Night, v. 1. The pavan is a grave, formal dance. This word is in some texts paynim, in which case " a passy- measures paynim " is interpreted, a heathen past measure. With pavan, passy- measures may be understood to mean pacing -measure. Payment, fair, for foul words, Love's Labour's Lost, iv. 1, Peace, Heaven's, but not the King of Hungary's, Measure for Measure, i. 2 ; soldiers and. Measure for Measure, i. 2 ; to all that dare not fight. Love's Labour^ s Lost, i. 1 ; made, King John, ii. 1 ; Hi. 1 ; fat ribs of. King John, Hi. 3 ; attempt to make, between challenger and challenged, RicTiard II., i. i; a breathing-space for, /. Henry lY,, i. 1; made, //. Henry /F., iv. 2 ; Henry V., v. 3 ; I. Henry VI., v. 1 ; II. Henry VI., i. 1 ; Henry VIII., i. 1 ; virtues becoming in, Henry V., Hi. 1 ; one unfitted for — the piping time of, Richard III, i. 1 ; desire for, Richard III, ii. 1 ; above earthly dignities, Henry VIIL, Hi. 2 ; prophesied in the time of Elizabeth, Henry VIIL, v. 4 ; shallow boats in time of, Troilus and Cressida, i. 3 ; an apoplexy, etc., Coriolanus, iv. 5 ; made by women, Corio- lanus, V. 3 ; ratified, Cymheline, v. 5, end. INDEX TO SHAKSPERE'S WORKS. 265 Peace-maker(s), King Edward as a, Richard III., ii. 1; God's blessin-,- on, Macbetli, ii. k- v 7 ^ cr Peacocks, Juno's, TU Tempest, iv. 1 ; pride of, Lomedy of Er- rors,iv.3; I Henry VI., Hi. 3; Troilus and Cressida, %u. 3 ; Ham- let, Hi. 2. Pearls, in a foul oyster, As You Like It, v. 4; tears trans- formed to, Richard III. iv. A; alluding to the notion that pearl oysters open on a certain day in the year to receive ram-drops, which then become pearls; in India, Troilus and Cressida, ^. i; a union (a large pearl), Hamlet, v. 2; a rich, thrown away, Othello, v.2^_ ^ Pears, poperin, Romeo and Juliet, ii. 1; warden, A Winters Tale,iv.3. ,.. ^„ t^ ••• ^ Peas-blossom, a fairy in the Midsummer-Night s Dream, in. 1. Peascod, wooing a. As You Like It, ii. ^. Alluding to the cus- tom of using the pods of peas in divinations of lovers. Peat (pet), Taming of the Shrew, i. L Peck, Gilbert, Henry VIII., i. 1 ; H. 1- Pedant, a, a character in the Taming of the Shrew, introduced in iv. 2, who takes the name of Vincentio. Another pedant m the plays is Holof ernes in Love's Labour's Lost. Pedantry, ridiculed in Love's Labour's Lost. Pedascule (pedant). Taming of the Shrew, Hi. 1. Pedlar, a, Autolycus in A Winter's Tale. Pedro, Don, Prince of Aragon, character in Much Ado about Nothing, introduced in i. 1, a good-humoured meddler. Peeled (bald, tonsured), I. Henry VI., i. 3. Peer out, Merry Wives of Windsor, iv. 2. Allusion to a chil- dren's rhyme to a snail — " Peer out, peer out, peer out of your hole, Or else I'll beat you as black as a coal." Peevish (foolish), Comedy of Errors, iv. 1, k; Richard IlL, iv. 4 ; (saucv), Twelftli Night, i. 5. Peg-a-Ramsey, Twelfth Night, ii. 3. The heroine of an old song, mistress of James I. of Scotland. Pegasus, L Henry IV., iv. 1 ; Henry V., Hi. 7. The winged horse of the Muses. Pegasus, the, Taming of the Shrew, iv. 4. An inn in Genoa. The arms of the Middle Temple, and a popular sign. Peise or peize (to weigh). Merchant of Venice, Hi. 2; King John, ii. 1. Pelican, the, Richard II, u. 1; Hamlet, iv. 5 or 2; King Lear, 266 INDEX TO SHAKSPERE'S WORKS. iii. 4. Allusion to the notion that young pelicans were fed on their mother's blood. Pelion, Mount (a range in Thessaly), Merry Wives of Windsor, a. 1 ; Hamlet, v. 1. The giants piled Ossa upon Pelion in order to climb into heaven. Pelting (paltry), Richard II., ii. 1, and elsewhere. Pembroke, William Marshall, Earl of, character in King John, introduced in the first scene. He did not go over to the French in- terest, as represented in the play, but his son, of the same name, joined the Dauphin. Pembroke, William Herbert, Earl of, character in ///. Hem-y VI., introduced in iv. 1. He was a partisan of York. He was be- headed in 1469. Sir Walter Herbert in Richard III. was his son. Pembroke, Jasper Tudor, Earl of, Richard III., iv. 5, He was an uncle of Richmond. Pem.broke, Marchioness of, Anne Boleyn receives the title of, Henry VIII., ii. 3. Penalties, unenforced, Measure for Measure, i. 4. See Pardon. Penance, for a jealous tyrant, A Winter's Tale, Hi. 2, " A thou- sand knees," etc. Pendragon, I. Henry VI., iii. 2. Uther, father of Arthur. Penelope, her spinning, Coriolanus, i. 3. Penelophon (or Zenelophon), Love's Labour's Lost, iv. 1. The beggar-maid loved by King Cophetua. Penitence, the signal for mercy. The Tempest, v. 1; enough, Two Gentlemen of Verona, v. 4; for another's fault. Comedy of Errors, i. 2 ; in ashes. King John, iv. 1. Penker, Friar, Ricliard III., iii. 6. Provincial of the Augus- tine friars, and a popular preacher. See Shaw. Pensioners, Merry Wives of Windsor, ii. 2; Midsummer- Niglifs Dream, ii. 1. Allusion to Elizabeth's tall gentlemen pen- sioners, who wore an abundance of gold lace. Pentapolis, scene of a part of Pericles. Pentecost, pageants at, Tivo Gentlemen of Verona, iv. 4- Penthesilea, Tivelfth Night, ii. 3. The queen of the Amazons. People, dislike of being gazed at by the, Measure for Measure, i. 1; courting the common, Richard II., i. 4,' liking of the, in their eyes, Hamlet, iv. 3 or v. 7 ; sympathy of the. King Lear, iv. 3, *' To pluck the common bosom ; " fickleness of the, Antony and Cleo- patra, i. 3, 4 / are the city, Coriolanus, iii. 1. See also Plebeians. Pepin, King, when he was a boy, Love's Lahow's Lost, iv, i; a INDEX TO SHAKSPERE'S WORKS. 267 physician that could raise, AlVs Well that Ends Well, ii. 1; his title to the throne, Henry F., i. 2 ; counsellors to, Henry VIIl.^ i. S. Percy, Henry. See Northumberland, and Hotspur. Percy, Lady, wife of Hotspur, character in /. Henry IV., intro- duced in ii. 3, and as Hotspur's widow in //. Henry IV., ii. 3, where she upbraids Northumberland for sacrificing his son by his delay. Her name, called Kate in the play, was Elizabeth, She was a sis- ter of Mortimer. Percy, Thomas. See Worcester. Perdita, the lost daughter of Leontes and Hermione in A Win- ter's Tale, is brought up as a shepherdess, but restored to her parents at the age of sixteen. Her natural grace and the delicacy and eleva- tion of her nature, the strong features of her mother's softened by inexperience and girlish light-heartedness, make her one of the most attractive among the heroines of the plays. Her character is exhibit- ed chiefly in iv. 4- Perdu, Ki7ig Lear, iv. 7. A soldier sent on a forlorn hope. Perdy (par Dieu), Comedy of Errors, iv. 4, and elsewhere. Peregrinate (of a foreign cast), Love's Labour's Lost, v. 1. Perfect (certain), A Wi?ite?''s Tale, Hi. 3 or 4, cind elsewhere. Perfection, AlVs Well that Ends Well, ii. 1, " All that life can rate," etc. ; Othello, ii. i, " She that was ever fair," etc. ; no absolute, Lucrece, I. 853. Performance, Henry VIII., i. £; a. kind of testament, Timon of Athens, v. 2. Perge (go on). Lovers Labours Lost, iv. 2. Periapts, charms worn to guard from danger, /. Henry VI., v. S. Pericles, Prince of Tyre, a drama first published in 1609 ; it was not included in the folio of 1623. Some critics suppose it to be the joint production of Shakspere and another or others ; that the first three acts were not his, and that this accounts for its omission from the folio. Others think he wrote it at an early period, and rewrote the better part in his maturer years. It is known to have been very popular on the stage. The plot is taken from an old story in the " Gesta Romanorum," translated into Anglo-Saxon, and afterward into English (1576), by Lawrence Twine, under the title, " The Pat- tern of Painful Adventures." Gower rendered it into English verse, and included it in his " Confessio Amantis." The play is apparently from the version of Gower, who appears as chorus in it. Apollonius is the name of the prince in those versions ; and it has been conject- ured that Pericles is a form for Pp^ocles, name of the hero of Sid- 268 INDEX TO SHAKSPERE'S WORKS. ney's " Arcadia/' published in 1590 ; the more so, as the character in the play, and some of the incidents and ideas, resemble those of Sid- ney's work. The period of action extends over from fifteen to twenty years. The play as a whole is not regarded as of any great value, but portions of it are in Shakspere's best manner. " No poetry of shipwreck and the sea has ever equalled the great scene of ' Peri- cles ; ' no such note of music was ever struck out of the clash and contention of tempestuous elements." Pericles, Prince of Tyre, introduced in the first scene of the drama, where he solves the riddle of Antiochus, who seeks his life in revenge, and he, by the advice of Helicanus, goes away to travel ; re- lieves Tharsus, i. 4 / is shipwrecked, ii, 1 ; victor in a joust, ii. 3 ; marries Thaisa, ii. 5 ; is wrecked a second time, Hi., prologue ; finds his daughter, v. 1 ; his wife, v. 3. " His depth of soul and intellect, and a touch of melancholy, pro- duce in him that painful sensitiveness, which indeed, as long as he is unsuspicious, leaves him indifferent to danger ; but, after he has once perceived the evil of men, renders him more faint-hearted than bold, and more agitated and uneasy than enterprising." — Gervinus. Perigenia, llidsummer-Nighfs Dream, ii. 1. Perigort, Lord, Love's Labour's Lost, ii. L Perjurer, wearing papers, Lovers Labour's Lost, iv. 3. A per- jurer was punished by being compelled to wear a paper on the breast naming his crime. Perjury, King John, Hi. 1 ; of lovers, Romeo a7id Juliet, ii. 2 ; plagues for. Love's Labour's Lost, v. 2 ; Merchant of Venice, iv. 1; Much Ado about Nothing, iv. 1 ; As You Like It, i. 2. Perpend (consider), Merry Wives of Windsor, ii. 1; Twelfth Night, V. 1 ; Hamlet, ii. 2, Perpetual motion, scoured to death with, II. Henry IV., i. 2. Perplexity, expression of, Cymbeline, Hi. 4. Perseus, Henry V., Hi. 7 ; Troilus arid Cress ida, i. 3; iv. 5. The hero that took the Gorgon's head. Perseverance, keeps honour bright, Troilus and Cressida, Hi. 3 ; Venus and Adonis, I. 565 ; after repulse. The Tempest, Hi. 3. Perspective, Twelfth Night, v. 1 ; Richard II., ii. 2. The name was applied to all kinds of optical instruments, some of which pro- duced illusions, and it was also a name for pictures painted so as to show the design only from a certain point of view at one side. Perversion, from natural use, Romeo and Juliet ^ ii. 3 ; of the tairest things. Sonnets xciv.-xcvi. INDEX TO SHAKSPERE'S WORKS. 269 Pestilence, Coriolanus, iv. 1; Romeo and Juliet, v. 2 ; Antony and Cleopatra, Hi. 8; judgment of God, Richard II., iii. 3 ; "the Benedick," Much Ado about Nothing, i. 1. Petar (petard), hoist with his own, Hamlet, iii. 4, end. Peter, Saint, Othello, iv. 2 ; Much Ado about Nothing, ii. 1; Romeo and Juliet, Hi. 5. Peter of Pomfret, a character in King John, appears in iv. 2. He was a hermit reverenced by the common people as a seer. It is said that for his prophecy, which was really made in 1213, he was dragged at horses' tails and afterward hanged on a gibbet with his son. He was said to have been instigated to utter the prophecy against John by the pope's legate and the barons ; it was supposed also that his words moved John to come to a speedier agreement with the pope. Peter, a friar in Measure for Measure, introduced in iv. 5. Peter, assistant of the armourer in //. Henry YL, introduced in i. 3 ; his combat with his master, ii. 3. Peter, servant of the nurse in Romeo and Juliet, appears in ii. If. and iv. 5. Petitions, of maidens. Measure for Pleasure, i. 6. Peto, one of the companions of Falstaff in the two parts of Hen- ry IV., introduced in the first part in ii. 2, and in the second in ii. If.. He was Falstaff's lieutenant in his " charge of horse." Petrarch, Romeo and Juliet, ii. 4. Petrifaction, Hamlet, iv. 7 or 4. Petnichio, character in the Taming of the Shrew, who marries Katherina the shrew, first appears in i. 2. " Petruchio appears the only rational character of the piece ; yet even he is driven, by the pervading folly of all the rest, at least to play the part of a fool, and so becomes ridiculous, even though event- ually the laugh is on his side. All the characters except Petruchio andKatherina are sketched with a light touch ; the very composi- tion of the piece forbids a nicer and more accurate delineation, and yet Shakspere has succeeded in giving to all the stamp of individu- ality. One trait in Katherina's conduct appears false : it is not easy to see how so self-willed and stubborn a disposition could have been so easily persuaded into a marriage with Petruchio. . . . The true motive, evidently, was the surprise and irresistible impression which an energetic mind and manly resolution made upon her. In Petruchio she meets for the first time in her life a man worthy of the name ; hitherto she has been surrounded with mere women in male attire. A genuine man she cannot but admire, nay, more, love. The very pride and somewhat overweening energy of her womanly nature is a siitficient reason, psychologically, for her hearty submis- sion." — Ulrici. 18 270 INDEX TO SHAKSPERE'S WORKS. Pew-fellow (companion), Richard TIL, iv. 4. Phaeton, Two Gentlemen of Verona, Hi. 1; Richard II., iii.3; 111. Henry VI., i. 4; ii. 6 ; Romeo and Juliet, Hi. 2. He attempted to drive for one day the chariot of his father, the Sun. The horses ran away. The world was set on fire, and Jove, at the petition of the Earth, hurled a thunderbolt at the unhappy charioteer, who fell headlong into the river Eridanus. Pharamond, King, and the Salic law, Henry V., i. 2. Pharaoh, lean kine of, /. Henry IV., ii. 4; soldiers of, Much Ado about JVothing, Hi. 3. Pheezar (conqueror), Merry Wives of Windsor, i. 3. Pheeze (to chastise or humble). Taming of the Shrew, induction^ 1 ; Troilus and Cressida, ii. 3. Philadelphos, of Paphlagonia, Antony and Cleopatra, Hi. 6. Philario, an Italian, friend of Posthumus in Cymheline, intro- duced in i. 4. Philemon. See Ovid. Philemon, servant of Cerimon in Pericles, appears in Hi. 2. Philip, name for a sparrow. King John, i. 1, so called from its note, which is thought to sound like the name. Philip and Jacob, Saints, Measure for Pleasure, Hi. 2, A holi- day falling on May 1st. Philip (Augustus) II., King of France from 1180 to 1223, a character in King John. He is introduced at the beginning of the second act. He was the great enemy and rival of Coeur-de-Lion. Philippi, the battles of : decision to give battle, Julius CcBsar, iv. 3 ; the action, Julius Ccesar, v. 1-5 ; they were separated by an interval of twenty days, though spoken of in v. 3 as being on the same day ; Antony and Cleopatra, Hi. 9 or 11. Philo, character in Antony and Cleopatra, introduced in i. 1, friend of Antony. Philomel, Titus Andronicus, ii. 4 or 5 ; iv. 1 ; Lucrece, lines 1079, 1128; Sonnet cH.; Passionate Pilgrim, xv; Cymbeline, ii. 2. See Tereus. Philosopher, a, never could endure toothache. Much Ado aloui Noth ing, v. 1 ; the weeping (Heraclitus), Merchant of Venice, i. 2 ; desiring to eat a grape. As You LiTxC It, v. 1. Philosopher's stone, the, AlVs Well that Ends Well, v. 3, " Plutus himself," etc. ; two stones, II. Henry IV., Hi. 2 ; alluded to as a great medicine, Antony and Cleopatra, i. 5. Philosophy, a school of. Love's Labour's Lost, i. i; a shep- INDEX TO SHAKSPERE'S WORKS, 271 herd's, As You Like It, Hi. 2 ; adversity's milk, Romeo and Juliet, Hi. 3 ; make no use of, Julius Ccesar, iv. 3 ; things not dreamt of in, Hamlet, i. 5; pretended, All's Well that Ends Well, ii. 3. Philostrate, character in the Midsummer-Niglifs Dream, intro- duced in i. 1. He is Theseus's master of the revels. Philoten, daughter of Cleon, Governor of Tarsus, mentioned in Pericles, iv., i^rologue, Philotus, servant of one of the creditors of Timon of Athens, introduced in Hi. ^. Phisnomy (physiognomy), AlTs Well that Ends Well, iv. 5. Phoebe (the moon), Midsummer-Mghfs Dream, i. 1; Titus A71- dronicus, i. 2. Phoebe, a shepherdess and rustic beauty in As You Like It, with " inky brows, black silk hair, bugle eyeballs, and cheeks of cream," beloved by Silvius, appears first in Hi. 5. She '' is quite an Arcadian coquette ; she is a piece of pastoral poetry." Phoebus Apollo, god of the sun, The Tempest, iv. 1; Much Ado alout Nothing, v. 3 ; A Winter's Tale, iv. 3 or 4 ; III. Henry VI, H. 6 ; Hamlet, Hi. 2 ; Antony and Cleopatra, iv. 8 ; v. 2 ; Cym- beline, ii. 3 ; I Henry IV., i. 2; Romeo and Juliet, Hi. 2. Phoenix, the, The Tempest, Hi. 3 ; Comedy of Errors, i. 2 ; III Henry VI, i. 4 ; Henry VIII, v. 5 ; Cymheline, i. 6 ; Sonnet xix. ; Lover's Complaint, I. 93 ; As Yon Like It, iv. 3 ; I. Henry VI, v. 1 ; Timon of Athens, ii. L A fabled Arabian bird, which, after liv- ing five hundred years, made for itself a funeral pyre, from the ashes of which rose a new phoenix. Phoenix and the Turtle, The, was printed as Shakspere's in a book which appeared in 1601, " Love's Martyr, or Rosalin's Com- plaint." Its authorship is doubtful. Phraseless (indescribable). Lover's Complaint, I. 225. Phrases, red-lattice (alehouse). Merry Wives of Windsor, v. 5 ; not soldier-like, Merry Wives of Windsor, ii. 1 ; a. mint of. Love's Labour's Lost, i. I Phrygian Turk, base. Merry Wives of Windsor, i. 3. Phrynia, a mistress to Alcibiades, character in Timon of Athens, introduced in iv. 3. Physic, throw, to the dogs, Macbeth, v. 3. See Medicine. Physical (medicinal), Coriolanus, i. 4,' Julius Ccesar, ii. 1. Physician(s), ridicule of, Merry Wives of Windsor, ii. 3 ; iron- ical praise of, Merry Wives of Windsor, Hi. 1 ; skill of a, AlVs Well i'lat Ends Well, i. i; a woman, AlFs Well that Ends Well, ii. 1 ; 272 INDEX TO SHAKSPERE'S WORKS. trust not the, Timon of Athens, iv, 3 ; kill the, and bestow the fee on the disease, King Lear, i. 1 ; give what they would not take, Pericles, i. 2 ; sleeps while the patient dies, Lucrece, I. 904; an an-" gry. Sonnet cxlvii. Physicians. See Butts, Caius, Cerimon, Cornelius, Narbon, and Doctors in Macbeth and King Lear. Physiognomy, JIacieth, i. 1, "There is no art to find the mind's construction in the face." Picardy, scene of a part of Henry V., and mentioned in 11, Henry VL, iv. i. Picked (nice, fastidious), Love's Labour's Lost, v. L Pickpocket, a, Autolycus in A Winter's Tale. Pickthanks (parasites), /. Henry IV., Hi. 2. Pickt-hatch, Merry Wives of Windsor, ii. 2. " A disreputable neighbourhood in London, where the hatches or half -doors were pro tected against rogues by spikes or pickets." Picture, of we three. Twelfth Night, ii. 3. Allusion to a com- mon sign representing two fools and the legend beneath, " We three fools be." Pictures, two contrasted, Hamlet, Hi. 4; description of, Tam- ing of the Shrew, induction, 2; the sleeping and the dead are as, • Machefh, ii. 2. See Perspectives and Painting. Piedness, in flowers, A Winter's Tale, iv. 3 or 4. Pierce of Exton, Sir. See Exton. Piety, rewards by fairies for. Merry Wives of Windsor, v. 5 ; cruel, irreligious, Titus Andronicus, i. 2. Pigeons, carrier, Titus Andronicus, iv. 3. Pight (pitched, set), Ki7ig Lear, ii. 1 ; Troilus and Cressida, v. 2. Pigrogromitus and the Vapians, Twelfth Night, ii. 3. This is probably an invention of Shakspere's, used in fun. Pilate, Pontius, Richard II., iv. 1 ; Richard III., i, 4. Pilcher (scabbard), Romeo and Juliet, Hi. 1. Pilgrim, a true devoted, Two Gentlemen of Verona, iv. 7. Pilgrimage(s), AlVs Well that Ends Well, iv. 3 ; to Canterbury, I. Henry IV., i. 2 ; to atone for guilt, Richard II., v. 6. Pillage, forbidden to soldiers, Henry V., Hi. 6. Pillar of the world, the triple [or third], Antony and Cleo- 'patra, i. 1. Alluding to the three triumvirs. Pilled (despoiled, from the same root as pillage), Richard II., ii, 1 ; Ricliard III, i. 3. Pillicock, sat on, etc., King Lear, Hi. 4. A nursery rhyme. INDJiX TO SBAKSPERE'S WORKS. 273 Pillory, the, Two Gentlemen of Verona, iv, U; Taming of the Shreu\ ii. 1. oi. - j Pimpernell, Henry, mentioned, Taming of the Shrew, induc- tion, 2. . ^^. Pin and web (cataract on the eye), A Winter's Tale, i. 2; King Lear, Hi. 4- t i • Pinch, a schoohnaster in the Comedy of Errors, introduced in IV. If. ; described by Antipholus in v. L Pindarus, a servant of Cassius in Julius Cmsar, appears in iv. 2, Pine-trees, knots in, Troilus and Cressida, i. 3. Pioned (covered with peonies), The Tempest, iv. L Pip out, a. Taming of the Shrew, i. 2. " A phrase applied to a drunken person, borrowed from a game of cards, Bone-ace, or One and Thirty." ' Pipe, a, for Fortune's finger to sound what stop she pleases, Hamlet. Hi. 2 ; of Hermes, Henry V., Hi. 7. Pirate(s), Twelfth Night, v. 1, II. Henry VI., i. 1; Suffolk dies by, iv. 1; Hamlet, iv. 6 ov 3 ; Antony and Cleopatra, i. A; u. 6 ; the sanctimonious, Measure for Measure, i. 2. Pisa, renowned, Taming of the Shrew, i. 1 ; iv. 2. Pisanio, servant to Posthumus in Cymheline, introduced in i. 1 ; ordered to kill Imogen, Hi. 2; his scheme to save her, Hi. 4- Pistol, a swaggering bully, one of Falstaff's companions m IL Henry IV., the Merry Wives of Windsor, and Henry V. He is at first ancient or ensign, afterward lieutenant, and marries Mistress Quicklv, the tavern hostess. In the Merry Wives of Windsor he conspires with Nym to defeat Falstaff. His character is set forth by Fahtaff in H. 2. His conversation is distinguished by the use of classical allusions. He is introduced in //. He7iry IV. in H. 4, where he rants snatches of plays and ballads. In Henry V, i%. 1, he ap- pears as the husband of Mistress Quickly, and quarrels with Bar- dolph, who had been troth-plight to her. He goes to the war m France, appearing on the battle-field in iv. 4, and is last seen m v. 1 The names of Bardoulph and Pistail are said to be on the muster-roll of artillerymen serving under the Earl of Arundel in 1435. Pitch, they that touch, are defiled, Much Ado about Nothing, Hi. 3; L Henry IV, H. 4; IL Henry VI.. n. U Love's Lahours Lost, iv. 3. ■ r>- 1 7 TTT . Pitchers, have ears, Tanmig of the Shreiv, iv. 4; Richard ill., n. 4. , ^ 1 Pity, and justice, Measure for Measure, ii.2; even beasts know. 274 INUEX TO SEAKSPERE'S WORKS. Richard III., i. 2 ; for the falling, Henry VIII., Hi, 2 ; leave, with our mothers, Troilus and Cressida, v. 3 ; the virtue of the law, Timon of Athens, Hi. 5 ; like a new-born babe, Macbeth, i. 7 ; 'tis true, 'tis, Hamlet, ii. 2 ; for the poor, King Lear, Hi. 4, " Poor naked wretches," etc. ; implored, As You Like It, ii. 7 ; Cymbeline, iv. 2 ; Henry VIIL, prologue ; for a begging prince, Richard III., i. 4; want of, Richard II., v. 2 ; Timon of Athens, Hi. 2 ; iv. 3. Piu por dulzura, que por fuerza, Pericles, ii. 2. More by- gentleness than by force. Place and greatness, Pleasure for Pleasure, iv. L Plague, the : inscription on infected houses, " Lord have mercy on us," Love's Labour's Lost, v. 2 ; of Greece, Troilus and Cressida, u. 1, sent by Apollo on the Grecian army ; of both your houses, Ro- meo and Juliet, Hi, 1 ; of custom (conventionality), ^m^ Lear, i. 2. Plain-speaking, Julius Ccesar, i. 2, '' Rudeness is a sauce," etc. ; Julius Ccesar, Hi. 2, " 1 have neither wit nor words," etc. ; King Lear, ii. 2, " These kind of knaves I know," etc. Planched (planked). Measure for Pleasure, iv. 1. Planetary influence. See Astrology. Planets, the, disorder of, Troilus and Cressida, i. 3. Plantagenet. For Edmund, see Rutlaxd. For Edward, see Edward IV. For George, see Clarence. For Richard, Duke of York, see York. For Richard, see Richard III. Plantain, the herb, used for wounds, Love's Labour's Lost, Hi. 1 ; Romeo and Juliet, i. 2. Plashy, Richard II., i. 2 ; H. 2. Castle of the Duchess of Glos-' ter in Essex. Platforms (plans), I. Henry VL, ii. L Plautus, Hamlet, ii. 2. A Roman comic dramatist, died in the year 184 b, c, Player(s), a strutting, Troilus and Cressida, i. 3, " The great Achilles," etc. ; Taming of the Shrew, induction, 1 ; Hamlet, ii. 2 ; life like a, Macbeth, v. 5 ; advice to, Hamlet, Hi. 1. See Actors. Play(s), life a. As You Like It, ii. 7 ; remorse oft aroused by, Hamlet, ii. 2 ; names of, Midsummer-Nighfs Dream, v. 1; good for melancholy, Taming of the Shrew, induction, 2, Plea, of " not guilty," A Winfefs Tale, Hi. 2. Pleached (intertwined), Much Ado about Nothing, i. 2, and elsewhere. * Pleasure, deaf to reason. Troilus and Cressida, ii. 2 ; turned ill. Antony and Cleopatra, i. 2 ; dearly bought, Lucrece, I. 211. INDEX TO SHAKSPERE'S WORKS. 275 Plebeians, of Rome, revolt of, Coriolanus, i. 1. This incident in the play is placed in a street of Rome ; but, according to Plutarch, the plebs withdrew to Mons Sacer, the holy hill. Wrongs and faults of, Coriolanus, i. 1 ; cowardice of, Coriolanus, i. 4, 6 ; abuse of, Co- riolanus, ii. 1 ; flatterers of, Coriolanus, ii. f , 3 ; Hi. 2 ; wits of the, Coriolanus, H. 3 ; denounced, Coriolanus, Hi, 1 ; contempt for, Co- riolanus, Hi. 1-3 ; defied, Coriolanus, Hi. 3 ; repent the banishment, Coriolanus, iv. 6. See People, Populace. Plenty, breeds cowards, Cymheline, Hi. 6. Plodding, in books. Love's Labour's Lost, i. 1; prisons the spirits, Love's Labour's Lost, iv. 3. Plots : against Falstaff, Merry Wives of Windsor, H. 1 ; Hi. 3, 5 ; iv. 2, If. ; v. 2-5 ; Ford's, Merry Wives of Windsor, ii. 2 ; against Benedick and Beatrice, Much Ado about Nothing, ii. 3; Hi. 1; against Hero, 3Iuch Ado about Nothing, ii. 2 ; of Hortensio and Petruchio, Taming of the Shrew, i.2 ; of Lucentio and Tranio, Tam- ing of the Shrew, i. 1 ; of Helena, All's Well that Ends Well, Hi. 7 ; against ParoUes, All's Well that Ends Well, Hi. 6 ; iv. 1; to commit murder, A Winter's Tale, i. 2 ; to rob, A Winter's Tale, iv. 2 or 3 ; of the Abbot of Westminster, Richard II., iv. 1; v. 2, 3, 6 ; of the Percys, I. Henry IV., i. 3; ii. 3 ; against Clarence, Richard III., i. 1 ; against Hamlet, Hamlet, iv. 7 or: 4; of Edmund against Edgar, Kiiig Lear, i. 2 ; ii. 1; of lago, Othello, ii. 1, last part ; of Pisanio, Cymheline, Hi. 4; of Cloten, Cymbeline, Hi. 5. Plunder, soldiers', /. Henry IV., iv. 2, "They'll find linen enough on every hedge ; " wrangled over, Richard III., i. 3, Plurisy (plethora, superabundance), Hamlet, iv. 7. Pluto, god of the infernal regions. Titus Andronicus, iv. 3 ; Lu- crece,l. 553; II. Henry IV.,ii.4>' Coriolanus, i. 4; Troilus and Cressida, v. 2. Plutus, god of riches, mine of, Julius CcBsar, iv. 3 ; alchemy of, Airs Well that Ends Well, v. 3 ; god of gold, Timon of Athens, i. L Po, the river. King John, i. 1. Pocket-picking, FalstafE's charge of, /. Henry IV., Hi. 3. Poet(s), ink of the. Love's Labour's Lost, iv. 3 ; imagination of the, Midsummer-Night's Bream, v. 1 ; one early dead. Sonnet xxxii. ; read for his love, Sonnet xxxH. ; a rival. Sonnets Ixxx., Ixxxiv., Ixxxv. Poet, a, character in Timon of Athens, introduced in the first scene, seeking patronage from Timon. In v. 1 he comes to get gold, having heard of the treasure Timon has found. Poet (Marcus Favonius), a character in Julius Co&sar, who breaks 276 INDEX TO SHAKSPERE'S WORKS. in on the quarrel of Brutus and Cassius in iv. 3, and is thrust out by Brutus, Poetry, the force of, Two Gentlemen of Verona, Hi. 2 ; direc- tions for making, Two Gentlemen of Verona, Hi, 2 ; lovers given to. As You Like It, Hi, 3 ; of love. Twelfth Night, i. 5, " Write loyal cantons," etc. ; contempt for, /. Henry IV., Hi. 1; spontaneous, Ti- mon of Athens, i. 1 ; beauty perpetuated in, Sonnets xv.-xix. ; Ixiii,, lxi\, ci., cvii. ; of love, Sonnets xxi., xxxii., xxxviii., Iv. ; enduring, Sonnets Iv., Ix. ; sameness in. Sonnet Ixvi. ; immortality in. Sonnet Ixxxi. ; beauty the inspiration of, Sonnets Ixxviii.-lxxx. ; Ixxxiv. ; defeats time. Sonnet c. ; inadequacy of, Sonnet ciii. ; and music, Passionate Pilgrim, viii. ; the muse of, invoked. Love's Labour's Lost, i, 2 ; golden cadence of, Love's Labou?'''s Lost, iv. 2 ; bootless rhymes, Love's Labour's Lost, v. 2. Poins, or Pointz. one of the companions of the prince, introduced in I. Henry IV., in i. 2, and in II. Henry IV., in H. 2. In ii. 4, of the second part, Falstaff explains why the prince loves him. Point-device (foppish, neat). Love's Labour's Lost, v. 1; As You Like It, Hi. 2 ; Twelfth Night, H. 5. Points, Taming of the Shrew, Hi. 2 ; A Winter^ s Tale, iv. 3 or 4, and elsewhere. Tags to fasten doublet and hose together. Poison(s), The Tempest, Hi. 3 ; alluding to the custom of hav- ing a taster for the food of the great, to prevent the administering of. King John, v. 6 ; effect of. King John, v. 7 ; physic in, II. Hen- ry IV., i. 1, 2; mentioned, /, Henry VI., v. 4; Romeo and Juliet, H. 3 ; King Lear, Hi. 4 ; Antony and Cleopatra, v. 2 ; penalty for selling, Romeo and Juliet, v. 1 ; supposed to swell the body, King John, V. 6 ; Jidius Ccesar, iv. 3 ; effects of, Hamlet, i. 5 ; in the ear, Hamlet, Hi, 2 ; iv. 7 ; given to Regan, King Lear, v. 3 ; asked for, Cymbeline, i. 5 ; v. 5. Poking-sticks, A Wi7iter's Tale, iv. 3 or 4. Instruments to plait ruffles with. Polacks, the sledded, Hamlet, i. 1 ; iv. 4. Poland, winter in. Comedy of Errors, Hi. 2, Pole, the north, Othello, ii. 1. Polemon, of Mede, Antony and Cleopatra, Hi, 6. Policy, in war, contempt for, Troilus and Cressida, i. 3 ; In ill opinion, Troilus and Cressida, v, 4; combined with honour, Corio- lanus, Hi. 2 ; a heretic, Sonnet cxxiv ; plague of your, Henry VIIL Hi. 2 ; is from the devil, Timon of Athens, Hi. 3. Politeness. See Courtesy. INDEX TO SHAKSPERE'S WORKS. i i Politician(s), management of, Coriolanus, ii. ' Lucrece, I. 867 ; have is have. King John, i. 1. Possessions, that men glory in, Sonnet xci. Post, Comedy of Errors, i. 2. Allusion to the practice of scoring accounts on posts. Posthumus Leonatus, character in Cymheline, Imogen's hus- band, introduced in the first scene, where he is described. His wager, i. 4 ; he orders the death of Imogen, Hi. 2 ; his vision, v. 4 ; his bravery, v. 5. " His jealousy is not heroic, like Othello's ; it shows something of grossness unworthy of his truer self. In due time penitential sorrow does its work ; his nobler nature reasserts itseK." — Dowden. Posy (motto), of a ring, Hamlet, Hi. 2. Potato, the, Merry Wives of Windsor, v. 5. Potents (powers or forces), King John, ii. 1 or 2. Pouncet-box, /. Henry IV., i. 3. A perforated box for carrying perfumes in. Pourquoi (why), Twelfth Night, i. 3. Poverty, desperate — my, consents, not my will, Romeo and Ju- liet. V. 1 ; is bold, Timon of Athens, Hi. If. ; enforced, and willing, Timon of Athens, iv.3; appearance of, Kiiig Lear, ii. 3 ; sufferings of. Ki7ig Lear, Hi. 4; makes vices apparent, King Lear, iv, 4; makes tame, King Lear, iv. 6. See Adversity and Poor, the. Powder, food for, i. Henry IV., iv. 2 ; a, skill-less soldier's, Romeo and Juliet, Hi. 3 ; (to salt), /. Henry IV., v. 4- Power, just. The Tempest, v. 1 ; abuse of. Measure for Pleasure, li. 4 ; worn out before well put on, Coriolanus, Hi. 2 ; of a, soldier in time of peace, Coriolanus, iv. 7 ; corrupting influence of, 3Iac- beth, iv. 3 ; cannot bear remonstrance. King Lear, i. 1 ; do courtesy to wrath. King Lear, Hi. 7 ; unlimited, Henry VIII., ii. 2. See also Authority, Greatness. Poysam, the Papist, All's Well that Ends Well, i. 3. Practice, and preaching. Merchant of Venice, i. 2 ; I. Henry VI., Hi. 1 ; Hamlet, i. 3. Practice (strategy, trickery). Measure for Measure, v. 1; King hear, ii. 1 : Othello, v. 2. Practisants (plotters), /. Henry VL^ Hi. 2, INDEX TO SHAKSPERE'S WORKS. 281 PraeniTinire, Henry VIII., Hi. 2. A writ against one who sets up another authority than the king's. Prague, hermit of, Twelfth Night, iv. 2. Praise, of a daughter, The Tempest, iv. 1 ; of Angelo, Measure for Pleasure, i. 1; ironical, Measure for Measure, v. 1; of self, Much Ado about Nothing, v. 2 ; Troilus and Cressida, i. 3, speech. of -^neas ; for the sake of, Love's Labour's Lost, iv. 1 ; a, seller's. Love's Labour's Lost, iv. 3 ; envy roused by, As You Like It, ii. 3 ; V. i ; of what's lost. All's Well that Ends Well, v. 3 ; in poetry, gen- erally feigned. Twelfth Night, i. 5 ; influence of, on women, A Win- ter's Tale, i. 2, " Cram us with," etc. ; Falstaff's, of himself, I. Ilen^ ry IV., ii. 4 >' for bravery, Coriolanus, i. 9 ; ii. 2 ; bought, Timoii of Athens, ii. 2 ; daily, found harmful, Timon of Athens, iv. 3 ; of Posthumus, Cymbeline, i. 1 ; in verse, Sormei xvii. ; gross. Sonnet Ixxxii. ; cry amen to, like unlettered clerk, Sonnet Ixxxv. Prat, Mother, name applied to Falstaff in disguise, Merry Wives of Windsor, iv. 2. Prayer(s), The Tempest, i. 1 ; assaults mercy, The Tempest, v., epilogue; for another, Two Gentlemen of Verona, i. 1; fault of be- ing given to, Merry Wives of Windsor, i. 4; true, Measure for Pleasure, ii. 2 ; temptation where, cross. Measure for Measure, ii. 2 ; empty. Measure for Measure, ii. 4; death believed to be has- tened by, 7. Henry VI., i. 1 ; daily, II. Henry VI., ii. 1, " Let never day nor night," etc.; of Edward IV., III. Henry VI., ii.3 ; of the king, Henry V., iv. 1 ; pretence of, Richard III., Hi. 7 ; of Rich- mond, Richard III., v. 3, 5 ; twofold force of — words, without thoxxghis, Hamlet, Hi. 3; for Othello, H. 1; before death, Otliello, v. 2 ; profit in loss of one's, Antony and Cleopatra, ii. 1 ; in a storm, Pericles, Hi. 1 ; need of, Romeo and Juliet, iv. 3 ; the Lord's, see Lord's Prayer, the. Preacliing, and practice. See Practice. Precaution, before building, II. Henry IV., i. 3 ; in time of feast, Timon of Athens, iv. 3. Precedent (first draft), King John, v. 2. Precept(s), and practice, offered in sorrow. Much Ado about Nothing, v. 1. See Practice. Precepts (warrants), II. Henry IV., v. 1. Precipices. See Cliffs. Precision^ of a hvpocrite, Measure for Measure, i, 4, 5. Predictions. See Prophecy. Preferment, goes by favour, Othello, i. 1. 282 INDEX TO SHAKSPERE'S WORKS, Prejudice, AWs Well that Ends Well, v. 3 ; Hamlet, i. 4; re- ligiijus, Jlerchant of Venice, Hi. 1. Prejudice (injuie), /. Henry VL, Hi. 3. Prenzie. See Guards. Presages, ill, Venus aiid Adonis, I. 4S7. See also Omens, Por- tents, Presentiments. Present, the, should be used, AlVs Well that Ends Well, v. 3, " Let's take the instant," etc. ; Timon of Alliens, v. 1, " When the day serves," etc. ; seems worst, II. Henry IV., i. 3 ; wortli of what is done in, Iroilus and Cress ida, Hi. 3 ; this ignorant, Macbeth, i. 6 ; sacrifice of the future to, Antony and Cleopatra, i. 4. Presentiments, of the dying, Richard II., ii. 1; of evil, Rich- ard II., ii. 2 ; Richard III, ii. 3 ; of untimely death, Romeo and Juliet, i. 4, end ; Hi. 5 ; in a haunting song, Othello, iv. 3, " My mother had a maid," etc. Presents, to the rich, Timon of Athens, i. 2. Prest (ready), Merchant of Venice, i. 1. Prester John, length of his foot, Much Ado ahout Nothing, ii. 1. Prester John was a name applied to the Kings of Ethiopia or Abyssinia. It is said to be a corruption of Belul Gian, precious stone, the first word having been translated and then corrupted into Presbyter, and then Prester. The precious stone was in a legen- dary ring said to have been given to the Queen of Sheba by Solo- mon, and left by her to her descendants. Presumption, in ascribing to the act of men the help of Heav- en, AlVs Well that Ends Well, ii. 1. Pretence (plot), the undivulged, Macbeth, ii. 3. Prevent (anticipate, forestall), Tivelfth Night, Hi. 1 ; I. Henry VL, iv. 1. Prevention (discovery), Julius Ccesar, ii. 1. Priam, King of Troy, character in Troilus and Cressida, intro- duced in H. 1 ; allusions to : AlVs Well that Ends Well, i. 3 ; II. Henry IV., i. 1; III. Henry VL, ii. 5 ; Hamlet, ii. 2; Lucrece, lines lUS, 1466, 1485, 1548. Priapus, Pericles, iv. 6. Pribbles, and prabbles. Merry Wives of Windsor, i. 1 ; v. 5. Prick-song, Romeo and Juliet, ii. 4- Written music. Pride, of authority, Pleasure for Measure, ii. 2 ; fallen with for- tunes, As You Like It, i. 2 ; universality of, As Yoy, Like It, ii. 7 ; without contempt or bitterness, AlVs Well that Ends Well, i. 2 ; must have a fall, Richard II., v. 5 ; loses men's hearts, /. Henry INDEX TO SHAKSPERE'S WORKS. 283 IV Hi. i ; of a plebeian, Henry VIIL, L 1 / broken, Henry VI IL, Hi "5 • Troilus and Cressida, i. 3, end ; ii. 3 ; no gla^s but, Troilusand Cressida, Hi. 3; of blood and rank, Coriolanus, i. 1; **• ^ ;•. ^';!- ^' ^- ever taints the prosperous, Coriolanus, iv. 7; m humiliation Timon of Athens, iv. ^,"Not by his breath," etc ; accusa lo'n of King Lear, i. 1 ; in possessions. Sonnet xci ; of the ^oov, fwelfth Night, Hi. 4 ; Eve's legacy, Two Gentlemen of Verona, ^^^. 1; smaU things make base men proud, //. Henry VL, iv. 1. ^ Priest(s), no, shovels in dust, A \Yinter's Tale, iv. 3 or 4. It was customary for the priest to throw in earth in the form of a cross. A meddling, '^m^ John, Hi. 1; churlish, Hamlet, v. 1; when, are more in word than matter, Z'w^r ivear, ^^^. ^. ^ Primero, or prime. Merry Wives of Windsor, iv, 5; Henry VIIL, V. 1. An old game of cards. Primogeniture, rights of. As You Like It, i. 1. Primroses, A Wintefs Tale, iv. 3 ov ^ ; Midsummer - Night s Bream i. 1 ; IL Henry VL, Hi. 2; Cymheline, iv, 2, Primrose Way, the, to the everlasting bonfire, Maeleth, %%. 3 ; the primrose path of dalliance, Hamlet, i. 3. ^ Priiice(s), must maintain their dignity, Comedy of Errors, i. 1; lions will not touch a true, L Henry IV., ii. 4; unworthy conduct of a 7. Hmry IV, Hi. 1; empty honours of, Richard III, t. 4 ; favours of, He7iry VIIL, Hi. 2; deaths of, foreshadowed, Julius Cmar, H. 2 ; like tops of trees, Pericles, i. 2; a model, Pericles, ii. 2 • fflass for subjects, Lucrece, I. 615; favourites of. Sonnet xxv. _ ' Princes in the Tower, the, Richard III, Hi. 1; iv. 1; their murder planned, iv. 2; executed, iv. 3 ; their ghosts, v. 3. See also Edward and Richard. Princox (a pert boy), Romeo and Juliet, i. 5. Print, in (with exactness). Love's Labour's Lost, Hi. L Prints (impressions), credulity to, Measure for Measure, 11. 4. Priscian, a little scratched. Love's Labour's Lost, v. L He wa£ a Roman grammarian, who flourished about 500 A. d. Priser (fighter). As You Like It, ii. 3. Prison(s), scenes in, Pleasure for Measure, ii. 3; Hi. 1 ; A Wiri- ter's Tale, ii. 2; a, compared with the world, Richard IL, v. 5; the mind makes a, Hamlet, ii. 2; let's away to. King Lear, v. 3. Prisoners, description of, Measure for Measure, iv. 3; dispute about /. Henry IV, i. 3; slaughter of, at Agincourt, ^en/'i/ 1., ' it is notffor, to be too sUent in their words, Love's Labours IV. 7 Lost, 284 INDEX TO SHAKSPERE'S WORKS, Prisoner's base, allusions to the game of, Two Oentlemen of Verona, i. 2 ; Gyinbeline, v. 3. Probal (probable), Othello, ii. 3, Process (summons), Antony and Cleopatra, u 1, Procession, coronation, Henry VIII., iv. 1. Proclamation, Measure for Measure, i. 2. Procrastination, cowardly, Hamlet, iv. It or 1. See Delay. Procrus, not Shafalus to, was so true. Midsummer - NighVs Dream, v. 1. Alluding to the story of Cephalus and his wife Pro- cris. She was told that he had been overheard to say when resting from the chase, " Sweet Aura (air), come and fan me ! come, gentle Aura ! " Supposing Aura to be a woman, she was aroused to jeal- ousy, and crept through the bushes one day to surprise him at his resting-place. But he, hearing the rustling, and supposing a wild beast was about to spring upon him, discharged an arrow, by which Procris was mortally wounded. Proculeius, a friend of C»sar in Antony and Cleopatra, intro- duced in V. 1, where Caesar sends him with a message to Cleopatra ; his interview with her, v. 2. Prodigality, Timon of Athens, i. 1, 2. Prodigal son, the, the calf that was killed for, Comedy of Errors, iv. 3 ; chamber painted with the story of, Merry Wives of Windsor, iv. 5 ; alluded to, 1. Henry IV., iv. 2. Prodigies. See Omens, Portents. Prodigious (prodigal). Two Gentlemen of Verona, ii. 3. Proditor (traitor), /. Henry VI., i. 3. Proface (^jro vi faccia, may it do you good), //. Henry IV., v. 3. Proffers, unaccepted, AlVs Well that Ends Well, ii. 1. Profligacy, burns out, Richard II, ii. 1. Progeny (progenitors), Coriolanus, i. 8. Progne, Titus Andronicus, v. 2. Sister of Philomela and wife of Tereus. She was changed into a swallow. , See Tereus. Prolixious (delaying), Measure for Measure, ii. 4. Prologue, to a special nothing, AlVs Well that Ends Well, ii. 1. Prologues or choruses are introduced at the beginning of each act in Henry V., of Acts i. and ii. of Romeo and Juliet, and at the beginning of Henry VIII. Promethean fire, the, Love's Labour's Lost, iv. 3 ; Promethean heat, Othello, v. 2. Prometheus stole fire from heaven for men, and was condemned to perpetual imprisonment on INI^unt Caucasus, where a vulture continually gnawed his vitals. INDEX TO SHAKSPERE'S WORKS. 285 Prometheus, tied to Caucasus, Titus Andronicus, ii. 1. Promise, and performance, Timon of Athens, v. 1 ; kept to the ear, 3Iacbefh. v. 7. Promises, Timon of Athens, i. 2, " His, so fly beyond his state," etc. : Merchant of Venice, iv. 1, " Liberal in offers ; " like Adonis's gardens, I. Henry VL, i. 6 ; mighty, Henry VIII., iv. 2 ; of the king, /. Henry IV., iv. 3. Prom-ontory, a strong-based, The Tempest, v. 1; the earth a sterile, Hamlet, ii. 2. Prom.otion, service for. As You Like Ity ii. 3 ; many so arrive at second masters, upon their first lord's neck, Timon of Athens, iv. 3. Promptness, AlVs Well that Ends Well, v. 3, " Let's take the instant," etc. ; Julius Cmsar, iv. 3, " There is a tide," etc. ; Macbeth, i. 7, " If 'twere done when 'tis done," etc. ; anticipating time, Troilus and Cressida, iv. 5 ; we must do something, and in the heat, Ki7ig Lear, i. 1. See also Opportunity. Proniinciation, criticism on. Love's Labours Lost, v. 1. Proof, of men, the true, Troilus and Cressida, i. 3 ; the ocular, Othello, Hi. 3 ; let, speak, Cymbeline, Hi. 1 ; let the end try the man, //. Henry IV., ii. 2. Proof, lapped in (covered with armour of proof), Macbeth, i. 2. Proper-false (handsome and deceitful). Twelfth Night, ii. 2. Propertied (taken possession of). Twelfth Night, iv. 2 ; (en- dowed), Antony and Cleopatra, v. 2. Property, in slaves, Merchant of Venice, iv. 1. Prophecy, by magic art. The Tempest, i. 2 ; a, King John, iv. 2 ; gift of, at death, Richard II., ii. 1; of Merlin, /. Henry IV., Hi. 1 ; the king was the moldwarp, and the conspirators a dragon, a lion, and a wolf, that should divide the realm among themselves ; of Richard II., II. Henry IV., Hi. 1 ; may be drawn from history, II. Henry IV., Hi. 1 ; of the king's death, //. Henry I V., iv. 4, efid ; of Henry V., I. Henry VL, v. 1 ; as to Henry VI., I. Henry VL, Hi. 1 ; regarding Suffolk, II. Henry VL, i. 4 ; iv. 1 ; regarding Somerset, II. Henry VL, i. 4; v. 2 ; "The Castle "was the sign of an ale- house ; by Margaret, Richard III., i. 3 ; iv. 4; v. 1 ; regarding the princess, Richard III., i. 1 ; regarding Richmond, Richard III, iv. 2 ; of Nicholas Hopkins, Henry VIIL, i. 2 ; Wolsey's, of his death, Henry Vlll.^iv. 2 ; Cranmer's, concerning Elizabeth and James L, Henry VIIL, v. 5 ; of Cassandra, Troilus and Cressida, ii. 2 ; of 19 286 INDEX TO SHAKSPERE'S WORKS, Ulysses, Troilus and Cressida, iv. 5 ; of Hector's death, Troilus and Cressida, v. 3 ; to Caesar, Julius Ccesar, i. 2 ; of the witches, Mac- beth, 1. 3 ; Hi. 1 ; of the fool, King Lear^ Hi. 2, end ; found by Posthumus, Cymbeline, v. 4. Prophets, jesters oft prove, King Lear, v. 3 ; lean-looked, Rich- ard IL, a. 4. Propontic, the, Othello, Hi. 3. Proposing' (conversing). Much Ado about Nothing, Hi. 1. Propriety, the proper self, Twelfth 'Night, v. 1. Prorogue (prolong), Pericles, v. 1. Proscription, by Antony, Octavius, and Lepidus, Julius Cocsar, iv. 1. It really took place, not in Rome, but on an island near Bologna. Proserpina, A Winter's Tale, iv. 3 or 4; Troilus and Cres- sida, a. 1. Prosperity, the bond of love, A Winter's Tale, iv. 3 ; begins to mellow, Richard III., iv. 4 ; all men akin in, Troilus and Cressida, i. 3 : dangerous, Julius Ccesar, ii. 1, " It is the bright day," etc. : friends in, Eamlet, ii. 2, " It is not very strange," etc. Prospero, the rightful Duke of Milan, character in The Tempest, introduced in i. 2. He has acquired magic art by long study, which cost him his throne, for his brother Antonio has taken advantage of his inattention to outside affairs to usurp his throne, and send him and his little daughter to perish at sea. On the island where they are cast he makes use of his magic art to hold in subjection Caliban and the spirits of the air. Though a fine and noble character, and a most loving and tender father, Prospero repels us by his severity with Ariel ; but this severity we excuse on further study of the airy spirit. See Ariel. " Prospero, the great enchanter, is altogether the opposite of the vulgar magician. With command over the elemental powers, which study has brought to him, he possesses moral grandeur and a com- mand over himself, in spite of occasional fits of involuntary abstrac- tion and of intellectual impatience : he looks down on life, and sees through it, yet will not refuse to take his part in it. . . . It has been suggested that Prospero, the great enchanter, is Shakspere himself, and that when he breaks his staff, drowns his book, and dismisses his airy spirits, going back to the duties of his dukedom, Shakspere was thinking of his own resigning of his powers of imaginative en- chantment, his parting from the theatre, where his attendant spirits had played their parts, and his return to Stratford." — Dowden. Protector, the Lord, Gloucester's (Richard III.'s) title after the death of Edward IV., as guardian of the young king. INDEX TO SHAKSPERE'S WORKS. 287 Protestations, of innocence, J. Winter's Tale, Hi. 2 ; of love, Richard III., iv. 4 ; too many, Hamlet, Hi. 2. Proteus, III. Henry VI., Hi. 2. He was a son of Neptune, and changed his shape at will. Proteus, one of the Two Gentlemen of Verona, keener and brighter than his friend Valentine, whom he tries to supplant, but fickle and treacherous. Proud, the, respect only the proud, /. Henry IV., i. 3. Proverbs, on tapestry and in rings. As You Like It, Hi. 2. Proverbs and Proverbial Expressions, quoted or alluded to : A crafty knave needs no broker, //. Henry VI., i. 2 ; a. finger in every pie, Henry VIII., i. 1 ; a, fool's bolt is soon shot. As You Like It, V. 4 ; Henry V., Hi. 7; a friend in the court is as good as a penny in the purse, II. Henry IV., v. 1 ; a good candle-holder proves a good gamester, Romeo and Jidiet, i. ^; a little pot is soon hot. Taming of the Shreiv, iv. 1; all men are not alike. Much Ado about Nothing, Hi. 5 ; all's well that ends well, AlVs Well that Ends Well, iv. 4 ; V. 1 ; all that glisters is not gold, 3Ierchant of Venice, ii. 7 ; a man must not choose a wife in Westminster, a servant in Paul's, or a horse in Smithfield, lest he choose a quean, a knave, or a jade, II. Henry IV., i. 2 ; see Paul's; an old cloak makes a new jerkin. Merry Wives of Windsor, i. 3 ; an old man is twice a child, Hamlet, ii. 2 ; an two men ride of a horse, one must ride behind. Much Ado about Nothing, Hi. 5; a pair of shears went between us, Pleasure for Measure, i. 2, 3 ; a pox of the devil, Henry V., Hi. 7 ; as mad as a March hare, Two Noble Kinsmen, Hi. 5; a smoky house and a railing wife, I. Henry IV, Hi. 1 ; a, snake in the grass, II. Henry VL. Hi. 1 ; as sound as a bell, 31uch Ado about Nothing, Hi. 2 ; a staff is quickly found to beat a dog, II. Henry VI., Hi. 1 ; as true as steel, Troilus and Cressida, Hi. 2 ; at hand, quoth pick-purse, L Henry IV., ii. 1 ; a, wise man may live anywhere, Richard II., i. 3 ; a woman will not tell what she does not know, /. Henry IV., ii. 3 ; a world to see, Much Ado about Nothing, Hi. 5 ; ay, tell me that and unyoke, Hamlet, v. 1. Bairns are blessings, AlVs Well that Ends Well, i. 3 ; be jogging while your boots are green, Taming of the Shrew, Hi. 2 ; beggars mounted run their horses to death. III. Hen- ry VL, i. 4 ; better a witty fool than a foolish wit, Twelfth Night, i. 5 ; better fed than taught, AlVs Well thai Ends Well, ii. 2 ; birds of a feather, III. Henry VI. , Hi. 3 ; black men are pearls in beau- teous ladies' eyes. Two Gentlemen of Verona, v. 2 ; blessing of your heart, you brew good ale, Two Gentlemen of Verona, Hi. 1 ; blush 288 INDEX TO SHAKSPERE'S WORKS. like a black dog, Tittus Andronicus, v. 1 ; bought and sold, Comedy of Errors, Hi. 1 ; King John, v. 4. ; Richard III., v. 3 ; Brag's a good dog, but Hold-fast is better, Henry F.. ii. 3 ; buttered the horse's hay. King Lear, ii. 4- Cake is dough, Taming of the Shrew, I. 1 ; V. 1 ; care killed a cat. Much Ado about Nothing, u. 1; carry coals to Cancer, Troilus and Gressida, ii. 3 ; come cut and long-tail, 3Ierry Wives of Windsor, Hi. 4 ; comparisons are odorous, Much Ado about Nothing, Hi. 5 ; confess and be hanged, Othello, iv. 1; cry him and have him. As You Like It, i. 3 ; cry you mercy, I took you for a joint-stool. King Lear, Hi. 6 ; cucullus non facit monachum (the cowl does not make the monk). Measure for Measure, v. 1 ; Twelfth Night, i. 5 ; Henry VIIL, Hi. 1. Dance barefoot at the wedding, Taming of the Shrew, ii. 1 (said of an elder unmarried sister); dead as a door-nail, II. Henry IV., v. 3 ; II. Henry VL, iv. 10 ; death will have his day, Richard II., Hi. 2 ; delays are danger- ous, I. Henry YL, Hi. 2 ; diluculo surgere saluberrimum est (to rise early is most healthful), Twelfth Night, ii. 3 ; dogs must eat, Corio- lanus, i. 1; dun's the mouse, Romeo and Juliet, i. 4- Empty vessels sound loudest, Henry Y., iv. 4; every dog has his day, Hamlet, V. 1 ; every man at forty is a fool or a physician, Merry Wives of Windsor, Hi. 4 ; every man to his trade, Romeo and Juliet, i. 2 ; every why has a wherefore, Comedy of Errors, ii. 2. Familiarity breeds contempt, Jlerry Wives of Windsor, i. 1; fast bind, fast find, Merchant of Yenice, H. 5 ; feast-won, fast-lost, Timon of Athens, ii. 2 ; finis coronat opus (the end crowns the work), AlVs Well that Ends Well, iv. 4; II. Henry YL, v. 2; Troilus and Cres- sida, iv. 5 ; fire that's closest kept burns most of all. Two Gentlemen of Yerona, i. 2 ; fly pride, says the peacock. Comedy of Errors, iv. 3 ; friends may meet, but mountains never greet. As You Like It^ Hi. 2. Give the devil his due, I. Henry lY, i. 2; Henry Y., Hi. 7; God's a good man, 3Iuch Ado about Nothing, Hi. 5 ; God sends a cursed cow short horns, 3Iuch Ado about Nothing, ii. 1 ; God sends a fool fortune, As You Like It, ii. 7 ; good hanging prevents bad marriage, Twelfth Night, i. 5 ; good liquor will make a cat talk. The Tempest, ii. 2 ; good wine needs no bush, As You Like It, v. 4, epi- logue ; to bed at noon, to supper, etc., King Lear, Hi. 6. Hanging and wiving go by destiny. Merchant of Yenice, ii. 9 ; happy man be his dole. Taming of the Shrew, i. 1; A Winter's Tale, i. 2; I. Henry lY., ii. 2 ; happy the child whose father went to the devil, ///. Henry YL, ii. 3; have is have, however men do catch. King John, i, 1; Heaven's above all, Richard IL, Hi, 3 ; Othello, ii. 3; he must INDEX TO SHAKSPERE'S WORKS. 289 needs go that the devil drives, AlVs Well that Ends Well, i. 3 ; he that dies pays all debts. The Tempest, iii. 2; he that eats with the devil needs a long spoon, The Tempest, ii. 2 ; Comedy of Errors, iv. 3; he that will have a cake out of the wheat must tarry the grind- ing, Troilus and Cressida, i. 1 ; honest as the skin between his eye- brows, Much Ado about Nothing, Hi. 5 ; Honour's train is longer than his foreskirt, Henry VIII., ii. 3 ; hunger breaks stone walls, CorioJanus, i. 1. If that you will France win, Then with Scotland first begin, Henry V., i. 2 ; ill blows the wind that profits nobody, //. Henry IV., v. 3 ; III. Henry VI., ii. 5; ill-gotten goods neyer prosper. III. Henry VI., ii. 2 ; I'll make a shaft or a bolt, Merry Wives of Windsor, Hi. 4; Ill-will never said well, Henry V., iii. 7 ; it is a foul bird that defiles its own nest, As You Like It, iv. 1 ; it is an ill cook that cannot lick his own fingers, Romeo and Juliet, iv. 2 ; k is a poor dog that is not worth the whistle. King Lear, iv. 2 ; it is easy stealing a shive from a cut loaf, Titus Andronicus, ii. 1; it's a dear collop that's cut from one's own flesh, /. Henry VI., v. 4. Jack shall have Jill, Love's Labour's Lost, v. 2 ; Midsummer-NigM s Dream, iii. 2 ; John Drum's entertainment, AlVs Well that Ends Well, iii. 6. Know a hawk from a hand-saw, Hamlet, ii. 2. Laid on with a trowel, As You Like It,i. 2 ; lead apes in hell, Much Ado about Nothing, ii. 1 ; Taming of the Shrew, ii. 1 ; fits all, like a barber's chair, AlVs Well that Ends Well, ii. 2 ; losers have leave to talk, Titus Andronicus, Hi. 1 ; lost teeth in the service, As You Like It, i. 1. Make hay while the sun shines, HI. Henry VI., iv. 8 ; measure for measure, Measure for Measure, v. 1 ; meat was made for mouths, Coriolanus, i. 1 ; misfortunes come not singly, Hamlet, iv. 5 ; more water glides by the mill than the miller wots of. Titus Andronicus, ii. 1. Neither fish nor flesh, 1. Henry lV.,iii. 3 ; not a word to throw at a dog, As You Like It, i. S; now she sharpens; well said, Whetstone, Troilus and Cressida, v. 2. Omittance is no quittance, As You Like It, iii. 5 ; one born to be hanged will never be drowned, The Tempest, i. 1 ; one fire drives out one fire, Corio- lanus, iv. 7 ; one is no number, Romeo and Juliet, i. 2 ; one may see day at a little hole. Love's Labour's Lost, v. 2 ; one nail drives out another, Coriolanus, iv. 7 ; out of God's blessing into the warm sun, King Lear, ii. 2. Past cure, past care. Love's Labour's Lost, v. 2 ; patience perforce is medicine for a mad dog, Romeo and Juliet, i. 5 ; pitch and pay, Henry V., ii. 3 ; pitchers have ears, Taming of the Shrew, iv. 4; poor and proud. Twelfth Night, Hi. 1; praise in de- psj-ting, The Tempest, iii. 3, Rules the roast, //. Heriry VI., i. 1. 290 INDEX TO SHAKSPERE'S WORKS. Satis quod suflBcit, Loves Labour^s Lost, v. 1 ; seldom comes the better, Richard III., ii. 3 ; service is no heritage, AlVs Well that Ends Well, i. 3 ; si fortuna, etc. (if fortune torment me, hope will content me), //. Henry IV., v. 5 ; she has the mends in her own hands, Troilus and Cressida, i. 1; sink or swim, I. Henry IV., i. 3 ; sits the wind in that corner, 3Iuch Ado about Nothing, ii. 3 ; small herbs have grace, great weeds do grow apace, Richard III., ii. 4 ; sold -for a song, AlVs Well that Ends Well, Hi. 2 ; sow cockle, reap no corn. Love's Labour's Lost, iv. 3 ; speak by the card, Hamlet, v. i;. springes to catch woodcocks, Hamlet, i. 3 ; steal an Qgg from a cloister, AlVs Well that Ends Well, iv. 3 ; still swine eat all the draff, Merry Wives of Windsor, iv. 2 ; still waters run deep, //. Henry VI., Hi. 1 ; strike while the iron is hot, III. Henry VI., v. L Take all, pay all. Merry Wives of Windsor, ii. 2 ; take eggs for money (bear insults), A Winter's Tale, i. 2 ; take mine ease in mine inn, /. Henry IV., Hi. 3 ; tell the truth and shame the devil, /. Hen- ry I v.. Hi. 1 ; the cat would eat fish but would not wet her feet, Macbeth, i. 7 ; the end crowns all, see Finis, etc. ; the ewe that will not hear her lamb when it baes will never answer a calf when it bleats, Much Ado about Nothing, Hi. 3 ; the fool thinks he is wise, but the wise man knows he is a fool, As You Like It, v. 1; the galled jade will wince, Hamlet, Hi. 2 ; the grace of God is gear enough, Merchant of Venice, ii. 2 ; the hare's valour plucks dead lions by the beard, King John, ii. 1 ; the raven chides blackness, Troilus and Cressida, H. 3 ; there is flattery in friendship, Henry V., Hi. 7 ; the third pays for all. Twelfth Night, v. 1 ; the weakest goes to the wall, Romeo and JuUet, i. 1 ; the world on wheels, Antony and Cleopatra, H. 7 ; three women and a goose make a market, Lovers Labour's Lost, Hi. 1 ; touch pitch and be defiled. Much Ado about Nothing, Hi. 3 ; I. Henry IV., ii. If.; II. Henry VI.. ii. 1; truth should be silent, Antony and Cleopatra, ii. 2 ; two may keep counsel when the third's away, Titus Andronicus, iv. 2. Walls hear without warnings, Midsummer-Night'' s Dream, v. 1 ; we burn day- light. Romeo and Juliet, i. 4.; wedding and ill-wintering tame man and beast, Taming of the Shrew, iv. 1; when the age is in, the wit is out, Much Ado about Nothing, Hi. 5 ; while the grass grows, oft starves the steed, Hamlet, Hi. 2 ; woo in haste and wed at leisure, Taming of the Shrew, Hi. 2. Providence, work of. AlVs Well that Ends Well, ii. 1; we are In God's hand, Henry V.. Hi. G : Heaven has an end in all, Henry VIII., ii. 1 ; there's a divinity that shapes our ends, Hamlet, v. 2 ; INDEX TO SHAKSPERE'S WORKS. 291 denies us lov our good, Antony and Cleopatra, ii. 1 ; a, special, in the fall of a sparrow, Hamlet, v. 2. See Heaven. Provincial, here (of this province). Measure for Measure, v. 1. Provost, a, or jailer, character in Measure for Measure, intro- duced in i. 3, a merciful man who seeks to mitigate the severity of Angelo's justice. Prudence, Much Ado about Nothing, ii. 1, " Let every eye nego- tiate for itself," etc. ; Henry Y., ii. 3, " Trust none," etc. ; He^ary VIIL, i. 1, " Be advised," etc. ; Henry VIII., i. 2, " Things done well," etc. ; Richard III, Hi. 3, " When clouds are seen," etc. ; when about to build a house or a kingdom, //. Henry IV., i. 3 ; men do their broken weapons rather use than their bare hands, Othello, i. 3. Psalm, the hundredth. Merry Wives of Windsor, ii. 1. Psalmist, the, II. Henry IV., Hi. 2. Ptolemy, Antony and Cleopatra, Hi. 6. Publican, a fawning, Merchant of Venice, i. 3. Publius, son of Marcus, in Titus Andronicus, introduced in iv. 3. Publius Silicius, a senator and a friend of Caesar's, character in Julius CcEsar, introduced in ii. 2. Puck, or Robin Goodfellow, a fairy in the Midsummer- Nighfs Dream, introduced in ii. 1. He is a merry jester, a sort of clown among the other daintier fairies. A book of his " Mad Pranks and Merry Jests" is known to have been published in 1628, but it is supposed that an edition had appeared forty years earlier. Pueritia (boyhood). Love's Lahour's Lost, v. 1. Pugging (thieving), A Winter's Tale, iv. 2 or 3. Puke-stocking (puce, a dark colour), I Henry IV., ii. 4- Pulpiter, most gentle. As You Like It, Hi. 2. Jupiter in some editions. Punctuation, Midsummer-NigM s Dream, v. 1, prologue, " Stand- ing upon points." Punishment, capital, argument on. Measure for Measure. i%. 2. Punishments, mentioned. See Baffle, Crown, Hack, Pil- lory, Rack, Stigmatic. Stocks, Strappado, Wheel, Whipping Wisp. Punning, Merchant of Venice, Hi. 5, "How every fool can play upon the word ; " Twelfth Night, Hi. 1. Punto (thrust). Merry Wives of Windsor, H. 3 ; reverse (back- handed), Romeo and Juliet, ii. 4. Purchase, fourteen-years, Tivelfth Night, iv. 1. Twelve was the usual time. 292 INDEX TO SHAKSPERE'S WORKS. Purchase (profit), /. Henry IV., ii. 1. Purchase was also a slang term for stolen goods. Purgation (examination), As You Like It, v. 4. Purgatory, Hamlet, i. 5 ; Othello, iv. 3. Puritan(s), allusions to : Wear the surplice over the gown — meet Papists, AlVs Well that Ends Well, i. 3 ; Malvolio a kind of, Twelfth Night, ii. 3 ; sings psalms, A Winter's Tale, iv. 2 or 3 ; ''Tribulation of Tower Hill," in Henry VIIL, v, Jj., is by some sup- posed to be an allusion to the Puritans. See Limehouse. Purples, Hamlet, iv. 7. The early purple orchis. Purpose, let not, be shaken with compunction, Macbeth, i. 5 ; the deed should go with the. Macbeth, iv. 1 ; slave to memory, Ham- let, Hi. 2, speech of Player King ; must weigh with the folly, II. Hen- ry 1 v., ii. 2. Pursuit, pleasure of. Merchant of Venice, ii. 6; Troilus and Cressida, i. 2 ; Antony and Cleopatra, iv. 7 ; III. Henry VI., ii. 5. Push-pin, game of, Love's Labour's Lost, iv. 3. It was played by simply pushing pins across one another. Putter-out of five for one. The Tempest, Hi. 3. That is, of money, as was done by voyagers to distant countries. If they did not appear to claim the five hundred per cent., the borrower kept the principal. Puttock (kite), Cymbeline, i. 1. Pygmalion, Measure for Measure, Hi. 2. Allusion to the ivory statue that he made, which was endowed with life by Venus. Pyramids, the. Sonnet cxxii ; Antony and Cleopatra, ii. 7 ; v. 2. Pyramus, a character in the play acted in the Midstanmer- Nighfs Dre.rm before the duke. The part is taken by Bottom. In the old story, Pyramus was the handsomest youth, and Thisbe the fairest maiden, in all Babyl6nia, where Semiramis reigned ; allusion to, Titus Andronicus, ii. 3 or 4. Pyramus and Thisbe, the play acted before the duke in Mid- summer-Night's Dream, i. 2 ; Hi. 1; v. 1. Pjn'rhus, Troilus and Cressida, Hi. 3 ; Hamlet, H. 2 ; Lucrece, lines 1U9, U67. He killed Priam. Pythagoras, doctrine of (transmigration of souls). Merchant of Venice, iv. 1 ; As You Like It, Hi. 2 ; Twelfth Night, iv. 2. duails, fighting, Antony and Cleopatra, ii. 3. Q,uaint (neat, ingenious), Two Oentlemen of Verona, ii. 1 ; Hi. 1 : Taming of the Shrew, iv. 3, and elsewhere. INDEX TO SHAKSPERE'S WORKS. 293 duare (wherefore), Love's Labour\'i Lost, v. 1. Q,uarrel(s), no valour in a false, Much Ado about Nutliiny, i\ I; between Hermia and Helena — Lysander and Demetrius, Mid- summer-Nighfs Dream, Hi. 2 ; the seven causes of, As You Like It, V. 4 ; between Laf eu and Parolles, AlVs WeU that Ends Well, ii. 3, " Do you hear," etc. ; of Constance and Elinor, King John, ii. 1 ; should be left to Heaven, Richard II., i. 2 ; Richard III., i. 4; of Pistol and Nym, Henry V., ii. 1 ; of an Irishman and a Welshman, Henry V., Hi. 2 ; of Pistol and Fluellen, Henry V., v. 1 ; of Boling- broke and Norfolk, Richard II., i. 1-3 ; II. Henry IV., iv. 1; of Vernon and Basset, I. Henry YL, Hi. 4 ; iv. 1 ; Just, //. Henry YL, Hi. 2 ; among sons and brothers, ///. Henry YL, i. 2 ; of Gloucester, Elizabeth, and Margaret, Richard IIL, i. 3 ; seeking a, Romeo and Juliet, Hi. 1 ; beware of entrance to, Hamlet, i. 3 ; 2, drunkard full of, Othello, H. 3 ; between Antony and Caesar, Antony and Cleopatra, ii. 2 ; between Plantagenet and Somerset, I. Henry YL, H. 4 >' thrice is he armed that hath his quarrel just, II. Henry YL, Hi. 2. Q,uart d'ecu (about eightpence), AlVs Well that Eyids Well, iv. 3. Q,uat (pimple), Othello, v. 1. Q,ueen, Margaret asserts her right to h^, Richard IlL.i.S; Anne would not be a, Henry YIIL, ii. 3 ; over passion, King Lear, iv. 3; in jest, Richard III., iv. 4 ; of Carthage, see Dido. dueen of Night, thrice crowned. As Yon Like It, Hi. 2. Di- ana, Luna, Hecate, a triune goddess. dueen of Richard II. See Isabella. dueen, Cymbeline's, character in the play, first appears in scene i. She is the step-mother of Imogen, whom she hates for rejecting her son Cloten. She is able, crafty, and unscrupulous, and has com- plete ascendancy over Cymbeline. She gets the supposed poison, i. 5 ; her ability, ii. 1, end ; her death and confession, v. 5. duell (murder), Macbeth, i. 7. duem (hand-mill), 3Iidsummer-Nighfs Dream, ii. L duestionable (conversable), Hamlet, i. 4. duestions, a lover's. As You Like It, Hi. 2. duibbling". See Punxing, duickly, ^Mistress, hostess of the Boar's Head tavern in East- cheap, character in I. Henry lY, introduced in H. 4; in II. Henry %IY.. introduced in ii. 1; and in Henry Y, in ii. 1. In the latter play she is represented as married to Pistol, who speaks of her death mv. 1\ she is also a character in the Merry Wives of Windsor, first 294 INDEX TO SHAKSPERE'S WORKS. spoken of in i. 2, and introduced in i. 4. She is housekeeper and servant for Dr. Caius, and an agent for the suitors of Anne Page. The identity of the Mrs. Quickly of the comedy with the Mrs. Quickly of the historical plays has been questioned, but without much reason. Q,iiicksilver, fled like, II. Henry IV., ii. 4. Q,uiddits (quibblings, equivocation), Hamlet, v. 1. Q,ui est la ? Paysans, etc., /. Henry YI., Hi. 2. Who is there ? Peasants, poor people of France. duietus (settlement, as of accounts), Hamlet, Hi. 1. Q,uill, in the, II. Henry VI., i. 3. Of uncertain meaning; either in the quile, meaning heap, or in the coil, that is, in the confusion of the crowd. duillets (quibbles), Love's Labour's Lost, iv. 3 ; I. Henry VI., ii. 4 : II. Henry VI., Hi. 1. Q,uills, the porcupine's, Hamlet, i. 5. duince, Peter, a character in Midsummer-Nighf s Dream, intro- duced in i. 2. He is a carpenter, and takes the prologue in the play before the duke, and the character of Thisbe's father. He is the manager of the performance, and a poet as well, for Bottom says, " I will get Peter Quince to write a ballad of this dream." He makes some of the funniest blunders in the piece, and in the prologue " doth not stand upon points." Q,uintain, As You Like It, i. 2. A wooden figure on which young men practised, in their training in the use of arms. Q,uintus, son of Titus Andronicus in the play of that name, in- troduced in i. 1 ov 2 ; falls into the grave of Bassianus, and is taken for his murderer, ii. 3 or 4; executed, Hi. 1. Q,uip modest, the. See Duelling. Q,uis (who). Love's Labour's Lost, v. 1. Q,uit (avenge), King Lear, Hi. 7. Q,uod me alit, etc., Pericles, ii. 2. What nourishes, extin- guishes me. duoint, Francis, mentioned in Richard II.. ii. 1, as one of the companions of Bolingbroke. duoits, the game of, II. Henry IV., H. 4- duoniam. (wherefore), Love's Labour's Lost, v. 2. duotations, of Scripture, Richard III., i. 3 ; Merchant of Ven- ice, i. 3 ; Hi. 2. • duotations, in the plays. See Horace, Lilly, Ovid, Seneca, Sidney, and other names of authors quoted from. INDEX TO SHAKSPERE'S WORKS, 295 Q,uoted (noticed), Hamlet, ii. 1. Pronounced and sometimes written cote. Quotidian (daily fever), of love, As You Like It, Hi. 2. R, the dog's name, Romeo and Juliet, ii. 4. Dogs were said to arre and bark. Rabato (ruff), JIuch Ado about Nothing, Hi. 4. Rabble, the, Hamlet, iv. 5 or 2; I. Henry IV., w. 2. See Mobs, Multitude. Rack, the, Measure for Measure, iv. 1 ; called an engine. King Lear, i. 4 ; Henry VI., ii. 5 ; of this tough world. King Lear, v, 3. Rack (clouds), Antony and Cleopatra, iv. 12 or 14 ; Hamlet, ii. 2. The word in " leave not a rack behind," Tlie Tempest, iv. 1, may- have the same meaning, or may mean ivreck, as in " rack and ruin." Rage, tiger-footed, Coriolanus, Hi. 1 ; deaf as the sea, hasty as fire, Richard II, i. 1 ; of the great, Antony and Cleopatra, iv. 1 ; labyrinth of fury, Troilus and Cressida, ii. 3 ; eyeless, King Lear, Hi. 1. Raggedness, looped and windowed. King Lear, Hi. 4. Ragged-robin, said to be the " cuckoo-flowers," King Lear, iv. 4. Raging-wood (raging-mad), /. Henry VI., iv. 7. Ragozine, a pirate mentioned in Pleasure for Measure, iv. 3. Railing, As You Like It, iv. 3 ; Twelfth Night, i. 5 ; Troilus and Cressida, i. 3 ; H. 1 ; Hamlet, ii. 2 ; King Lear, H. 2. Rain, the, it raineth every day, song, Twelfth Night, v. 1 ; invo- cation to, King Lear, Hi. 2. Rainbow, the, The Tempest, iv. 1; secondary, called water- galls, Lucrece, I. 1688. See Iris. Rally, a, in battle, Cymheline, v. 3. Rambures, a French lord in Henry V., first appears in Hi. 7 ; his death at Agincourt, iv. 8. Ramston, Sir John (correctly Thomas), mentioned in Richard II, ii. 1, as one of the adherents of Bolingbroke. He was warden of the Tower when Richard was imprisoned there. Rancour, will out, //. Henry VI, i. 1. Rank, pride and distinctions of, AlPs Well that Ends Well, H. 3 ; differences and indications of, A Winter's Tale, iv. 3 ox 4 ; dis- grace to, /. Henry IV, Hi. 2; proper observance of, Troilus and •Cressida, i. 3 ; one's own doing, Julius Ciesar, i. 2; disadvantage of, Cymheline, ii. 1. Rank (jog). As You Like It^ Hi. 2. 296 INDEX TO SHAKSFEBE'S WORKS, Ransom, for life, Comedy of Errors, i. 1 ; demand for a, Henry v., iv. 3 ; v. 3, 5, 6 ; the sepulchre of the world's, Richard II., ii. 1, Rape of Lucrece, the. See Lucrece. Raps (enwraps), Cymheline, i. 6. Rapture (fit), Coriolanus, ii. 1. Rareness. See Popularity. Rarity, gives value. Sonnet Hi. Rascal (a lean deer), I. Henry VI., iv. 2, and elsewhere. Rash, Master, a prisoner, Pleasure for Measure, iv. 3. Rat(s), Hamlet, Hi. 4 ; leave a doomed ship. The Tempest, i. 2 ; an Irish, As You Like It, Hi. 2. Referring to the saying that rats were i-hymed to death in Ireland. See Transmigration. Ratcliff, Sir Richard, character in Richard III., first appears in ii. 2, an adherent and confidant of Richard. See Catesby. Raught (reached), Love's Labour'' s Lost, iv. 2 ; Antony and Cle- opatra, iv. 9. Raven(s), feathers of, used in witchcraft. The Tempest, i. 2; young, must be fed. Merry Wives of Wi7idsor, i. 3 ; chides black- ness, Troilus arid Cressida, ii. 3 ; allusion to the notion that they desert their young on account of their ugliness, Titus Andfvnicus, ii. 3 ; foresee death, Julius Cmsar, v. 1 ; ominous, Macbeth, i. 5 ; Titus Andronicus, ii. 3; Hamlet, Hi. 2; o'er the infected house. Othello, iv. 1. The ill-omened bird was thought to hang over houses where the plague was. This is also referred to in Much Ado about Nothing, ii. 3. Ravenspurg, or Ravenspur, Richard II.. ii. 1, end; ii. 2, 3 ; I. Henry IV., i. 3. It was a port at the mouth of the Humber, gradually destroyed by the encroachments of the sea, until, by the middle of the sixteenth century, it had entirely disappeared. Ravings, of madness, King Lear, Hi. 4. ; iv. 6. Razed (a word applied to the damage done by a boar), Richard TIL, Hi. 2. Razes (roots), I. Henry IV., ii. 1. Readiness, Henry V., iv. 3, " Ail things are ready, if our minds be so." Reading, how well he's read, to reason against, Love's Labour's Lost, i. 1. Reapers, dance with nymphs. The Tempest, iv. L Rearmice. See Reremice. « Reason, nobler. The Tempest, v. 1; and rhyme, Two Gentlemen of Verona, H. 1; Love's physician, Merry Wives of Wi?idsor, H. 1; INDEX TO SHAKSPERE'S WORKS. 297 Sonnet cxlvii.; "dares her no." or "dares her on," Pleasure fur Measwe, iv. 4. The first reading would mean, bids her not to de- nounce me. The second would mean, my reason dares her to go on and do it, since she will not be believed. In madness, Measure for Measwe, v. 1; keeps little company with love, Midsummer- N igl iV & Bream, Hi. 1; a, grand- jury man, Tivelfth Night, Hi, 1; and respect, not for manhood and honour, Troilus and Cressida, ii. S ; the re- ceipt of, Macbeth, i. 7 ; dethroned, Hamlet, Hi. 1; what we are without, Hamlet, iv. 4 ; sent after the thing it loves, Hamlet, iv. 5, " Nature is fine in love," etc. ; in madness, Kiyig Lear, iv. 6 ; office of, Othello, i. 3. Reasons, a woman's. Two Gentlemen of Verona, i. 2 ; if, as plenty as blackberries, 1. Henry IV., ii. 4 ; good, must give place to better, Julius Ccesar, iv. 3 ; strong, make strong actions, King John, Hi. 4 ; larded with, Hamlet, v. 4 ; like two grains of wheat in two bushels of chaff, Merchant of Venice, i. 1. Rebeck, name of a musician in Romeo and Juliet, iv. 4. Rebel(s), evils invoked on, Richard II., Hi. 2 ; suspicion of par- doned, II. Henry IV., iv. 1; called on to repent, /. Henry VI., Hi. 3 ; worthy to be a, Macbeth, i. 2. Rebellion, untread the way of. King John, v. 4; of Boling- broke, i?<'c A a r. 2 ; Hi. 3 ; v. 2, 5 ; leisure for, Richard III, iv. 4; without resti- tution, Hamlet, Hi. 3; before death. Cymbeline, v. 4, "My con- science," etc. ; of Enobarbus, Antony and Cleopatra, iv. 9 ; to patch up this old body for heaven, II. Henry 1 V., H. 4; if my wind were but long enough to say my prayers, I would repent. Merry Wives of Windsor, iv. 5. Reply churlish, the. See Duelling. Reports, false, //. Henry 1 V., induction, i. 1, 300 INDEX TO SHAKSFEliE'S WORKS, Repose, times for, Henry VIII., v. 1 ; foster-nurse of Nature, King Lear, iv. 4. ; from travel, Sonnet xxvii. Representative, character of a, Troilus and Cressida, i. 3. Reprisals, ///. Henry VI. , ii. 2, " To whom do lions,'' etc. Reproof (rebuttal), 1. Henry IV., i. 2 ; valiant, the, see Duel- ling; Hamlet's, of his mother, Hamlet, iii. 4; for fickleness, /iT^^ic/ John, Hi. 1 ; ill-timed, Tlie Tempest, ii. 1. Repugn (resist), /. Henry VI., iv. 1. Reputation, the bubble, As You Like It, ii. 7 ; value of, Rich- ard II., i. 1 ; Othello, Hi. 1, S ; the immortal part, Othello, ii. 8 ; mis- taken, Sonnet cxxi. See also Name. Rere-mice (bats). Midsummer- N ighf s Dream, ii. 2. The first part of the compound is from the Anglo-Saxon hreran, to stir, to flutter. The word is, therefore, equivalent to flitter-mouse. Reserve, effects of, /. Henry IV., Hi. 2. Resignation, to the will of Heaven, Richard II., v. 2; to appar ent evils, Henry V., iv. 1, '' There is some soul of goodness," etc. ; to the inevitable. Antony and Cleopatra, Hi. 6 ; to death, 3Ierc^ia7it of Venice, iv. 1. Resolution, in spite of one repulse, The Tempest, Hi. 3 ; sud- den. Two Gentlemen of Verona, i. 3 ; should not be quenched with hope. Measure for Measure, Hi. 1 ; dauntless spirit of. King John, V. 1 ; the native hue of, sicklied o'er with the pale cast of thought, Hamlet. Hi. 1 ; placed, Antony and Cleopatra, v. 2. See Determina- tion, Will. Resolved (assured), I. Henry VI., Hi. 4. Respect, too much, upon the world. Merchant of Venice, i. 1. Respect (circumspection), takes away valour, Troilus and Cres- sida, ii. 2. Rest, to set up one's. Comedy of Errors, iv. 3 ; AlVs Well that Ends Well, ii. 1, and elsewhere. To resolve upon, to lay a wager upon. Restraint, result of excess. Measure for 3Ieasure, i. 3. Results, great, from insignificant causes. All's Well that Ends Well, H. 1. Resurrection, the, allusion to, 3Iuch Ado about Nothing, v. 3, song, " Till death be uttered." Retire (a retreat), I. Henry IV., ii. 3. Retirement, from towns, Two Gentlemen of Verona, v. 4 >' f roni court life, As You Like It, ii. 1 ; Hi. 2 ; in old age, /. Henry I V, v. 1; King Lear, i. 1. INDEX TO SHAKSPERE'S WORKS. 301 Retort (reject), Jleasure for Jleasicre, v. 1. Retort courteous, the. See Duelling. Retreat, of Hotspur's soldiers, II. Henry I V., i. 1 ; a, Corio- lanus, i. If.. Retribution, certainty of, on earth, Ilacheth, i. 7 ; Richard III, a. 1 ; iv. 4,' '^'' 4> Timon of Athens, v. 5. Retrospection, Sonnet xxx. Revel(s), a, Hamlet, i. 4 ; Timon of Athens, ii. 2. Revenge, schemes of, Merry Wives of Windsor, i. 3 ; ii. 1; spirit of, overcome by kindness, As You Like It, iv. 3 ; of the Per- cys, L Henry lY., i. 3 ; Clifford's, III. Henry YI, i. 3, 4; ii. 3 ; Warwick's, ///. Henry YI, ii. 3 ; on one that loves, Richard III, i. 2 ; deaf to reason, Troilus and Cressida, ii. 2; Tamora in the guise of, Titus Andronicus, v. 1 ; against country, Coriolanus, iv. 6 ; Cffisar's spirit, ranging for, Julius Ccesar, Hi. 1 ; threats of. King Lear, ii. 4, last part ; taken during prayer, incomplete, Hamlet, Hi. 3 ; should have no bounds, Hamlet, iv. 7 ; vows of, Hamlet, iv. 5 ; Macbeth, iv. 3 ; Othello, Hi. 3, end ; v. 2 ; suggestion of, Cymbeline, i. 6 ; the humility of Christians, Merchant of Yenice, Hi. 1, Revenges, of Time, Twelfth Night, v. 1. Revenue, farming the. Richard II. , i. 4. Re verbs (reverberates), King Lear, i. 1. Reverence, angel of the world, Cymheline, iv. 2, Reverses. See Adversity, Fortune, Misfortune. Revolt (desert), II. Henry YI, iv. 2. ■ Revolts, against Duncan, 3Iacbeth, ii. 2 ; minutely, Macbeth, v. 1 ; of the plebs, see Plebeians. See also Rebellion. Revolution, spirit of, Antony and Cleopatra, i. 3 ; how it must be dealt with. King John, v. 2. Reward, too slow for merit, Macbeth, i. 4. Reynaldo, servant of Polonius, appears in ii. 1 of Hamlet. Rhesus, III. Henry YI, iv. 2. Ulysses and Diomedes broke into his tent and stole his white steeds, because of a prophecy that Troy could never be taken if once they drank from the Xanthus. Rhetoric, sweet smoke of. Love's Labour's Lost, Hi. 1. Rhinoceros, the armed, Macbeth, Hi. 4. Rhodope, /. Henry YI, i. 5 or 6. A celebrated courtesan, erroneously said to have built the smallest and finest of the pyra- mids at Memphis. Rhyme, and reason, Two Ge7itleme7i of Yerona. ii. 1; Love's, Labour's Lost, i. 1 ; neither, nor reason. Comedy of Errors, ii. 2 ; 20 302 INDEX TO SHAKSFEEES WuRRS. one, like a butter-woman's jog (rank) to market, As You Like It, tiV„ 2 ; love in, Sonnets xxxii., xxxviii. Rhymes, a lover's, 3Iidsummer-Nighfs Dream, i. 1; As You Like It, Hi. 2 ; iv. 3. Rhymmg, taught by love, Love's Labour's Lost, iv. 3. S-hyming planet, born under a. 3Iuch Ado about Nothing, v.. 2, Rhys-ap-Thomas. See Rice-ap-Thomas. Rialto, the, Merchant of Venice, i. 3 ; Hi. 1. The Ponte di Ri- alto, or bridge of the Rialto, over the Grand Canal at Venice, was used as an exchange. Ribaudred, or ribaldred (ribald), Antony and Cleopatra, Hi. S or 10. Rice-ap-Tlionias (or Rhys), Richard III., iv. 5. He brought re-enforcements for Richmond to Bosworth Field. Ricii, and poor, the, fable goncerning, Coriolanus, i. 1. mchard, Kings II. and 111., dramas of. See King Richard II. and King Richard IIL Richard, Duke of York, son of Edward IV., character in Rich- ard IIL, first appears in ii. 4. See Edward V. and Princes in the Tower. Richard I. {Coeur de Lion), King of England from 1189 to 1199, King John, i. 1 ; ii. 1. Richard II., eighth king of the house of Plantagenet, born 1366, died 1400. He was the son of Edward the Black Prince, and succeeded his grandfather, Edward III., in 1377, at the age of eleven. He is introduced in the first scene of the play that bears his name, where two nobles bring their quarrel before him, and where is pre- sented " the germ of all the after-events in his insincerity, partiality, arbitrariness, and favouritism, and in the proud, tempestuous tem- perament of his barons." In iv. 1, he resigns the crown and is sent to the Tower ; in v. 2, he is killed by Exton. In person Richard is represented as very handsome, having a fair, delicate, and feminine style of beauty ; in character he was weak, with an overweening con- fidence in his divine right and the respect of his subjects for it. He* is given to indirect methods and dissimulation, is easily depressed and easily excited with hope and confidence. At the same time the reader's sympathy is aroused by his amiability and by liis misfor- tunes. But in his weakness he had spent his revenues foolishly, and consequently had resorted to extortionate taxes, and even confisca- tion. Allusions to him in other plays: his unkingly conduct, I. INDEX TO SHAKSPERE'S WORKS. 303 Henry IV., iii. ,?; prophecy by him, //. Henry IV., Hi. 1 ; j)eni- teiice for his dethronement and murder, Henry V., w. 1. Richard III. (1450-1485), character in the second and third parts of Henry YI., under the names of Richard Plantagenet and Puke of Gloucester. In II. Henry VL he is introduced in v. 1, and in III. Henry VI. in i. 1. His courage, i. 4 ', liis purpose to gain the crown. Hi. 2 ; iv. 1 ; his deformity, iii. 2. In v, 5 he stabs the prince, and offers to kill Margaret ; and in v. 6 stabs King Henry. The play that bears his name begins with a soliloquy, in which he declares his designs; his name presented to the citizens and the crown offered to him, iii. 7. He enters crowned in iv. 2, and orders the murder of the princes ; is reproached by their mother and de- nounced by his, iv. 4,' his courage at Bosworth, v. 4; his death, v. 5. " There is something sublime and terrible in so great and fierce a human energy as that of Ei(!hard concentrated within one with- ered and distorted body. This is the evil offspring and flower of the long and cruel civil wars — this distorted creature, a hater and scorner of man, an absolute cynic, loveless and alone, disregarding all human bonds and human affections, yet full of intellect, of fire, of power."' — DOWDEN. Riches. See Gold, Money, Wealth. Richinond, Margaret, Countess of, Richard III, i. 3, She was the mother of Henry VII. Stanley was her third husband. Richmond, Henry Tudor, Earl of (145G-1509), afterward Henry VII., character in III. Henry VI, introduced in iv. 6, where the king, whose half-brother he was, utters a prophecy concerning him, and in the same scene it is resolved to send him to Brittany. He appears again in Richard III, as the head of the Lancastrian party. In iv. 8 he is called a Breton, from his residence in Brittany. He is spoken of in iv. 4 as being in Wales, first appears in v. 2, and is made king in v. 5. He is represented in the play as pious and con- scientious. By his marriage with the daughter of Edward IV., he united the claims of the houses of York and Lancaster. Riddance, from a knave. Much Ado ahout Nothing, iii. 3. Riddles, Hull's, Love's Labour'' s Lost, iv. 2 ; one proposed to suitors, Pericles, i., prologue ; book of. Merry Wives of Windsor, i. 1. Ridicule, one must seem senseless of, As You Like It, ii. 7 ; in- difference to. Much Ado about Nothing, ii. 3 ; of the Greek gener- als, Troilus and Oressida, i. 3. Right, to do a great, do a little wrong, Merchant of Venice, iv. 1; o'ercoming might, II. Henry IV., v. 4; warring with right, 304 INDEX TO SHAKSPERE'S WORKS. Rigol (circle), //. Hanry IV., iv. 4; Lucrece, I. 1745. Rim (entrails), Henry V., iv. 4. Rinaldo, steward to the Countess of Rousillon in All's Well that Ends Well, introduced in i. 3. Iling(s), excliange of, Two Gentlemen of Verona, ii. 2 ; refused, Two Oentlemen of Verona, iv. 4 ; Shylock's turquoise, Merchant of Venice, Hi. 1 ; Portia's, Merchant of Venice, Hi. 2 ; iv. 1, 2 ; v. 1 ; with death's-heads in, Love's Labour'' s Lost, v. 2 ; proverbial phrases on, Merchant of Venice, v. 1 ; As You Like It, Hi. 2 ; Hamlet, Hi. 2, " The posy of a ring ; " an old, AlVs Well that Ends Well, Hi. 2, 7 ; iv. 2 ; v. 3 ; exchange of, at marriage, Twelfth Night, v. 1; thumb, I.Henry IV, ii.4; engagement, i^ic^arc? ///., i. 2; the king's, an emblem of his authority, Henry VIII, v. 1, 3 ; one shin- ing by its own light, Titus Andronicus, H. 3 or 4; of Posthumus, Cyinheline, i. 1 ; H. 4; v. 5. Ringlets, the green, sour. The Tempest, v. 1. A fungous growth that was supposed to be made by dancing fairies. Ringwood, Merry Wives of Windsor, H. L A common name for a dog. Riot, a. Merry Wives of Windsor, i. 1. Risk, of everything on one cast, /. Henry IV., iv. 1. Rivage (bank, shore), Henry V., Hi., chorus. Rivality (equality), Antony and Cleopatra, Hi. 5. Rivalry, necessary, of Antony and Caesar, Antony and Cleopatra, V. L Rivals, in love, quarrels of. Two Oentlemen of Verona, ii. 4* Rivals (associates), Hamlet, i. 1. Rive (to fire), /. Henry VI., iv. 2. Rivers, flowery banks of, The Tempest, iv. 1; drown their shores, Richard II, Hi. 2. Rivers, Anthony Woodville, Earl, character in ///. Henry VI., introduced in iv. 4, and in Richard HI, introduced in i. 3. He was a son of the Woodville, lieutenant of the Tower, in I. Henry VI, and brother of Elizabeth, Lady Grey, who became the wife of Edward IV. His marriage with a rich heiress, daughter of Lord Scales, is spoken of in iv. 1 of the former play, where Gloucester upbraids Edward IV, with having given her to his wife's brother rather than to one of his own. He was seized by Richard's orders and beheaded at Pontefract (1483), Richard HI, Hi. 3 ; his ghost appears to Richard, v. 3. Lord Rivers translated from the French the second book printed in England by Caxton, " Dictes and Saye- INDEX TO SHAKSPERE'S WORKS. 305 ings of the Philosophers." He made other translations, and also *' Divers Balades ayenst the Seven Dedely Synnes." Rivo, 1. Renry IV., ii. 4. A Bacchanalian exclamation, mean- ing unknown. Roan. See Rouen. Roaring", an extempore part, Midsummer-Nigh fs Dream, i. 2 ; of lions, The Tempest, ii. 1. Roast, rules the, //. Henry VI., i. 1. Robbery, if unknown to the robbed, Othello, Hi. 3 ; of reputa- tion, Othello, Hi. 3 ; in behalf of charity, Troilus and Cressida, v. 3. Robin, Falstaff's page, Merry Wives of Windsor, i. 3. Robin Goodfellow. See Puck. Robin Hood. See Hood. Robin Redbreast (ruddock), allusion to the notion that he cov- ers the dead, Oymheline, iv. 2. Rochester, scene of a part of /. Renry IV. It is twenty-eight miles southeast of London. Rod, the, more mocked than feared, Measure for Measure, i. 4. Roderigo, a Venetian gentleman, character in Othello, intro- duced in i. 1. He is in love with Desdemona, and is made a dupe by lago. His encounter with Cassio, v. 1. "Without any fixed principle, but not without the moral no- tions and sympathies with honour which his rank and connections had hung upon him, is already well fitted and predisposed for the purpose : for every want of character and strength of passion, like wind loudest in an empty house, constitute his character." — Cole- ridge. Rogero, a gentleman at the palace, A Winter''s Tale, v. 2. Rolands, T. Renry VI., i. 2. Roland was one of Charlemagne's twelve peers. Romage (rummage, overturning), Hamlet, i. 1. Ronian(s), degenerate, Julius Ccesar, i. 3 ; promises of, Julius CcBsar, ii. 1 ; such a, Julius Ccesar, iv. 3 ; the noblest, Julius Ccesar, V. 5 ; the injurious, Cymheline, Hi. 1. Roman fool, play the (Cato of Utica?). 3Iacbeth, v. 5. Romano, Giulio, a painter of the sixteenth century, spoken of as a sculptor in A Winter's Tale, v. 2. Roman thought, a, hath struck him, Antony and Cleopatra, i.2. Rome, scene of parts of Titus Andronicus. Antony and Cleo- palra, Coriolanus, Julius Ccesar, and Cymheline ; her knowledge of 306 INDEX TO SHAKSPEEE'S WORKS. her neighbours, Coriolanus, i. 2 ; attacked, Coriolanus, iv. 6 ; dis- sensions in, ^. 1; Hi. 1-3 ; iv. 2, 3 ; gratitude of, Coriolanus, Hi. i, "Now the good gods," etc.; ingratitude of — a wilderness of tigei's. Titus Andronicus, Hi. 1; degenerate, Julius CcBsar, i. 2 ; loved more, Julius Ccesar, Hi. 2. Rome (papal), curse of, King John, Hi. 1 ; dictation of, King John, V. 2 ; tricks of, Henry VIII., ii. 4, end. Romeo, hero of Romeo and Juliet, first appears in i. 1. He is in love with Rosaline, Capulet's niece ; goes to Capulet's feast, i. 5 ; in Capulet's garden, ii. 2 ; marries Juliet, ii. 6 ; slays Tybalt, and is banished. Hi. 1 ; in Mantua, v. 1 ; slays Paris and dies, v. 3. See Rosaline. " The wise Friar Laurence perceived that ' affliction was en- amoured' of the susceptible qualities of this deeply agitated and violent nature, and that he was ' wedded to calamity.' . . . Reserved, disdainful of advice, melancholy, laconic, vague and subtle in his scanty words, he shuns the light, he is an interpreter of dreams, his disposition is foreboding, and his nature pregnant with fate." — Gervinus. Rom.eo and Juliet was first published in 1597, but the version then printed is supposed to have been rewritten from an earlier one, dating as far back as 1591. The story is very old. Some of the chief incidents appeared in a Greek romance by Xenophon of Ephe- sus. It was first told in Italian by Luigi da Porto, of Vincenza, who died in 1529. His novel was published six years after his death. It was told again by Bandello. in 1554, and from him translated into French by Boisteau. William Paynter translated the French ver- sion into English for his " Palace of Pleasure," 1567. But the story had previously appeared in English verse by Arthur Brooke, 1562. Shakspere no doubt used both Paynter and Brooke in his play, but it bears a closer resemblance to Brooke's poem, which has consider- able merit, than to the other. But Brooke speaks in his preface of having seen the story on the stage not long before ; so that there was an English or perhaps Latin play to which Shakspere and he may both have been indebted. The time is early in the fourteenth century ; at least the occurrence on which it is founded is referred to the year 1303, and the events of the play occupy but a few days. " The enmity of the two families is the hinge on which everything turns ; very appropriately, therefore," the representation begins with it. The spectator must have seen its outbreaks himself in order to know what an insuperable obstacle it is to the union of the lovers. The animosity of the masters has rather rude representatives ; we INDEX TO SHAKSPERE'S WORKS. 307 * see liow far the matter must have gone when those foolish fellows cannot meet without forthwith falling into a quarrel. . . , The rec- oiiciliation of the heads of the families over the dead bodies of their children, the only drop of balm left for the torn heart, is not possi- ble except through their being informed as to the course of events. The unhappiness of the lovers is thus not wholly in vain ; sprung out of the hatred with which the piece begins, it turns, in the cycle of events, back toward its source, and stops it up forever." — Schlegel. B-onyon (Fr. rognon, a mangy person), Macbeth, i. 3, Rump- fed ; the rumps were given to the cooks. Rook, the, ominous, Macbeth, m. ^. Rooked (lodged). III. Henry VI., v. 6. Room, description of a, Cymbeline, ii. Jf,. Rope-ladder, Two Gentlemen of Verona, ii. 4; Hi. 1. Rope-tricks, Taming of the Shrew, i. 2. Conjectured to be a blunder for rhetoric. Rosalind, the heroine of As You Like It, first appears in the second scene, " She is fresh as the morning, sweet as the dew-awakened blos- soms, and light as the breeze that plays among them. She is as witty, as voluble, as sprightly as Beatrice, but in a style altogether distinct In both the wit is equally unconscious ; but in Beatrice it plays about us like the lightning, dazzling, but also alarming; while the wit of Eosalind bubbles up and sparkles like the living fountain, refreshing all around. Her volubility is like the bird's song ; it is the outpouring of a heart filled to overflowing with life, love, and joy, and all sweet and affectionate impulses." — Mrs. Jameson. Rosaline, the wittiest of the ladies attending on the princess in Love's Labour'' s Lost, beloved by Berowne or Biron, first appears in ii. 1. She is, perhaps, an earlier sketch of Beatrice, Rosaline, the first fancy of Romeo, spoken of by him and his friends in the earlier part of the play, " This " [Romeo's love to Rosalind] " has been to many a stumbling- block, and Garriek rejected it in the alteration of the play. To me it appears indispensable ; it is like the overture to the musical sequence of moments which all unfold themselves out of that first when Romeo beholds Juliet. Lyrically taken, though not in respect of the action (and its whole charm surely rests on the tender enthusiasm which it breathes), the piece would be imperfect if it did not contain within itself the rise of his passion. But ought we to see him. at first in a state of indifference I How is his first appearance exalted through this, that, already removed from the circumstances of cold reality, he walks out the consecrated ground of fancy ! The tender solicitude of his par- ents, his restless pinings, his determined melancholy, his fanatical inclination for loneliness, everything in him announces the chosen one and the victim of love. His youth is like a thunderous day in 308 INDEX TO SHAKSPERE'S WORKS. m Spring, when sultry air surrounds tlio loveliest, most voluptuous flowers. Shall his quick change of mind deprive him of sympathy 1 or do we not argue from the instantaneous vanquishment of his first inclination, which in the beginning appeared so strong, the omnipo- tence of the new impression % " — Schlegel. Roscius, III. Henry VI., v. 6 ; Hamlet, ii. 2. A Roman comic actor, died 62 b. c. Ilose(s), a, in the ear, King John, i. 1. Allusion to the fashion of wearing a flower or a knot of ribbon in the ear or the hair near it; by any other name, Romeo and Juliet, ii. 2 ; against the blown, Antony and Cleopatra, Hi. 11 or 13 ; odours of. Sonnet liv. ; red and white. Sonnet xcix. ; at Christmas, Love's Labour's Lost, i.l; of the fair state, Hamlet, Hi. L Rosemary, A Winter's Tale, iv. S or 4; Romeo and Juliet, ii, Jf. ; iv. 5 ; Hamlet, iv. 5 ; Pericles, iv. 6. It was thought to strengthen the memory, and w^as therefore a token of remembrance ; was used at weddings and funerals, and to garnish dishes at feasts. Rosencrantz, a courtier in Hamlet, introduced in ii. 2. He and Cruildenstern w^re schoolfellows of Hamlet, Hi. 4- He calls them " adders fanged," and tells Rosencrantz in iv. 2 that he is a sponge, soaking up the king's favour, rewards, and authorities. They carry the orders concerning Hamlet to England, v. 2, and are themselves sacrificed. It is not expressly told whether the two courtiers knew the nature of the order they carried ; but Hamlet's answer to Horatio, v, 2, " They did make love to this employment," imjilies that they did, or that he thinks they did. " Though directly they " [Rosencrantz and Guildenstern] " take no part in the action, they are nevertheless willing, for the sake of their personal aggrandizcTnent and influence, to become the guilty instruments of another criminal's design. This subserviency, how- ever, is but another and baser form of thinking and acting only for self, and it is therefore appropriately punished, not by the might of a foreign and hostile volition, but by the capricious sport of trifling contingencies." — Ulrici, Roses, the, of York and Lancaster, /. Henry VI., ii. 4 ; iv. 1 ; II. Henry VL, i. 1 ; losses in wars of, III Henry VI., v. 7 ; battles of the Wars of, see Battles. Ross, Lord William, a character in Richard II., introduced in ii. 3, a partisan of Bolingbroke, who made him lord treasurer after his accession. Ross, a thane of Scotland, character in Jlacbeth, introduced in i. 3. The title properly belonged to Macbeth, to whom it came by INDEX TO SHAKSPERL'\S WORKS. 309 the death of his father, as that of Thane of Glamis is said in the play to have done. Roted (learned by rote), Coriolanus, iii. 2, Rother (a horned beast), Timon of Athens, iv. 3. Rotherham, Thomas, Archbishop of York, character in Eich- ard III., first appears in ii. 4. He was kept in prison for a time by Richard. Rottenness, in Denmark, Hamlet, i. 4, Rouen (then pronounced and sometimes spelled Roan), scene of a part of Henry V. ; taken by the French and lost again, /. Henry VL, in. 2. It is in Normandy, sixty-seven miles northwest of Paris. Rougemont, Castle. See Exeter. Roundel (a dance), Midsummer-NigM s Bream, ii. 3. Rounder (circle). King John, ii. 1. Rounding (telling a secret about in confidence), A Winter's Tale, i. 2. Rouse, a cup in which to drink a health, Hamlet, i. 4 ', Othello, ii. 3. Rousillon, an ancient province of southern France, scene of a part of AlVs Well that Ends Well. Rousillon, Count of. See Bertram. Rousillon, Countess of, a character in AlVs Well that Ends Well, appearing first in i. 1, mother of the young count. Just, clear- sighted, and affectionate, she does not allow her love for her son to blind her to his errors, nor do her pride of rank and dignity of sta- tion make her undervalue the merits of the lowlier Helena. " But the whole charm and beauty of the play, the quality which raises it to the rank of its fellows, by making it lovable as well as admirable, we find only in the ' sweet, serene, sky-like' sanctity and attraction of adorable old age, made more than ever near and dear to us in the incomparable figure of the old Countess of Rousillon." — Swinburne. Roussi, a French noble, mentioned, Henry V., iii. 5 ; iv. S. Rout, description of a, Oymheline, v. 3. Rowland, a gentleman mentioned in Measure for Pleasure, iv. 5. Rowland, Child, King Lear, iii. 4. A fragment of an old bal- lad, a part only of which has been recovered. Rowland de Boys, Sir, father of Oliver and Orlando in As You Like It, mentioned in i. 1, and other places in the play. Royalty. See Crowxs, Kings, Princes. Roynish (scurvy), As You Like It, ii. 2. 810 INDEX TO SHAKSPERE'S WORKS. Rub, there's tlie, Hamld, Hi. 1. Ruddock (redbreast), the, covers the dead, Cymbeline, iv. 2. Rudeness, a sauce to wit, Julius Ccesar, i. 2. Rudesby (rude fellow). Twelfth Night, iv. 1 ; Taming of the Shrew, Hi, 2. Rue, A Winter's Tale, iv. 3 or 4; sour herb of grace, Richard 11., Hi. 4 ; Hamlet, iv. 5. Ruff (the turned-over top of the boot), AWs Well that Ends Well, Hi. 2. Ruffle (make disturbance), Titus Andronicus, i. 1 or 2. Rugby, a servant of Dr. Caius in the Merry Wives of Windsor, first appears in i. 4. His worst fault, according to Mrs. Quickly, is that he is " given to prayer." Rulers, virtues of. Measure for Measure, Hi. 2. Rules, of living, AWs Well that Ends Well, i. 1, " Love all," etc. Rumour, a pipe, II. Henry IV., induction ; doubles numbers, II. Henry IV.. Hi. 1 ; in cruel times, Macbetli, iv. 2. Rumour, " the presenter " in II. Henry 1 V., delivers the induc- tion, painted full of tongues, a common character in the masque of that day. Rural sports. See Sports. Rush, Tib's, AlVs Well that Ends Well, ii. 2 Rush ring, some- times used in rustic betrothals. Rushes, lay you down on, I. Henry IV., Hi. 1. It was the cus- tom to strew floors with rushes. Russia, a night in, Measure for Measure, ii. 1; Emperor of, Hermione his daughter, A Winter's Tale, Hi. 2. Rust, better to be eaten with, than to be scoured to nothing with perpetual motion, II. Henry IV., i. 2. Rutland, call him, Richard II.. v. 2. The Dukes Aumerle, Surrey, and Exeter were deprived of their dukedoms, but allowed to retain the earldoms of Rutland, Kent, and Huntingdon. Rutland, Edmund Plantagenet, Earl of, third son of the Duke of York, a character in III. Henry VI., introduced in i. 3, where he is slain in cold blood by Clifford, after the battle of Wakefield. He was seventeen years of age. His murder is spoken of in Richard III., i. 2, 3, and iv. 4. Saba, Henry VIII., v. 4- Queen of Sheba. Sabell, Hamlet, Hi. 2. A yellowish colour ; but some editions have sables. INDEX TO SHAKSPERE'S WORKS, 311 Sack, the virtues of, II. Henry IV., iv. 3. The name was ap- plied to several kinds of wine. Falstaff's is thought to have been sherry. Sackerson, Merry Wives of Windsor, i. 1. An educated bear exhibited in London in Shakspere's time. Sacrament, death without the, Hamlet, i. 5 ; taking the, King John, V. 2 ; Richard IL, i. 1; iv. 1; v. 2 ; All's Well that Ends Well, iv. 3. Sacrifices, at Delphos, A Winter's Tale, Hi. 1 ; to appease the dead, Titus Andronicus, i. 1 or 2 ; spotted livers in the, Troilus and Cressida, v. 3. Sad (serious), Tivo Gentlemen of Verona, i. 3; A Winter's Tale, iv. 3 or 4, and elseivhere. Sadness, an unaccountable. Merchant of Venice, i. 1 ; Richard II., ii. 2 ; unlimited, Much Ado about Nothing, i. 3. Safety, he that steeps his, in true blood. King John, Hi. J/.. Saffron, All's Well that Ends Well, iv. 5 ; A Winter's Tale, iv. 2. Used to colour pastry with ; also a fashionable colour in clothing. Sagittary, the, Troilus and Oressida, v. 5; a sign in Venice, Othello, i. 1. The sagittary was an archer centaur who fought for the Trojans. Sailors, characters in Twelfth Night, Hamlet, and Othello. Sain (said), Love'e Labour's Lost, Hi. 1. Saint(s), baiting a hook with. Measure for Measure, ii. 2 ; the great may jest with. Measure for Measure, ii. 2 ; to vex a. Taming of the Shrew, Hi. 2; seeming a, and playing the devil, Richard III, i. 3 ; have hands that pilgrims' hands do touch, Romeo and Juliet, i. 5 ; a damned, Romeo and Juliet, Hi. 2. Saint Albans, scene of a part of II. Henry VL ; battle of (May 22, 1455), IL Henry VL, v. 2, 3; III Henry VI., i. 1; Rich- ard III, i. 3. The last reference is to the second battle, which took place Febmary 17. 1461. The Yorkists were defeated by Queen Margaret's forces. Saint Albans is in Hertfordshire, twenty miles aorthwest of London. Saint Albans, Mayor of. character in IL Henry VL.. intro- duced in ii. 1. The town was not incorporated until 1552, and therefore had no mayor at this time. Saint Bennet's Church, in lUyria, Twelfth Night, v. 1. There was a Saint Rennet's church in London. Saint Colmes' Inch (Saint Colomb's Island). Macbeth, i. 2. Sweno was made to pay heavily, according to the " Chronicle," for 312 INDEX TO SHAKSFERE'S WORKS, the privilege of burying his men at Colmes' Inch, now Inchcomb, a gmall island in the Firth of Forth. Saint Edmund's Bury, scene of a part of King John. Saint George, our ancient word of courage, Richard III., v. 3. Saint Paul's Cathedral, Richard III.. Hi. 6. It was the cus- tom to post bulletins there for the public to read. . Salad-days, my, when I was green in judgment, Antony and Cleopatra, i. 5. Salamander, that, applied to Bardolph, I. Henry IV., Hi. 3. Salanio, or Solanio, character in the Merchant of Venice, intro- duced in the first scene, a friend of Antonio and Bassanio. Salarino, a character in the Merchant of Venice, introduced in the first scene, a friend of Antonio and Bassanio. Salerio, a friend of Bassanio in the Merchant of Venice, appears as a messenger in Hi. 2. Salic law, the, explained, Henry V., i. 2. Salisbury, scene of v. 1, in Richard IIL It is seveuty-eight miles west-southwest of London. Salisbury, William Longsword, Earl of, character in King John, introduced in the first scene. His abhorrence of John's treachery to Arthur caused him to go over to the side of France, iv. 2 ; but he returned after the accession of Henry III. He was a son of Henry II. and the fair Rosamund Clifford. Salisbury, John Montacute, Earl of, a character in Richard II., first appears in ii. 4. He was beheaded {v. 6) in consequence of his adherence to Richard. The earl in Henry V. was his son. Salisbury, Thomas Montacute, Earl of, character in Henry V. and I. Henry VI.. appearing first in iv. 3 of the former play. He was restored to his father's title, forfeited for adherence to Richard II., after about ten years, and was one of the ablest captains under Henry V. in France, where he was killed, as in the play, before Or- leans, /. Henry VI., i. 4.. He was " as full of valour as of kind- ness, princely in both." He had no son, and the title went to Rich- ard Nevill, the Salisbury of the next play, who married his only daughter Alice. Salisbury, Richard Nevill, Earl of, son-in-law of the preceding, character in II. Henry VI. He was at first a partisan of the king, but deserted to the Yorkists, fought at Saint Alban's, Bloreheath, Northampton, and Wakefield. At the last-named battle he was , wounded and taken, and soon afterwai-d beheaded. Warwick, " the king-maker," was his son, and succeeded to his father's title, though INDEX TO SHAKSPERE'S WORKS. 313 he is known in history and literature by the title that he received through his wife. Sallet (a close-fitting head-piece), //. Henry VI., iv. 10. Salt-butter rogue^ a, Merry Wives of Windsor, ii. 2. One not rich enough to eat freshly made butter. Saltiers (satyrs). A Winter's Tale, iv. 3. Saltpetre, villainous, /. Henry IV., i. 3. Salutations, Coriolanus, ii. 1; Henry V., iv, 1; Othello, ii. 1: quiet, Midsummer-iSlighfs Dream, v. 1; to Octavia, Antony and Cleopatra. Hi. 6. Salvation, AlVs Well that Ends Well, iv. 3, "Sir, for a quart d'eeu he will sell the fee-simple of his salvation." Samingo (San Domingo), II. Henry IV., v. 3. Samphire, a gatherer of, King Lear, iv. 6. Sampson, a servant of Capulet, character in Romeo and Juliet, appears in i. 1. Samson, Love's Labour's Lost, i. 2 ; I. Henry VI., i. 2 ; Henry VIII., V. 3. Sanctuary, the privilege of, Comedy of Errors, v. 1 ; Richard III, ii. 4> "^- I >' shall we desire to raze (to put the holy to base uses), Measure for Measure, ii. 2, last part ; no place should be, for murder, Hamlet, iv. 7 or 4- > Sandal Castle, two miles from Wakefield, scene of III. Henry VI., i. 2-4. It was built about 1320 ; during the civil war it was besieged by the parliamentary army, and afterward destroyed by order of Parliament, and but little now remains of the ruins. Sanded (sandy-coloured). Midsummer- Nighfs Dream, iv. 1. Sands (Sandys), William, Lord, character in Henry VIII. , intro- duced in i. 3. Sans (without, a French word in common use in Shakspere's time), As You Like It, ii. 7, and elsewhere. Sarcasm, Much Ado about Nothing, ii. 1. Sardis, scene of, Julius CcBsar, iv. 2. It is forty-five miles east of Smyrna, in Asia Minor. Sarum Plain, King Lear, ii. 2. Sarum is the local name for ■i^alisbury. Satan, slanderous as. Merry Wives of Windsor, v. 5. See Devil. Satiety. See Surfeit, Excess. Satire, keen and critical. Midsummer- Nighfs Dream, v. 1 ; wit larded with malice, Troilus and Cressida, v. 1; liberty for, As You Like It, ii. 7 ; Love's Labour's Lost, v. 2. ' • 314 INDEX TO SHAKSPERE'S WORKS, Satisfaction, 3Iercha7it of Venice, iv. 1, " He is well paid that is well satisfied." Satisfy (quench), Measure for Measure, in. 1. Satis quod sufficit, Love's Labour's Lost, v. 1. Enough is as good as a feast. Saturn, Much Ado ahout Nothing, i. 3 ; IL Henry IV., ii. 4; Titus Andronicus, ii. 3 ; Cymbeline, ii. 5 ; So7inet xcviii. Satuminus, a character in Titus Andronicus, son of the late emperor, and afterward emperor, introduced in the first scene, where he urges his hereditary claim to the throne. He is made emperor at the instance of Titus, and marries Tamora, queen of the Goths; kills Titus (v. 3), who has just slain Tamora ; and is himself killed by Lucius, who becomes his successor. Sat3rr(s), A Winter's Tale, iv. 4 / Hyperion to a, Hamlet, i. 2. They were goat-like deities of the woods and fields. Savages, life of, Cymheline, Hi. 3 ; Twelfth Night, iv. 1. Saviolo, Vincentio. See Duelling. Saviour. See Christ. Savoy, the, IL Henry VI., iv. 7. A palace of the Duke of Lan- caster, destroyed in Wat Tyler's rebellion in 1381. It was on the bank of the Thames. Saws, full of wise, As You Like It, ii. 7. Say (a kind of woollen cloth), IL Henry VI., iv. 7. • Say (and Sele), James Fiennes, Lord, character in II. Henry VI., introduced in iv. 4. In iv. 2 Cade's men resolve to have his head, and in iv. 7 he is taken. His head was set on London Bridge. Say that thou didst forsake me for some fault, Sonnet Scales, Thomas, Lord, character in II. Henry VI., appears in iv. 5, spoken of in I. Henry VI., i. 1 ; his daughter, ///. Henry VI., iv. 1. He was put to death by the Yorkists in 1460. His only daughter and heiress married Earl Rivers. Scaling (weighing), Coriolanus, ii. 3. Scall (scald-head), Merry Wives of Windsor, Hi. 1. Scambling, Henry V., i. 1; v. 2. Mondays and Saturdays in Lent were called scambling days. No regular meals were served, and members of the household scambled or served themselves as best they could. Scamels, The Tempest, ii. 2. The meaning is uncertain : the sea-gull, the young of the limpet or scam, and the kestrel or stan- nyel, have been suggested. INDEX TO SHAKSPERE'S WORKS. 315 Scandal, Julius Cmsar, i. 2 ; Sonnet cxii. Scantling (portion), Troilus and Cressida, i. 3. Scape-goat, Lepidus to be made a, Julius Cmsar, iv. 1, MTl, VI. Scarecrow, of the law, a, Measure for Measure, ii. 1; Talbot exhibited as a, I. Henry VI., i. 4 > called a crow-keeper, Romeo and Juliet, i. 4' Scarlet, and John, Merry Wives of Windsor, i. 1. Robin Hood's men. Scarre, AlVs Well that Ends Well, iv. 2 ; Cymheline, v. 5. So in some editions. The meaning is uncertain, but seems to be occa- sion or opportunity. Scars, he jests at, that never knew a wound, Romeo and Juliet, ii. 2 ; shown by a candidate, Coriolanus, ii. 2. Scarus, character in Antony and Cleopatra, introduced in Hi. 10, friend of Antony. Schoolboy, the whining, As You Like It, ii. 7 ; stupidity of the. Much Ado about Nothing, ii. 1. School-days, friendship of, Midsummer-Nighf s Dream, Hi. 2. Schoolmasters, Miranda's, The '^empest, i. 2 ; pretended, Tam- ing of the Shrew, i. 1, 2. See Holofernes, Evans, and Pinch. Sciatica, Measure for Pleasure, i. 2 ; Timon of Athens, iv. 1. Scogan, Henry, said in II Henry IV.. Hi. 2, to have had his head broken by Falstaff. He wrote a ballad to the princes, sons of Henry IV. Scone, a place near Perth, where the Scottish kings were crowned, Macbeth, ii. 4, and the last line of the play. Scorn, in love, Tivo Gentlemen of Verona, Hi. 1 ; in her eyes, Much Ado about Nothing, Hi. 1 ; the slow finger of, Othello, iv. 2 ; of love, Venus and Adonis, I. 252 ; of the people, Coriolanus, Hi. 1 ; II Henry IV., iv. 1 ; the argument of one's own. Much Ado about Nothing, ii. 3; and derision never come in tears, Midsummer- Nighf s Dream, Hi. 2. Scotland, scene of the greater part of Macbeth. It is thought that a play on a Scotch subject was desired to be represented before James I. Its misery under Macbeth, iv. 3 ; its barrenness. Comedy of Errors, Hi. 2. Scots, invasions of England by, and king of, taken, Henry V., i. 2. Scottish lord, a, described, 3Ierchant of Venice, i. 2. Scrimer (eserimeur, fencer), Hamlet, i% 7 or 4- 316 INDEX TO SHAKSPERE'S WORKS. Scripture, the devil can cite, Merchant of Venice, i. 3 ; odd ends from, Richard III., i. 3. See Bible. Scrofula, cure of, by the king, Macheth, iv. 3. See King's Evil. Scroop, or Scrope, Sir Stephen, a character in Richard II., in- troduced in Hi. 2. He was a loyal friend to Richard, but was after- ward taken into favour by Henry IV. His son is the Lord Scroop who is a character in Henry V. Scroop, Richard, Archbishop of York, character in both parts of Henry IV. In i. 3 of the first part, he is spoken of as disaffected toward the king on account of the death of his brother, the Earl of Wiltshire. He was not, however, a brother of the earl, who was a Scroop of Masham, brother of Lord Scroop of Richard II., and uncle of the one of Henry V. Many historians are said to have made the error into which Shakspere has fallen. The archbishop joins North- umberland's party in opposition to the king. In the second part he appears first in i. 3, where the conspirators meet at his palace. In iv. 1 and 2, they receive an embassy from the king and disperse their army. But the king's party did not keep its faith, and the arch- bishop was condemned with scarcely a form of trial and executed in 1405. This was the first instance of capital punishment inflicted on a bishop. He requested the executioner to despatch him with five strokes of the sword, in memory of the five wounds of the Saviour. He was regarded as a martyr, and pilgrimages were made to his tomb. Scroop, Henry, Lord, of Masham, character in Henry V. His connection with a conspiracy to murder the king is spoken of in the prologue to act ii. He is exposed and ordered to execution in ii. 2, where the king reproaches him for his treachery toward a monarch whose intimate friendship he had enjoyed, and whose counsels he had shared. The king had sent him on an embassy to Prance, and he was said to have been corrupted while there by the offer of an enor- mous bribe. He was beheaded in 1415. Scroyles (scrubs). King John, ii. 1 or 2. Scruple, some craven, Hamlet, iv. 4 or 1 ; a, Trojan slave for every, of Helen's weight, Troilus and Cressida, iv. 1. Sculls, scaled (schools of fishes), Troilus and Cressida, v. 5. Sculpture, Cymbeline, ii. 4; A Winter's Tale, v. 2, 3. Scylla and Charybdis,J!f erc^aw^ of Venice, Hi. 5. Scythian, the barbarous, King Lear, i. 1. Sea, the, storms on. The Tempest, i. 1; II. Henry IV., Hi. 1; grew civil, 3Iidsummer-NighVs Dream, ii. 2 ; allusion to the notion that those buried in, coulfi not rest for one hundred years, Midsum- INDEX TO SHAKSPERE'S WORKS. 317' mer-NighVs Dream, Hi. 2 ; obeys the moon, A ^Yinters Tale, i. 2 ; 1. Henry IV., i. 2 ; treasures of, Henry V., i. 2 ; backed with, ///. Henry VI., iv. 1 ; the bottom of, Richard HI, i. 4 ; what fool hath added water to, Titus A'ndro7iicys, Hi. 1 ; in storm, King Lear, Hi. 7 ; Othello, ii. 1 ; dangers of, Pericles, ii., prologue ; watery king- dom, Merchant of Venice, ii. 6 ; a thief, Timon of Athens, iv. 3. Sea-captains, characters in The Tempest, uitroduced in i. 2, and in Twelfth Night, introduced in i. 2, Sea-change, suffered a, The Tempest, i. 2, song. Seacoal, George, mentioned in 3Iuch Ado about Nothing, Hi. 3. Seacoal-fire, a, //. Henry IV., H. 1. So called because the coal was brought across the sea. Seal, the great, Henry VIII. , Hi. 2. Sea-maid, music of. See under Maidenhood. Seamanship, The Tempest, i. 1 ; Twelfth Night, v. 1, " A baw- bling vessel was he captain of," etc. Sea-monster, the. King Lear, i. 4. Probably the hippopota- mus, which stood for ingratitude. Sear, Hamlet, H. 2. The part of a gun acted on by the trigger ; to be tickled of the sear, is to be easily moved. Seas, the multitudinous, Macbeth, ii. 2. Season, the right, makes perfect, Merchant of Venice, v. 1 ; roses and snow out of. Love's Labour's Lost. i. 1 ; the appropriate, Antony and Cleopatra, ii. 2, " Every time serves for the matter that is then born in it." Seasons, inappropriate weather of, due to fairies, Midsummer- Nighfs Dream, ii. 1 ; supposed to allude to the peculiar weather of .1594; unnatural, are omens of ill, //. Henry IV., iv. 4. Sebastian, brother of the King of Naples, in The Tempest, ap- pears in the first scene. He is a base character, aggravating his brother's grief at the loss of his son with reproaches and mockery, and plotting with Antonio to take the king's life in order that he himself may secure the throne. Sebastian, name assumed by Julia in the Two Gentlemen of Verona, iv. 4^ Sebastian, brother of Viola in Twelfth Night, first appears in li. i, a simple, manly, straightforward character. Secrecy, AlVs Well that Ends Well, iv. 3, " I am the grave of it;" no lady closer for, I. Henry IV., li. 3 ; let your secrecy moult no feather, Hamlet, U. 2 ; give it an understanding but no tongue, Hamlet, i. 2. * 21 318 INDEX TO SEAKSPERE'S WORKS. Secretaries, of Wolsey in Henry VIII., were Dr. Richard Pace {q. V.) and William Burbank, Secret(s), deep and dangerous, /. Heiiry IV., i. 3 ; trusting a woman with, /. Henry IV., ii. 3 ; Julius Ccesar, ii. 1 ; trusting the air with, Titus Andronicus, iv. 2 ; key of a, Hamlet, i. 3 ; hints about a, Hamlet, i. 5, end ; revealing, Hamlet, Hi, 4 ; rip the heart to find a, Cymbeline, tii. 5; two may keep, Romeo and Juliet, ii. 4. Sect, a creature to begin a, with success, A Winter's Tale, v. 1 ; love a, Othello, i. 3. Sectary, Cranmer called a, Henry VIII., v. 3 ; an astronomical (astrologer), King Lear, i. 2. Security, for debt, Falstaff on, //. Henry IV.. i. 2 ; obstacle to, Macbeth, Hi. 4; mortals' enemy, llacbeth, Hi. 5 ; for Scotland, Macbeth, Hi. 6 ; our advantages lull us to false, Ki7ig Lear, iv. 1, " Our means secure us ; " make assurance doubly sure, Macbeth, iv. 1; fast find, fast bind, Merchant of Venice, ii. 5. Sedges, Two Gentlemen of Verona, ii. 7 ; Much Ado about Nothing, ii. 1 ; Taming of the Shrew, induction, 2. Sedition. See Insurrection, Eebellion. Seel (to close up the eyes, as in the training of a hawk), II. Hen- ry IV., Hi. 1; Macbeth, Hi. 1; Othello, i. 3 ; Hi. 3. Seely, Sir Bennet, mentioned in Richard II., v. 6, as having been beheaded. This character is variously called Sir Bennet or Benedict Seely, Sir John Scheveley, and Sir John Shelley. Seemers (hypocrites), revelation of. Measure for Measure, i. 4, end. Seeming, faults from. Measure for Measure, Hi. 2 ; appearance of humane, Othello, ii. 1 ; I know not seems, Hamlet, i. 2 ; decep- tive, 3Iuch Ado about Nothing, iv. L Seen (versed), in music, Taming of the Shrew, i. 2, Seen, to have, much, As You Like It, iv. 1, Segregation (scattering), Othello, ii. L Seized (possessed), Hamlet, i. }. Seleucus, Cleopatra's treasurer, introduced in v. 2 of Antony and Cleopatra, where he declares her inventory false, and is re- proached by her for his ingratitude. Self, to see one's, as others see. As You Like It, i. 2, speech of Celia: my other, Richard III., ii. 2 ; Troilus and Cressida, Hi. 2 ; swear by thy gracious, Romeo and Juliet, ii. 2; faults of one's, Lucrece, I. 633. INDEX TO SHAKSPERE'S WORKS. 319 Self-abnegation, in love, Sojinets xxxv-xxxix., Ixxxviii.-xc, clxix. Self-accusation, of Helena, AlVs Well that Ends Well, iii. 2 ; of ^Malcolm, Macbeth, iv. 3. Self-assumption, Troilus and Cressida, ii. 3. Self-betrayal, Lucrece, I. 160. Self-bounty (natural generosity), Othello, iii. 3, Self-charity, Othello, ii. 3. Self-comparisons, Macbeth, i. 2. Blows to compare with his own. Self-condemnation, by over-severity, Measure for Measure, iii. 2. Self-control, King John, Hi. 1, '• Better conquest," etc. ; Sonnet xciv. ; Othello, i. 3. Self-covered, King Lear, iv. 2. Disguising the real self. Self-defence, III. Henry VI., ii. 2, " The smallest worm," etc. ; killing in, Timon of Athens, Hi. 5 ; Othello, ii. 3, speech of Montano. Self-denial, Love's Labour's Lost, i. 1, " Brave conquerors," etc. Self-esteem, of Glendower, /. Heiiry IV., iii. 1 ; Twelfth Night, ii. 3. Self-examination, Measure for Measure, ii. 2, " Go to your bosom," etc. ; Coriolanus, ii. 1, " Oh, that you could turn your eyes toward the napes of your necks, and make an interior survey of your good selves." Self-help, AlVs Well that Ends Well, i. 1, end. Self-interest, in serving, King Lear, ii. 4.. See also Commodity. Self-knowledge, Measure for Jleasure, ii. 2 ; AlVs Well that Ends Well, iv. 1, " Is it possible he should know what he is and be that he is?" Self-love, the most inhibited sin, AlVs Well that Ends Well, i. 1; sensitiveness of. Twelfth Night, i. 5; not so vile as self- neglecting, Henry V., ii. 4; none, in a true soldier, II. Henry VI., V. 2 ; read contrary, Sonnet Ixii. ; is universal, Othello, i. 3. Self-praise, AlVs Well that Ends Well, i. 3, " We wound our modesty," etc. ; Troilus ajid Cressida, i. 3, speech of ^neas ; ii. «?, " He that is proud," etc. Self-reliance, AlVs Well that Ends Well, i. 1, '• Our remedies oft in ourselves do lie." Self-slaughter. See Suicide. Self-unable (not self-guided) motion, AlVs Well that Ends Well, iii. 1 INDEX TO SHAKSPERE'S WORKS. Semblable (like, likeness), Timon of Athens, iv. 3 ; Hamlet, v. 2. Semiramis, Taming of the Shrew, induction, 2 ; Titus Androni- cus, ii. L A traditionary Queen of Assyria about 3000 b. c. Semper idem (always the same), for absque, etc. (without this there is nothing), scraps of Latin that Pistol has picked up from mottoes, II. Henry IV., v. 5. Sem.proiiius, a kinsman of Titus Andronicus, addressed in iv. 3. Sem.pronius, one of the lords, flatterers of Timon of Athens, in- troduced in Hi. 3, refuses a loan to Timon on the pretence of anger at not having been applied to first. Senators, characters in Julius Ccesar, Timon of Athens, Titus Andronicus, Cymheline, and Othello. Seneca, quotations from, Titus Andronicus, ii. 1 ; iv. 1 ; cannot be too heavy, Hamlet, ii. 2. Senoys (Sienese), the. Alls Well that Ends Well, i. 2. Sensation, a theory of, Lucrece, I. 442. Sense, common. Alls Well that Ends Well, ii. 1. Senseless, exceeding good. Twelfth Night, Hi. 4- Senses, of the king, have but human conditions, Henry V., iv. 1 ; other senses imperfect from the eyes' anguish. King Lear, iv. 6 ; untuned, King Lear, iv. 7. Sentence, a, like a glove. Twelfth Night, Hi. 1. Sentences, drunk out of his five. Merry Wives of Windsor, i. 1. Separation. See Parting. Sepulchre, the Holy, Richard II, ii. 1. Sequent (follower). Love's Labour's Lost, iv. 2. Serenade, Lysander's, Midsummer- Nighfs Dream, i. 1. Serenity, of temper, Hamlet, Hi. 2. Sergeant, a soldier in JIacbeth, i. 2. The title was applied to an officer of higher rank formerly than now. The sergeant ranked next to the esquire. Sergeant-at-arms, a, character in Henry VIII, i. 1. Sermons, in stones, As You Like It, ii. 1. Serpent(s), look like the flower, but be the, Macbeth, i. 5 ; allu- sion to the belief that the bite of one could be cured by its blood, Richard II, i. 1, " I am disgraced,'" etc. ; allusion to the absence of, from Ireland, Richard II, ii. 1, " Now for our Irish wars," etc. ; lest pity prove a, Richard II, v. 3, allusion to the fable of the farmer and the viper; of old Nile, Antony and Cleopatra, i. 5 ; the worm of Nilus, Antony and Cleopatra, v. 2; bred of mud by the sun, Anr tony and Cleopatra, ii, 7. lNi)£:X TO SHAKSPEUE'S WORKS. 321 Serpigo (a skin disease), Pleasure for Measure, in. 1 ; Troilus and Cress i da, ii. 3. Servant(s), true, A Winter's Tale, i. 2, " Why he that wears," etc. ; treatment of a, Comedy of Errors, iv. 4; faithlessness of, Hen- ry VIII., ii. 1 ; addressed by the master's name (Varro), Timon of Athens, ii. 2 ; faithful, Timon of Athens, iv. 2 ; kept feed, Macbeth, Hi. 4; sworn (alluding to the custom of servants taking an oath of fidelity), Cymheline, ii. 4; & good, does only just commands, Cymhe- line, V. 1 ; an unprofitable, Merchant of Venice, ii. 5. Service, of the antique world, As You Like It, ii. 3; zealous, of the king, Henry VIII., Hi. 2; folly of faithful, Othello, i. 1; to the state, Othello, v. 2. Servilius, a servant of Tinfion of Athens, introduced in ii. 2. Sessa (cease), Taming of the Shrew, induction, 1 ; King Lear, Hi. 6. Setebos, the name of a god spoken of by Caliban as the god of his mother Sycorax, The Temp-st, i. 2; v. 1. In Richard Eden's " History of Travayle," London, 1577, Setebos is given as the name of a god worshipped by the Patagonians. Seven ages of man, the. As You Like It, ii. 7. Several (a field enclosed, not common), Love's Labour's Lost, ii. 1. Severn River, the, affrighted, I. Henry IV., i. 3; the sandy- bottomed, L Henry IV., Hi. 1. Sewer (one who placed dishes on the table), Macbeth, i. 7. Sexton, a, character in Much Ado about Nothing, iv. 2. Seymour, Richard de St. Maur, Lord, spoken of in Richard II., ii. 3, as being at Berkeley Castle with the Duke of York. Seyton, name of an officer attending IMacbeth in v. 3, 5. Shadow, a recruit in //. He?iry IV, appears in Hi. 2. Shadows, those that kiss, Merchajit of Venice, H. 9; of the king, /. Heiiry IV., v. 4; to fill the muster-roll, 77. Henry IV., Hi. 2 ; have struck more terrors than the substance of ten thousand sol- diers, Richard III., v. 3. Shafalus, true to Procrus, Midsummer-Night's Dream, v. 1. See PROCRIS. Shaft, one sent after another. Merchant of Venice, i. 1; the rich golden (Cupid's), Twelfth Night, i. 1 ; or a bolt, see Proverbs. Shall, his popular shall, Coriolanus, Hi. 1. Shall I compare thee to a summer day ? Sonnet xviii. Shallow, Ri.hert, a country justice in IT. Henry IV., introduced m Hi. 2, and in the Merry Wives of Windsor, introduced in the first 322 INDEX TO SHAKSPERE'S WORKS. scene. He is a fool, a braggart, and a liar, boasting of sins in his youth which he never committed. The character is supposed to be a caricature of Sir Thomas Lucy, who caused Shakspere to be ar- rested for stealing deer. See Lucy. Shallowness, AlVs Well that Ends Well, ii. 3, " I did think thee," etc., and " Do not plunge," etc. ; Hastings accused of, II. Hen- ry IV., iv. 2. Shame, death the fairest cover for, 3Iuch Ado about Notliing, iv. 1 ; hath spoiled the world, King John, Hi. 4 ; marked by Nature to do a deed of, King John, iv. 2 ; not to be borne, even at the king's command, Richard II., i. 1 ; serves thy life and attends thy death, Richard III, iv. 4; ashanaed to sit upon his brow, Romeo and Juliet, Hi. 2 ; where is thy blush, Hamlet, Hi. ^ ; a sovereign, King Lear, iv. 3 ; imagines itself detected, Lucrece, I. 1342. Shards (wings), of the beetle, Macbeth, Hi. 2; Antony and Cleo- patra, Hi. 2 ; Cymbeline, Hi. 3 ; (fragments of pottery), Hamlet, v. t Sharked (gathered or snapped), Hamlet, i. 1. To shark is to live by shifts. Shaving-, of the head before execution. Measure for Measure, iv. 2. Prisoners often desired to receive the tonsure of the monks before death. Shaw, Dr. Ralph, Richard III, Hi. 5. He and Friar Penker are sent for by Gloucester to meet him at Baynard's Castle. Sir Thomas More says they were "both doctors in divinity, both great preachers, both of more learning than virtue, of more fame than learning, and of more learning than truth." Dr. Shaw was a brother of the lord mayor, Sir Edmund Shaw. She, the unexpressive. As You Like It, Hi. 2. Shealed (shelled), Ki^ig Lear, i. 4. Shearman (tailor), II. Henry VI., iv. 2. Shears, a pair of — proverbial saying. Measure for 3Ieasure, i. 2. Sheba, Queen of. See Saba. Sheep, love kills, Love's Labours Lost, iv. 3 ; 'the harmless. III Henry VI., v. 5. Sheep-biter (thief), Twelfth Night, H. 5. Sheep-shearing, feast at, A Winter's Tale, iv. 3, 4. Shent (scolded), Merry Wives of Windsor, i. 4; Twelftli Night, iv. "2 ; Tj'oilus and Cressida, ii. 3 ; Coriolanus, v. 2; Hamlet. Hi. 2. Shepherd, the unfolding star calls up the. Measure for Meas- ure, iv. 2 : life of a. As Yon, Like It, Hi. 2 : UT. Henry VI., H.'^B; philosophy of a, As You Like It, Hi. 2 ; dead, As You Like It, Hi. 5 INDEX TO SHAKSPERE'S WORKS. 323 The dead shepherd is Marlowe, and the saw is quoted from his " Hero and Leander," published in 1598, Shepherd, an old, is a character in A Winter's Tale, introduced in Hi. 3, the reputed father of Perdita. Shepherd, an old, a character in 1. Henry VL, father of Joan of Arc introduced in v. ^, where he is denied by his daughter. Shepherd to his love, the (by Christopher Marlowe), Passion- ate Pilgrim, xx. Shepherdesses. See Mopsa and Dorcas. Sheriff, of Northamptonshire, character in King John. Sir Si- mon de Pateshull. Sheriff, a, character in 7. Henry IV. Sheriff of York, mentioned in //. Henry IV. Sir Thomas Rokeby. Sheriff, a, character in II. Henry VL Sheriff, of Wiltshire, character in Richard III, first appears in V. 1. Henry Long, of WraxalL Sheriff's post, Twelfth Night, i. 5. Set up at the sheriff's door for placing notices on. Sherris, effects of, II. Henry IV., iv. S. Ship(s), scene on a. The Tempest, i. 1; carcass of a, The Tern- pest i. 2; cannot perish, having thee on board, Two Gentlemen of Verona, i. 1; movement of, Henry 7., Hi., chorus, "Behold the threaden sails," etc.; the state like a. in danger, III Henry VL, v. 4 ; Grecian. Troilus and Cressida, prologue. ' Shipwreck, The Tempest, i. 2; ii. 1 ; Comedy of Errors, i. 1; Twelfth Night, 1.2; A Winter's Tale, Hi. 3 ; Merchant of Venice, Hi. 2. Shirley, Sir Hugh, the Shirley mentioned in I. Henry IV., v. ^ as having worn one of the coats of the king at Shrewsbury, and hav- ing been slain. ^ Shirt, a. and a half, in a whole company, L Henry IV., iv. 2; of Nessus, Antony and Cleopatra, iv. 10. Shive (slice), Titus Androriicus, ii. L Shoe-maker, the, should meddle with his yard and the tailor with his last, Romeo and Juliet, i. 2. Shoe-tie, a traveller and prisoner, spoken of in Pleasure for Measure, iv. 3. This was a name commonly applied to a traveller. Shog (jog). Henrv V., ii. 1. 3. Shore,' Jane. Richard IIL,i. 1; %ii. ^, 5. Mistress of Edward IV., and afterward of Hastings. 324: INDEX TO SHAKSPERE'S WORKS. Shortcake, Alice, 3Ierry Wives of Windsor, i. 1. Shot, to pay, Two Gentlemen of Verona, ii. 5. Shoughs (a shaggy kind of dogs), JIacbeth, Hi. 1. Shoulder-shotten (having a dislocated shoulder), Taming of the Shrew, H. 3. Shovel-boards, Merry Wii^es of Windsor, i. 1. The broad shil- lings of Edward VI. were used in playing the game of shuffle-board, and were familiarly called by the name of the play. The game wa.^ also called shove-groat, and is alluded to in II. Henry IV., ii. 4. Show, the outward, seldom jumpeth with the heart, Richard III., Hi. 1. Show, a street, Coriolanus, ii. 1. Shrewd (shrewish). Taming of the Shrew, i. 1, 2, and elsewhere. Shrewsbury, scene of part of I. Henry IV. ; rebel forces at, /. Henry IV., Hi. 2 ; battle of, I. Henry IV., v. 3-5 ; eve of the battle, iv. 4 ; offer of pardon before it, v. 1 ; reports of the battle, //. Hen- ry IV., i. 1 ; Northumberland's failure to be at, II. Henry IV., ii. 3. It is one hundred and forty miles northwest of London. The battle was fought July 23, 1403. Shrewsbury clock, fought a long hour by, /. Henry IV., v. 4. Shrewsbury, Earl of. See Talbot. Shrieve (sheriff), AlVs Well that Ends Well, iv. 3. Shrift, a short, Richard III., Hi. 4; riddling confession makes riddling shrift, Romeo and Juliet, ii. 3. Shroud (protection), Antony and Cleopatra, Hi. 11 ot 13 ; III. Heiiry VI., iv. 3. Shrove-Tuesday, fit as a pancake for, AlVs Well that Ends Well, ii. 2. The English peasantry call the day " pancake Tuesday." Shylock, the Jew in the Merchant of Venice, introduced in i. 3. Ilis impassioned appeal in the first scene of the third act, " Hath not a Jew eyes," etc., is the only place where Shakspere seems to intend arousing the least sympathy for the usurer. In all other scenes his meanness and avarice are dwelt upon almost to the exclusion of his justifiable resentment at the insults to his race. He hates Antonio more for spoiling his business than for reviling his religion ; and he would gladly see his only child dead before him if he might regain his ducats. There seems to be no reason to believe that Shakspere intended any rebuke to the Jew-hating spirit of his time. " Hebler does not hesitate to call Shylock a comic personage, whose fate, proportionately, is no harder, rather milder, than that which finally befalls other comic charactei's, Falstaff, for example. INDEX TO SHAKSPERE'S WORKS. 325 Gervinus is vexed that ' vulgarity and madness could go so far as to make a martyr out of this outcast of humanity.' A martyr he cer- tainly is not, but we must allow extenuating circumstances in his favor. . . . But who made him a usurer ? . . , We know no other answer to this question but that the Christians have made Shylock what he is. We do not mean to say that Shak