THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES Th:< ni'p SHAKESPEARE'S TRAGEDY OF TITUS ANDRONICUS EDITED, WITH NOTES BY WILLIAM J. ROLFE, Litt.D. FORMERLY HEAD MASTER OF THE HIGH SCHOOL CAMBRIDGE, MASS. ILLUSTRATED 28638 NEW YORK •:• CINCINNATI •:• CHICAGO AMERICAN BOOK COMPANY Copyright, 1883 and iS,j8, by HARPER & BROTHERS. Copyright, 1906, p,y WILLIAM J. ROLFE. TITUS ANDRONICUS. \Y. P. . PREFACE It is barely possible that Titus Andronicus was a very early work of Shakespeare, but personally I be- lieve, with the great majority of editors and critics, that it was an old anonymous play which he slightly rf retouched in the 'prentice period of his career. I ' I nevertheless allow the advocates of its authenticity their ,N full say in its behalf (in the Introduction), and leave * readers and students to decide for themselves, if they can, how much of it is Shakespeare's. i CONTENTS Introduction to Titus Andronicus The History of the Play . The Sources of the Plot . General Comments on the Plav Titus Andromcu Act I Act II Act III Act IV Act V Notes . Appendix: The Time-Analysis of the Play List of Characters in the Play PAGE 9 9 J 5 16 54 77 93 n6 143 201 201 Index of Words and Phrases Explained ^Wliii^i. Pontine Marshes INTRODUCTION TO TITUS ANDRONICUS The History of the Play Until 1904 the earliest known edition of Titus A11- dronicus was a quarto published in 1600, with the fol- lowing title-page (as given in the Cambridge ed.) : — The most lamenta- | ble Romaine Tragedie of Titus Andronicus. | As it hath sundry times beene playde by the I Right Honourable the Earle of Pembrooke, the | Earle of Darbie, the Earle of Sussex, and the [ Lorde Chamberlaine theyr | Seruants. | At London, | Printed by I. R. for Edward White | and are to bee solde at his 9 io Titus Andronicus shoppe, at the little | North doore of Paules, at the signe of | the Gun. 1600. Langbaine in his Account of the English Drama tick Poets, p. 464 (ed. 1691) says of Titus Andronicus, " This play was first printed 40. Lond. 1594, and acted by the Earls of Derby, Pembroke, and Essex, their Servants." Whether or not this is the same as " titus and ondroni- cus " mentioned in Elenslowe's Diary (p. 33, ed. Collier) as acted for the first time on the 23d of January, 1593, it is impossible to say. The very existence of this quarto of 1594 was doubted by many critics until a copy of it was discovered in Sweden in the latter part of 1904. It is probable that this was the edition of which the following entry appears in the Stationers' Registers : — 6 February, 1593. John Danter. Entered fur his copye under handes of bothe the wardens a booke intituled, A Noble Roman-His- torye of Tytus Andronicus. yj d . Another quarto was published in 161 1, the title-page of which reads thus : — The I mostlamen- | table Tragedie | of Titus Androni- cus. [ As it hath sundry | times beene plaide by the Kings \ Maiesties Seruants. | London, | Printed for Eedward White, and are to be solde | at his shoppe, nere the little North dore of | Pauls, at the signe of the | Gun. 161 1. This edition was printed from that of 1600, from which it varies only by some printer's errors and a few conjectural alterations. The folio text was printed from a copy of the quarto Introduction II of 161 1, which perhaps was in the library of the theatre, and had some MS. alterations and additions made to the stage-directions. Here, as elsewhere, the printer of the folio has been very careless as to metre. It is remarkable that the folio contains a whole scene (iii. 2) not found in the quartos, but agreeing too closely in style with the main portion of the play to allow of the supposition that it is due to a different author. The scene may have been supplied to the players' copy of the 2d quarto from a manuscript in their possession. Halliwell-Phillipps {Outlines of the Life of S., 2d ed., p. 72) assumes that Henslowe's play is the one ascribed to Shakespeare. He says : " In the winter-season of 1593-4, Shakespeare's earliest tragedy, which was unfortunately based on a repulsive tale, was brought out by the Earl of Sussex's actors, who were then per- forming, after a tour in the provinces, at one of the Surrey theatres. They were either hired by, or playing under some financial arrangement with, Henslowe, who, after the representation of a number of revivals, ventured upon the production of a drama on the story of Titus Andronicus, the only new play introduced during the season. This tragedy, having been successfully pro- duced 1 before a large audience on January the 23d, 1594, was shortly afterwards entered on the books of the 1 This appears from the earlier issue of 1594, recorded by Langbaine [see above] as " acted by the Earls of Derby, Pembroke, and Essex, their servants.' 1 That Langbaine wrote Essex by error for Sussex is evident from the title-page of the edition of 1600 and from the half-title on the first page of that of 161 1. 12 Titus Andronicus Stationers' Company and published by Danter. It was also performed, almost if not quite simultaneously, by the servants of the Earls of Derby and Pembroke. That the play was popular may be inferred from the number of representations, its timely publication, and from several early notices. Ben Jonson, writing in 1614, refers thus to its popularity : " hee that will sweare Jeronimo or Andronicus are the best playes, yet shall passe unexcepted at heere as a man whose judgement shewes it is constant and hath stood still these five and twentie or thirty yeeres " (Ind. to Bartholomew Fair). Jonson hardly means here to convey the idea of a pre- cise date, but merely that both the dramas to which he alludes were then very old plays. In an inven- tory of the theatrical costumes at the Rose Theatre in March, 1598-9, mention is made of "the More's lymes," which Malone suspects "were the limbs of Aaron the Moor in Titus Andronicus" who in the origi- nal play was probably tortured on the stage. Ravenscroft, in the preface to his alteration of the play (1687), says : " I have been told by some anciently conversant with the stage, that it was not originally his [Shakespeare's], but brought by a private author to be acted, and he only gave some master-touches to one or two of the principal characters." Capell, Collier, Knight, and many of the Germans, believe that the play is Shakespeare's ; but the majority of the English editors reject it entirely. The rest think that it was only touched up by the dramatist, and they are prob- Introduction 13 ably right. It is difficult to believe that he had any larger share in its composition than Ravenscroft allowed him. It may at first seem strange that his name should have come to be associated with a work in which we find so few traces of his hand ; but he may have improved the old play in other ways than by re- writing any considerable portion of it, — by omissions, rearrangement of scenes, and the like — and its popu- larity in the revised form may have led to its being commonly known as " Shakespeare's Titus Andronicus " (to distinguish it from the original version, whoseso- ever it may have been), until at length it got to be generally regarded as one of his own productions. If Shakespeare wrote the play, it must have been at the very beginning of his career as an author — " 1589, or earlier," as Dowden suggests, when he was " a young man carried away by the influence of a Sturm unci Drang (storm and stress) movement similar to that which urged Schiller to write his Robbers. Titus An- dronicus belongs essentially to the pre-Shaksperian group of bloody tragedies, of which Kyd's Spanish Tragedy is the most conspicuous example. If it is of Shaksperian authorship, it may be viewed as repre- senting the years of crude and violent youth before he had found his true self." Stokes (Chron. Order of Shakespeare 's Plays, p. 3) says : " That Shakespeare had some connection with a play upon the subject seems to be placed beyond doubt by the mention of Meres, and by the insertion 14 Titus Andronicus in the ist folio; but if the play as given in that edi- tion be the one which is connected with our poet's name — as indeed seems probable from a considera- tion of several passages in it (see Mr. H. B. Wheatley, New. Shaks. Soc. Trans., 1S74, pp. 1 26-1 29) l — then the classical allusions, the peculiar words, etc., compel us to adopt Ravenscroft's tradition that it is only an old play revised by Shakespeare. In what year this revision took place it is very difficult to say; of course, it must have been before 1598, when Meres mentions it, and therefore before the Pembroke and other com- panies were merged into the Lord Chamberlain's com- pany, at which time Mr. Fleay thinks several old plays {Titus Andronicus being one) passed into the hands of the corps to which Shakespeare belonged. The adap- tation was probably early in his dramatic career, though Jonson's reference in the Induction to Bartholomew Fair must surely be to the old play." Furnivall (" Leopold "' ed. p. xxii.) says : " To me, as to Hallam and many others, the play declares as plainly as play can speak. ' I am not Shakspere's : my repulsive subject, my blood and horrors, are not, and 1 The bits which Mr. Wheatley assigns to Shakespeare are the fol- lowing: i. 1.9 ("Romans, friends, followers," etc., echoed by Mark Antony in/. C. iii. 2. 75), ii. 1.82, 83 ("She is a woman," etc., like Rich. III. i. 2. 228, 229 and i Hen. VI. v. 3. 78, 79), i. 1. 70-76, 117-119 (cf. M. of /'. iv. 1. 183 fol), i. 1. 141, ii. 2. 1-6, ii. 3. 10-15, iii. 1. 82- 86, 91-97, iv. 4. 81-86, v. 2. 21-27, an( l v - 3- 160-168. These may well be Sh ik pe ar 's, and possibly other passages that rise above the gen- eral level of the play. Introduction 15 never were, his.' I accept the tradition that Ravens- croft reports when he revived and altered the play in 1687, that it was brought to Shakspere to be touched up and prepared for the stage." The verdict of the editors and critics is so nearly unanimous against the authenticity of the play that the burden of proof clearly rests with the other side ; and as I am willing to allow them the fullest and best presen- tation of their case that has yet been made, I give below the arguments of Verplanck almost without abridgment. The date of the play in its present form must be earlier than 1594. If it was an old play retouched by Shakespeare, his work upon it may have been done in 1592 or 1593. If it was entirely his own, we must sup- pose it to have been written several years earlier — cer- tainly before Love's Labour 's Lost, the first original play which is generally ascribed to him. and which could not have been later than 159 1 , while some good critics date it in 1588 or 1589. The Sources of the Plot Theobald says : " The story we are to suppose merely fictitious. Andronicus is a surname of pure Greek deri- vation. Tamora is neither mentioned by Ammianus Marcellinus, nor anybody else that I can find. Xor had Rome, in the time of her emperors, any war with the Goths that I know of ; not till after the translation of the empire — I mean to Byzantium. And yet the t8 Titus Andronicus editors v. ore Heminge and Ccndoll, long the managers of a theatrical company which had represented this very play, and to whom its author could not well have been unknown ; who were, moreover, for years Shakespeare's associates in ihcotrical concerns, and his personal friends, and who, in cohntxt-on with the great original actor of Othello and Richard, Mu.nht and Lear, are remembered by the poet in his will, by a bequest ' to my fellows John Hemynge, Richard Burbage, and Henry Cundell, to buy them rings.' " These editors had besides given no slight proof of their care and fidelity on this point, by rejecting at least fourteen other plays ascribed by rumour, or by the unauthorized use of his name, to Shakespeare, and a part of which were afterwards added to their collection by the less scrupulous publishers of the folios of 1664 and of 1685. " Titus Andronicus is moreover unhesitatingly as- cribed to Shakespeare by his contemporary Francis Meres, in the ' Comparative discourse of our English Poets, with the Greek, Latine, and Italian Poets,' con- tained in his Palladis Tamia, 1598. The list of Shake- speare's works there given by Meres has always been regarded as the best authority for the chronology of all the great poet's works mentioned in it, and it contains the title of no other piece that ever has been questioned as of doubtful authenticity. Meres is said by Schlegel to have been personally acquainted with the poet, and ' so very intimately, that the latter read to him his Introduction 19 sonnets before they were printed.' I do not know on what authority he states this fact so strongly ; yet it is remarkable that, in 1598, eleven years before Shake- speare's sonnets were printed, Meres had said ' the sweete wittie soul of Ovid lives in mellifluous and honey-tongued Shakespeare ; witness his Venus arid Adonis, his Lucrece, his sugred sonnets among his private friends.' It is besides certain, on other author- ity, that Meres, at the date of his publication, was intimately connected with Drayton, and he was very familiar with the literature and literary affairs of his day. " Now all this chain of positive evidence applies, not merely to an obscure play unknown in its day, but to a piece which, with all its faults, suited the taste of the times, was several times reprinted, and was often acted, and that by different theatrical companies, one of which was that with which Shakespeare was him- self connected. It would be without example that the author of such a piece should have been content for years to have seen his work ascribed to another. " Indeed, we find no trace of doubt on the subject until 1687, nearly a century after the first edition, when Ravenscroft, who altered Titus Andronicus to make it apply to a temporary political purpose, asserted that he had ' been told by some anciently conversant with the stage, that it was not originally his, but brought by a private author to be acted, and he only gave some master-touches to one or two of the principal charac- ters.' But Ravenscroft's tradition comes in a most 20 Titus Andronicus suspicious shape, as he had some years before spoken of the piece as unquestionably and entirely Shakes- peare's. " Thus it would really seem on the first view of the question, that it would be as extravagant an opinion to deny this play to be Shakespeare's as it would be to reject the joint testimony of the editor of Sheridan's works, of his fellow managers in Covent Garden, and of contemporary critics to the authenticity of any of his dramas, on account of its alleged or real inferiority to the other productions of that brilliant and irregular mind. " But all this external and collateral proof of authen- ticity is thrown aside by a host of critics, and this with- out any plausible attempt to explain how the error arose, and why it prevailed so generally and so long. Their argument rests almost entirely upon the manifest infe- riority of this play of accumulated physical horrors to its alleged author's other tragedies, and its difference from their style and versification, so great as to be judged incompatible with their proceeding from the same author. Thus Johnson observes . ' All the editors and critics agree in supposing this play spurious. I see no reason for differing from them ; for the colour of the style is wholly different from that of the other plays, and there is an attempt at regular versification, and artificial closes, not always inelegant, yet seldom pleasing. The barbarity of the spectacles, and the general massacre which are here exhibited, can scarcely be conceived Introduction 21 tolerable to any audience, yet we are told by Jonson that they were not only borne but praised. That Shakespeare wrote any part, though Theobald declares it incontestable, I see no reason for believing.' " Mr. Hallam, a still higher authority in taste and in knowledge of the elder English literature, pronounces, with a dogmatism quite unusual in his candid and guarded, as well as sure-sighted criticism, that ' Titus Andronicus is now by common consent denied to be, in any sense, a production of Shakespeare's ; very few passages, I should think not one, resemble his manner.' He allows, indeed, the credit due to Meres's ordinary accuracy in his enumeration, but adds : ' In criticism of all kinds, we must acquire a dogged habit of resist- ing testimony when res ipsa vociferatur to the contrary.' " To these critics of the nobler class may be added the names of Malone, Steevens, Boswell, Seymour, and a host of others, including, I believe, all the commen- tating editors, except Capell, until within the last ten years. Some few of them, as Theobald and Perry, qualify this rejection by supposing that Shakespeare had added ' a few fine touches ' to the work of an inferior hand. " For myself, T cannot but think that Mr. Hallam's rejection of all external testimony on such a point, as being incompetent to oppose the internal indications of taste, talent, and style, is in itself unphilosophical, and in contradiction to the experience of literary history. There may be such an internal evidence showing that 11 Titus Andronicus a work could not have been written in a particular age or language. This may be too strong to be shaken by other proof. The evidence of differing taste, talent, or style, is quite another matter. On the ground taken by Mr. Hallam, Walter Scott's last novel, showing no want of learning and of labor, would be ejected from his works on account of its fatal inferiority to all his other prose and verse, had his biographers chosen, from any reasons of delicacy, to veil from us the melancholy cause of its inferiority, in the broken spirits and flag- ging intellect of its admirable author. " We might numerate several of Dryden's works which would hardly stand this test of authenticity ; but it will be enough to mention his deplorable and detestable tragedy of Amboyna, written in the meridian of his faculties, yet as bloody and revolting as Andronicus, and far more gross, and ^this without any redeeming touch of genius or feeling. " More especially is this rule to be sparingly applied to the juvenile efforts of men of genius. We know from a sneer of Ben Jonson's at the critics who ' will swear that Jeronymo or Andronicus are the best plays yet,' that these plays had been popular for twenty-five or thirty years in 1614, which throws the authorship of Andronicus back to the time when Shakespeare was scarcely more than one-and-twenty, if he was not still a minor. We have had in our own times the ' /fours of Idleness, by George Gordon, Lord Byron, a minor.' published in the noble poet's twentieth year. Lord Introduction 23 Byron's education and precocious acquaintance with the world had given him far greater advantages for early literary exploits than Shakespeare' could have possibly enjoyed ; yet it is no exaggeration of the merits of Andronicus to say that, with all its defects, it approximates more to its author's after excellence than the commonplace mediocrity of Byron's juvenile efforts to any of the works by which his subsequent fame was won. Swift's poor Pindaric Odes, written after he had attained manhood, might be denied to be his, for the same or similar reasons, as differing in every respect, of degree and kind, from the talent and taste he after- wards exhibited — as too extravagant and absurd to have been written by the author of the transparent prose, strong sense, and sarcastic wit of Gulliver ; and equally incompatible with the mind of the inventor of that agreeable variety of English verse, in its lightest, easi- est, simplest dress, ' which he was born to introduce, Refined it first, and showed its use.' " Critics have vied with one another in loading this play with epithets of contempt ; and indeed, as com- pared with the higher products of dramatic poetry, it has little to recommend it. But in itself, and for its times, it was very far from giving the indication of an unpoeti- cal or undramatic mind. One proof of this is, that it was long a popular favourite on the stage. It is full of defects, but these are precisely such as a youthful 24 Titus Andronicus aspirant, in an age of authorship, would be most likely to exhibit — such as the subjection to the taste of the clay, good or bad, and the absence of that dramatic truth and reality which some experience of human passion, and observation of life and manners, can alone give the power to produce. " This tragedy of coarse horror was in the fashion and taste of the times, and accordingly stands in the same relation to the other popular dramas of the age that the juvenile attempts of Swift and Byron do to the poetry of their day which had excited their ambition. But it differs from their early writings in this, that while they fall very much below their models, this tragedy is at least equal to the once admired tragedies of Beele and Kyd, and if inferior in degree of power, yet not of an inferior class to the scenes of Marlowe and Greene, the models of dramatic art and genius of their times. Theatrical audiences had not yet been taught to be thrilled ' with grateful terror ' without the presence of physical suffering ; and the author of Andronicus made them, m Macbetlrs phrase, 'sup full with horrors.' He gave them stage effect and interest such as they liked, stately declamation, with some passages of truer feeling, and others of pleasing imagery. It is not in human nature that a boy author should be able to de- velop and portray the emotions and passions of Lear or of Iago. It was much that he could raise them dimly before ' his mind's eye,' and give some imperfect outline and foreshadowing of them in Aaron and Andronicus. Introduction 25 He who could do all this in youth and inexperience, might, when he had found his own strength, do much more. The boy author of Titus Andronicus might well have written Lear twenty years after. " The little resemblance of diction and versification of this play to after works may also be ascribed to the same cause. We do not need the experience or the authority of Dryden to prove that the mastery of 'the numbers of his mother tongue ' is one of those gifts which ' nature never gives the young.' " The young poet, born in an age and country having a cultivated poetic literature, good or bad. must, until he has formed his own ear by practice, and thus too by practice made his language take the impress and colour of his own mind, echo and repeat the tune of his in- structors. This may be observed in Shakespeare "s earlier comedies : and to my ear many lines and pas- sages of Andronicus. — such as the speech of Tamora in act ii. scene 2, 'The birds chant melodies in every bush,' etc., etc., and in this same scene the lines in the mouth of the same personage, ' A barren detested vale, you see it is,' recall the rhythm and taste of much of the poetry of the Two Gentlemen of Verona. The matchless freedom of dramatic dialogue and emotion, and of lyrical movement — the grand organ swell of contemplative harmony, were all to be afterwards ac- quired by repeated trial and continued practice. The versification and melody of Titus Andronicus are nearer to those of Shakespeare's two or three earlier comedies 26 Titus Andronicus than those are to the solemn harmony of Prospero's majestic morality. " Nor can I find in this play any proof of the scholar- like familiarity with Greek and Roman literature that Steevens asserts it to contain, and therefore to be as much above Shakespeare's reach in learning as beneath him in genius. This lauded scholarship does not go beyond such slight schoolboy familiarity with the more popular Latin poets read in schools, and with its my- thology, and some hackneyed scraps of quotation such as the poet has often shown elsewhere. The neglect of all accuracy of history, and of its costumes, the con- fusion of ancient Rome with modern and Christian habits, are more analogous to Shakespeare's own irregu- lar acquirements than to the manner of a regularly trained scholar. Mr. Hallam has said of the undis- puted Roman tragedies, that ' it is manifest that in these Roman character and still more Roman manners are not exhibited with the precision of the scholar ' — a criticism from which few scholars will dissent as to the manners, though few will agree with it as to ' Roman character.' But if this be true in any extent of the his- torical dramas composed in the fulness of the poet's knowledge and talent, we shall find the same sort of defects in Titus Andronicus, and carried to a greater excess. The story is put together without any histori- cal basis, or any congruity with any period of Roman history. The tribune of the people is represented as an efficient popular magistrate, while there is an elec- Introduction 27 tive yet despotic emperor. The personages are Pagans, appealing to 'Apollo, Pallas, Juno, or Mercury,' while at the beginning of the play we find a wedding ac- cording to the Catholic ritual, with ' priest and holy water,' and tapers -burning bright,' and at the end an allusion to a Christian funeral, with ' burial and mourn- ful weeds and mournful bell ; ' to say nothing of Aaron's sneer at ' Popish ceremonies,' or of the ' ruined monastery ' in the plain near Rome. '■' For all these reasons, I am so far from rejecting this play as spurious, that I regard it as a valuable and curious evidence of the history of its author's intellec- tual progress." The most recent editors, like the earlier ones, are divided in their opinions concerning the authorship of the play. Herford (" Eversley " ed. 1899), after rais- ing certain objections to the "touching up" theory, adds : " The view that the whole is Shakespeare's work is not to be lightly adopted. Neither in the choice of subject nor in the structure of the plot is there much that recalls Shakespeare. . . . Yet the play is not un- like, in the tragic sphere, what the author of Love's La- bour's Lost attempted in the sphere of comic satire. The same alert mind which there assembled oddities and extravagancies from every phase of contemporary life may have gratified the same instinct for profusion and multiplicity of weaving from its school reminis- cences this horrible fantasia of classical legends. More- over, with all the extravagance of certain incidents, 28 Titus Andronicus Titus Andronicus bears marks of the sanity and self- control which distinguish even the most daring work of the young Shakespeare. . . . English criticism has too peremptorily decided against this claim on the ground of the palpable defects of the plot, and the difficulty of bringing the given tragedy into relation with the bright and joyous comedy which apparently occupied Shake- speare's early manhood. But we know far too little of that early manhood to be entitled to exclude from it whatever will not fall in with a particular scheme of development; and, in view of the strong external evi- dence, the more critical course appears to be a quali- fied acceptance." On the other hand, Mr. A. W. Verity (" Henry Irving " ed. 1890) says : " There can be little doubt that Titus Andronicus is no genuine, authentic play. Critics the most orthodox and rigidly conservative allow that only a small part of the drama which has come down to us under Shakespeare's name was written by him." After giving due weight to Meres's mention of the play and its insertion in the folio of 1623. he takes the ground that Ravenscroft's testimony, together with the internal evidence of style — " the prevailing tone of the play, the verse in which it is written, and its gen- eral aesthetic quality " — is against the theory that it is Shakespeare's. In his opinion, "the drama is a mere maze of bloodthirsty melodrama, pervaded by a fine full-flavoured charnel-house atmosphere. The author dabbles in blood ; it is blood, blood, everywhere, and we Introduction 29 are spared nothing that can revolt and disgust. Really, if we are to assign Titus Andronicus to Shakespeare, ■we had better assume at once that the play was a direct attempt to reproduce and revive the sensational horrors of the Jeronimo type of play-writing." He thinks that " most people will be content to believe that the play was written by some inferior dramatist, was just touched by Shakespeare, and then passed off by the theatrical manager, for obvious reasons, as a genuine work of the great poet." I may add an extract from Franz Horn's comments on the play (as quoted by Knight, who believes that " Shakespeare is, in every sense, the author of Titus ") : — " Let us consider the richest and most powerful poetic nature that the world has ever yet seen ; let us consider Shakspere, as boy and youth, in his circum- scribed external situation — without one discriminating friend, without a patron, without a teacher — without the possession of ancient or modern languages — in his loneliness at Stratford, following an uncongenial em- ployment ; and then, in the strange whirl of the so- called great world of London, contending for long years with unfavourable circumstances — in wearisome intercourse with this great world, which is, however, often found to be little ; — but also with nature, with himself, and with God: — What materials for the deepest contemplation ! This rich nature, thus cir- cumstanced, desires to explain the enigma of the 3er's Com- plaint; and Sonn. to the Sonnets. Other abbreviations that hardly need explanation are Cf (confer, 150 Notes compare), Fol. (following), Id. {idem, the same), and Pro/, (pro- logue). The numbers of the lines in the references (except for the present play) are those of the "Globe" edition (the cheapest and best edition of Shakespeare in one compact volume), which is now generally accepted as the standard for line-numbers in works of ref- erence (Schmidt's Lexicon, Abbott's Grammar, Dowden's Primer, the publications of the New Shakspere Society, etc.). The Ballad ok "Titus Andronicus's Complaint. — " The following is the ballad referred to on p. 16 above : — "You noble minds, and famous martiall wights, That in defence of native country fights, Give eare to me, that ten yeeres fought for Rome, Yet reapt disgrace at my returning home. In Rome I lived in fame fulle threescore yeeres, My name beloved was of all my peeres ; Full five and twenty Valiant sonnes I had, Whose forwarde vertues made their father glad. For when Rome's foes their warlike forces bent, Against them stille my sonnes and I were sent ; Against the Goths full ten yeeres weary warre We spent, receiving many a bloudy scarre. Just two and twenty of my sonnes were slaine Before we did return to Rome againe ; Of five and twenty sonnes I brought but three Alive, the stately towers of Rome to see. When wars were done, I conquest home did bring, And did present my prisoners to the king, The queene of Goths, her sons, and eke a Moore, Which did such murders, like was nere before. The emperour did make this queene his wife, Which bred in Rome debate and deadlie strife; The Moore, with her two sonnes, did growe soe proud, That none like them in Rome might bee allowd. Notes 1 5 1 The Moore so pleas'd this new-made empress' eie, That she consented to him secretlye For to abuse her husband's marriage-bed, And soe in time a blackamore she bred. Then she, whose thoughts to murder were inclinde, Consented with the Moore of bloody minde Against myselfe, my kin, and all my friendes, In cruell sort to bring them to their endes. Soe when in age I thought to live in peace, Both care and grief began then to increase: Amongst my sonnes I had one daughter bright Which joy'd and pleased best my aged sight. My deare Lavinia was betrothed then To Caesar's sonne, a young and noble man : Who in a hunting, by the emperour's wife And her two sonnes, bereaved was of life. lie, being slain, was cast in cruel wise Into a darksome den from light of skies : The cruel Moore did come that way as then With my three sonnes, who fell into the den. The Moore then fetcht the emperour with speed For to accuse them of the murderous deed ; And when my sonnes within the den were found, In wrongfull prison they were cast and bound. But nowe, behold ! what wounded most my mind, The empresse's two sonnes of savage kind My daughter ravished without remorse, And took away her honour, quite perforce. When they had tasted of soe sweet a flowre, Fearing this sweete should shortly turn to sowre, They cutt her tongue, whereby she could not tell How that dishonoure unto her befell. 152 Notes Then both her hands they basely cutt off' quite, Whereby their vvickednesse she could not write, Nor with her needle on her sampler sowe The bloudye workers of her dircfull woe. My brother Marcus found her in the wood, Staining the grassie ground with purple bloud, That trickled from her stumpes and bloudlesse armes: Noe tongue at all she had to tell her harmes. But when I sawe her in that woefull case, With teares of bloud I wet mine aged face: For my Lavinia I lamented more Then for my two and twenty sonnes before. When as I sawe she could not write nor speake, With grief mine aged heart began to breake ; We spred an heape of sand upon the ground, Whereby those bloudy tyrants out we found. For with a staffe, without the helpe of hand, She writt these wordes upon the plat of sand : — 'The lustfull sonnes of the proud emperesse Are doers of this hateful wickednesse.' I tore the milk-white hairs from off mine head, I curst the houre wherein 1 first was bred ; I wisht this hand, that fought for countrie's fame, In cradle rockt had first been stroken lame. The Moore, delighting still in villainy Did say, to sett my sonnes from prison free, I should unto the king my right hand give, And then my three imprisoned sonnes should live. The Moore I caus'd to strike it off with spcede, Whereat I grieved not to see it bleed. But for my sonnes would willingly impart, And for their ransome send my bleeding heart. Notes 153 But as my life did linger thus in paine, They sent to me my bootless hand againe, And therewithal the heades of my three sonnes, Which filled my dying heart with fresher moanes. Then past reliefe I upp and downe did goe, And with my tears writ in the dust my woe : I shot my arrowes towards heaven hie, And for revenge to hell did often crye. The empresse then, thinking that I was mad, Like furies she and both her sonnes were clad (She nam'd Revenge, and Rape and Murder they), To undermine and heare what I would say. I fed their foolish veines * a certaine space, Until my friendes did find a secret place, Where both her sonnes unto a post were bound, And just revenge in cruell sort was found. I cut their throates, my daughter held the pan Betwixt her stumpes, wherein the bloud it ran : And then I ground their bones to powder small, And made a paste for pyes straight therewithal!. Then with, their fieshe I made two mighty pyes, And at a banquet, served in stately wise, Before the empresse set this loathsome meat; So of her sonnes own flesh she well did eat. Myselfe bereav'd my daughter then of life, The empresse then I slewe with bloudy knife, And stabb'd the emperour immediatelie, And then myself: even soe did Titus die. Then this revenge against the Moore was found, Alive they sett him halfe into the ground, Whereas he stood untill such time he starv'd. And soe God send all murderers may be serv'd." 1 Veines — ■ humours. 154 Notes [Act I ACT I Scene I. — In the folio the play is divided into acts, the first of which is headed "Actus Primus. Sccena Prima" In the quartos there is no division into acts or scenes. 4. My successive title. My title to the succession. Cf. Sonn. 127. 3 and 2 Hen. VI. iii. 1. 49. Steevens quotes Raleigh : "The empire being elective, and not successive," etc. 5. I am his. The reading of the quartos ; the folio has " I was the." The 4th folio reads : " I was the first-born son of him that last Wore," etc., which Pope adopts, changing " was " to " am." For 7vore the quarto.-; have " ware." S. Age. "Seniority in point of age " (Boswell). 9. Rowans. " As a matter of orthoepy, it is perhaps worthy of notice that throughout this play, and generally in English books printed before the middle of the 17th century, this word is spelled Romanies or Romanes. Romaine could hardly have been pro- nounced roman" (White). 14. Consecrate. Cf. ii. I. 121 below. See also Sonn. 74. 6, C. of E. ii. 2. 134, etc. 15. Continence. S. does not use the word. He has continencv in T. of S. iv. 1. 1S5 and M. for M. iii. 2. 1S5. In the present passage, " conscience " has been suggested as an emendation. 18. Enter . . . aloft. That is, in the falcon}' at the back of the Elizabethan stage, raised some eight or nine feet above the flour, with curtains in front of it, which could be drawn when necessary. This balcony served as window, gallery, upper chamber, tower or battlements of a castle, or any other place — even heaven itself — supposed to be above the level of the stage proper. It will be remembered that there was no movable painted scenery in those days. 19. Empery. Empire, imperial power ; as in 201 below. Cf. Hen. V. i. 2. 226 : " Ruling in large and ample empery," etc. Scene I] Notes 155 23. Andronicus. Throughout the play the accent is on the an- tepenult, not on the penult, where it properly belongs. 27. Accited. Summoned ; as in 2 Hen. IV. v. 2. 141 : — • " Our coronation done, we will accite, As I before remember'd, all our state." 32. Chastised. Accented on the first syllable, as in Rich. III. iv. 4. 331 : " And when this arm of mine has chastised," etc. 42. Pretend. Claim ; as in 3 Hen. VI. iv. 7. 57 : " Why shall we light, if you pretend no title?" 47. Affy. Confide. In T. of S. iv. 4. 49 and 2 Hen. VI. iv. I. 80 (the only other instances in S.) it is = betroth. 51. My thoughts. Rowe has " our thoughts." 62. Open the gates, etc. Capell fills out the line by " brazen gates." 64. Romans, make way. Pope, Capell, and some others begin a new scene here. 65. Where. The quarto reading ; " whence " in the folios. 70. Thy mourning -weeds .' Warburton changes thy to " my." Johnson says : " Thy is as well as my. We may suppose the Romans in a grateful ceremony, meeting the dead sons of Androni- cus with mournful habits." Weeds — garments, as in ii. I. 18, iii. I. 43, and v. 3. 196 below. 71. Fraught. Freight. Cf. T.N. v. I. 64 : "the Phcenix and her fraught ; " Oth, iii. 3. 449 : "Swell, bosom, with thy fraught." We find fraughtage in the same sense in C. of E. iv. 1. 87 and T. and C. prol. 13. For the verb fraught, see Temp. i. 2. 13, Cymo. i. 1. 126, etc. S. does not use freight either as noun or as verb. Her is the reading of the 4th folio ; the other early eds. have "his." 73. Anchorage. Here = anchor. The word occurs nowhere else in S. 1 1 In these notes, as a matter of convenience, I often refer to this play as Shakespeare's, though I believe that but little of it is really his. i 5 6 Notes [Act i 74. Bound. Rowe omits the word. 77. Thou great defender, etc. "Jupiter, to whom the Capitol was sacred" (Johnson). So. The number that King Priam had. Cf. T. and C. i. 2. 175. 88. Styx? The infernal river is mentioned in T. and C. v. 4. 20 (cf. iii. 2. 10), and alluded to in Rich. III. i. 4. 45 : — " Who pass'd, melhought, the melancholy flood, With that grim ferryman which poets write of, Unto the kingdom of perpetual night." 92. Receptacle. Accented on the first syllable ; as in ii. 3. 235 below. See also R. and J. iv. 3. 39 and Per. iv. 6. 1S6 (the only other instances of the word in S.). 94. Of mine hast thou. The folio reading. The 1st quarto has " hast thou of mine." 95. Ad manes fratrum. To the departed spirits of the brothers. The quartos and 1st and 2d folios have " manus " for manes. 99. Earthy. The folios have " earthly. " IOI. Nor we disturbed, etc. It was supposed by the ancients that the ghosts of unburied people appeared to their friends and rela- tives, to solicit the rites of funeral. 106. Passion. Passionate grief; as in iii. 2. 48 below. Cf. Z. Z. L, v. 2. 118 : "passion's solemn tears." See also Ham. ii. 2. 541. For son the folios have " sonnes " or " sons." 117. Wilt thou draw near, .etc. C{. J/, of V. iv. 1. 184 fol. Wheatley fsee p. 14 above) believes that 11 7-1 19 is Shakespeare's. Reed emotes Edw. III., 1596 : — " kings approach the nearest unto God By giving life and safety unto men." 121. Patient. S. does not use the verb. Steevens quotes Arden of Eeversham, 1592 : "Patient yourself, we cannot help it now ; " Edw. I., 1599 : "Patient your highness, 't is but mother's love ; and Warner. Albion 's England, if>02 : "Her, weeping ripe, he laughing bids to patient her awhile." See also the old play of Scene ij Notes 157 Ferrex and Porrex : "Patient your grace, perhaps he liveth yet," etc, 122. Their. The folios have " the." 127. Fire. A dissyllable ; as often. 129. Clean. Quite, entirely. Cf. J. C. i. 3. 35 : " clean from the purpose," etc. 131. Scythia. Cf. Lear, i. 1. 11S : "The barbarous Scythian," etc. 132. Not. The folios have "me," and "lookes" or "looks" in 134- 138. His tent. The reading of all the early eds., changed to "her tent" by Theobald because, according to the old story, Hecuba decoyed Polymnestor into the tent where she and the other captive Trojan women were kept. Theobald supposed that the author of the play must have been indebted to the Hecuba of Euripides for the allusion ; but. as Steevens suggests, he may have taken it from " the old story-book of the Trojan 'War or the old translation of Ovid {Met. xiii.)." He adds that the writer "may have been misled by the passage in Ovid, ' vadit ad artificem] and therefore took it for granted that she found him in his tent." 141. The bloody wrongs, Rowe changes the to "her," and Capell conjectures "these." For guit = requite, cf. Rich. II, v. 1. 43, Ham. v. 2. 68, etc. 147. Lamms. Commonly printed " 'larums," but not in the early eds. here or elsewhere. 151. Repose you here. The early eds. add " in rest," which was probably an accidental insertion of the copyist or compositor. Pope was the first to strike it out. 154. Grudges. The folio reading. The 1st quarto has " drugges" (which may be right), and the 2d "grudgges." 159. Tributary tears. Repeated in iii. I. 270 below. Cf " tribu- tary drops'" in R. and J. iii. 2. 102. 164. Fortunes. The folios have "fortune." 165, Reserv'd. Changed by Hanmer to " preserv'd ; " but i 5 8 Notes [Act I reserve is sometimes = preserve. Cf. Sonn. 32. 7, Ham. iii. 4. 75, etc. 168. And fame's eternal date. Warburton changed And to " In," in order to " make sense of this absurd wish." Johnson says : " To outlive an eternal date is, though not philosophical, yet poeti- cal sense. lie wishes that her life may be longer than his, and her praise longer than fame." 170. Triumpher. For the accent on the penult, cf. T. of A. v. 1. 199, the only instance of the word in S. See also triumphing in L. L. I., iv. 3. 35, triumpKdxn 1 lien. IV. v. 3. 15, etc. 177. Solon's happiness. Alluding, as Malone notes, to his say- ing that no man can be pronounced happy before his death. Cf. Ovid : — " ultima semper Expectanda dies homini, dicique beatus Ante obitum nemo supremaque funera debet." 182. Palliament. Robe (from Latin pallium) ; the only in- stance of the word in S. It may have been coined by the author, as Nares suggests. 185. Candidatus. An affected allusion to the origin of the word candidate (Latin Candidas, white). S. does not use candidate. 189. What. Why ; as often. Cf. C. of E. iii. 2. 15,/. C. ii. I. 123, etc. 190. Chosen. The sensitive ear of Rowe could not tolerate this, so he changed it to " chose." Proclamations is here metrically five syllables. This lengthening of a word is rare except at the end of a line. See p. 145 above. 192. Abroad. The 3d and 4th folios have "abroach." 201. Obtain and ask. Obtain by mere asking. A case of "hysteron-proteron," as it stands (cf. "dies and lives" in .-/. Y. I.. iii. 5. 7) ; but the extra foot in the line suggests possible corrup- tion. The proposed emendations, however, are not worth noting. 214. Friends. The reading of 3d folio ; " friend " in the earlier eds. Scene I] Notes 159 217. People's tribunes. The folios have " noble tribunes." 219. Friendly. Often used adverbially. Cf. iv. 2. 40 below. 221. Gratulate. Make glad. Cf. Rich. III. iv. 1. 10: "To gratulate the gentle princes there," etc. Rowe gives the speech to Marcus. 223. Suit. The quartos and 3d folio have " sute," the 1st and 2d folios " sure." 224. Create. Elect ; not elsewhere used in this sense without the name of the office. Cf. 228 below. 226. Titan's. The sun's. Cf. ii. 4. 31 below, and R. and J. ii. 3. 4, Cytnb. iii. 4. 166, V. and A. 177, etc. 230. Sort. Class, rank. Cf. A. Y. L. i. 1. 174, J. C. i. I. 62, etc. 235. Election. A quadrisyllable. See on 190 above. 237. Gentleness. Kindness. 238. For an onset. For a beginning. Cf. T. G. of V. iii. 2. 94: " To give the onset to thy good advice." 240. Empress. A trisyllable ; as in 320, ii. 1. 20, ii. 3. 66, iv. 2. 143, etc., below, but not in the other plays. Cf. " emperesse " on p. 152 above. See also on 320 and 348 below. 24.2. Pantheon. The reading of 4th folio ; the quartos and 1st folio have " Pathan," the 2d and 3d folios " Panthseon." In 333 below, all the early eds. except 4th folio have " Panthean." Here the accent is properly on the first syllable, but in ^33 on the sec- ond. S. does not use the word. 243. Motion. Proposal ; as in M. IV. i. I. 55, 231, etc. 250. Imperious. The 2d quarto and folios have " imperiall." Cf. iv. 4. 81 and v. 1. 6 below. 252. Thy feet. The folios have " my feet." 258. Are you. The 1st folio misprints "are your," and "make your" in 269 below. 264. Cheer. Face ; the original sense of the word. 269. Can make, etc. Who can make, etc. 271. Sith. Since. Cf. 323 below. 160 Notes [Act i Steevens remarks here : " It was pity to part a couple who seem to have corresponded in disposition so exactly as Saturninus and Lavinia. Saturninus, who has just promised to espouse her, already wishes he were to choose anew; and she who was engaged to Bas- sianus (whom she afterwards marries) expresses no reluctance when her father gives her to Saturninus. Her subsequent raillery to Tamora [ii. 3. 66 fol.] is of so coarse a nature that if her tongue had been all she was condemned to lose, perhaps the author (who- ever he was) might have escaped censure on the score of poetic justice." She is not one of Shakespeare's women. 280. Cuique. The reading of 2d folio. The 1st quarto has " cuiqum," and the 2d quarto and 1st folio have " cuiquam." Cuique is here a trisyllable. " Cui and huic were in the schools of Shakespeare's time pronounced as dissyllables, . . . and were supposed to be admissible in Latin verse composed after the Augustan models" (Walker). 288. Safe. Pope reads " secure ; " but door may be a dissylla- ble, like f re in 127 above. 291. Here the Cambridge ed. has the following stage-direction: "During the fray, Saturninus, Tamora, Demetrius, CJiiron, and Aaron go out, and re-enter above." 301. By leisure. In no hurry. Elsewhere we have at leisure in this sense ; as in 7'. of S. iii. 2. 1 1 and K. John, v. 6. 27. 304. Make a state. Make a state, or laughing-stock, of. Cf. 3 Hen. VF. iii. 2. 260 : " Had he none else to make a stale but me ? " The quartos and 1st folio read " Was none in Rome to make a stale ; " the later folios, " Was there none els in Rome to make a stale of." Walker conjectures "What, was there none in Rome to make a stale," etc. 309. Tieee. Used in eontempt ; as (with a sort of quibble) in '/'. and C. iv. 1. 62. Steevens quotes Browne, Brit. Pastorals: "her husband, weaken'd piece," etc. Elsewhere it is = master- piece ; as in I.ear, iv. 6. 137, Temp. i. 2. 56, etc. 313. Ruffle. "To be noisy, disorderly, turbulent. A ruffler Scene I] Notes 1 6 1 was a boisterous swaggerer" (Malone). Cf. Mirrour for Magis- trates : — " To Britaine over seas from Rome went I, To quaile the Piets, that ruffled in that ile." See also Lear, iii. 7. 41. 316. Phoebe. The quartos and 1st folio have "Thebe." For Phcebe as applied to Diana, cf. L. L. L. iv. 2. 39 and M. A r . D. i. 1. 209. 320. Empress. See on 240 above. Here the 2d quarto prints " Emperesse," and the 3d and 4th folios " Emperess." 325. Stand. Changed by Pope to "stands." 233. Pantheon. See on 242 above. Walker conjectures " the Pantheon," which would be in keeping with the pronunciation in 242. 338. Bid. Invited. Cf. v. 2. 193 below. 340. Challenged. Accused ; as in Macb. iii. 4. 42 : — " Who may I rather challenge for unkindness, Than pity for mischance." 348. Brethren. A trisyllable. Cf. children in ii. 3. 1 15 below. 351. Re-edified. Restored or rebuilt. Cf. Rich. III. iii. 1. 71 : — " He did, my gracious lord, begin that place, Which, since, succeeding ages have re-edified." 360. Vouch it. The first three folios have " vouch'd it," and Rowe reads " vouch't." 3C8. He is not with himself. " Much the same sort of phrase as be is beside himself'' (Boswell). The folios omit with. 372. Speed. Thrive, gain their suit. Cf. ii. 1. 101 below. 379. Upon advice. On reflection, or deliberation. Cf. M. of V. iv. 2. 6 : — " My lord Bassanio upon more advice Hath sent you here this ring," etc. 380. Wise Laertes 1 son. Ulysses. Theobald and Steevens see here a plain allusion to the Ajax of Sophocles, of which no English TITUS ANDRONICUS — II 1 62 Notes [Act i translation is known so early as the time of S. " In that piece, Agamemnon consents at last to allow Ajax the rites of sepulture, and Ulysses is the pleader whose arguments prevail in favour of his remains." The folios omit inise. 381. Funerals. Obsequies. Cf. J. C. v. 3. 105: "His funerals shall not be in our camp." Elsewhere S. uses the singular ; as in Temp. ii. 2. 47, A'. John, v. 7. 98, etc. 391. Dumps. Cf. A. and J. iv. 5. 129: "And doleful dumps the mind oppress," etc. For Jump as applied to mournful music, see T. G. of V, ii. 2. 85 : "a deploring dump," etc. 396. Beholding. Beholden ; as regularly in S. 39S. Yes, etc. Dyce, White, and Hudson give this line (which is not in the quartos) to Marcus. Malone was the first to suggest this change, which is plausible but not absolutely necessary. It is natural enough that Titus should answer his own question, which is merely a rhetorical interrogation. 399. Play'd your prize. " A technical term in the ancient fencing-school" (Steevens). In M. of V. iii. 2. 142 ("contend- ing in a prize"), we find prize — contest, or competition. 416. Opinion. Public opinion, or reputation ; as often. Cf. I lien. IV. iii. 2. 42, iv. 1. 77, v. 4. 48, etc. 420. To be controlled. At being checked, or restrained. Cf. iii. I. 260 below. 430. Indifferently. Impartially. Cf. the adjective in Rich. II. ii. 3. 116 and Hen. VIII. ii. 4. 17. 433. Put it up. Put up with it. Cf. Oth. iv. 2. 1S1 : "nor am I yet persuaded to put up in peace what already I have foolishly suffered." 434. Forfend. Forbid. Cf. Oth. v. 2. 32, 1S6, Cynib. v. 5. 2S7, etc. 435. Author to dishonour. The cause of dishonouring. We find author applied even to things in this sense ; as in A. and C. ii. 6. 138: " that which is the strength of their amity shall prove the immediate author of their variance," etc. Scene I] Notes 163 436. Undertake. Answer, vouch. Cf. L. L. L. iv. 2. 163: "I will . . . undertake your ben venuto," etc. 440. Suppose. For the noun, cf. T. of S. v. 1. 120 and T. and C. i. 3. 11. 447. You. The 2d quarto and folios have " us." 449. Entreats. The noun occurs again in 483 below. It is not found in S. except in the quarto of Rich. III. iii. 7. 225, where the folio has "entreaties. 1 ' 453. Sued. A dissyllable. S. rarely lengthens such monosyl- lables. 462. Incorporate. For the form, cf. V. and A. 540, J. C. i. 3. 135, etc. 476. Tendering. Having regard to, or care for. Cf. Rich. II. i. 1. 32: "Tendering the precious safety of my prince," etc. 485. Stand up. Pope (followed by Dyce and others) omits these words, taking them to be a stage-direction, which is not improbable. In the early eds. they begin line 486. Capell was the first to make them a separate line. 488. Part. Depart; as often. Cf. M. of V. ii. 7. 77: "Thus losers part," etc. 491. love-day. Day of reconciliation. 494. Bonjour. Good-morning (Fr. ). Cf. R. and J. ii. 4. 46. 495. Gramercy. Great thanks (Fr. grand merci). Cf. iv. 2. 7 below. See also M. of V. ii. 2. 128, Rich. III. iii. 2. 108, etc. ACT II Scene I. — 1. Olympus. Used particularly to express height, literally or figuratively. Cf. J. C. iii. 1. 74, iv. 3. 92, Cor. v. 3. 30, and Ham. v. 1. 277. 3. Secure of. Safe from. On thunders crack, cf. Temp. i. 2. 203 : 3(35); iv - 4(55); v - 3(9)- Whole no. 209. Bassianus : i. 1(48); ii. 2(1), 3(14). Whole no. 63. Titus: i. 1(136); ii. 2(15), 3(9); iii. 1(190), 2(73); iv. 1(58), 3(76); v. 2(132), 3(29). Whole no. 718. Marcus: i. 1(74); ii. 2(3), 4(47) ; iii. 1(41), 2(10); iv. 1(47), 3(19); v. 2(1), 3(61). Whole no. 303. 1 " Johnson is right in saying that ' this scene ought to continue the first Act.' The fact that in it Chiron and Demetrius are already quarrel- ling for the love of Lavinia is no sufficient reason for supposing any break in the course of the action : time, throughout the play, is almost annihilated. There is a sequence of events, but no probable time is allowed for between them." 202 Appendix 1 Aicius : i. 1(30); iii. 1(46); v. 1(41), 3(79). Whole no. 196. Quint us : i. 1(4); iii. 3(24). Whole no. 28. Martins: i. 1(2); ii. 3(29). Whole no. 31. Mutius : i. 1(4). Whole no. 4. Young Lucius: iii. 2^2); iv. 1(25), 2(13); v. 3(4). Whole no. 44. Publius: iv. 3(9); v. 2(6). Whole no. 15. JEmilius: iv. 4(8); v. 1(6), 3(7). Whole no. 21. Demetrius : i. 1(10); ii. 1(33), 2(2), 3(13), 4(6); iv. 2(28); v. 2(2). Whole no. 94. Chiron: i. 1(1); ii. 1(20), 3(10), 4(4); iv. 2(13); v. 2(4). Whole no. 52. Aaron: ii. 1(89), 3(41); iii- 1(19); iv. 2(110); v. i(S6), 3(10). Whole no. 355. Captain: i. 1(6), Whole no. 6. Tribune: i. 1(3). Whole no. 3. Clown: iv. 3(1 7), 4(7). Whole no. 24. Messenger : iii. 1(7). Whole no. 7. 15/ Goth : v. 1(11), 3(1). Whole no. 12. 2d Goth: v. 1(21). Whole no. 21. 3 3(3o6), 4(57); iii. 1(301), 2(85); iv. 1(129), 2(lSo), 3(121), 4(H3); V- l( l6 5). 2(206), 3(204). Yv hole number of lines in the play, 2523. INDEX OF WORDS AND PHRASES EXPLAINED above (in theatre), ig5 abused (= deceived), 170 accited, 155 accompanied with, 170 Acheron, 188 achieve (= win), 165 Actason, 169 action (trisyllable), 195 ad manes fratrum, 156 advise thee, 16;,, 180 ;Eneas, 168, 100, 198 affect (= desire), 166 affected (= loved), 164 any, 155 use (= seniority), 154 Aleides, 185 aloft (in theatre), 154 anchorage ( = anchor ), 155 Andronicus (accent), 155 annoy (noun), 182 appointed (= equipped), 184 approve (= prove), 165 approved (= tested), 192 as (= that ), 171, 190 associate (= accompany), 200 Astraea, 1S7 at head, 194 at land, 187 at such a bay, 184 author to dishonour, 162 ay me! 176 baleful mistletoe, 170 bastard, 171 bauble, 193 bay (= barking), 168 be you remembered, 187 beholding (= beholden), 162, 197 belike, 184 bestow her funeral, 1S6 bewray, 174, 193 beyond the moon, 189 beyond their feeling, 184 bid (= invited), 161 blowse, 185 bondmen, 1S3 bonjour, 163 brabble, 165 bravely, 189 braves ( = bravado), 165 break the parle. 107 brethren (trisyllable), 161 broach ( =- s ; » i t ) , 185 business (trisyllable) 196 by good advice, 183 by kind, 167 by leisure, I:■;■ ■, : ^^r^; ,■ ■.'-'>:!•:-''.• ■ ■■■■■ .■-.■■■.-. •■.:•■.-.. .■..■■■■ ■■ ■■■■ ; --V- : .-- ::■:■■■■••■ •.^//■•^■■■.■■.■.■■■■■.■'; ■'■;■■ ; a ^\^--x^^