Chapter XIV
Reading edition
FAMOUS MISTAKES AND DELUSIONS ABOUT SHAKESPEARE
The mystery which enwraps so much of Shakespeare's life, combined with the interest which naturally centers around a great genius, is ideally calculated to stimulate human imagination to fantastic guess-work. It is probably for this reason that a number of famous delusions about Shakespeare have at different times arisen. Some of these are of sufficient importance to deserve attention. Three widely different types of mistakes can be observed.
The Shakespeare Apocrypha.—The most excusable of these delusions was the belief that Shakespeare wrote a large number of plays which are now known to be the work of other men. Some of these plays were printed, either during the poet's life or after his death, with "William Shakespeare" or "W. S." on the title-page. It is now practically certain that the full name was a printer's forgery, and that the letters W. S. were either designed to deceive or else the initials of some contemporary dramatist (such as Wentworth Smith, for example). Six of these spurious dramas were included in the Third Folio of Shakespeare's complete works. Since this came out forty years after the First Folio, when men who had known Shakespeare personally were dead, we certainly cannot believe that its editor had better information than those of the First Folio, who were the poet's personal friends, and who did not include these plays. The spurious dramas printed in the Third Folio were: The London Prodigal, The History of the Life and Death of Thomas Lord Cromwell, The History of Sir John Oldcastle, The Puritan Widow, Yorkshire Tragedy, and The Tragedy of Locrine.
Among the other plays imputed to Shakespeare at various times are: Fair Em, The Merry Devil of Edmonton, Arden of Feversham, The Two Noble Kinsmen, Edward Third, and Sir Thomas More. Some good critics, chiefly literary men, not scholars, still believe that Shakespeare wrote parts of the last three; but it is practically certain that he had nothing to do with the others, and his part in all these disputed plays is extremely doubtful.
Shakespearean Forgeries.—Men who assigned the above spurious plays to Shakespeare made an honest error of judgment, but other men have committed deliberate forgeries in regard to him. At the end of the eighteenth century, W. H. Ireland forged papers which he attempted to impose on the public as recently discovered Mss. of the 'Swan of Avon.' One of these finds, a play called Vortigern, was actually acted by a prominent company. But the unShakespearean character of these 'great discoveries' was soon perceived, and Ireland at length confessed.
Another famous fraud of a wholly different kind was that of J. P. Collier. The great services which this man has rendered to the world of scholarship make all men reluctant to pass too severe censure on his conduct; but it is only fair that the public should be warned against deception. He pretended to have found a folio copy of the plays corrected and revised on the margin in the handwriting of a contemporary of Shakespeare. Some of these revisions were actual improvements on the carelessly printed text; but it is now known that they were forgeries. Similar changes were made by him in other important documents, and were for some time accepted as genuine.
The Bacon Controversy.—During the latter part of the nineteenth century, the contention was started that Shakespeare was merely an obscure actor who never wrote a line, and that the Shakespearean plays were actually written by his great contemporary, Francis Bacon, who was pleased to let these products of his own genius appear under the name of another man. This delusion is usually considered as beginning with an article by Miss Delia Bacon in Putnam's Monthly (January, 1856), although the idea had been twice suggested during the eight years preceding.
The Baconian arguments fall into four groups. First, they argue that there is no proof to establish the identity of Shakespeare, the actor, with the author of the plays. This is untrue. We have more than one reference by his contemporaries, identifying the actor with the poet, some so strong that the Baconians themselves can explain them away only by assuming that the writer is speaking in irony or that he willfully deceives the public. By assumptions like that, any one could prove anything.
The second point of the Baconians is that a man of Shakespeare's limited education could not have written plays replete with so many kinds of learning. This argument is weak at both ends. It assumes as true that Shakespeare had a limited education and that his plays are full of knowledge learned from books rather than from life. The first of these points rests on vague tradition only, and the second is still a debatable question. But even if we admit these two points, what then? Shakespeare was twenty-nine years old and had probably lived in London for five or six years when the first book from his hand appeared in its present form. Any man capable of writing Hamlet could educate himself during several years in the heart of a great city.
Thirdly, a certain lady found in Bacon's writings a large number of expressions which seemed to her to resemble similar phrases in Shakespeare. Except to the mind of an ardent Baconian many of these show no likeness whatever. Most of those which do show any likeness were proverbial or stock expressions which can be found in other writers.
Lastly, various Baconians have repeatedly asserted that they had found in the First Folio acrostic signatures of Bacon's name; that one could spell Bacon or Francis Bacon by picking out letters in the text according to certain rules. But unfortunately either these acrostics do not work out, or else the rules are so loose that similar acrostics can be found anywhere, in modern books or pamphlets, and even on the gravestones of our ancestors. Many of the more intelligent Baconians themselves have no faith in this last form of evidence.
On the other hand, there are certain very weighty objections to Bacon as author of the plays. In the first place, it is a miracle that one man should produce either the works of Bacon or Shakespeare alone; it is a miracle past all belief that the same man in one lifetime should have written both. In the second place, the little verse which Bacon is known to have written shows clearly how limited he was as a poet, no matter how great in other directions. Moreover, his prose, though splendid in its kind, is wholly unlike the prose of Shakespeare. Finally, Bacon's contemptuous attitude toward woman and marriage was diametrically opposed to that found in Shakespeare. To imagine that the same man wrote both sets of writings is to assume that he was one man one day and another the next.
The advocates of this strange theory vary greatly in fairmindedness and ability, and it is not just to judge them all by the mad extremes of some; but, nevertheless, their writings, taken as a whole, form one of the strangest medleys of garbled facts and fallacious reasoning which has ever imposed on an honest and intelligent but uninformed public.
On the Shakespeare Apocrypha, see C. F. Tucker Brooke's edition of fourteen spurious plays, under this title, Oxford, University Press, 1908. On the forgeries and other questions, Appendix I of Mr. Lee's Life is the readiest place of reference.
INDEX
Aaron, 141.
Abraham and Isaac, 25.
Adoration of the Wise Men, 25.
Æschylus, 20
Æsop, 182.
Albright, V. E., 44, 50.
All is True, 207, 209.
Alleyn, E., 48, 49.
Allott, R., 124.
All's Well that Ends Well, 110, 121, 174-176.
Amphitruo, 110, 148.
Amyot, J., 108.
Anders, H. R. D., 112.
Angelo, 176.
Antonio, 160.
Antonius, Life of M., 192, 195.
Antony, 178.
Antony and Cleopatra, 47, 75, 83, 102, 109, 121, 190-192, 193.
Apemantus, 194.
Apocrypha, Shakespeare, 120, 210.
Apollonius and Silla, 171.
Arcadia, 111, 187.
Arden of Feversham, 211.
Aren en Titus, 142.
Ariel, 206.
Ariosto, 167.
Aristophanes, 20.
Aristotle, 30.
Arthur, Prince, 137.
Ashbies, 4, 16.
Aspley, W. A., 121, 124.
As You Like It, 102, 110, 121, 167-169, 172.
Ayrer, J., 207.
Bacon controversy, 212-214.
Baker, G. P., 104.
Bale, J., 138.
Bandello, 109, 110, 144, 167, 171.
Bankside, 37.
Barksted, 76, 177.
Barnard, Lady, 19.
Bear-rings as stages, 37.
Beatrice, 166.
Beaumont, F., 57, 196.
Belleforest, 171, 182.
Bellott, Stephen, 13, 14.
Benedick, 166.
Benedicke and Betteris, 167.
Bermuda, 207.
Bertram, 174, 175.
Besant, Sir W., 59.
Blackfriars Theater, 14, 45-46, 49, 57, 58.
Blount, E., 121-123, 199.
Boccaccio, G., 110, 176, 202.
Boisteau, 144.
Bolingbroke, 138.
Book of Martyrs, 207.
Booke of Plaies, 189.
Boswell, J., 129.
Boy-actors, 49.
Bradley, A. C., 195.
Brodmeier, 50.
Brome play, 25.
Brooke, A., 145.
Brooke, C. F. T., 214.
Brutus, 178, 179.
Buckingham, 207.
Building of the Arke, 25.
Bullen (Boleyn), Anne, 207.
Burbage, James, 37.
Burbage, R., 12, 14, 17, 19, 37, 38, 45, 48, 49.
Busby, J., 118.
Butler, N., 120.
Caesar, Life of J., 193; see also Julius.
Caliban, 206.
Camden, R., 11.
Capell, E., 129.
Cassius, 178.
Caxton, W., 174.
Chamberlain's Company, see Lord.
Chambers, E. K., 34.
Character-study, 90.
Charlecote, 7.
Chaucer, G., 67, 109, 151, 152, 174, 201.
Chester Plays, 24, 25.
Chettle, H., 9, 12, 174.
Chetwind, P., 125.
Children of Paul's, 46.
Children of the Chapel, 46.
Children's companies, 48.
Chronicle of Holinshed, 107-108, 187. See also Holinshed.
Church, Origin of drama in, 20-23
Cinthio, G., 109, 177, 184.
Citizens of London, 55.
City of London, 53.
Clark, A., 4 n.
Clark and Wright, 129, 189.
Classical drama, 29-31.
Claudio, 165, 177.
Cloten, 200.
Cock-pit, 46.
Colin Clout, etc., 10.
Collier, J. P., 112, 211.
Comedy of Errors, 10, 77, 83, 110, 121, 147-148.
Condell, Henry, 12, 19, 122.
Confessio Amantis, 109, 200.
Constance, 137.
Contention, First, 111, 134, 135.
Contention, Second, 111, 134, 135. See Richard, True Tragedy of.
Contention, Whole, 111, 120, 134.
Cordelia, 185.
Coriolanus, 109, 121, 192-193.
Coryat, T., 39.
Cotes, R., 124.
Cotes, T., 124.
Cranmer, 208.
Creizenach, 34, 50.
Cromwell, Thos., Lord, 125, 211.
Curtain Theater, 37.
Cycles of miracle plays, 24.
Cymbeline, 41, 71, 83, 103, 108, 112, 121, 200-202.
Danter, J., 118.
Dates of plays, 83.
Davies, Archdeacon, 7.
De Clerico et Puella, 28.
Decameron, 110, 176, 202.
Deer-stealing, tradition of, 7.
Dekker, T., 174.
Delius, N., 129.
Deluge, The, 25.
Desdemona, 184.
Diana Enamorada, 110, 149, 151.
Dogberry, 54, 166.
Dorastus and Fawnia, 204.
Dowden, E., 84.
Drama before Shakespeare, 20.
Dramatic technique, 94-100.
Drayton, M., 11.
Droeshout, M., 18.
Dromio, 147.
Dux Moraud, 28.
Easter drama, 22.
Eden, 207.
Editing, Problems of, 126-127.
Edmund, 186.
Edward II, 32, 140.
Edward III, 211.
Edward IV, 134.
Ely Palace portrait, 18.
End-stopped lines, 79-80.
Endymion, 33.
Essex, Earl of, 78, 159.
Euphues, 33, 140.
Euripides, 20.
Everyman, 26, 34.
Every Man in his Humour, 12.
Every Man out of his Humour, 158, 179.
External evidence, 75-77.
Faerie Queene, 152, 187.
Fair Em, 211.
Falstaff, Sir John, 7, 156-159, 164.
Faulconbridge, 137.
Faustus, 32.
Felix and Philiomena, 149.
Female parts, 48.
Feminine endings, 80.
Field, Henry, 16.
Field, Richard, 113.
Fiorentino, G., 110, 161.
First Folio, 11, 30, 75, 114, 119, 120-124, 136, 137, etc.
Fisher, T., 120.
Fleay, F. L., 50, 84.
Fletcher, J., 2, 196, 197, 209.
Florio, G., 207.
Flower portrait, 18.
Fluellen, 158.
Folios, Second, Third, and Fourth, 124-125.
Forgeries, Shakespeare, 211.
Forman, Dr. S., 189, 202, 204.
Fortune Theater, 38-40.
Four periods, 101-104.
Foxe, R., 209.
Fuller, H. De W., 142.
Fuller, T., 56.
Furness, H. H., 127, 130.
Gamelyn, Tale of, 169.
Gammer Gurton's Needle, 29.
Garnett, H., 189.
Gascoigne, G., 163.
Geoffrey of Monmouth, 187.
German and Dutch plays like Shakespeare's, 112.
Gesta Romanorum, 200.
Glendower, 155.
Globe Theater, 1, 38, 39, 57, 58.
Gloucester, 186.
Gorboduc, 29.
Gosson, S., 161.
Gower, J., 109, 200.
Greek drama, 30.
Greene, R., 8, 9, 110, 115, 134, 135, 204.
Greene, T., 17, 31.
Grey, W., 50, 120.
Groatsworth of Witte, etc., 9.
Gunpowder Plot, 190.
Hal, Prince, 155.
Hall, Dr. J., 17.
Halliwell-Phillipps, J. O., 19, 129.
Hamlet, 12, 32, 33, 34, 41, 83, 93-94, 100, 102, 111, 112, 116, 117, 119, 121, 128, 142, 177, 180-182.
Hanmer, T., 128.
Harsnett, 186.
Hart, Joan, 19.
Hathaway, Anne, 5, 6.
Hawkins, A., 124.
Hazlitt, W. C., 112.
Heccatommithi, Gli, 109, 179, 184.
Hector, 173.
Hegge plays, 24.
Helena, 174.
Heminge or Hemings, J., 12, 19, 122.
Henley Street House, 19.
I Henry IV, 6, 10, 33, 41, 83, 99, 101, 111, 117, 119, 121, 154-157, 164, 165, 208.
II Henry IV, 121, 126, 157-158.
Henry V, 78, 83, 101, 111, 117, 119, 120, 158-159, 165.
Henry V, Famous Victories of, 111.
I Henry VI, 111, 133-134.
II Henry VI, 111, 117, 134-135.
III Henry VI, 8, 83, 98, 121, 134-135.
Henry VIII, 34, 84, 103, 112, 121, 197, 207-209.
Henslowe, P., 37, 45, 48.
Henslowe's Diary, 50, 182.
Heptameron of Civil Discourses, 177.
Hermia, 150.
Hermione, 203.
Hero, 166.
Herod, 24.
Heywood, J., 28.
Histoires Tragiques, 182.
Historia Danica, 181.
Histories, 97-98.
Holinshed, 107-108, 134, 136, 140, 156, 159, 180, 190, 202, 209.
Holland (author), 184.
Horace, 11.
Hotspur, 155.
Hubert, 137.
Humphrey of Gloucester, 134.
Hunsdon, Lord, 48, 144.
Iachimo, 202.
Iago, 183.
Iambic pentameter, 61.
Imogen, 200-202.
Ingannati, Gl', 171.
Ingram, 81 n.
Inn-yards as theaters, 35.
Interludes, 27-29, 48.
Internal evidence, 77-82.
Ireland, W. H., 211.
Isabella, 176.
Italian novelle, 109-110.
Italy, Influence of, on masque, 34.
Jaggard, I., 121, 124.
Jaggard, W., 70, 113, 120-121, 124.
James I, 48, 209.
Jaques, 169.
Jessica, 160.
Jew of Malta, 132.
Joan of Arc, 133.
John of Gaunt, 138, 140.
John, Troublesome Reigne of, 111, 137-138.
Johnson, A., 120.
Johnson, S., 129.
Jonson, Ben, 11, 12, 31, 34, 50, 56, 158, 174, 179, 204.
Jourdan, S., 207.
Julia, 149.
Julius Caesar, 44, 83, 100, 102, 109, 121, 122, 126, 172, 177-180, 184, 190, 193.
Katherine, 162, 208.
Kemp, W., 12.
Kind-Harts Dreame, 9.
King Johan, 27, 138.
King John, 11, 77, 83, 111, 135, 136-138.
King Lear, 77, 83, 100, 102, 108, 117, 126, 185-187, 195.
King Leir, etc., 111, 187.
Knight's Tale, 151.
Kyd, T., 31, 32, 142, 182.
Lady Macbeth, 188.
Lambert, D., 84.
Lee, S., 19, 72, 214.
Legend of Good Women, 152.
Leontes, 199, 204.
Leopold Shakespeare, 129.
Locrine, Tragedy of, 125, 211.
Lodge, T., 31, 111, 135, 169.
London, 51-59.
London Prodigal, A., 125, 211.
Lord Admiral's Men, 45, 48.
Lord Chamberlain's Company, 12, 48.
Lounsbury, T. R., 130.
Love's Labour's Lost, 10, 33, 77, 83, 91, 95, 99, 101, 106, 117, 121, 132, 145-146.
Love's Labour's Wonne, 10, 77, 175.
Lover's Complaint, A, 70.
Lucian, 195.
Lucrece, Rape of, 10, 62-63, 67, 113.
Lucy, Sir T., 7.
Ludus Coventriae, see Hegge.
Luigi da Porto, 144.
Lydgate, J., 33.
Lyly, J., 32, 132, 135, 145-146.
Lysander, 150.
Macbeth, 41, 44, 83, 92, 100, 102, 103, 108, 121, 187-190, 191, 202.
Malone, E., 129, 184, 207.
Malvolio, 170.
Manly, J. M., 34.
Manningham, J., diary, 76, 171.
Marina, 197, 198.
Marlowe, C., 2, 31-32, 132, 135, 136, 140, 153, 163.
Masculine endings, 80.
Masque, 33.
Masque of Oberon, 204.
Mass, Drama at, 21.
Measure for Measure, 76, 83, 109, 112, 121, 176-177.
Meighen, 124.
Menaechmi, 110.
Menander, 20.
Mennes, Sir J., 3.
Merchant of Venice, 10, 42, 44, 77, 83, 96, 97, 101, 110, 112, 117, 120, 132, 133, 159-161.
Mercutio, 144.
Meres, F., 10, 67 n., 76-77, 137, 142, 149, 151, 156, 161, 167, 169, 171, 175, 179.
Merry Devil of Edmonton, 211.
Merry Wives of Windsor, 110, 117, 118, 120, 124, 163-165.
Meter, 86-87.
Middle Temple, 171.
Middleton, T., 189.
Midsummer Night's Dream, 10, 77, 83, 117, 120, 132, 133, 149-151.
Milton, J., 64, 65.
Miracle plays, 23.
Miranda, 206.
Mirrour for Magistrates, 187.
Mirrour of Martyrs, 179.
Montaigne, Essays of, 207.
Montemayor, J. de, 149.
Moralities, 26-27.
More, Sir T., 136. See under Sir.
Mountjoy, C., 13-14.
Mountjoy, Mary, 13.
Much Ado About Nothing, 71, 83, 101, 110, 121, 165-167, 169.
Myrrha, 177.
Nash, T., 8, 31, 135, 182.
Nashe, T., 19.
Neilson, W. A., 129, 135, 205.
New Place, 16, 17.
News out of Purgatorie, 165.
Nice Wanton, 27.
North, Sir T., 108, 158, 179, 192, 193.
Oberon, 149.
Octavia, 190.
Oldcastle, Sir John, 120, 125, 211.
Olivia, 170.
Orator, The, 161.
Order of the plays, 83.
Ordish, T. F., 59.
Orlando, 168.
Orlando Furioso, 167.
Othello, 100, 101, 109, 117, 124, 182-185, 191.
Ovid, 61, 152.
Pageants, 25.
Painter, W., 110, 148, 176, 195.
Palace of Pleasure, 110, 195. See Painter.
Palladis Tamia, 10, 77.
Pandarus, 172.
Pandosto, 110, 204.
Passionate Pilgrim, 70, 71, 113.
Patterne of Painful Adventures, 200.
Pavier, T., 120-121, 124.
Pavy, S., 50.
Pecorone, Il, 110.
Peele, G., 8, 31, 135.
Pembroke, Earl of, 67.
Perdita, 199, 203.
Pericles, 103, 109, 117, 119, 120, 128, 129, 197-200.
Petrarch, 64.
Petruchio, 162.
Phoenix and the Turtle, The, 70.
Pistol, 158, 159.
Plautus, 10, 11, 29, 110, 148.
Pliny, 184.
Plots, 106.
Plutarch's Lives, 108-109, 179, 192, 193, 195.
Poetaster, 174.
Pollard, A. W., 120.
Polonius, 181.
Pope, A., 127, 128.
Popish Impostures, Declaration of, 186.
Portia, 160, 179.
Posthumus, 200.
Printing, Conditions of, 114-116.
Private theaters, 45.
Promos and Cassandra, 112, 177.
Prospero, 199, 206.
Proteus, 149.
Puck (Robin Goodfellow), 149.
Puritaine, The, 125, 211.
Puritan Widow, v.s.
Puritans, 15.
Pyramus and Thisbe, 150, 152.
Quartos, 114.
Quiney, T., 17.
Ralph Roister Doister, 29.
Rare Triumphs, etc., 202.
Reformation, 52.
Renaissance, 21, 29.
Reynolds, G. F., 50.
Richard, Duke of York, True Tragedy of, 134. Same as II Contention, q.v.
Richard II, 10, 77, 83, 117, 119, 121, 137, 138-140, 154.
Richard III, 10, 32, 77, 83, 91, 92, 98-99, 101, 111, 117, 119, 121, 133, 135-136, 137.
Richardus Tertius, 136.
Richard III, True Tragedy of, 111, 136.
Riche, B., 171.
Rime, 81-82, 87-88.
Roberts, J., 120.
Robertson, W., 142.
Robin Hood, 28, 167.
Rome, 21.
Romeo and Giulietta, 144.
Romeo and Juliet, 11, 41, 42, 71, 77, 83, 90, 101, 112, 116, 117-119, 121, 122, 131, 132, 143-145, 150, 185.
Romeus and Juliet, 145.
Roofs on theaters, 46.
Rosalind, 166.
Rosalynde, 110, 169, 171.
Rose Theater, 37, 135.
Rowe, N., 7, 127.
Rowley, W., 200.
Run on lines, 79 ff.
Rutland, Earl of, 17.
St. Paul's, 13, 56.
Salisbury Court, 46.
Saxo Grammaticus, 182.
Schelling, F. E., 34, 50, 135.
School of Abuse, 161.
Second Shepherd's Play, 25.
Sejanus, 12.
Seneca, 10, 20, 29, 30.
Sequence, see Sonnet.
Sequence of plays, 83.
Shakespeare Allusion Book, 11 n.
Shakespeare, Hamnet, 5, 6, 17.
Shakespeare, John, 3, 4, 6, 16, 17.
Shakespeare, Judith, 5, 17, 18, 19.
Shakespeare, Richard, 4.
Shakespeare, Susanna, 5, 17, 19.
Shakespeare, William, our knowledge of his life, 1; birth, 2; education, 4; marriage, 5; deer-stealing, 7; life in London, 8-16; return to Stratford, 16; death, 17; portraits, tomb, will, 18; descendants, 19; allusions to, 8-17; as an actor, 12; residence with Mountjoy, 13; income, 15; grant of arms to, 16; compared with Jonson, 56; and passim.
Shakespearean Tragedy, 195.
Shallow, 7, 158.
Shottery, 6.
Shylock, 92-93, 159, 160.
Sidea, Die Schöne, 207.
Sidney, Sir P., 111, 115, 187.
Silvayn, A., 161.
Silver Street, 13.
Silvia, 149.
Sims, V., 119.
Sir Andrew, 170.
Sly, 162.
Smethwick, I., 121-124.
Somers, Sir G., 78.
Sonnets, 63-70, 113.
Sophocles, 20.
Southampton, Earl of, 10, 67-68.
Spanish Tragedy, 32, 182.
Spenser, E., 10, 187.
Stage, The, 40-45.
Stage costumes and settings, 42-44.
Stage, Effect of, on drama, 46.
Stationers' Register, 75, 114-115, 118, etc.
Steevens, G., 129.
Stephenson, H. T., 59.
Strachey, W., 207.
Strange, Lord, 48, 135.
Straparola, 110.
Stratford, 2.
Supposes, 163.
Surrey, Earl of, 65.
Swan Theater, 37.
Talbot, 133.
Tamburlaine, 32, 136.
Taming of a Shrew, 112, 121, 163.
Taming of the Shrew, 83, 111, 161-163.
Tamora, 141.
Tarlton, 165.
Taste, growth of, 89-90.
Taverns, 56-57.
Tempest, The, 34, 41, 71, 78, 81, 84, 87, 103, 121, 136, 205-207.
Terence, 29.
Thaïsa, 198.
Thames, 54.
Theater, The, 37.
Theaters, 35 ff., 57-59.
Theobald, L., 128.
Thomas More, Sir, 211.
Thorpe, T., 113.
Three Ladies of London, 205.
Timon (by Lucian), 195.
Timon of Athens, 109, 112, 121, 122, 193-195.
Titania, 149.
Tito Andronico, 142.
Tittus and Vespacia, 142.
Titus Andronicus, 11, 32, 77, 83, 117, 119, 123, 132, 141-143.
Touchstone, 166.
Towneley plays, 24, 25.
Travaile, History of, 207.
Tredici Piacevole Notte, 110.
Troilus and Cressida, 117, 122, 172-174, 195.
Troilus and Criseyde, 109, 174.
Troye, Recuyell of, 174.
Twelfth Night, 6, 76, 83, 101, 110, 112, 121, 169-171, 172, 174.
Twine, L., 200.
Two Gentlemen of Verona, 10, 71, 77, 83, 96, 101, 110, 112, 121, 148-149.
Two Noble Kinsmen, 211.
Tyrwhitt, 129.
Udall, N., 29.
Unities, Three dramatic, 30 n.
Valentine, 149.
Venus and Adonis, 10, 16, 61, 63, 67, 113.
Viola, 170.
Vortigern, 211.
Wagner (Death of Siegfried), 23.
Wakefield, see Towneley.
Wallace, Prof. C. W., 13, 14, 19.
Warburton, 128.
Weak endings, 81.
Weever, J., 11, 179.
Westminster, 54.
Whetstone, G., 112, 177.
White, R. G., 129.
Wilkins, G., 200.
Wilson, R., 205.
Winter's Tale, The, 34, 80, 83, 103, 110, 112, 121, 202-205.
Wolsey, 208.
Worcester, 155.
Wotton, Sir H., 209.
Wyatt, Sir T., 65.
Yonge, B., 149.
York and Lancaster, 134.
York plays, 24.
Yorkshire Tragedy, A, 120, 125, 211.