character as the product of will, and the gradation of qualities in a scale of spiritual values. His work as an artist deepened and widened as he grew in the wisdom of life. Such wisdom, and its expression in work of sustained power, come to those only whose natures are harmonious with the fundamental laws of life, and who keep themselves in wholesome relations with their kind.
Too great in himself to become a cynic, and of a vision too broad and penetrating to rest in any kind of pessimism, Shakespeare grew in charity as he increased in knowledge. He loved much because he knew men so well. A deep and tender pity was distilled out of his vast experience, and his last work was the ripe fruit of the beautiful humanization of his genius accomplished in him by the discipline and the revelation of life in his personal history. "The Tempest' and "The Winter's Tale," coming at the end of a long and arduous career, are the convincing witnesses of the harmony of life and art in which resides the secret of Shakespeare's noble fertility and sustained power. The path which led from "Titus Andronicus" to "The Tempest" must have been one of gradual but unbroken ascent. To keep in one's soul the freshness of perception and imagination which touches "The Tempest" with the light that never fades, one must be great in heart and in life as well as in creative power. When Prometheus brought the arts of life to men, he did not leave them skill without inspiration; he brought them hope also. Shakespeare's genius, shining on the darkest ways, seems to touch the sky beyond the horizon with light.
Admiral's Men, 89, 90.
All's Well that Ends Well,"
source of its plot, 250-252;
alluded to, 253.
to, 48, 72, 138, 143, 309; sources
of, 159; metre, 160; the great
popularity of, 161.
Analysis of special characters in
Shakespeare's plays: Talbot,
119; Biron, 131; Falstaff, 187-
189, 210; Shylock, 200-202;
Jaques, 214; Hamlet, 245-249;
Helena, 251, 252; Othello, 322;
Macbeth, 262-265; Lear, 267,
268; Timon, 269; Coriolanus,
274.
Angelo, Michael, alluded to, 153.
Antony and Cleopatra," alluded
to, 234; the source of, 234, 270-
273.
Arden, Mary. See Shakespeare,
Mary.
Arden, Robert, of Wilmcote,
grandfather of the poet, 28,
204.
"Arden of Feversham," credited
to Shakespeare by some critics,
Armada, the, alluded to, 20, 107.
Armado in "Love's Labour's
Lost," 130.
"Arte of English Poesie," by
Puttenham, 78, 106.
"As You Like It," Warwickshire
in, 49, 212; Shakespeare as
Adam in, 90; its plot, etc., 212-
214; alluded to, 133.
A Lover's Complaint" alluded
to among the poetical writings
of Shakespeare, 106, 138; pub-
lished with the Sonnets, but
little else is known of it, 177.
"A Midsummer Night's Dream," | Aubrey, authority for the report
Warwickshire in, 49; alluded that Shakespeare assisted his
father after leaving school, 41;
quoted, 72.
Autographs of the poet, 319.
Ayrer, Jacob, 308; his "Die
Schöne Sidea" very similar in
plot to "The Tempest," 308.
in, 77; Shakespeare's house in,
318, 319, 322.
Blackfriars Theatre, built by the
elder Burbage, 90; secured for
the use of the Children of the
Chapel, 248; Shakespeare's
income from, 316.
Bacon, Francis, Lord Verulam, Boccaccio, the source of "All's
Well that Ends Well," 250; and
of "Cymbeline," 299.
Bond, the marriage, of Shake-
speare and Anne Hathaway,
66, 67.
Boy actors, 83; the strife between
adults and, 248, 249, 316;
the reference to, in "Hamlet,"
248.
Brandes, Mr. Georg, on Shake-
speare's visiting Italy, 92-94.
Brooke, Arthur, author of a poet-
ical version of the story of
"Romeo and Juliet," 157.
Burbage, James, actor and a
liveryman in the neighbour-
hood of Smithfield, 71, 79; a
Stratford man by birth, 78;
owner of The Theatre, 79;
builder of Blackfriars Theatre,
90, 248.
Burbage, Richard, son of James,
71,79; a member of the King's
Players, 83; of Shakespeare's
company, 89; builder of the
Globe Theatre, 89, 323; al-
luded to, 222.
Bushnell, Dr., quoted, 199.
Camden, William, 223.
Cavendish, George, 310.
Cecil, Sir Robert, Raleigh's letter
to, 127.
Chamberlain, the Lord, his com-
pany of players, 90, 215.
Birthplace, the, of Shakespeare,
detailed description of, 29-31;
inherited by Shakespeare, 293,
317; by his daughter, 318; by
his sister's grandson, 29, 319.
Blackfriars, Vautrollier a publisher | Chapman, George, his Homer,
181, 234, 255; alluded to, 170, | Classical stage, the, in its effect
178.
Charlecote, description of, 52-55;
alluded to, 42, 51, 57, 64, 65.
Charlecote Church, the Lucy
monument in, 65.
Charlecote Park, 63.
Charles I., alluded to, 76.
Chaucer, alluded to, 89, 150; the
seven-line stanza brought from
France by, 150; his "Canter-
bury Tales," 213, 255.
Chester, Robert, his "Love's
Martyr," containing Shake-
speare's "The Phoenix and the
Turtle," 178.
Chettle, Henry, publishes Greene's
attack on Shakespeare, and
later an apology, 124; com-
plains of the poet's silence after
the death of Queen Elizabeth,
230.
Children of the Chapel, 248.
Chronicle plays, 19; practically
cover a period of four centuries
of English history, 20; thor-
oughly representative in char-
acter, 116; alluded to, 182, 186,
237.
Chronology, the, of Shakespeare's
plays, 112, 115.
Church, the, its attitude toward
the players of the Middle Ages,
5-6; its own appeal to the
dramatic instinct, 6; its Mass
such an appeal, 7; its tableaux
of New Testament scenes, 8;
neglected for the theatre,
Cinthio, the plot of "Measure for
Measure" in a novel by, 253,
259.
City, the, opposes theatres, 99-
on English art, 18, 134.
Clopton, 57.
Clopton Bridge, 26, 32.
Clopton, Sir Hugh, 27, 57, 205.
Clopton, Sir John, 58.
Coleridge, quoted on Shake-
speare's morality, 136; on
"Venus and Adonis," 151-153;
on "Macbeth," 263.
Combe, John, 320.
Comedy, the earliest English, 16;
its earlier development as com-
pared to tragedy accounted for,
17; and history, alternation of,
in the poet's productions, 186,
197; Shakespearean, defined,
198.
Comedies of Shakespeare, the,
197, 198; "The Merry Wives
of Windsor," 208-211; "Much
Ado About Nothing," 210-212;
"As You Like It," 212-214;
"Twelfth Night," 214-215; al-
luded to, 253, 278.
Condell, Henry, one of the editors
of the First Folio, 83, 326;
Shakespeare's bequest to, 323;
alluded to, 90.
"Coriolanus,"
Court, the poet's relations to, 155,
229, 257.
Crown Inn, the, at Oxford, 71,
Curtain Theatre, one of the two in
existence in 1586, 77; the only
rival of The Theatre, 83, 89.
"Cymbeline" included among
Tragedies in the First Folio,
295; source of, 295, 299, 301;
alluded to, 294, 314.
20, 120; its condition about
1585, 21, 81-91; tragedy, 23.
Drama, Elizabethan, the, 81-91;
full of the spirit of the age, 87;
growth of, 88, 96; surprisingly
wholesome in view of the influ-
ence of the Italian Renaissance,
102-103; as a literary form, 104;
as an opportunity of expression,
105; uncertainty of the text of,
108; the ethical significance of
Shakespearean, 276-291. See
Histories, Comedies, and Trag-
edies of Shakespeare.
Drayton, Michael, alluded to, 155,
"Downfall of Robert, Earl of Droeshout, Martin, portrait of
Huntington," 20.
Drake, Sir Francis, 107.
Drama, the early, first steps in its
growth, 1; the myth, 2; the
ballad-dance, 3; begins in wor-
ship, 4; inevitable in every age,
4; grew vulgar as the Roman
populace sank, 4; condemned
by the Church, 5; developed
by the appeal of the Church
to the dramatic instinct, 6;
developed also by scriptural
tableaux, 8.
Drama, early English, the Church
the chief influence in making,
6; the earliest Passion play, 8;
the Mystery or Miracle play, 9,
Io; the realism of the semi-
sacred play, 10, II; the Morali-
ties, 12-14; the Interlude, 15,
16; the earliest comedies, 16;
the comparative development
of comedy and tragedy, 17;
Chronicle plays, 20, 116; Lyly's
comedies, 21, 126, 127; the im-
mediate predecessors and older
contemporaries of the poet in,
Shakespeare by, 217, 324, 325.
Drummond of Hawthornden, 302.
Duchess of Norfolk," 20.
"Duke Humphrey," 20.
Earl of Worcester's Company of
Players, 32.
Eastcheap, 75.
Edgar Tower, the, at Worcester,
66.
Editions of Shakespeare's works.
See under First Folio.
Education, not necessarily aca-
demic, 34, 35; formal literary,
in Shakespeare's time, 36; the
poet's early, 37-41.
"Edward III.," 20.
Elizabeth, Princess, the marriage
of, 303, 310, 317.
Elizabeth, Queen, her delight in
pageants, 42; visits Warwick-
shire, 42-46; diversions at
Kenilworth in honour of, 42;
the splendour of, 44; a patron
of the theatre, 82; her enjoy-
ment of Falstaff, 208; at the
opening of the seventeenth cen-
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