Chapter 15

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 {211} 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 {212} 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 {213} 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.

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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.

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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.

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