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The complete dramatic and poetical works of William Shakespeare

William Aldis Wright · 1900 · Scanned text · Free in the US

1,090,095 words · about 76 h 20 min to read

Period artwork: Interior of the Bodleian Library, 1845
About this edition

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Free in the US: this text is in the public domain in the United States; it may still be in copyright elsewhere.

Licence: PD · Library of Congress states the book is in the public domain and free to use and reuse (https://data.labs.loc.gov/digitized-books/README.html); published 1900, public domain asserted for the US only · Library of Congress, Selected Digitized Books (https://www.loc.gov/item/39020918); text via the Common Pile (CC BY 4.0 compilation, per-document rights preserved)

Text from Library of Congress, read from page scans by OCR and set out for reading on screen; no words of the book are rewritten or summarized. How RedLectern is built

About this book

Author
William Aldis Wright
Language
English
Published
1900
Length
1,090,095 words · about 76 h 20 min
Sections
603 reader sections
Text
Scanned text, read from page scans by OCR; may contain errors
Rights
Public domain in the United States

 

Contents (603)
  1. Front matter about 2 min
  2. Contents about 1 min
  3. Chapter I about 15 min
  4. Chapter III about 6 min
  5. CHAPTER IV. Shakespeare's school and schoolmasters — what about 8 min
  6. Chapter V about 19 min
  7. Chapter VII. Aotee Of The Tean8 Action Happiness Ob Unhap about 8 min
  8. Chapter VIII. What Led Shakkspeaek To The Platers And To London about 5 min
  9. Chapter IX about 4 min
  10. Chapter X about 3 h 21 min
  11. SCENE I. — On a ship at sea : a tempestioous noise of thunder and lightning heard. Enter a Ship-Master and a Boatswain about 3 min
  12. Scene II about 5 min
  13. Act I. The Tempest about 24 min
  14. Act II. The Tempest about 10 min
  15. Act III. The Tempest about 24 min
  16. Act V. The Tempest about 12 min
  17. Epilogue about 4 min
  18. ACT I. THE TWO GENTLEMEN OF VERONA, scene ii about 7 min
  19. SCENE III.— The same. Antonio's house. Enter Antonio and Panthino about 3 min
  20. SCENE I.— Milan. The Duke's palace. Enter Valentine and Speed about 4 min
  21. ACT II. THE TWO GENTLEMEN OF VERONA, scene iv about 2 min
  22. SCENE II. — Verona. Julia''s house. Enter Proteus and Julia about 1 min
  23. SCENE III. — The same. A street. Enter Launoe, leading a dog about 3 min
  24. SCENE IV.— Milan. The Duke''s palace. Enter Silvia, Valentine, Thurio, and Speed about 7 min
  25. SCENE v.— T7ie same. A street about 2 min
  26. SCENE VI.— The same. The Duke^s pcdace. Enter Proteus about 1 min
  27. ACT III. THE TWO GENTLEMEN OF VERONA. scene i. For Valentine myself, for Julia Silvia about 1 min
  28. SCENE VII.— Verona. Julians house. Enter Julia and Lucetta about 3 min
  29. SCENE I.— Milan. The Duke's palace. Enter Duke, Thurio, and Proteus about 14 min
  30. SCENE II.— The same. The BuWs palace. Enter Duke and Thurio about 3 min
  31. ACT IV. THE TWO GENTLEMEN OF VERONA, scene n about 10 min
  32. SCENE IV.— The same. Enter Launce, with his Dog about 8 min
  33. SCENE I.— Milan. An abiey. Enter Eglanaour under 1 min
  34. SCENE II.— Tlie same. The JDuke^s palace about 1 min
  35. ACT V. THE TWO GENTLEMEN OF VERONA, scene iv about 1 min
  36. SCENE III.- -Tlie frontiers of Mantua, forest about 1 min
  37. SCENE IV.— Another part of the forest. Enter Valentine about 7 min
  38. SCENE I.— Windsor. Before Page''s home. JEnter Justice Sliallo-w, Slender, and Sir Hugh about 3 min
  39. Act I. The Merry Wives Of Windsor about 8 min
  40. SCENE II.— The same. Enter Sir Hugh Evans and Simple under 1 min
  41. SCENE III.— A room in the Garter Inn. Enter Falstaff, Host, Bardolph, Nym, Pistol, and Robin about 4 min
  42. SCENE IV. — A room in Doctor Cains'' s house. Miter Mistress Quickly, Simple, and Rugby about 4 min
  43. Scene I about 11 min
  44. SCENE II. — A room in the Garter Inn about 10 min
  45. Act III. The Merry Wives Of Windsor about 1 min
  46. SCENE III.— ^JieZcZ near Windsor. Enter Oaius and Rugby about 19 min
  47. Scene V about 10 min
  48. SCENE I.— A street. Enter Mistress Page, Mistress Quickly, and William about 10 min
  49. SCENE III.— A room in the Garter Inn. Enter Host and Bardolph under 1 min
  50. SCENE IV. — A room in Ford''s house about 3 min
  51. SCENE V. — A room in the Garter Inn. Enter Host and Simple about 5 min
  52. SCENE VI. — Another room in the Garter Inn. • Enter Fenton and Host under 1 min
  53. Act V. The Merry Wives Of Windsor about 2 min
  54. SCENE I. — A room in the Garter Inn. Enter Falstaff and Mistress Quickly about 1 min
  55. SCENE II.— Windsor Park. Enter Page, Shallow, and Slender about 1 min
  56. SCENE III. — A street leading to the Park. Enter Mistress Page, Mistress Ford, and Doctor Caius about 1 min
  57. SCENE IV.— Windsor Park under 1 min
  58. Scene V about 10 min
  59. SCENE I. — An apartment in the Buke''s palace. Enter Duke, Escalus, Lords and Attendants about 3 min
  60. Scene II about 5 min
  61. Scene IV about 5 min
  62. Act II. Measure Fob Measure about 2 min
  63. SCENE I. — A hall in AngeMs house about 8 min
  64. Scene II about 10 min
  65. Scene IV about 5 min
  66. Act III. Measure For Measure about 4 min
  67. SCENE I.— A room in the prison. Enter Duke, disguised as before, Claudio, and about 6 min
  68. Scene II about 11 min
  69. Act IV. 5cene I about 15 min
  70. SCENE III. — Another room in the same. Enter Pompey about 9 min
  71. SCENE I.— The city gate about 4 min
  72. ACT V. He would uot, but by gift of my chaste body about 41 min
  73. Scene II about 20 min
  74. SCENE III.— J. public place. Enter Antipholus of Syracuse about 1 min
  75. Scene IV about 6 min
  76. SCENE I. Revel and feast it at my house to-day about 30 min
  77. Scene III about 5 min
  78. SCENE I. Enter Borachio about 5 min
  79. Act II. Much Ado About Nothing about 5 min
  80. Scene II about 5 min
  81. Scene III about 11 min
  82. Scene I about 5 min
  83. SCENE III. If thou dost love, my kindness shall incite thee about 10 min
  84. Scene V about 5 min
  85. Act IV. Much Ado About Nothing about 1 min
  86. SCENE I.— A church about 9 min
  87. Scene II about 5 min
  88. Act V. Much Ado About Nothing about 15 min
  89. Scene IV about 9 min
  90. SCENE I. — The king of Navarre's park about 3 min
  91. Act I. Love's Labour's Lost about 5 min
  92. Scene II about 5 min
  93. Act II. Love's Labour's Lost about 9 min
  94. Act III. Love's Labour's Lost about 9 min
  95. Act IV. Love's Labour's Lost about 10 min
  96. Scene III about 16 min
  97. Scene I about 5 min
  98. Scene II about 42 min
  99. Act I. A Midsummer-night's Dream about 20 min
  100. Act II. A Iiidsummer-night's Dream about 5 min
  101. Act III. A Midsummer-night's Dream about 29 min
  102. Act IV. A 3iidsummer-night'8 Dream about 5 min
  103. Act V. A 3iidsummer-night's Dream about 19 min
  104. Act I. The Merchant Of Venice about 6 min
  105. Scene III about 5 min
  106. Scene I about 5 min
  107. Scene II about 9 min
  108. SCENE III. — The same. A room in Shylock^s house. Enter Jessica and Launcelot about 1 min
  109. SCENE IV.— Tlie same. A street. Enter Gratiano, Lorenzo, Salarino, and Salanio about 1 min
  110. SCENE V. — The same. Before Shylock's house. Enter Shylock and Launcelot about 2 min
  111. SCENE VI. — The same. Enter Gratiano and Salarino, masqued about 3 min
  112. SCENE VII. — Belmont. A room in Portia''s hause about 3 min
  113. SCENE VIII.— Femce. A street. Enter Salarino and Salanio about 1 min
  114. Scene IX about 5 min
  115. SCENE I.— Femce. A Enter Salanio and Salarino about 5 min
  116. SCENE II. — Belmont. A room in Portia^s house. Enter Bassanio, Portia, Gratiano, Nerissa, and Attendants about 11 min
  117. Scene IV about 5 min
  118. SCENE I. With a reed voice, and turn two mincing steps about 5 min
  119. Act IV. The Merchant Of Venice about 16 min
  120. Act V. The Merchant Of Venice under 1 min
  121. SCENE II.— The same. A street. Enter Portia and Nerissa about 16 min
  122. Act I. As You Like It about 11 min
  123. Scene III about 5 min
  124. Scene I about 6 min
  125. SCENE II. — A room in the palace. Enter Duke Frederick, with Lords about 4 min
  126. SCENE IV. — The Forest of Arden. Enter Rosalind/or Ganjmaede, Celia/or Aliena, and Touchstone about 4 min
  127. SCENE V. — The forest about 2 min
  128. Scene VII about 8 min
  129. SCENE I. — A room in the palace. Enter Duke Frederick, Lords, and Oliver about 1 min
  130. SCENE II.— The forest. Enter Orlando, with a paper about 11 min
  131. Scene III about 6 min
  132. Scene V about 5 min
  133. Scene I about 11 min
  134. Scene III about 5 min
  135. SCENE I. Then should I know you by description about 4 min
  136. Scene II about 6 min
  137. Scene IV about 11 min
  138. SCENE I. — Before an alehouse on a heath. Enter Hostess and Sly about 3 min
  139. SCENE II. Enter Players about 5 min
  140. Act I. The Taming Of The Shrew about 21 min
  141. Act II. The Taming Of The Shrew about 15 min
  142. Act III. The Taming Of The Shrew about 15 min
  143. Act IV. The Taming Of The Shrew about 10 min
  144. Scene III about 5 min
  145. Scene IV about 5 min
  146. Scene V about 5 min
  147. SCENE I. Happier the man, whom favourable stars about 5 min
  148. Scene II about 19 min
  149. ACT I. ALUS WELL THAT ENDS WELL. scene hi about 5 min
  150. Scene III about 5 min
  151. SCENE I. Religious in mine error, I adore about 4 min
  152. Act II. Alus Well That Ends Well about 6 min
  153. SCENE II. — Rousillon. Tlie CounVs palace. Enter Countess and Clovra about 3 min
  154. SCENE III. — Pans. The King's palace. Enter Bertram, Lafeu, and ParoUes about 11 min
  155. SCENE IV. — Paris. Tke king'' s palace. Enter Helena and Clown about 2 min
  156. Scene I about 4 min
  157. Scene II about 6 min
  158. SCENE IV.—Bousillon. The CounVs palace. Enter Countess and Ste-ward about 2 min
  159. SCENE v.— Florence. Without the walls. A tucket afar off about 2 min
  160. Scene VI about 5 min
  161. Act IV. Alus Well That Ends Well about 3 min
  162. SCENE I.— Without the Florentine camp about 1 min
  163. Scene II about 5 min
  164. Scene III about 11 min
  165. Scene V about 5 min
  166. Act V. All's Well That Ends Well about 3 min
  167. SCENE I.— Marseilles. A street. Enter Helena, 'Wid.O'w, and Diana, with two Attendants about 1 min
  168. SCENE II. — Bousillon. Before the CounPs palace. Enter OlOTwn, and BaroUes, following about 19 min
  169. ACT I. TWELFTH NIGHT; OR, WHAT YOU WILL, scene hi about 1 min
  170. SCENE III. — Olivia's house. Enter Sir Toby Belch and Maria about 5 min
  171. SCENE IV.— The Duke's palace. Enter Valentine, and Viola in man''s attire about 2 min
  172. SCENE V. — Olivia's house. Enter Maria and Clo-wn about 8 min
  173. ACT II. TWELFTH NIGHT; ORy WHAT YOU WILL, scene i about 3 min
  174. SCENE 1.— The sea-coast. Enter Antonio and Sebastian about 3 min
  175. SCENE III.— OZiuia's Iwuse. Enter Sir Toby and Sir Andrew about 7 min
  176. SCENE IV. — The Duke's palace. Enter Duke, Viola, Curio, and others about 5 min
  177. SCENE v.— Olivia'' s garden. Enter Sir Toby, Sir Andrew, and Fabian about 7 min
  178. ACT III. TWELFTH NIGHT: OR, WHAT YOU WILL, scene i about 1 min
  179. SCENE I.— Olivia's garden. Enter Viola, and Clown with a tabor about 6 min
  180. SCENE II.— Olivia's house. Enter Sir Toby, Sir Andre-w, and Fabian about 3 min
  181. SCENE III.— J. street. Enter Sebastian and Antonio about 2 min
  182. SCENE IV.— Olivia^s garden. Enter Olivia and Maria about 14 min
  183. ACT IV. TWELFTH NIGHT; OR, WHAT YOU WILL, scene ii about 1 min
  184. SCENE I.— Before Olivia^s house. Enter Sebastian and Clown about 3 min
  185. SCENE II. — Olivia's home. Enter Maria and Clo^wn about 6 min
  186. ACT V. TWELFTH NIGHT: OR, WHAT YOU WILL, scene i about 18 min
  187. Act I. The Winter's Tale about 15 min
  188. Act II. The Winter's Tale about 10 min
  189. Scene III about 10 min
  190. Act III. The Winter's Tale about 1 min
  191. SCENE I. — A sea-port in Sicilia. Miter Cleomenes and Dion about 1 min
  192. SCENE II. — A court of Justice. Enter Leontes, Lords, and Oflacers about 7 min
  193. Scene III about 5 min
  194. Act IV. The Winter's Tale about 2 min
  195. SCENE I. Enter Time, i/ie Clwrus about 1 min
  196. SCENE II. — Bohemia. The palace of Polixenes. Enter Polixenes and Camillo about 2 min
  197. Scene IV about 35 min
  198. Act V. The Winter's Tale about 2 min
  199. SCENE I. — ^ room in Leontes^ palace. Enter Leontes, Cleomenes, Dion, Paulina, and Servants about 7 min
  200. Scene II about 5 min
  201. Scene III about 10 min
  202. SCENE 1.— King John^s palace. Enter King John, Queen Elinor, Pembroke about 3 min
  203. Act I. King John about 6 min
  204. Act II. King John about 30 min
  205. Act III. King John about 5 min
  206. SCENE III. Thou virtuous DauphiUj alter not the doom Forethought by heaven ! [may about 5 min
  207. Scene IV about 5 min
  208. Scene I about 5 min
  209. Scene II about 12 min
  210. SCENE III. — Before the castle. Enter Arthur, on the walls about 3 min
  211. Scene I about 5 min
  212. SCENE II. Show boldness and aspiring confidence about 5 min
  213. SCENE IV. Enter the Bastard, attended about 5 min
  214. SCENE v.— The French camp. Enter Le-wris and his train about 1 min
  215. SCENE VI. — An open place in the neighbourhood of Swinstead Abbey. Enter the Bastard and Hubert, severally about 4 min
  216. SCENE VII. E)iter the Bastard about 3 min
  217. SCENE I. — London. King Richard'' s palace about 3 min
  218. Scene II about 5 min
  219. Scene III about 13 min
  220. SCENE IV.— The court about 2 min
  221. Scene I about 10 min
  222. Scene II about 5 min
  223. Scene III about 5 min
  224. Scene IV about 5 min
  225. SCENE I. — Bristol. Before the castle about 2 min
  226. SCENE II. — The coast of Wales. A castle in view about 3 min
  227. Scene III about 13 min
  228. SCENE IV.—Langley. The Duke of Tork^s garden. Enter the Queen and two Ladies about 3 min
  229. Scene I about 10 min
  230. Act V. Scene I about 5 min
  231. Scene II about 5 min
  232. Scene III about 5 min
  233. Scene V about 5 min
  234. Scene VI about 6 min
  235. SCENE 1.— London. The palace about 4 min
  236. SCENE II. — London. A n apartment of the Princess. Enter the Prince of "Wales and Falstaflf about 4 min
  237. ACT I. FIRST PART OF KING HENRY IV. sceite hi about 4 min
  238. SCENE III.— London. The palace about 7 min
  239. ACT II. FIRST PART OF KING HENRY IV. scene i about 4 min
  240. SCENE I.—Eochester. An inn yard under 1 min
  241. II. Ihter another Carrier about 3 min
  242. SCENE II.— The highway, near Gadshill. Enter Prince Henry and Poins about 9 min
  243. SCENE IV.— The Boards-Head Tavern, Eastcheap. Enter the Prince and Poins about 20 min
  244. Scene I about 5 min
  245. Act III. First Part Of King Henry IV about 6 min
  246. SCENE II. — London. The palace. Enter the King, Prince of Wales, and others about 6 min
  247. SCENE III.— ^osic/ieop. The Boards-Head Tavern. Enter Falstaflf and Bardolph about 4 min
  248. Scene I about 12 min
  249. SCENE III. — The rebel camp near Shrewsbury. Fnter Hotspur, Worcester, Douglas, and about 2 min
  250. SCENE I. Laid gifts before liim, proffer'd him their oaths about 12 min
  251. SCENE III. — Plain between the camps about 10 min
  252. SCENE v.— Another :part of the field about 4 min
  253. SCENE 1.— The same. Enter Lord Bardolph about 5 min
  254. ACT I. SECOND PART OF KING HENRY IV. scene ii about 3 min
  255. SCENE II.— London. A street about 10 min
  256. SCENE III.— York. The Archbishop''s palace about 3 min
  257. ACT II. SECOND PART OF KING HENRY IV. scene i about 31 min
  258. ACT III. SECOND PART OF KING HENRY IV. scene ii about 16 min
  259. ACT IV. SECOND PART OF KING HENRY IV. scene i about 1 min
  260. SCENE I. — Yorkshire. QauUree Forest about 13 min
  261. SCENE III. — Another part of the forest about 10 min
  262. SCENE v.— Another chamber about 6 min
  263. ACT V. SECOND PART OF KING HENRY IV. scene i about 25 min
  264. SCENE I. — London. An ante-chamher in the King''s palace about 1 min
  265. Scene II about 10 min
  266. Prologue about 15 min
  267. Scene IV about 5 min
  268. Act III. King Henry V about 5 min
  269. SCENE 1.— France. Before Harfleur about 1 min
  270. SCENE II.— The same about 3 min
  271. SCENE IV. Enter Macmorris and Captain Jamy about 5 min
  272. Scene VI about 10 min
  273. Scene VII about 5 min
  274. Scene I about 14 min
  275. SCENE II.— The French camp. Enter the Dauphin, Orleans, Bambures, and about 1 min
  276. SCENE III. That our superfluous lackeys and our peasants about 5 min
  277. Scene V about 5 min
  278. Scene VII about 5 min
  279. Scene VIII about 5 min
  280. Scene I about 8 min
  281. SCENE II. — France. A royal palace about 28 min
  282. SCENE III.— London. Before the Tower about 5 min
  283. ACT I. FIRST PART OF KING HENRY VI scene v about 3 min
  284. SCENE V. — The same about 2 min
  285. SCENE I. SCENE VI.— The same about 4 min
  286. SCENE II.— Orleans. Within the town. Enter Talbot, Bedford, Burgundy, a Captain about 2 min
  287. SCENE III. — Auvergne. The Countess''s castle about 8 min
  288. SCENE v.— The Tower of London. Enter Mortimer, 'brought in a chair, and Gaolers about 4 min
  289. Scene I. ^ot III about 7 min
  290. SCENE II.— France. Before Rouen about 6 min
  291. SCENE III. — The plains near Bouen about 2 min
  292. Act IV about 2 min
  293. SCENE IV.— Pans. The palace about 2 min
  294. SCENE I.— Paris. A hall of i about 7 min
  295. SCENE II. — Before Bourdeaux about 2 min
  296. SCENE III.— PZams in Gascony about 2 min
  297. SCENE IV. — Other plains in Gascony. Enter Somerset, with his army ; a Captain of about 4 min
  298. SCENE VI. —Afield of battle about 1 min
  299. Scene I about 7 min
  300. SCENE II. — France. Plains in Anjou about 8 min
  301. SCENE IV. — Camp of the Duke of York in Anjou. Enter York, "War-wick, and others about 5 min
  302. Scene V about 8 min
  303. ACT I. SECOND PART OF KING HENRY VI. scene i about 20 min
  304. ACT II. SECOND PART OF KING HENRY VI. scene i about 2 min
  305. SCENE I.— Saint Alban's about 11 min
  306. SCENE III. — J. hall of justice about 4 min
  307. SCENE IV. — A street about 2 min
  308. ACT III. SECOND PART OF KINO HENRY VI. scene i about 2 min
  309. SCENE I. — The Ahhey at Bury St. Edmund's about 14 min
  310. SCENE II. — Bury St. EdmuncPs. A room of state about 14 min
  311. ACT IV. SECOND PART OF KING HENRY VI. scene i about 1 min
  312. SCENE III.— ^ bedchamber. Enter the King, Salisbury, Warwick, to the about 1 min
  313. SCENE I.— The coast of Kent about 6 min
  314. SCENE II.— Blackheath. Enter George Bevis and John Holland about 8 min
  315. SCENE IV. — London. The palace. Enter the King with a supplication, and the Queen with about 2 min
  316. SCENE v.— London. The Tower about 13 min
  317. ACT V. SECOND PART OF KING HENRY VI. scene i about 2 min
  318. SCENE I. — Fields between JDartford and Blackheath about 8 min
  319. SCENE II. — Saint Alban^s about 8 min
  320. Act I. Third Part Of King Henry VI about 11 min
  321. SCENE III.— Field of battle betwixt Sandal Castle and Wakefield about 2 min
  322. SCENE IV.— Another part of the field about 7 min
  323. SCENE I.— A plain near Mortimer'' s Cross in Herefordshire about 14 min
  324. SCENE III. — A field of battle between Towton and Saxton, in Yorkshire about 3 min
  325. SCENE v.— Another part of thefidd. Alarum. Enter King Henry alone about 9 min
  326. ACT III. THIRD PART OF KING HENRY VI scene i about 21 min
  327. ACT IV. THIRD PART OF KING HENRY VL scene i about 15 min
  328. SCENE VI.— London. The Tmver about 4 min
  329. SCENE VII. — Before York about 4 min
  330. SCENE VIII. — London. The palace about 2 min
  331. Scene I about 5 min
  332. SCENE II.— Afield of battle near Barnet about 3 min
  333. SCENE IV. — Plains near Tewksbury about 3 min
  334. SCENE v.— Another part of the field about 4 min
  335. SCENE VI. — London. The Tower about 7 min
  336. SCENE I. — London. A street. Enter Richard, Duke of Gloucester, solus about 2 min
  337. Act I. King Richard III about 4 min
  338. SCENE II. — The same. Another street about 6 min
  339. Scene III about 16 min
  340. SCENE IV. Enter Oatesby about 10 min
  341. Scene I about 7 min
  342. SCENE II.— The palace about 3 min
  343. Scene IV about 5 min
  344. Scene I about 10 min
  345. Scene II about 5 min
  346. SCENE IV. SCENE III. —Pomfret Castle about 5 min
  347. Scene VI about 5 min
  348. SCENE VII. SCENE VU.—Baynard^s Castle about 5 min
  349. SCENE I. Or lowly factor for another's gain about 5 min
  350. Scene II about 5 min
  351. SCENE III. Enter Stanley about 5 min
  352. Scene IV about 20 min
  353. Act V. Scene III about 1 min
  354. SCENE v.— Lord Derby ^s house. Enter Derby and Sir Christopher Urswick about 1 min
  355. SCENE I.— Salisbury. An open place about 3 min
  356. SCENE III. G-ives signal of a goodly day to-morrow about 10 min
  357. Scene V about 7 min
  358. SCENE I. — London. An antechamber in the palace about 1 min
  359. Act I. King Henry VI I L about 5 min
  360. Scene II about 12 min
  361. SCENE III. — An antechamber in the palace. Enter the Lord Chamberlain and Lord Sands about 3 min
  362. Scene IV about 4 min
  363. Act II. King Henry VIII about 25 min
  364. Scene I about 10 min
  365. SCENE II. SCENE II. — Antechamber to theKing^s apartment about 15 min
  366. Act IV. King Henry VI Il about 15 min
  367. Act V. King Henry VI 11 about 10 min
  368. Scene III about 5 min
  369. Scene IV about 6 min
  370. Scene V about 13 min
  371. Act I. Troilus And Cress Ida about 20 min
  372. Act II. Troilus And Cres8ida about 20 min
  373. SCENE 1. Be-enter Ulysses about 4 min
  374. Scene II about 10 min
  375. Scene III about 10 min
  376. Scene I about 5 min
  377. Scene II about 5 min
  378. Scene IV about 5 min
  379. Scene V about 10 min
  380. Act V. Troilus And Cressida about 3 min
  381. SCENE I. — The Grecian camp. Before Achilles'' tent. Enter Achilles and Patroclus about 1 min
  382. Scene II about 9 min
  383. Scene III about 5 min
  384. SCENE IV. — Plains between Troy and the Grecian camp about 1 min
  385. SCENE V. — Another part of the plains. Enter Diomedes and a Servant about 2 min
  386. SCENE VI. — Another part of the plains. Enter Ajax about 6 min
  387. SCENE I. — Borne. A street. Play, see Page about 3 min
  388. Act I. Coriolanus about 5 min
  389. Scene III about 5 min
  390. Scene IV about 5 min
  391. Scene VI about 9 min
  392. Scene I about 10 min
  393. SCENE II. You have, I know, petition'd all the gods about 9 min
  394. Scene III about 10 min
  395. Scene I about 14 min
  396. SCENE II. — A room in Coriolanus''s house. Enter Coriolanus with Patricians about 4 min
  397. Scene III about 5 min
  398. Act IV. Coriolanus about 9 min
  399. Scene V about 10 min
  400. Scene VI about 4 min
  401. Scene I about 5 min
  402. Scene II about 5 min
  403. Scene III about 5 min
  404. Scene IV about 5 min
  405. Scene VI about 9 min
  406. SCENE I. — Borne. Before the Capitol about 7 min
  407. Act I. Titus Andronicus about 10 min
  408. Act II. Titus Andronicus about 5 min
  409. SCENE III. Take this of me : Lucrece was not more chaste about 10 min
  410. Scene IV about 5 min
  411. SCENE I; O, had the monster seen those lily hands about 12 min
  412. SCENE II. — A room in Titus'' s house. A banquet set out about 13 min
  413. Scene III about 5 min
  414. Scene IV about 5 min
  415. Scene I about 5 min
  416. Scene II about 10 min
  417. Scene III about 9 min
  418. SCENE I. — Verona. A public place about 2 min
  419. Act I. Romeo And Juliet about 10 min
  420. Scene III about 5 min
  421. SCENE V. SCENE IV.— J. street about 10 min
  422. Act II. Romeo And Juliet about 1 min
  423. SCENE I. — A lane by the wall of GapulePs orchard. Enter Romeo about 2 min
  424. SCENE II. —CapuleVs orchard. ^^^ Enter Roraeo about 3 min
  425. Scene III about 8 min
  426. SCENE IV.— A street. Enter Benvolio and Mercutio about 8 min
  427. SCENE v. — CapuleVs orchard. Enter Juliet about 5 min
  428. SCENE I. — A public place. Enter Mercutio, Benvolio, Page, and Servants about 8 min
  429. SCENE II. — GapuleVs orchard. Enter Juliet about 2 min
  430. Scene III about 5 min
  431. Scene IV about 5 min
  432. Scene V about 10 min
  433. SCENE I. — Friar Laurence^s cell. Enter Friar Laurence and Paris about 5 min
  434. Act IV. Romeo And Juliet about 2 min
  435. SCENE III. — JulieVs chamber. Enter Juliet and Nvirse about 2 min
  436. SCENE IV. — Ball in CapuleVs house. Enter Lady Capulet and Nurse about 6 min
  437. Act V. Romeo And Juliet about 1 min
  438. SCENE I. — Mantua. A i Enter Romeo about 3 min
  439. SCENE II. — Friar Laurence^s cell. Enter Friar John about 1 min
  440. Scene III about 13 min
  441. Scene I.- A.c about 3 min
  442. Act I. Ti3i0n Of Athens about 5 min
  443. Scene II about 10 min
  444. Act II. Tim On Of Athens about 14 min
  445. Act III. Tim On Of Athens about 5 min
  446. Scene IV about 5 min
  447. SCENE V. Let me pass quietly about 7 min
  448. SCENE VI. — The same. A banqueting-room in Timon''s house about 3 min
  449. Act IV. Tim On Of Athens about 1 min
  450. SCENE I. — Without the walls of Athens. Enter Timon about 1 min
  451. SCENE II. — Athens. A room in Timon^s house about 2 min
  452. Scene III about 20 min
  453. Act V. Tim On Of Athens about 10 min
  454. Scene IV about 7 min
  455. Act I. Julius C^sar about 16 min
  456. SCENE I. Cassins from bondage will deliver Cassius about 5 min
  457. Act II. Julius Cjesar about 10 min
  458. Scene II about 5 min
  459. Act III. Julius C^sae about 1 min
  460. SCENE IV. — Another part of the same street, before the house of Brutus. Enter Portia and Lucius about 2 min
  461. SCENE 1.— Borne. Before the Capitol; the Senate sitting above about 6 min
  462. Scene II about 5 min
  463. ACT i: JULIUS CjESAB about 5 min
  464. SCENE III. Bequeathing it as a rich legacy about 5 min
  465. Act IV. Julius C^sar about 14 min
  466. Scene I about 4 min
  467. SCENE III. You show'd your teeth like apes, and fa wn'd like about 5 min
  468. SCENE V. Pindarus descends about 19 min
  469. Scene VII about 4 min
  470. Scene I about 4 min
  471. SCENE III. SCENE II.— The same about 5 min
  472. Act II. Macbeth about 4 min
  473. SCENE IV. — Outside Macbeth^s castle. Enter Boss and an old Man about 2 min
  474. SCENE I.— Jbrres. The palace. Enter Banquo about 3 min
  475. Scene II about 5 min
  476. Scene IV about 5 min
  477. Scene VI about 5 min
  478. Scene I about 4 min
  479. Scene II about 5 min
  480. Scene III about 9 min
  481. Act V. Macbeth about 1 min
  482. SCENE I. —Bunsinane. Ante-room in the castle. Enter a Doctor of Physic and a Waiting-Gentlewoman about 3 min
  483. SCENE II. — The country near Dunsinane about 1 min
  484. SCENE III. — Dunsinane. A room in the castle about 2 min
  485. SCENE IV. — Country near Birnam wood about 1 min
  486. SCENE V. — Dunsinane. Within the castle about 2 min
  487. SCENE VI. — Dunsinane. Before the castle under 1 min
  488. SCENE VII.— Another part of the field. Alarums. Enter Macbeth about 2 min
  489. Scene VIII about 3 min
  490. SCENE I. — Msinore. A platform before the castle about 2 min
  491. Scene II about 10 min
  492. Scene III about 5 min
  493. Scene IV about 5 min
  494. Scene V about 5 min
  495. Scene I about 5 min
  496. Scene II about 25 min
  497. Act III. Hamlet about 23 min
  498. SCENE III.— ^ room in the castle. Enter King, Rosencrantz, and Guildenstem about 2 min
  499. SCENE IV. And, like a man to double business bound about 10 min
  500. Act IV. Hamlet about 1 min
  501. SCENE I. — J. room in the castle. Enter King, Queen, Rosencrantz, and Guildenstem about 2 min
  502. SCENE II. — Another room in the castle. Enter Hamlet about 1 min
  503. SCENE III. — Another room, in the castle. Enter King, attended about 1 min
  504. Scene V about 9 min
  505. Scene VII about 10 min
  506. Act V. Hamlet about 1 min
  507. SCENE 1.—A churchyard. Miter two Clowns, ivith spades, &c about 9 min
  508. Scene II about 26 min
  509. Act I. King Lear about 10 min
  510. Scene IV about 10 min
  511. Scene V about 5 min
  512. Scene I about 13 min
  513. SCENE III.— J. wood. Enter Edgar about 1 min
  514. SCENE IV.—Before Gloucester's castle. Kent in the stocks. Enter Lear, Fool, and Gentleman about 12 min
  515. SCENE 1. — A heath about 3 min
  516. Act III. King Lear about 2 min
  517. SCENE III.— (JZoMcester's castle. Enter Gloucester and Edmund about 8 min
  518. SCENE V. — Gloucester'' s castle. Muter Corn-wall and Edmund about 1 min
  519. SCENE VI. — A chamber in a farmhouse adjoining the castle. Enter Gloucester, Lear, Kent, Fool, and Edgar about 4 min
  520. Scene VII about 5 min
  521. SCENE 1.— The heath. Enter Edgar about 3 min
  522. SCENE II. — Before the Duke of Albany'' s palace. Enter Goneril and Edmund about 4 min
  523. SCENE III.— T7ie French camp Dover about 2 min
  524. SCENE IV. — The same. A tent under 1 min
  525. Scene VI about 10 min
  526. Scene VII about 5 min
  527. Act V. King Lear about 3 min
  528. SCENE I. — The British camp, near Dover about 3 min
  529. SCENE II. — A field between the two camps about 1 min
  530. SCENE III. — T7ie British camp near Dover. Enter, in conquest, with drum and colours, Edmund about 14 min
  531. SCENE I.— Fentce. A street. Enter Roderigo and lago about 3 min
  532. Act I. Othello about 5 min
  533. SCENE III. May speak unbonneted to as proud a fortune about 14 min
  534. Scene I about 15 min
  535. SCENE III. Abuse him to the Moor in the rank garb about 15 min
  536. SCENE 1.— Before the castle about 4 min
  537. Scene III about 17 min
  538. SCENE IV.— Before the castle. Enter Desdemona, Emilia, and Clown about 4 min
  539. Scene I about 15 min
  540. SCENE II. SCENE II. — A room in the castle about 5 min
  541. Scene III about 5 min
  542. Scene I about 5 min
  543. SCENE II. Enter Cassio about 27 min
  544. SCENE III. Enter another Messenger about 5 min
  545. SCENE IV. Breed scrupulous faction: the hated, grown to about 5 min
  546. Scene I about 5 min
  547. SCENE II.— Boine. TJie house of Lepidus. Miter Bnobarbus and Lepidus about 11 min
  548. SCENE IV.— The same. A street. Enter Lepidus, Mecsenas, and Agrippa under 1 min
  549. SCENE V. — Alexandria. Cleopatra'' s palace. Enter Cleopatra, Charmian, Iras, and Alexas about 1 min
  550. Scene VI about 5 min
  551. Scene VII about 10 min
  552. Act III. Antony And Cleopatra under 1 min
  553. SCENE I. —A plain in Syria. Entet Ventidius as it were in triumph, with Silius, and about 26 min
  554. Act IV. Antony And Cleopatra about 5 min
  555. SCENE II. — Alexandria. Cleopatra'' s palace about 2 min
  556. SCENE III. — The same. Before the palace. Enter two Soldiers to their guard about 1 min
  557. SCENE IV.— The same. A room in the palace. Enter Antony and Cleopatra, Charmian, and about 2 min
  558. SCENE V. — Alexandria. Antonyms camp about 1 min
  559. SCENE VI. — Alexandria. Coesar''s camp about 1 min
  560. SCENE VII.— Field of battle between the camps about 2 min
  561. SCENE IX.— CcEsar's camp. Sentinels at their post about 2 min
  562. SCENE XI. — Another part of the same. Enter Caesar, and his army about 2 min
  563. SCENE XIII. — Alexandria. Cleopatra^s palace. Enter Cleopatra, Channian, Iras, and Mardian under 1 min
  564. SCENE XIV. — The same. Another room. Enter Antony and Eros about 4 min
  565. Scene XV about 5 min
  566. Act V. Antony And Cleopatra about 19 min
  567. SCENE I. — Britain. The garden of Cymbeline^s about 3 min
  568. Act I. Cymbeline about 6 min
  569. SCENE III. — A room in Cymbeline^s palace. Enter Imogen and Pisanio about 2 min
  570. SCENE IV. —Bome. Philario''s house about 2 min
  571. Scene V about 5 min
  572. Scene VI about 10 min
  573. Act II. Cymbeline about 20 min
  574. SCENE I. — Britain. A hall in Cymbeline^s palace about 3 min
  575. SCENE II. — Another room in the palace. Enter Pisanio, with a letter about 1 min
  576. Scene III about 6 min
  577. Scene IV about 9 min
  578. SCENE V. — A room in Cymbeline''s palace. Enter Csnnbeline, Queen, Cloten, Lucius, Lords, and Attendants about 6 min
  579. Scene VII about 5 min
  580. SCENE I. — Wales : near the cave of Belaritis. Enter Cloten about 1 min
  581. SCENE II. — Before the cave of Belarius about 13 min
  582. Scene III about 5 min
  583. SCENE IV. — Wales: hefme the caue of Belarius. JEnter Belarius, Guiderius, and Arviragus about 14 min
  584. Scene V about 24 min
  585. Scene I about 5 min
  586. Scene III about 5 min
  587. Scene IV about 5 min
  588. Scene I about 5 min
  589. Scene II about 6 min
  590. SCENE III.— TTie same. A hall of state: a banquet prepared about 4 min
  591. Scene V about 5 min
  592. Scene I about 4 min
  593. Scene II about 5 min
  594. Scene IV about 4 min
  595. Scene I. -a.ot IV about 4 min
  596. Scene II about 6 min
  597. SCENE III. — Tarsus. A room in ClemPs house. Enter Oleon and Dionyza about 2 min
  598. Scene IV about 1 min
  599. Scene VI about 5 min
  600. Scene I about 14 min
  601. Scene III about 4 h 37 min
  602. 2 about 1 h 11 min
  603. Index To The Characters In The Plays about 20 min

Continue:

Front matter

Class.

Book.

PUKSENTKI) liY

Contents

PAGE

The Life of Shakespeaee xi

Analysis of the Plots of the Plays . xli Chronological Ordee, of the Plays . Ixx

Chapter I

MARVELLOUS IGNORANCE OF THE ENGLISH NATION IN REGARD TO THE PERSONAL HISTORY OF THEIR GREAT- EST AUTHOR — DICTUM OF STEEVEN8 ON THE SUBJECT, 1773 — RECENT AWAE:ENIN& TO THE IMPORTANCE OF

THE INQUIRY ORGANIZED EFFORTS IN THE LAST

FIFTY YEARS TO RESCUE FROM OBLIVION WHATEVER IN THE LIFE OF SHAKESPEARE HAS NOT ABSOLUTELY PERISHED — SUCCESS OF THESE LABORS.

iO the observer of our literary history, who stands at the head of King James's reign, and looks down the current towards the present time, the very first object in the foreground is one proudly eminent, — an object not unlike the pyramid of Cheops, as seen by the traveller, which, whether you go up or down the Nile, whether you penetrate its rich valley from the east over the sand-hills of Arabia, or from the west across the trackless desert of Sahara, — from whatever quarter of the horizon you approach, — is the first object to strike, the last to fade from, the vision. So is it here. Whether we approach the year 1600 travelUng backwards from the names of Longfellow, Tennyson, "Wordsworth, Coleridge, Byron, and Scott; or descend towards the same point from the author of Fiers the Plowman, Chaucer, "Wyatt, Surrey, Sidney, and Spenser, whether we cross the current of our literature by a transition from that of Germany, France, Spain, Italy, or the Orient, — from whatever quarter of the literary horizon we direct our gaze towards the point indicated, one object stands proudly eminent, one name rises spontaneously on every tongue — the greatest name in all English, in ail modern, perhaps, absolutely, in all literature. Shakespeare possibly may not be read as much, he certainly is not acted as much, as he once was. But he is studied more ; he is better known ; his fame is steadily in the ascendant. His star is confessedly higher and brighter now than it was at the beginning of the present century; it has risen perceptibly within the last twenty-five years ; it is even yet far from having reached its meridian.

Steevens, one of the most famous of the Shakespearian editors,said,over one hundred years ago (1773): "All that is known with any degree of certainty of Shakespeare is, that he was born at Stratford-upon- Avon, married and had children there, went to London, where he commenced actor; wrote poems and plays ; returned to Stratford, made his will, died, and was buried."

This statement, at the time it was made, was substantially true. It is hardly an exaggeration to say that the English nation, at the end of a century and a half from the death of their greatest author, knew less of his life, if less were possible, than we now know of Homer's, after the lapse of nearly thirty centuries. It is, in fact, in comparatively recent times only that the lives of men of letters have been counted as forming any important element in the history of a race. If a man fought a battle, or negotiated a treaty, or held a place at court, or was prominently connected in any way with the civil or military administration

THE LIFE OF SHAKESPEARE.

of the government, if he was even toady to some titled dowager, his life was thought to be of some public importance ; he formed a noticeable integer in the sum total of the national history. But to write a play, or to make a discovery in science, was thought to concern mainly the obscure dwellers of the Grub Street of the day, even though the discoveries of the one might revolutionize the whole fabric of human affairs, and the creations of the other might help to mould the thoughts and manners of the race until the ending doom. But a change has come over the thoughts of men in this matter. We have at last opened our eyes to the fact that the literature of a race contains in it that which has made the race what it is. Those great thoughts which, in the course of centuries, have been developed by its master minds, are the moving springs that have set the race onward in its career of civilization. The man of thought is father to the man of action. Great ideas precede and cause great achievements. The ideal Achilles made the real heroes of Marathon and the Granicus. In the Anglo-Saxon race, from the days of Alfred until now, men of genius, the great original thinkers in successive generations, have given birth to ennobling thoughts, which continue to endure, and which are perpetuated, not only in the language, but in the race itself. We are what these great thinkers have made us. Englishmen and Americans of to-day are living exponents of thoughts and truths elaborated by the illustrious dead. In the literal sense, indeed, no lineal descendant of Shakespeare remains. His blood descendants all died out within the generation that followed his own death. But in a higher and better sense, his true spiritual life-blood, "those thoughts that breathe and words that burn," pulsates at this day in the veins of more than a hundred millions of men, his blood-kin of the English-speaking race, whose diction and whose thoughts, whose impulses and whose actions, consciously or unconsciously, have perceptibly taken tone and color from the man who was born at Stratford-upon-Avon, a little more than three hundred years ago.

No wonder, then, that, under the quickening influence of this new method of estimating values in human history, the steadily growing fame of the great dramatist has awakened at length the most intense curiosity to learn something more of his personal story, to gather from the "ruins of time" some precious relics of that once noble edifice. The zeal and critical acumen displayed in this investigation have probably never been surpassed in any new literary undertaking. These labors, though late, have not been entirely without success. Many important facts relative to Shakespeare's life have been ascertained since the death of Steevens, some even within the last few years. The principal facts which have been thus exhumed, have been gathered from legal documents, from registers of births, deaths, marriages, baptisms; from corporation records, wills, title-deeds, tax-lists, and the like. From such sources, vague statements, which before rested on mere tradition, have, in some cases, been disproved, in others, have been defined and established, while many facts entirely new have been rescued from oblivion. In this way a somewhat connected and consistent series of facts has been made out, constituting a skeleton for a biography. The filling out — the flesh and fulness — has been on this wise : wherever, in the whole range of contemporary literature, a passage has been found, describing the private life and manners of any one similarly situated, it has been eagerly seized as showing one of the possible ways in which Shakespeare may have spent his time. Shakespeare thus has ceased, on the one hand.

to be a collection of absurd and contradictory tradi« tions ; and, on the other, has become something more than a mere tissue of dates and legal entries. He has become, indeed, to some reasonable extent, personally known.

OHAPTEE II.

PAEENTAGE OF SHAKESPEARE, WHY IMPORTANT — JOHN SHAKESPEARE, THE FATHER, WHAT IS KNOWN OF HIM

NAME AND GENEALO&T OF THE SHAKESPEARE3,

REPUTABLE OHAEAOTER OF THEIR HISTORY MART

ARDEN, THE MOTHER, A YOUTHFUL HEIRESS, BELONG- ING TO THE LANDED GENTRY NAME AND GENEALOGY

OF THE ARDENS, THEIR HONORABLE HISTORY HAPPY

MARRIAGE OF JOHN SHAKESPEARE AND MARY ARDEN, THEIR SETTLEMENT IN STRATFORD, AND SOCIAL POSI- TION THERE PECUNIARY AFFAIRS AND OFFICIAL

DISTINCTIONS OF JOHN SHAKESPEARE,

THE date of Shakespeare's birth is not exactly known. The nearest approach to it that we have is the day of his baptism, which is found in the parish register of Stratford. He was baptized April 26, 1564. As baptism in those days followed close upon birth, the probabilities are that Shakespeare was born within three or four days of the date of his baptism ; and as the 23d of April is the day consecrated to St. George, the tutelary saint of England, Englishmen have been not unwilling to assume that Shakespeare was born on that day. Moreover, unvarying tradition — which must be allowed its weight of authority where historic evidence is wanting — has uniformly assigned the 23d of April as the day on which the Great Poet was born; and accordingly that day is now, as it ever has been, celebrated as his natal day all over the world.

Of Shakespeare's parentage we now know several important particulars, — important, because they contradict and set aside some of the absurd traditions respecting the poet himself. To the intelligent comprehension of the problem of Shakespeare's authorship, it is necessary to know something of his original condition in life — whether he was of gentle blood or of base, whether, in the technical sense of the word, he was educated or was merely self-taught, can make his writings neither worse nor better. But the circumstances of his birth and education, his manner of living and his means of knowledge, do affect materially the inferences which may be drawn from his writings. They are essential conditions in the problem of his authorship.

John Shakespeare, the father of the poet, was originally, according to the best information thus far obtained, what would be called a "gentleman farmer." The description given by Harrison, in his introduction to Holinshed's Chronicle^ published somewhere about 1580,* of a certain class of Englishmen in the days of Ehzabeth, might, it is believed, fit very well the character and worldly circumstances of John Shakespeare. "This sort of people," says Harrison, "have a certain preeminence and more estimation than laborers and the common sort of artificers; and these commonly live wealthily, keep good houses, and travel to get i-iches. They are also, for the most part, farmers to gentlemen, or at the leastwise artificers; and with grazing, frequenting of markets, and keeping of servants (not idle servants as the gentlemen do, but such as get both their own and part of their master's living), do come to great wealth, insomuch

* HoUnshed d. bet. 1578 and 1582, Harrison d. 1592 (?).

THE LIFE OF SHAKESPEARE.

that many of them are able and do buy the lands of unthrifty gentlemen, and often settling their sons to the schools, to the universities, and to the Inns of the Court, or otherwise leaving them sufficient lands whereupon they may live without labor, do make them by those means to become gentlemen." John Shakespeare seems to have been, during a considerable portion of his Ufe, an incipient gentleman, somewhat after the same sort.

It further appears that he resided originally in a small village (Snitterfield) three miles from Stratford, that he went to Stratford about the year 1551, and engaged there in trade of some kind, made purchases of property, and continued to reside there during all the minority, at least, of his son William.

The name Shakespeaee was a familiar one in the county of "Warwick, being found on record in that county in six different places in the fifteenth century, twenty-two places in the sixteenth century, and thirtytwo places in the seventeenth century. The name has in itself evidence of the occupation of its original holders. Verstegan,* the antiquarian, in a work published in 1605, says: "Breakspear, Shakespear, and -the like, have been surnames imposed upon the first bearers of them for valor and feats of arms." Camden, under the same date, 1605, says that many ancient families are named "from that which they commonly carried; as. Palmer, that is. Pilgrim, for that they [the pilgrims] carried palms when they returned from Hierusalem; Long-sword, Broad-speare, Fortescue (that is. Strong-shield), and in some such respect, Break-speare, Shake-speare, Shot-bolt, Wagstaff." Fuller, in his Worthies of England, 1662, refers to the "warlike sound of his (the poet's) surname, whence," says he, "some may conjecture him of a military extraction, — Masti-vibrans, or Shahegpearey Hall further records, in his Chronicle, already quoted, that after the battle of Bosworth Field, 1485, which secured the kingdom to Henry VII., "the king began to remember his especial friends and factors, of whom some he advanced to honor and dignity, and some he enriched with possessions and goods, every man according to his desert and merit." This Bosworth field is only thirty miles from Stratford, and one of the Warwickshire Shakespeares, apparently an ancestor of William, seems to have been among those who fought in this battle, and who was thus enriched with possessions and goods. It is furthermore a matter of record that a grant of arms was made to "John Shakespeare, now of Stratford-upon-Avon, county of Warwick, gentleman," a grant first drafted in 1596, and afterwards confirmed in 1599, in which it is recited that "his great-grandfather, and late antecessor, for his faithful and approved service to the late most prudent Prince, Henry YII., of famous memory, was advanced and rewarded with lands and tenements, given to him in those parts of Warwickshire, where they have continued by some descents in good reputation and credit." The coat-of-arms thus granted to the family contains a gold spear, headed with silver on a bend sable, on a field of gold, and also for its crest a falcon brandishing a spear. Spenser, in a passage generally believed to refer to Shakespeare, calls him Aetion, a name formed apparently from the Greek aerdc, an eagle, and says, his muse doth, like himself, "heroically sound;" the poet's name, too, it is to be observed, was in that day sometimes printed as two words, connected by a hyphen, Shake-speare.

The poet's mother was of an ancient and somewhat wealthy family, of the name of Abden. Arden is

* Restitution of Decayed Intelligence in Antiquities, concerning the Most Noble and Renowned English Nation. Antwerp, said, by Dugdale, the antiquarian, to be an old British word, and to signify "woodiness" or "woodland," and the famUy has been traced back to the time of Edward, the Confessor. "In this place," says Dugdale, "I have made choice to speak historically of that most ancient and worthy family, whose surname was first assumed from their residence in this part of the country, then and yet called Arden, by reason of its woodiness, the old Britons and Gauls using the word in that sense." Dugdale further says that Turchill de Warwick, "a man of especial note and power," and of "great possessions" in the time of the Conqueror, " was one of the first here in England that, in imitation of the Normans, assumed a surname, . . . and wrote himself Turchillus de Eardene [Turkill of Arden], in the days of King William Eufus." Sir John Arden, of this ancient famUy, was squire of the body to Henry VII. The office was in those days one of considerable importance. The squire only could array the royal person ; no one else could set hand on the king. The squire carried the king's cloak when the latter walked out, and presented the potage when the king would drink, and slept at night in the presence-chamber, for the protection of his majesty's person.

Robert Arden, nephew of this Sir John, was groom of the chamber to the same Henry VII. This office also, though inferior to that of squire, was yet one of some mark. While the squire slept in the same apartment with the king, the groom slept in the ffifclSBS?^"^^!^^ ante-room outside, to guard the sJli^^PW^'v door. He also presented the robes with which the squire arrayed the royal person, and performed various other offices Kp'^flHiy of a like nature. Besides this i^Tr-TsskmI office, the younger Arden received from Henry VII. a lease of the royal manor of YoxaU, in Staffordshire, and was likewise keeper of the royal park of Aldecar. This Robert Arden, the younger. Groom of the The Arms of John Chamber to Henry VII., was Shakespeare, grandfather of Mary Arden.

Thus it appears that both the Shakespeares and the Ardens were persons of consideration in Warwickshire, in the reign of Henry VII., and for the generation or two immediately succeeding.

Robert Arden, son of the Robert just named, at his death, in 1556, divided his estate, by wiE, among several children ; but Mary, his youngest, appears for some reason, to have been prominent in his thoughts. She was one of the executors of his will, and received therein a special legacy in these words : " I give and bequeath to my youngest daughter, Mary, all my land in Wilmecote, called Asbies, and the crop upon the ground, sown and tilled as it is, and £6 13s. 4:d. of money, to be paid over ere my goods be divided." This Wilmecote estate consisted of about sixty acres of land and a house, and is situated about three mUes from Stratford, in the parish of Aston Cantlow.

I have said the skeleton of Shakespeare's history has been clothed with flesh and blood, by transferring to a few naked facts materials drawn from conteinporaneous literature. Let me give a specimen of this mode of giving "to airy nothing a local habitation and a name." Suppose, in the first place, the extracts from the will just quoted. ISText, suppose a line extracted from the parish register, being the official record of an interesting domestic occurrence a year xiii

THE LIFE OF SHAKESPEARE.

or two later. From these two facts a fertile imagination has woven a narrative somewhat after this wise:* Mary Arden ! The very name breathes of poetry. But Mary is a mourner. Her father is dead, and she is now left without guidance, an heiress and an orphan. Mary lives, indeed, in a peaceful hamlet. But there are strange things around her, — things incomprehensible to a very young woman. When she goes to the parish church on Sunday, there are many things which she did not see there in her father's time. She hears the mass sUng and sees the beads bidden. Once, certainly, within those walls she had heard a very different form of worship. She recollects that in her childhood the rich religious houses of the vicinity had been suppressed, their property confiscated, and their buildings torn down or defaced. Now there is apparently a new power trying to reby his wisdom her doubts and perplexities about pubHc affairs are kindly resolved. But ecclesiastical and agricultural affairs are not the only topics discussed under this lonely roof -tree; and so, in due season, and not far from the time when Mary, the Queen, was. expiring, and with her the Catholic worship was again disappearing, as the established religion of England, Mary Arden and John Shakespeare were standing before the altar of the parish church of Aston Cantlow, and the house and lands of Asbies became thenceforth administered by one who took possession of the same by the right of the said Mary.

One thing at least is certain. The parents of Shakespeare were neither the ill-bred nor the ill-conditioned people they are generally reputed to have been. On the contrary, they were persons of substance, of reputable descent, and in comfortable circumstancas,

The Shakespeare Homestead in Henley Street,

Where William Shakespeare was born.

store these institutions. There are around her mutual persecutions and heart-burnings, — neighbor warring against neighbor, friend against friend, parents against children, husband against wife. Mary muses on many things with an anxious heart. The wealthier Ardens of Kingsbury and Hampton, of Rotley and Rodburne and Park Hall, are her very good cousins: but bad roads and bad times keep them separate ; and so she leads a somewhat lonely life. But village gossip tells of a young man, a yeoman of the neighboring town, an acquaintance of her fathe;-'s, who often comes to sit upon those wooden benches in the old hall. He is a substantial and towardly young man, already a burgess in the village. From him she gathers useful suggestions as to the management of her little estate ;

and their son had, without the shadow of a doubt, all the advantages of breeding and education usually derived from growing up in such a family and attending the village school. What the latter was we shall presently inquire.

John Shakespeare and Mary Arden were married probably in 1557, some time, at all events, between November 24, 1556, the date of Robert Arden's will, and September 15, 1558, the date of the baptism of their first child. This first child died in infancy. Their second died before it was a year old. Their third, William, as before stated, was baptized April 26, and is commonly reputed to have been born April 23, 1564. He was therefore the oldest of the family, excepting those that died in infancy.

■ Altered from Knight, p. 11.

THE LIFE OF SHAKESPEARE.

Chapter III

THE SHAKESPEARE HOTTSE, ITS IDENTIFIOATION AND HIS- TOEY — EVIDENCE IT AFFORDS IN REGARD TO THE OIECUMSTANOES OF SHAKESPEARE's BOYHOOD BAP- TISMAL REGISTER OF THE SHAKESPEARE FAMILY

EVIDENCE IT GIVES IN REGARD TO THE COMPANIONSHIP OF THE BOY WILL SHAKESPEARE.

THE house in which Shakespeare was born has been identified with sufficient certainty. It was situated in Henley Street, and was bought by John Shakespeare in 1556. He hved in this street, and most of the time in this house, from 1551, the time of his coming to Stratford, till 1601, the time of his death. The property passed, by inheritance or will, first to 'William Shakespeare, then to his eldest daughter, Susannah Hiill, then to his granddaughter, Elizabeth Hall (afterwards Lady Barnard), and then to Thomas and George Hart, grandsons of Shakespeare's sister, Joan, who was married to William Hart, of Stratford. It remained in possession of the Hjirt family tDl about the year 1830, the last of that name who occupied it being the seventh in descent in a direct line from Joan Shakespeare, the sister of William. By special contributions, in 1849 this house was made the property of the nation. It has been restored as nearly as possible to its original condition three hundred years ago, has been filled with Shakespeare mementoes of every kind, and a fund has been set apart for the purpose of keeping it permanently in repair, and open to the inspection of visitors from all nations. Enough remains of the original structure to show that Shakespeare was born, and that he spent his boyhood and youth, in a home fully equal, in regard to the comforts and proprieties of life, to those common among the well-to-do burgher class of England in the sixteenth century.

Fo one who wishes to trace the circumstances which have influenced, for good or evil, the growth of a great intellect, will overlook the companionship of childhood. Who were the youthful companions of William Shakespeare? The parish register of Stratford, after the date of William's baptism, contains among others the following entries of the Shakespeare family : Gilbert, baptized October 13, 1566 ; Joan, baptized April 15, 1569; Richard, baptized March 11, 1574 ; Edmund, baptized May 3, 1580.

Putting these dates together, and calling imagination once more to our aid, we find that when William was two and a half years old, Gilbert came to be his playmate ; when William was five years old, that most precious gift to a loving boy, a sister, was granted, to grow up with him, and to find in him at once a playmate and a protector ; at ten, he had another brother to lead out into the green fields ; and at sixteen, the youngest was born, "the baby," whom William probably never regarded in any other light than as a plaything.

These things may be accounted mere fancies. I think they contain a doctrine. Selfishness and gloom are apt to be engendered by a solitary childhood. The baptismal register shows, in the childhood of Shakespeare, no cause at least for the existence of such morbid affections, as his writings give no evidence that such feelings ever did exist in his healthy and cheerful mind.

Stratford-upon-Avon is a small town in Warwickshire, ninety-six miles north-west from London. Its population in the time of Shakespeare was about fifteen hundred. The municipal government consisted of a bailiff, aldermen, and burgesses. The bailiff, or chief alderman, once a fortnight held a court. There was also a court-leet, which appointed " ale-tasters," a class of officers to prevent fraud in the quality of that important element in an Englishman's comfort. The court-leet appointed also affeerors, whose duty it was to punish citizens for various minor offences for which there was no express provision in the statutes. Last, there was the constable, an officer of no little consideration in such a town. John Shakespeare, the father of WiUiam, held successively all these offices. He was on the jury of the court-leet in 1556, an ale-taster in 1557, a burgess in 1558, a constable in 1559, an affeeror in 1559 and again in 1561, an alderman in 1565, and highbailiff or chief magistrate in 1568. William was in his fifth year when his father was at the height of his municipal distinction.

One thing is noticeable in regard to this gradual elevation of John Shakespeare in the social scale. In all the registers where his name occurs prior to 1571, he is recorded simply as John Shakespeare, in one place

The Room -whepe Shakespeare -was Born House in Henley Street.

John Shakespeare, glover. But in a record on September 28, 1571, William being then in his eighth year, the father's name is entered as Magister Shakespeare; and ever after among his neighbors he is known, not as goodman Shakespeare, or plain John Shakespeare, but as Master Shakespeare. This title of Master or Mr. was then never used, as now that of M. D. is never used, except by virtue of some specific legal right.

This change of title in the history of John Shakespeare, it can hardly be doubted, was in consequence of his increasing wealth and his position in the village. It shows incontestably that he was about this time a leading man in the town, and consequently that his son, the poet, could not have been the iUiterate butcher's boy that the early biographers represented him to be. We are left free to admire his transcendent genius without being called upon to believe the absurd fables of his clownish ignorance.

As further bearing upon the circumstances of the poet's childhood, the following ascertained facts may be cited, showing the probable occupation and the worldly condition of John Shakespeare. In 1556 he

THE LIFE OF SHAKESPEARE.

acquired a tenement and garden adjacent, in Henley- Street, and also a tenement with a garden and croft [small enclosed field] in Greneliyll Street, both in Stratford. In 1557 or 1558, he acquired by marriage the estate of Asbies, sixty acres of land and house, three miles from Stratford ; also, by inheritance, some landed property at Snitterfield, three and a half miles from Stratford. In 1570, he held, as tenant under Sir William Clopton, a meadow of fourteen acres, at an annual rent of £8 (= $200 then). The inference from these facts is unmistakable. John Shakespeare was at one period living upon his own land, and renting the land of others, and actively engaged in the business of cultivation, in an age when tillage was profitable. When, a little later in life, he came to the village and settled in Henley Street, he probably kept up his agricultural operations, and also kept a shop in his house, where he sold the products of his farm, — butcher's meat, wool, hides, and other articles, such as gloves made from the skins of the animals slaughtered. Harrison says : " Men of great port and countenance are so far from suffering their farmers [tenants] to have any gain at all, that they become graziers, butchers, tanners, ters, woodmen, and denique quid non.''''

probably on this account, William was thrown upon his own resources somewhat earlier than he might otherwise have been. The boy evidently knew little either of a father's care or of a father's control after the age of fifteen.

Grammar School Attended by Shakespeare, Stratford.

This explains the mystery of the apparently contradictory traditions in regard to the occupation of John Shakespeare. We see how he was a " butcher," also a "wool-merchant," also a "glover," also a "farmer," also a " yeoman ; " how finally John Shakespeare, the woodman of Arden, sold timber to the corporation of Stratford.

The evidence is tolerably complete that John Shakespeare, in his later years, for some cause not ascertained, fell into pecuniary difficulties and embarrassments. He was evidently in straitened circumstances in 1579 ; was turned out of the aldermanship in 1586 ; was arrested for debt in 1587; and finally, in 1592, was reported by the authorities as absenting himself from church for fear of being arrested for debt. But as these things occurred chiefly after the formative period in the life of his son William, and as these difficulties, even when greatest, did not seem to aSect the social status of the family, it is hardly necessary to pursue the subject further, except to remark that,

CHAPTER IV. Shakespeare's school and schoolmasters — what

IS KNOWN of his COURSE OF STUDY — HIS KNOWLEDGE

OF LATIN AND GREEK EVIDENCE IN HIS WRITINGS OP

HIS BEING A CLASSICAL SCHOLAR.

STRATFORD-UPON-AVOK was, as it still is, a quiet place, comparatively free from disturbance and excitement. Its ecclesiastical foundations were numerous and ample. With one of these, the Guild of the Holy Cross, was connected an endowed grammar school. It was founded in 1482, in the reign of Edward IV., by gift of Thomas Jolyfife, on condition that the authorities of the town and guild " should find priest, fit and able in knowledge, to teach grammar freely to all scholars coming to the school, . . . taking nothing of the scholars for their teaching." The school was afterwards enriched by Sir Hugh Clopton, the great benefactor of Stratford, and finally was reorganized by Edward VI., in his royal charter to the town, which requires, among other things, " that the free grammar school for the instruction and education of boys and youth there, should be hereafter kept up and maintained as theretofore it used to be."

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