A Life of William Shakespeare with portraits and facsimiles
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A Life of William Shakespeare, by Sidney Lee
A LIFE of WILLIAM SHAKESPEARE
p. vPREFACE
p. xiiiCONTENTS
p. 1I—PARENTAGE AND BIRTH
Distribution of the name.
The poet’s ancestry.
The poet’s father.
His settlement at Stratford.
The poet’s mother.
The poet’s birth and baptism.
Alleged birthplace.
Distribution of the name.
The poet’s ancestry.
The poet’s father.
His settlement at Stratford.
The poet’s mother.
The poet’s birth and baptism.
Alleged birthplace.
p. 10II—CHILDHOOD, EDUCATION, AND MARRIAGE
The father in municipal office.
Brothers and sisters.
The father’s financial difficulties.
p. 13Education.
The poet’s classical equipment.
Shakespeare and the Bible.
Withdrawal from school.
The poet’s marriage.
Richard Hathaway of Shottery. Anne Hathaway.
Anne Hathaway’s cottage.
The bond against impediments.
Birth of a daughter.
Formal betrothal probably dispensed with.
The father in municipal office.
Brothers and sisters.
The father’s financial difficulties.
p. 13Education.
The poet’s classical equipment.
Shakespeare and the Bible.
Withdrawal from school.
The poet’s marriage.
Richard Hathaway of Shottery. Anne Hathaway.
Anne Hathaway’s cottage.
The bond against impediments.
Birth of a daughter.
Formal betrothal probably dispensed with.
p. 25III—THE FAREWELL TO STRATFORD
Poaching at Charlecote.
Unwarranted doubts of the tradition.
Justice Shallow
The flight from Stratford.
Poaching at Charlecote.
Unwarranted doubts of the tradition.
Justice Shallow
The flight from Stratford.
p. 31IV—ON THE LONDON STAGE
The journey to London.
Richard Field, his townsman.
Theatrical employment.
A playhouse servitor.
The acting companies.
The Lord Chamberlain’s company.
A member of the Lord Chamberlain’s.
The London theatres.
Place of residence in London.
Shakespeare’s alleged travels. In Scotland.
In Italy.
Shakespeare’s rôles.
Alleged scorn of an actor’s calling.
The journey to London.
Richard Field, his townsman.
Theatrical employment.
A playhouse servitor.
The acting companies.
The Lord Chamberlain’s company.
A member of the Lord Chamberlain’s.
The London theatres.
Place of residence in London.
Shakespeare’s alleged travels. In Scotland.
In Italy.
Shakespeare’s rôles.
Alleged scorn of an actor’s calling.
p. 46V.—EARLY DRAMATIC EFFORTS
Dramatic work.
His borrowed plots.
The revision of plays.
Chronology of the plays. Metrical tests.
‘Love’s Labour’s Lost.’
‘Two Gentlemen of Verona.’
‘Comedy of Errors.’
‘Romeo and Juliet.’
‘Henry VI.’
Greene’s attack. Chettle’s apology.
Divided authorship of ‘Henry VI.’
Shakespeare’s coadjutors.
Shakespeare’s assimilative power.
Lyly’s influence in comedy.
Marlowe’s influence in tragedy. ‘Richard III.’
‘Richard II.’
Acknowledgments to Marlowe.
‘Titus Andronicus.’
‘Merchant of Venice.’
Shylock and Roderigo Lopez.
‘King John.’
‘Comedy of Errors’ in Gray’s Inn Hall.
Early plays doubtfully assigned to Shakespeare.
‘Mucedorus.’
‘Faire Em.’
Dramatic work.
His borrowed plots.
The revision of plays.
Chronology of the plays. Metrical tests.
‘Love’s Labour’s Lost.’
‘Two Gentlemen of Verona.’
‘Comedy of Errors.’
‘Romeo and Juliet.’
‘Henry VI.’
Greene’s attack. Chettle’s apology.
Divided authorship of ‘Henry VI.’
Shakespeare’s coadjutors.
Shakespeare’s assimilative power.
Lyly’s influence in comedy.
Marlowe’s influence in tragedy. ‘Richard III.’
‘Richard II.’
Acknowledgments to Marlowe.
‘Titus Andronicus.’
‘Merchant of Venice.’
Shylock and Roderigo Lopez.
‘King John.’
‘Comedy of Errors’ in Gray’s Inn Hall.
Early plays doubtfully assigned to Shakespeare.
‘Mucedorus.’
‘Faire Em.’
p. 74VI—THE FIRST APPEAL TO THE READING PUBLIC
Publication of ‘Venus and Adonis.’
‘Lucrece.’
Enthusiastic reception of the poems.
Shakespeare and Spenser.
Patrons at court.
Publication of ‘Venus and Adonis.’
‘Lucrece.’
Enthusiastic reception of the poems.
Shakespeare and Spenser.
Patrons at court.
p. 83VII—THE SONNETS AND THEIR LITERARY HISTORY
The vogue of the Elizabethan sonnet.
Shakespeare’s first experiments.
Majority of Shakespeare’s sonnets composed in 1594.
Their literary value.
Circulation in manuscript.
Their piratical publication in 1609. ‘A Lover’s Complaint.’
Thomas Thorpe and ‘Mr. W. H.’
The form of Shakespeare’s Sonnets.
Want of continuity. The two ‘groups.’
Main topics of the first ‘group.’
Main topics of the second ‘group.’
Lack of genuine sentiment in Elizabethan sonnets. Their dependence on French and Italian models.
Sonnetteers’ admission of insincerity.
Contemporary censure of sonnetteers’ false sentiment. ‘Gulling Sonnets.’
Shakespeare’s scornful allusion to sonnets in his plays.
The vogue of the Elizabethan sonnet.
Shakespeare’s first experiments.
Majority of Shakespeare’s sonnets composed in 1594.
Their literary value.
Circulation in manuscript.
Their piratical publication in 1609. ‘A Lover’s Complaint.’
Thomas Thorpe and ‘Mr. W. H.’
The form of Shakespeare’s Sonnets.
Want of continuity. The two ‘groups.’
Main topics of the first ‘group.’
Main topics of the second ‘group.’
Lack of genuine sentiment in Elizabethan sonnets. Their dependence on French and Italian models.
Sonnetteers’ admission of insincerity.
Contemporary censure of sonnetteers’ false sentiment. ‘Gulling Sonnets.’
Shakespeare’s scornful allusion to sonnets in his plays.
p. 109VIII—THE BORROWED CONCEITS OF THE SONNETS
Slender autobiographical element in Shakespeare’s sonnets. The imitative element.
Shakespeare’s claims of immortality for his sonnets a borrowed conceit.
Conceits in sonnets addressed to a woman.
The praise of ‘blackness.’
The sonnets of vituperation.
Gabriel Harvey’s ‘Amorous Odious Sonnet.’
Jodelle’s ‘Contr’ Amours.’
Slender autobiographical element in Shakespeare’s sonnets. The imitative element.
Shakespeare’s claims of immortality for his sonnets a borrowed conceit.
Conceits in sonnets addressed to a woman.
The praise of ‘blackness.’
The sonnets of vituperation.
Gabriel Harvey’s ‘Amorous Odious Sonnet.’
Jodelle’s ‘Contr’ Amours.’
p. 125IX—THE PATRONAGE OF THE EARL OF SOUTHAMPTON
Biographic fact in the ‘dedicatory’ sonnets.
The Earl of Southampton the poet’s sole patron.
Rivals in Southampton’s favour.
Shakespeare’s fear of a rival poet.
Barnabe Barnes probably the rival.
Other theories as to the rival’s identity.
Sonnets of friendship.
p. 137Extravagances of literary compliment.
p. 139Patrons habitually addressed in affectionate terms.
Direct references to Southampton in the sonnets of friendship.
His youthfulness.
The evidence of portraits.
p. 147Sonnet cvii. the last of the series.
Allusion to Elizabeth’s death.
Allusions to Southampton’s release from prison.
Biographic fact in the ‘dedicatory’ sonnets.
The Earl of Southampton the poet’s sole patron.
Rivals in Southampton’s favour.
Shakespeare’s fear of a rival poet.
Barnabe Barnes probably the rival.
Other theories as to the rival’s identity.
Sonnets of friendship.
p. 137Extravagances of literary compliment.
p. 139Patrons habitually addressed in affectionate terms.
Direct references to Southampton in the sonnets of friendship.
His youthfulness.
The evidence of portraits.
p. 147Sonnet cvii. the last of the series.
Allusion to Elizabeth’s death.
Allusions to Southampton’s release from prison.
p. 151X—THE SUPPOSED STORY OF INTRIGUE IN THE SONNETS
The youth’s relations with the poet’s mistress.
‘Willobie his Avisa.’
Summary of conclusions respecting the sonnets.
The youth’s relations with the poet’s mistress.
‘Willobie his Avisa.’
Summary of conclusions respecting the sonnets.
p. 161XI—THE DEVELOPMENT OF DRAMATIC POWER
‘Midsummer Night’s Dream.’
‘All’s Well.’
‘Taming of the Shrew.’
Stratford allusions in the Induction.
Wincot.
‘Henry IV.’
Falstaff.
‘Merry Wives of Windsor.’
‘Henry V.’
Essex and the rebellion of 1601.
Shakespeare’s popularity and influence.
The Mermaid meetings.
Mere’s eulogy, 1598.
Value of his name to publishers.
‘The Passionate Pilgrim.’
‘The Phœnix and the Turtle.’
‘Midsummer Night’s Dream.’
‘All’s Well.’
‘Taming of the Shrew.’
Stratford allusions in the Induction.
Wincot.
‘Henry IV.’
Falstaff.
‘Merry Wives of Windsor.’
‘Henry V.’
Essex and the rebellion of 1601.
Shakespeare’s popularity and influence.
The Mermaid meetings.
Mere’s eulogy, 1598.
Value of his name to publishers.
‘The Passionate Pilgrim.’
‘The Phœnix and the Turtle.’
p. 185XII—THE PRACTICAL AFFAIRS OF LIFE
Shakespeare’s practical temperament.
His father’s difficulties.
His wife’s debt.
The coat-of-arms.
Purchase of New Place.
Appeals for aid from his fellow-townsmen.
Financial position before 1599.
Financial position after 1599.
Later income.
Incomes of fellow-actors.
Formation of the estate at Stratford 1601-10.
The Stratford tithes.
Recovery of small debts.
Shakespeare’s practical temperament.
His father’s difficulties.
His wife’s debt.
The coat-of-arms.
Purchase of New Place.
Appeals for aid from his fellow-townsmen.
Financial position before 1599.
Financial position after 1599.
Later income.
Incomes of fellow-actors.
Formation of the estate at Stratford 1601-10.
The Stratford tithes.
Recovery of small debts.
p. 207XIII—MATURITY OF GENIUS
Literary work in 1599.
‘Much Ado.’
‘As You Like It.’
‘Twelfth Night.’
‘Julius Cæsar,’ 1601.
The strife between adult and boy actors.
Shakespeare’s references to the struggle.
Jonson’s ‘Poetaster.’
Shakespeare’s alleged partisanship.
‘Hamlet,’ 1602.
The problem of its publication.
The First Quarto, 1603.
The Second Quarto, 1604.
The Folio Version.
Popularity of ‘Hamlet.’
‘Troilus and Cressida.’
Treatment of the theme.
Queen Elizabeth’s death, March 26, 1603.
James I’s patronage.
Literary work in 1599.
‘Much Ado.’
‘As You Like It.’
‘Twelfth Night.’
‘Julius Cæsar,’ 1601.
The strife between adult and boy actors.
Shakespeare’s references to the struggle.
Jonson’s ‘Poetaster.’
Shakespeare’s alleged partisanship.
‘Hamlet,’ 1602.
The problem of its publication.
The First Quarto, 1603.
The Second Quarto, 1604.
The Folio Version.
Popularity of ‘Hamlet.’
‘Troilus and Cressida.’
Treatment of the theme.
Queen Elizabeth’s death, March 26, 1603.
James I’s patronage.
p. 235XIV—THE HIGHEST THEMES OF TRAGEDY
‘Othello’ and ‘Measure for Measure.’
‘Macbeth.’
‘King Lear.’
‘Timon of Athens.’
‘Pericles.’
‘Antony and Cleopatra.’
‘Coriolanus.’
‘Othello’ and ‘Measure for Measure.’
‘Macbeth.’
‘King Lear.’
‘Timon of Athens.’
‘Pericles.’
‘Antony and Cleopatra.’
‘Coriolanus.’
p. 248XV—THE LATEST PLAYS
The latest plays.
‘Cymbeline.’
‘A Winter’s Tale.’
‘Tempest.’
Fanciful interpretations of ‘The Tempest.’
Unfinished plays. The lost play of ‘Cardenio.’
‘Two Noble Kinsmen.’
‘Henry VIII.’
The latest plays.
‘Cymbeline.’
‘A Winter’s Tale.’
‘Tempest.’
Fanciful interpretations of ‘The Tempest.’
Unfinished plays. The lost play of ‘Cardenio.’
‘Two Noble Kinsmen.’
‘Henry VIII.’
p. 264XVI—THE CLOSE OF LIFE
Plays at Court in 1613. Actor-friends.
Final settlement at Stratford.
Domestic affairs.
Purchase of a house in Blackfriars.
Attempt to enclose the Stratford common fields.
Death. Burial.
The will. Bequest to his wife.
His heiress. Legacies to friends.
The tomb.
Personal character.
Plays at Court in 1613. Actor-friends.
Final settlement at Stratford.
Domestic affairs.
Purchase of a house in Blackfriars.
Attempt to enclose the Stratford common fields.
Death. Burial.
The will. Bequest to his wife.
His heiress. Legacies to friends.
The tomb.
Personal character.
p. 280XVII—SURVIVORS AND DESCENDANTS
The survivors. Mistress Judith Quiney.
Mistress Susannah Hall.
The last descendant.
Shakespeare’s brothers.
The survivors. Mistress Judith Quiney.
Mistress Susannah Hall.
The last descendant.
Shakespeare’s brothers.
p. 284XVIII—AUTOGRAPHS, PORTRAITS, AND MEMORIALS
Spelling of the poet’s surname. Autograph signatures.
Shakespeare’s portraits. The Stratford bust. The ‘Stratford’ portrait.
Droeshout’s engraving.
The ‘Droeshout’ painting.
Later portraits.
The ‘Chandos’ portrait.
The ‘Jansen’ portrait.
The ‘Felton’ portrait.
The ‘Soest’ portrait.
Miniatures.
The Garrick Club bust.
Alleged death-mask.
Memorials in sculpture.
Spelling of the poet’s surname. Autograph signatures.
Shakespeare’s portraits. The Stratford bust. The ‘Stratford’ portrait.
Droeshout’s engraving.
The ‘Droeshout’ painting.
Later portraits.
The ‘Chandos’ portrait.
The ‘Jansen’ portrait.
The ‘Felton’ portrait.
The ‘Soest’ portrait.
Miniatures.
The Garrick Club bust.
Alleged death-mask.
Memorials in sculpture.
p. 299XIX—BIBLIOGRAPHY
Quartos of the poems in the poet’s lifetime.
Posthumous quartos of the poems.
The ‘Poems’ of 1640.
Quartos of the plays in the poet’s lifetime.
Posthumous quartos of the plays.
The First Folio. The publishing syndicate.
The prefatory matter.
The value of the text.
The order of the plays.
The typography.
Unique copies.
The Sheldon copy.
Estimated number of extant copies.
Reprints of the First Folio.
The Second Folio. The Third Folio. The Fourth Folio.
Eighteenth-century editors.
Nicholas Rowe, 1674-1718.
Alexander Pope, 1688-1744.
Lewis Theobald, 1688-1744.
Sir Thomas Hanmer, 1677-1746.
Bishop Warburton, 1698-1779.
Dr. Johnson, 1709-1783.
Edward Capell, 1713-1781.
George Steevens, 1736-1800.
Edmund Malone, 1741-1812.
Variorum editions.
Nineteenth-century editors.
Alexander Dyce, 1798-1869. Howard Staunton, 1810-1874. The Cambridge edition, 1863-6.
Other nineteenth-century editions.
Quartos of the poems in the poet’s lifetime.
Posthumous quartos of the poems.
The ‘Poems’ of 1640.
Quartos of the plays in the poet’s lifetime.
Posthumous quartos of the plays.
The First Folio. The publishing syndicate.
The prefatory matter.
The value of the text.
The order of the plays.
The typography.
Unique copies.
The Sheldon copy.
Estimated number of extant copies.
Reprints of the First Folio.
The Second Folio. The Third Folio. The Fourth Folio.
Eighteenth-century editors.
Nicholas Rowe, 1674-1718.
Alexander Pope, 1688-1744.
Lewis Theobald, 1688-1744.
Sir Thomas Hanmer, 1677-1746.
Bishop Warburton, 1698-1779.
Dr. Johnson, 1709-1783.
Edward Capell, 1713-1781.
George Steevens, 1736-1800.
Edmund Malone, 1741-1812.
Variorum editions.
Nineteenth-century editors.
Alexander Dyce, 1798-1869. Howard Staunton, 1810-1874. The Cambridge edition, 1863-6.
Other nineteenth-century editions.
p. 326XX—POSTHUMOUS REPUTATION
Ben Jonson’s tribute.
1660-1702. Dryden’s view.
Restoration adaptations.
From 1702 onwards.
Stratford festivals.
On the English stage. The first appearance of actresses in Shakespearean parts. David Garrick, 1717-1779.
John Philip Kemble, 1757-1823. Mrs. Sarah Siddons, 1755-1831.
Edmund Kean, 1787-1833.
William Charles Macready, 1793-1873.
Recent revivals.
In music and art.
In America.
Translations. In Germany. German translations.
Modern German writers on Shakespeare.
On the German stage.
In France. Voltaire’s strictures.
French critics’ gradual emancipation from Voltairean influence.
On the French stage.
In Italy.
In Holland.
In Russia.
In Poland.
In Hungary.
In other countries.
Ben Jonson’s tribute.
1660-1702. Dryden’s view.
Restoration adaptations.
From 1702 onwards.
Stratford festivals.
On the English stage. The first appearance of actresses in Shakespearean parts. David Garrick, 1717-1779.
John Philip Kemble, 1757-1823. Mrs. Sarah Siddons, 1755-1831.
Edmund Kean, 1787-1833.
William Charles Macready, 1793-1873.
Recent revivals.
In music and art.
In America.
Translations. In Germany. German translations.
Modern German writers on Shakespeare.
On the German stage.
In France. Voltaire’s strictures.
French critics’ gradual emancipation from Voltairean influence.
On the French stage.
In Italy.
In Holland.
In Russia.
In Poland.
In Hungary.
In other countries.
p. 355XXI—GENERAL ESTIMATE
General estimate.
Character of Shakespeare’s achievement.
Its universal recognition.
General estimate.
Character of Shakespeare’s achievement.
Its universal recognition.
p. 361APPENDIX
I.—THE SOURCES OF BIOGRAPHICAL KNOWLEDGE.
Contemporary records abundant.
First efforts in biography.
Biographers of the nineteenth century. Stratford topography.
Specialised studies in biography. Useful epitomes.
Aids to study of plots and text. Concordances. Bibliographies.
Critical studies.
Shakespearean forgeries.
John Jordan, 1746-1809.
The Ireland forgeries, 1796.
Forgeries promulgated by Collier and others, 1835-1849.
Contemporary records abundant.
First efforts in biography.
Biographers of the nineteenth century. Stratford topography.
Specialised studies in biography. Useful epitomes.
Aids to study of plots and text. Concordances. Bibliographies.
Critical studies.
Shakespearean forgeries.
John Jordan, 1746-1809.
The Ireland forgeries, 1796.
Forgeries promulgated by Collier and others, 1835-1849.
p. 370II.—THE BACON-SHAKESPEARE CONTROVERSY.
Its source. Toby Matthew’s letter.
Chief exponents. Its vogue in America.
Extent of the literature.
Its source. Toby Matthew’s letter.
Chief exponents. Its vogue in America.
Extent of the literature.
p. 374III.—THE YOUTHFUL CAREER OF THE EARL OF SOUTHAMPTON.
Southampton and Shakespeare.
Parentage. Birth on Oct. 6, 1573.
Education.
Recognition of Southampton’s youthful beauty.
Reluctance to marry.
Intrigue with Elizabeth Vernon.
Marriage in 1598.
Imprisonment, 1601-3.
Later career. Death on Nov. 10, 1624.
Southampton and Shakespeare.
Parentage. Birth on Oct. 6, 1573.
Education.
Recognition of Southampton’s youthful beauty.
Reluctance to marry.
Intrigue with Elizabeth Vernon.
Marriage in 1598.
Imprisonment, 1601-3.
Later career. Death on Nov. 10, 1624.
p. 382IV.—THE EARL OF SOUTHAMPTON AS A LITERARY PATRON.
Southampton’s collection of books.
References in his letters to poems and plays.
His love of the theatre.
Poetic adulation. Barnabe Barnes’s sonnet, 1593.
Tom Nash’s addresses.
Markham’s sonnet, 1595. Florio’s address, 1598.
The congratulations of the poets in 1603.
Elegies on Southampton.
Southampton’s collection of books.
References in his letters to poems and plays.
His love of the theatre.
Poetic adulation. Barnabe Barnes’s sonnet, 1593.
Tom Nash’s addresses.
Markham’s sonnet, 1595. Florio’s address, 1598.
The congratulations of the poets in 1603.
Elegies on Southampton.
p. 390V.—THE TRUE HISTORY OF THOMAS THORPE AND ‘MR. W. H.’
The publication of the sonnets in 1609.
Publishers’ dedication.
Thorpe’s early life.
His ownership of the manuscript of Marlowe’s ‘Lucan.’ His dedicatory address to Edward Blount in 1600.
Character of his business.
Shakespeare’s sufferings at publishers’ hands.
The use of initials in dedications of Elizabethan and Jacobean books.
Frequency of wishes for ‘happiness’ and ‘eternity’ in dedicatory greetings.
Five dedications by Thorpe.
‘W. H.’ signs dedication of Southwell’s poems in 1606.
‘W. H.’ and Mr. William Hall.
‘The onlie begetter’ means ‘only procurer’.
The publication of the sonnets in 1609.
Publishers’ dedication.
Thorpe’s early life.
His ownership of the manuscript of Marlowe’s ‘Lucan.’ His dedicatory address to Edward Blount in 1600.
Character of his business.
Shakespeare’s sufferings at publishers’ hands.
The use of initials in dedications of Elizabethan and Jacobean books.
Frequency of wishes for ‘happiness’ and ‘eternity’ in dedicatory greetings.
Five dedications by Thorpe.
‘W. H.’ signs dedication of Southwell’s poems in 1606.
‘W. H.’ and Mr. William Hall.
‘The onlie begetter’ means ‘only procurer’.
p. 406VI.—‘MR. WILLIAM HERBERT.’
Origin of the notion that ‘Mr. W. H.’ stands for ‘Mr. William Herbert.’
The Earl of Pembroke known only as Lord Herbert in youth.
Thorpe’s mode of addressing the Earl of Pembroke.
Origin of the notion that ‘Mr. W. H.’ stands for ‘Mr. William Herbert.’
The Earl of Pembroke known only as Lord Herbert in youth.
Thorpe’s mode of addressing the Earl of Pembroke.
p. 411VII.—SHAKESPEARE AND THE EARL OF PEMBROKE.
Shakespeare with the acting company at Wilton in 1603.
The dedication of the First Folio.
No suggestion in the sonnets of the youth’s identity with Pembroke.
Aubrey’s ignorance of any relation between Shakespeare and Pembroke.
Shakespeare with the acting company at Wilton in 1603.
The dedication of the First Folio.
No suggestion in the sonnets of the youth’s identity with Pembroke.
Aubrey’s ignorance of any relation between Shakespeare and Pembroke.
p. 416VIII.—THE ‘WILL’ SONNETS.
Elizabethan meanings of ‘will.’
Shakespeare’s uses of the word.
Shakespeare’s puns on the word.
Arbitrary and irregular use of italics by Elizabethan and Jacobean printers.
The conceits of sonnets cxxxv-vi. interpreted.
Sonnet cxxxv.
Sonnet cxxxvi.
Sonnet cxxxiv. Meaning of Sonnet cxliii.
Elizabethan meanings of ‘will.’
Shakespeare’s uses of the word.
Shakespeare’s puns on the word.
Arbitrary and irregular use of italics by Elizabethan and Jacobean printers.
The conceits of sonnets cxxxv-vi. interpreted.
Sonnet cxxxv.
Sonnet cxxxvi.
Sonnet cxxxiv. Meaning of Sonnet cxliii.
p. 427IX.—THE VOGUE OF THE ELIZABETHAN SONNET, 1591-1597.
Wyatt’s and Surrey’s Sonnets, published in 1557. Watson’s ‘Centurie of Love,’ 1582.
Sidney’s ‘Astrophel and Stella,’ 1591.
(1) Collected sonnets of feigned love. Daniel’s ‘Delia,’ 1592.
Fame of Daniel’s sonnets.
Constable’s ‘Diana,’ 1592.
Barnes’ sonnets, 1593.
Watson’s ‘Tears of Fancie,’ 1593.
Fletcher’s ‘Licia,’ 1593.
Lodge’s ‘Phillis,’ 1593.
Drayton’s ‘Idea’, 1594.
Percy’s ‘Cœlia,’ 1594.
Zepheria, 1594.
Barnfield’s sonnets to Ganymede, 1595.
Spenser’s ‘Amoretti’, 1595.
‘Emaricdulfe,’ 1595.
Sir John Davies’s ‘Gullinge Sonnets,’ 1595.
Linche’s ‘Diella,’ 1596.
Griffin’s ‘Fidessa,’ 1596. Thomas Campion, 1596.
William Smith’s ‘Chloris,’ 1596.
Robert Tofte’s ‘Laura,’ 1597.
Sir William Alexander’s ‘Aurora.’
Sir Fulke Greville’s ‘Cælica.’
Estimate of number of love-sonnets issued between 1591 and 1597.
II. Sonnets to patrons, 1591-7.
III. Sonnets on philosophy and religion.
Wyatt’s and Surrey’s Sonnets, published in 1557. Watson’s ‘Centurie of Love,’ 1582.
Sidney’s ‘Astrophel and Stella,’ 1591.
(1) Collected sonnets of feigned love. Daniel’s ‘Delia,’ 1592.
Fame of Daniel’s sonnets.
Constable’s ‘Diana,’ 1592.
Barnes’ sonnets, 1593.
Watson’s ‘Tears of Fancie,’ 1593.
Fletcher’s ‘Licia,’ 1593.
Lodge’s ‘Phillis,’ 1593.
Drayton’s ‘Idea’, 1594.
Percy’s ‘Cœlia,’ 1594.
Zepheria, 1594.
Barnfield’s sonnets to Ganymede, 1595.
Spenser’s ‘Amoretti’, 1595.
‘Emaricdulfe,’ 1595.
Sir John Davies’s ‘Gullinge Sonnets,’ 1595.
Linche’s ‘Diella,’ 1596.
Griffin’s ‘Fidessa,’ 1596. Thomas Campion, 1596.
William Smith’s ‘Chloris,’ 1596.
Robert Tofte’s ‘Laura,’ 1597.
Sir William Alexander’s ‘Aurora.’
Sir Fulke Greville’s ‘Cælica.’
Estimate of number of love-sonnets issued between 1591 and 1597.
II. Sonnets to patrons, 1591-7.
III. Sonnets on philosophy and religion.
p. 442X.—BIBLIOGRAPHICAL NOTE ON THE SONNET IN FRANCE, 1550-1600.
Ronsard (1524-1585) and ‘La Pléiade.’ Desportes (1546-1606).
Chief collections of French sonnets published between 1550 and 1584.
Minor collections of French sonnets published between 1553 and 1605.
Ronsard (1524-1585) and ‘La Pléiade.’ Desportes (1546-1606).
Chief collections of French sonnets published between 1550 and 1584.
Minor collections of French sonnets published between 1553 and 1605.
I.—THE SOURCES OF BIOGRAPHICAL KNOWLEDGE.
Contemporary records abundant.
First efforts in biography.
Biographers of the nineteenth century. Stratford topography.
Specialised studies in biography. Useful epitomes.
Aids to study of plots and text. Concordances. Bibliographies.
Critical studies.
Shakespearean forgeries.
John Jordan, 1746-1809.
The Ireland forgeries, 1796.
Forgeries promulgated by Collier and others, 1835-1849.
Contemporary records abundant.
First efforts in biography.
Biographers of the nineteenth century. Stratford topography.
Specialised studies in biography. Useful epitomes.
Aids to study of plots and text. Concordances. Bibliographies.
Critical studies.
Shakespearean forgeries.
John Jordan, 1746-1809.
The Ireland forgeries, 1796.
Forgeries promulgated by Collier and others, 1835-1849.
p. 370II.—THE BACON-SHAKESPEARE CONTROVERSY.
Its source. Toby Matthew’s letter.
Chief exponents. Its vogue in America.
Extent of the literature.
Its source. Toby Matthew’s letter.
Chief exponents. Its vogue in America.
Extent of the literature.
p. 374III.—THE YOUTHFUL CAREER OF THE EARL OF SOUTHAMPTON.
Southampton and Shakespeare.
Parentage. Birth on Oct. 6, 1573.
Education.
Recognition of Southampton’s youthful beauty.
Reluctance to marry.
Intrigue with Elizabeth Vernon.
Marriage in 1598.
Imprisonment, 1601-3.
Later career. Death on Nov. 10, 1624.
Southampton and Shakespeare.
Parentage. Birth on Oct. 6, 1573.
Education.
Recognition of Southampton’s youthful beauty.
Reluctance to marry.
Intrigue with Elizabeth Vernon.
Marriage in 1598.
Imprisonment, 1601-3.
Later career. Death on Nov. 10, 1624.
p. 382IV.—THE EARL OF SOUTHAMPTON AS A LITERARY PATRON.
Southampton’s collection of books.
References in his letters to poems and plays.
His love of the theatre.
Poetic adulation. Barnabe Barnes’s sonnet, 1593.
Tom Nash’s addresses.
Markham’s sonnet, 1595. Florio’s address, 1598.
The congratulations of the poets in 1603.
Elegies on Southampton.
Southampton’s collection of books.
References in his letters to poems and plays.
His love of the theatre.
Poetic adulation. Barnabe Barnes’s sonnet, 1593.
Tom Nash’s addresses.
Markham’s sonnet, 1595. Florio’s address, 1598.
The congratulations of the poets in 1603.
Elegies on Southampton.
p. 390V.—THE TRUE HISTORY OF THOMAS THORPE AND ‘MR. W. H.’
The publication of the sonnets in 1609.
Publishers’ dedication.
Thorpe’s early life.
His ownership of the manuscript of Marlowe’s ‘Lucan.’ His dedicatory address to Edward Blount in 1600.
Character of his business.
Shakespeare’s sufferings at publishers’ hands.
The use of initials in dedications of Elizabethan and Jacobean books.
Frequency of wishes for ‘happiness’ and ‘eternity’ in dedicatory greetings.
Five dedications by Thorpe.
‘W. H.’ signs dedication of Southwell’s poems in 1606.
‘W. H.’ and Mr. William Hall.
‘The onlie begetter’ means ‘only procurer’.
The publication of the sonnets in 1609.
Publishers’ dedication.
Thorpe’s early life.
His ownership of the manuscript of Marlowe’s ‘Lucan.’ His dedicatory address to Edward Blount in 1600.
Character of his business.
Shakespeare’s sufferings at publishers’ hands.
The use of initials in dedications of Elizabethan and Jacobean books.
Frequency of wishes for ‘happiness’ and ‘eternity’ in dedicatory greetings.
Five dedications by Thorpe.
‘W. H.’ signs dedication of Southwell’s poems in 1606.
‘W. H.’ and Mr. William Hall.
‘The onlie begetter’ means ‘only procurer’.
p. 406VI.—‘MR. WILLIAM HERBERT.’
Origin of the notion that ‘Mr. W. H.’ stands for ‘Mr. William Herbert.’
The Earl of Pembroke known only as Lord Herbert in youth.
Thorpe’s mode of addressing the Earl of Pembroke.
Origin of the notion that ‘Mr. W. H.’ stands for ‘Mr. William Herbert.’
The Earl of Pembroke known only as Lord Herbert in youth.
Thorpe’s mode of addressing the Earl of Pembroke.
p. 411VII.—SHAKESPEARE AND THE EARL OF PEMBROKE.
Shakespeare with the acting company at Wilton in 1603.
The dedication of the First Folio.
No suggestion in the sonnets of the youth’s identity with Pembroke.
Aubrey’s ignorance of any relation between Shakespeare and Pembroke.
Shakespeare with the acting company at Wilton in 1603.
The dedication of the First Folio.
No suggestion in the sonnets of the youth’s identity with Pembroke.
Aubrey’s ignorance of any relation between Shakespeare and Pembroke.
p. 416VIII.—THE ‘WILL’ SONNETS.
Elizabethan meanings of ‘will.’
Shakespeare’s uses of the word.
Shakespeare’s puns on the word.
Arbitrary and irregular use of italics by Elizabethan and Jacobean printers.
The conceits of sonnets cxxxv-vi. interpreted.
Sonnet cxxxv.
Sonnet cxxxvi.
Sonnet cxxxiv. Meaning of Sonnet cxliii.
Elizabethan meanings of ‘will.’
Shakespeare’s uses of the word.
Shakespeare’s puns on the word.
Arbitrary and irregular use of italics by Elizabethan and Jacobean printers.
The conceits of sonnets cxxxv-vi. interpreted.
Sonnet cxxxv.
Sonnet cxxxvi.
Sonnet cxxxiv. Meaning of Sonnet cxliii.
p. 427IX.—THE VOGUE OF THE ELIZABETHAN SONNET, 1591-1597.
Wyatt’s and Surrey’s Sonnets, published in 1557. Watson’s ‘Centurie of Love,’ 1582.
Sidney’s ‘Astrophel and Stella,’ 1591.
(1) Collected sonnets of feigned love. Daniel’s ‘Delia,’ 1592.
Fame of Daniel’s sonnets.
Constable’s ‘Diana,’ 1592.
Barnes’ sonnets, 1593.
Watson’s ‘Tears of Fancie,’ 1593.
Fletcher’s ‘Licia,’ 1593.
Lodge’s ‘Phillis,’ 1593.
Drayton’s ‘Idea’, 1594.
Percy’s ‘Cœlia,’ 1594.
Zepheria, 1594.
Barnfield’s sonnets to Ganymede, 1595.
Spenser’s ‘Amoretti’, 1595.
‘Emaricdulfe,’ 1595.
Sir John Davies’s ‘Gullinge Sonnets,’ 1595.
Linche’s ‘Diella,’ 1596.
Griffin’s ‘Fidessa,’ 1596. Thomas Campion, 1596.
William Smith’s ‘Chloris,’ 1596.
Robert Tofte’s ‘Laura,’ 1597.
Sir William Alexander’s ‘Aurora.’
Sir Fulke Greville’s ‘Cælica.’
Estimate of number of love-sonnets issued between 1591 and 1597.
II. Sonnets to patrons, 1591-7.
III. Sonnets on philosophy and religion.
Wyatt’s and Surrey’s Sonnets, published in 1557. Watson’s ‘Centurie of Love,’ 1582.
Sidney’s ‘Astrophel and Stella,’ 1591.
(1) Collected sonnets of feigned love. Daniel’s ‘Delia,’ 1592.
Fame of Daniel’s sonnets.
Constable’s ‘Diana,’ 1592.
Barnes’ sonnets, 1593.
Watson’s ‘Tears of Fancie,’ 1593.
Fletcher’s ‘Licia,’ 1593.
Lodge’s ‘Phillis,’ 1593.
Drayton’s ‘Idea’, 1594.
Percy’s ‘Cœlia,’ 1594.
Zepheria, 1594.
Barnfield’s sonnets to Ganymede, 1595.
Spenser’s ‘Amoretti’, 1595.
‘Emaricdulfe,’ 1595.
Sir John Davies’s ‘Gullinge Sonnets,’ 1595.
Linche’s ‘Diella,’ 1596.
Griffin’s ‘Fidessa,’ 1596. Thomas Campion, 1596.
William Smith’s ‘Chloris,’ 1596.
Robert Tofte’s ‘Laura,’ 1597.
Sir William Alexander’s ‘Aurora.’
Sir Fulke Greville’s ‘Cælica.’
Estimate of number of love-sonnets issued between 1591 and 1597.
II. Sonnets to patrons, 1591-7.
III. Sonnets on philosophy and religion.
p. 442X.—BIBLIOGRAPHICAL NOTE ON THE SONNET IN FRANCE, 1550-1600.
Ronsard (1524-1585) and ‘La Pléiade.’ Desportes (1546-1606).
Chief collections of French sonnets published between 1550 and 1584.
Minor collections of French sonnets published between 1553 and 1605.
Ronsard (1524-1585) and ‘La Pléiade.’ Desportes (1546-1606).
Chief collections of French sonnets published between 1550 and 1584.
Minor collections of French sonnets published between 1553 and 1605.
INDEX.
FOOTNOTES.
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