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Index to Shakespeare's work A to C

 
Aaron, a Moor, a character in Titus Andronicus, introduced in
i., 1 or 2, as a prisoner. He is a lover of Tamora, Queen of the
Goths. In ii. 1, he declares his designs against Rome and the emperor ; in ii. 3, hides gold ; discloses his plans, iv. 2 ; kills the nurse,
iv. 2 ; exchanges his child, iv. 2; avows his deeds, v. 1; his sentence, v. 3. He is a hideous and unnatural character, cursing the
day in which he has not done " some notorious ill."

Abbess. See ^EMILIA.

Abbey, an, scene of a part of the Comedy of Errors, Act v.

Abbeys. See SWINSTEAD and WESTMINSTER.

Abbot of Westminster. See WESTMINSTER, ABBOT OF.

Abdication, of a sovereign, Richard II., iv. 1.

Abel, Richard II., i. 1; I. Henry VI., i. 3.

Abergavenny, George Neville, Lord, a character in Henry VIIL,
introduced in i. 1. He was suspected of taking part in Suffolk's conspiracy in the reign of Henry VII., but afterwards became a favourite with the king, as he was also with Henry VIII.

Abhorrence. See HATRED.

Abhorson, an executioner introduced in Measure for Measure,
iv. 2, who speaks of his occupation as a mystery.

Abjects (menials), Richard III., i. 1.

Able (to be responsible for), Lear, iv. 6.

Abode, abodement (to bode, an evil omen), III. Henry VI., iv.
7 ; v. 6.

Abraham. See under BIBLE.

Abraham, Montague's servant in Romeo and Juliet, appears in i. 1.


Abram (flaxen or auburn?), Coriolanus, ii. 3; Romeo and
Juliet, ii. 1.

Absence, doted on, Merchant of Venice, i. 2 ; of lovers, Othello,
iii. 4 ; effect of, Antony and Cleopatra, i. 4 > love in, Sonnets xcvii.,
xcviii.

Absey-book (ABC book), King John, i. 1.

Absolute (decided), Measure for Measure, iii. 1.

Absolute (perfect), Pericles, iv., prologue.

Absolution, death without, Hamlet, i. 5.

Absyrtus. See MEDEA.

Aby (atone for), Midsummer Night's Dream, iii. 2.
Academe, at the court of Navarre, Love's Labour's Lost, i. 1.

Accidents, guilty, A Winter's Tale, iv. 3 ; have hurt my brother,
Hamlet, v. 2 ; moving, Othello, i. 3.

Accited (summoned), Titus Andronicus, i. 1.

Accommodated, definition of, //. Henry IV., iii. 2 ; ridiculing
the cant use of the word.

Account, the final, with Heaven, King John, iv. 2; Richard
II., i. 1; Hamlet, i. 5; iii. 3.

Accusations. See CRIME.

Acheron, a river of hell, Midsummer Night's Dream, iii. 2 ; Titus Andronicus, iv. 3 ; Macbeth, Hi. 5..

Achievement, never answers to expectation, Troilus and Cressida, i. 3.

Achilles, a general of the Greeks, character in Troilus and
Cressida, introduced in the first scene. In the third, his pride is
described by Ulysses, who plans to humble it by sending Ajax to
fight with Hector ; his quarrel with Agamemnon, ii. 3. In iii. 3,
Ulysses once more plots against his vanity. In v. 9, he slays Hector.
"Shakespeare has allowed the Homeric Achilles, who purchased
lasting fame with a short life, to degenerate into a vain, morbidly
proud, and effeminate mocker." GERVINUS.

Allusions to Achilles : his spear, //. Henry VI., v. 1; in a painting, Lucrece, I. 14%4*

Achitophel. See BIBLE.

Aconitum, strong poison, //. Henry IV., iv. 4.

Acquaintance, cut in adversity, Twelfth Night, v. 1.

Actseon (a hunter changed into a stag by Diana), Merry Wives
of Windsor, ii. 1; iii. 2; Twelfth Night, i. 1; Titus Andronicus,
ii. 3.

Acting, advice on, Hamlet, iii. 2 ; representations of, Love's Labour' s Lost, v.2, the Nine Worthies; Midsummer Night's Dream,
Pyramus and Thisbe ; Hamlet, the murder of Gonzago.

Action, prompt, Macbeth, i. 7, "If 'twere done," etc.; III.
Henry VI., v. 4, " Wise men ne'er," etc. ; Troilus and Cressida, Hi.
3. See also PROMPTNESS.

Actions, criticism of, Henry VIIL, i. 2 ; checks in the highest,
Troilus and Cressida, i. 3 ; evil and good, Julius Ccesar, Hi. 2.

Action-taking (suing at law instead of fighting), Lear, ii. 2.

Actium, battle of (31 B. c.), Antony and Cleopatra, Hi. 8-10 ; iv.
7, 8, 10-12.

Activity, eir'oyment in, Troilus and Cressida, i. 2 ; Macbeth,
ii. 3 ; Cymbeline., iv. 4.

Actor(s), a strutting, Troilus and Cressida, i. 3 ; best in the
world, Hamlet, ii. 2 ; better to have a bad epitaph than their ill
report, feigned passion of an, Hamlet, ii. 2 ; abstracts and brief
chronicles of the time, Hamlet, ii. 2 ; advice to, Hamlet, Hi. 1 ; an
imperfect, Sonnet xxiii. ; the author's dissatisfaction with the profession of, expressed, Sonnets, ex., cxi.

Adallas, King of Thrace, Antony and Cleopatra, Hi. 6.

Adam, penalty of, As You Like It, ii. 1 ; first that bore arms,
Hamlet, v. 1. See BIBLE.

Adam, an officer, apparently, spoken of in Comedy of Errors,
iv. 3.

Adam, call 3d, Much Ado About Nothing, i. 1 ; Adam Bell, an
outlaw, famous for his archery.

Adam, the faithful old servant in As You Like It, introduced in
i. 1, who follows the fortunes of Orlando. In **'. 3, he offers his savings to his young master ; in ii. 6, he is famishing in the forest ; in
ii. 7, he is brought in before the duke and fed.

Adamant (magnet), Midsummer Nights Dream, ii. 1.

Adder, the, in a bright day, Julius Ccesar, ii. 1 ; deafness of the,
Sonnet cxii.

Addition (titles), All's Well that Ends Well, ii. 3; Troilus and
Cressida, ii. 3 ; Lear, ii.; Hamlet, i. 4> Othello, iv. 1, and elsewhere ; (attributes), boasts of their, Troilus and Cressida, i. 2.

Adhere (fit), Macbeth, i. 7.

Adieus. See PARTING.

Admiration (wonder), Lear, i. 4; Hamlet, Hi. 2 ; and in various places.

Adonis, story of, in Venus and Adonis. His death, I. 1030 ;
flower of, I. 1168. See ANEMONE. Allusions to Adonis : Taming of the Shrew, Induction, 2; Sonnet liii.; The Passionate Pilgrim,
iv., vi., ix., xi.

Adonis's gardens, /. Henry VI., i. 5 or 6. These were " nothing
but portable earthen pots, with some lettuce or fennel growing in
them. On his yearly festival, every woman carried one of them in
honour of Adonis, because Venus had once laid him in a lettuce-bed.
The next day they were thrown away."

Adoption, of children, All's Well that Ends Well, i. 3.

Adrian, a lord, character in The Tempest, introduced in ii. 1.

Adriana, wife of Antipholus of Ephesus, in the Comedy of Errors, introduced in ii. 1 ; made shrewish by jealousy.

Adriano de Armado, D :>n. See ARMADO.

Adriatic Seas, rough as, Taming of the Shrew, i. 2.

Advanced (lifted), Twelfth Night, ii. 5, and elsewhere.

Adventures, tales of, Othello, i. 3.

Adversity, patience at the, of others, Comedy of Errors, ii. 1 ;
uses of, are sweet, As You Like It, ii. 1 ; compensations of, All's
Well that Ends Well, iv. 3 ; Richard III., iv. 4; Cymbeline, iv. 2 ;
false friends in, Henry VIII., ii. 1, " Where you are liberal," etc. ;
Troilus and Cressida, Hi. 3 ; Timon of Athens, i. 1, 2 ; ii. 2 ; Hi. 6 ;
iv. 2 ; Hamlet, iii.2 ; Lear, ii. 4 ,' fallen suddenly on greatness, Henry
VIII., Hi. 2 ; winnows men, Troilus and Cressida, i. 3 ; the noble
in, Coriolanus, iv. 1 ; melancholy in, Timon of Athens, iv. 3.

Adversity (one adverse or contrary), Troilus and Cressida, v. 1.

Advertisement (admonition), Much Ado about Nothing, v. 1 ;
All's Well that Ends Well, iv. 3; I. Henry IV., iv. 1; (intelligence),
7. Henry IV., Hi. 2, end.

Advertising and holy (attentive and faithful), Measure for
Measure, v. 1.

Advice, concerning friends and conversation, All's Well that
Ends Well, i. 1; Hamlet, i. 3 ; to the wretched, Comedy of Errors,
ii. 1; like water in a sieve, Much Ado about Nothing, v. 1; to the
wilful, and from the dying, Richard II., ii. 1 ; has an effect contrary
to that intended, The Lover's Complaint, 1. 160.

Advice (deliberation), Titus Andronicus, ii. 1, " She will fill our
engines with," etc.

Ediles, Coriolanus, Hi. 1. They had care of the public buildings, streets, processions, etc.

Egeon, a merchant of Syracuse, father of the twin Antipholuses,
in the Comedy of Errors.


Emilia, mother of the twin Antipholuses, in the Comedy of
Errors, introduced in v. 1, as abbess at a convent in Ephesus, which
she had entered after losing her sons, whom, with her husband, she
finds in the same scene.

Emilius, a noble Roman, unimportant character in Titus Andronicus, introduced in iv. 4.

Eneas, one of the Trojan commanders, and leader of those that
escaped after the siege, a character in Troilus and Cressida, introduced in i. 1. In i. 3, he brings Hector's challenge ; in v. 6, he is
said to have been taken by Ajax, but he appears again in v. 10, leading
the Trojans. Allusions to tineas : The Tempest, ii. 1 ; II. Henry
VI., v. 2 ; Titus Andronicus, Hi. 2 ; Julius Ccesar, i. 2 ; Hamlet, ii.
2 ; Antony and Cleopatra, iv. 12 or 14 / Cyrribeline, Hi. 4.

Eolus, II. Henry VL, Hi. 2. The god of the winds.

Aery (brood), Richard 111., i. 3.

Esculapius, Merry Wives of Windsor, ii. 3. The god of physicians.

Eson, Merchant of Venice, v. 1. The father of Jason, restored
by Medea to youth.

Esop, 111. Henry VL, v. 5. The fabulist is said to have been
humpbacked, and Richard is called so on account of his deformity.

Affectation in language, Love's Labour's Lost, v. 2 ; " Taffeta
phrases," etc., Hamlet, v. 2. Osric's is travestied by Hamlet in the
same scene ; called affection, Love's Labour's Lost, v. 2.

Affectioned (affected), Twelfth Night, ii. 3.

Affections, human, The Tempest, v. 2 ; wrestle with, As You
Like It, i. 3; intention of, A Winter's Tale, i. 2. See LOVE.

Affects (affections), not mastered by might, Lovtfs Labour's Lost,
i. 1.

Affied (affianced), Taming of the Shrew, iv. 4.

Affined (of the same sort), Troilus and Cressida, i. 3 ; (under
obligation), Othello, i. 1 ; ii. 3.

Affliction, cannot subdue the mind, A Winter's Tale, iv.4; sweet,
A Winter's Tale, v. 3 ; religion in, //. Henry VI., ii. 1 ; enamoured,
Romeo and Juliet, Hi. 3 ; a test of men, Troilus and Cressida, i. 3 ;
Coriolanus, iv. 1; patience in, Otliello, iv. 2. See SORROW.

Affy (have faith), Titus Andronicus, i. 1.

Africa, II. Henry IV., v. 3 ; Coriolanus, i. 8.

Agamemnon, brother of Menelaus, and general-in-chief of the
Greeks at the siege of Troy ; character in Troilus and Cressida, introduced in i. 3. In the same scene, Ulysses describes to him how
he is mimicked by Patroclus, who puts on his " topless deputation "
(deputed power in which he has no superior), to amuse Achilles ;
allusions to him, 77. Henry IV., ii. 4; Henry V., in. 6; III. Henry
VI., ii. 2.

Agate, Much Ado about Nothing, Hi. 1; II. Henry IV., i. 2.
A small person, so called in allusion to the little figures cut in agate,
for rings, etc.

Age, a degenerate, Julius Ccesar, i. 3 ; one poor retiring minute
in an, Lucrece, I. 962 ; pattern of the worn-out, Lucrece, I. 1350 ;
peace proclaims olives of endless, Sonnet cvii.

Age, old, infirmities of, Comedy of Errors, v. 1; Measure for
Measure, Hi. 1; wit out in, Much Ado about Nothing, Hi. 5; Comedy
of Errors, v. 1; spirit in, Much Ado about Nothing, iv. 1, "Time hath
not yet," etc. ; frosty, but kindly, As You Like It, ii. 3 ; full of wise
saws, As You Like It, ii. 7; not desired, AW a Well that Ends Well,

1. 2 ; avarice inseparable from, II. Henry IV., i. 2 ; characters of, 77.
Henry IV., v. 5 ; alacrity and cheerfulness declined in, Richard III.,
v. 3 ; conduct becoming, 77. Henry IV., v.5; weary, Henry VIII., iv.
2 ; mimicry of, Troilus and Cressida, i. 3 ; good opinion purchased
by, Julius Ccesar, ii. 1 ; ingratitude in, Timon of Athens, ii. 2, " You
gods, reward," etc. ; what should accompany, Macbeth, v. 3 ; too
politic, slanders on, Hamlet, ii. 2 ; declined into the vale of years,
Othello, Hi. 3; infirmities of, Lear, i. 1, 3 ; ii. 4> reverence for,
Lear, i. 2, letter ; unnecessary, Lear, ii. 4 ; full of grief, Lear, ii. 4 ;
cannot wither, Antony and Cleopatra, ii. 2 ; vigour in, Antony and
Cleopatra, iv. 8 ; childless, Sonnets ii., v., vii., xi. ; marks of, Sonnets
ii., v., xxii., Ixii., Ixiii., Ixvii. ; the autumn, Sonnet Ixxiii. ; in love,
Sonnet cxxxix.; cannot live with youth, The Passionate Pilgrim,
xii. ; traces of beauty in, Lover's Complaint, 1. 10.

Aged, movements of the, Romeo and Juliet, ii. 5.

Ages, the seven, As You Lilce It, ii. 7.

Agenor, daughter of, (Europa,) Taming of the Shrew, i. 1. See
EUROPA.

Agincourt, battle of (October 25, 1415), Henry V., iv. 4, 5, 6,
7 ; allusion to, Henry V., i., chorus ; before, Henry V., in. 7 ; iv. 1,

2, 3; dead and prisoners of, Henry V., iv. 8; thanksgiving for victory after, Henry V., iv. 8.

Aglet-baby (ornament carved like the human form for a pendant), Taming of the Shrew, i. 2.

Agnize (acknowledge), Othello, i. 3.

Agrippa, character in Antony and Cleopatra; introduced in ii t
%, a friend of Caesar.

Aguecheek, Sir Andrew, character in Twelfth Night. He is a
fool and a coward of an original type, so conscious of his folly and
cowardice that the effect is almost pathetic. He is the boon companion of Sir Toby Belch, who makes a butt and a tool of him. See
SLENDER.

Agues, in March, L Henry IV., iv. 1.

Ahitophel. See BIBLE.

Aim, to cry, Merry Wives of Windsor, ii. 3; Hi. 1; King John,
ii. 1. An archery term, meaning to encourage.

Air, a spirit all of, The Tempest, v. 1 ; the empty, vast, and wandering, Richard III., i. 4.

Ajax, one of the Grecian commanders, of great size and courage,
but dull and brutish in mind, a character in Troilus and Cressida,
introduced in ii. 1. In i. 2, Pandarus describes him ; in i. 3, Ulysses
speaks of his insubordination ; in ii. 1, he is railed at by Thersites ;
flattered by Agamemnon in ii. 3 ; in Hi. 3, it is decided that he shall
fight with Hector, and in iv. 5 they fight.
" The hand is masterly with which, in the delineation of Ajax,
physical strength is exhibited intensified at the expense of mental
power ; the abundance of similes and images with which the rare but
simple nature is described is inexhaustible ; the discernment is wonderful with which all animal qualities are gathered together to form
this man, at once both more and less than human ; Mars's idiot, a
purblind Argus, and a gouty Briareus." GERVINUS.
Allusions to Ajax: one of the Nine Worthies, Love's Labour's
Lost, v. 2; allusions to his anger when the armour of Achilles was
given to Ulysses, Love's Labour's Lost, iv. 3 ; II. Henry VI., v. 1;
other allusions, Taming of the Shrew, Hi. 1; Lear, ii. 2; Antony
and Cleopatra, iv. 12 or 14,' Cymbeline, iv. 2 ; in a painting, The
Rape of Lucrece, I. 1394. See also TELAMON.

Alarbus, son of Tamora in Titus Andronicus, appears in i. 1 or
2, as a prisoner of the Romans, only to be taken away and sacrificed
to the shades of the dead sons of Titus. He does not speak.

Albany, Duke of, Goneril's husband, in King Lear, introduced
in the first scene. He is shocked and grieved at the treatment of
the old king, but is too weak to interfere.

Albret, Charles d'. See CONSTABLE OF FRANCE.

Alchemist, Timon of Athens, v. 2 ; the sun an, King John, Hi. 1.

Alchemy, Julius Ccesar, i. 3, end.

Alcibiades (B. c. 454r-404), an Athenian general, character in Timon of Athens, introduced in i. 1 ; banished, Hi. 5 ; before the
walls of Athens, v. 4' Having conquered the enemies of Athens and
been repaid only with ingratitude and banishment, he takes up arms
against his country and forces it to render him justice. His mode
of revenge is distinctly contrasted with that of the less robust nature
of Timon.

Alcides (Hercules), Taming of the Shrew, Hi. 2 ; The Merchant
of Venice, ii. 1 ; Hi. 2 ; King John, ii. 1 ; I. Henry VI. y iv. 7 ; Antony and Cleopatra, iv. 10 or 12. See HERCULES.

Alderliefest (dearest of all), //. Henry VI., i. 1.

Ale, cakes and, Twelfth Night, ii. 3.

Ale, quibble on the word, Two Gentlemen of Verona, ii. 5. Minor
church festivals were called ales.

Alecto (one of the Furies), II. Henry 1 V., v. 5.

AlenQon, the Duke of r a character in I. Henry VI., spoken of in
i. 1, first appears in i. 2. In v. 4, York calls him a " notorious Machiavel." He is mentioned in Henry V., Hi. 5; his (supposed) glove,
Henry V., iv. 7, 8.

Alexander, one of the Nine Worthies in Love's Labour's Lost,
v. 2. The jests on the player, " Your nose," etc., are allusions to
the traditions that his head was set obliquely, and that his body gave
out a sweet fragrance ; his crown, A Winter's Tale, v. 1 ; the king
likened to, Henry V., iv. 7.

Alexander, character in Troilus and Cressida, Cressida's servant, introduced in i. 2.

Alexandria, a city of Egypt, scene of a part of Antony and Cleopatra.

Alexas, an attendant of the queen in Antony and Cleopatra, introduced in i. 2 ; his revolt, iv. 6.

Algiers. See ARGIER.

Alice, a lady attending on the Princess Katharine in Henry V.,
first appears in Hi. 4, an amusing scene, where she is teaching the
princess English.

Aliena, name assumed by Celia in As You Like It, i. 3.

Alisander. See ALEXANDER.

Alia nostra casa, etc., Taming of the Shrew, i. 2. (Welcome
to our house, much-honoured Signer Petruchio.)

Allegiance, offers of, King John, v. 7; pluck, from men's hearts,
J. Henry IV., Hi. 2 ; crowned with faith and constant loyalty, Henry
V., ii. 2 ; cold hearts freeze, /. Henry VI., v. 5; to a fallen lord, Antony and Cleopatra, Hi. 11. See also LOYALTY.

All-hallowmas summer, I. Henry IV., i. 2 ; Indian summer.

All hid, all hid, Love's Labour's Lost, iv. 3. A children's game,
perhaps hoodman-blind, or hide-and-seek.

Alliance, sought with France, III. Henry VI., Hi. 3 ; of Caesar
and Antony, Antony and Cleopatra, ii. 2.

Alliteration, the use of, Love's Labour's Lost, iv. 2, " to affect
the letter."

Allons (let us go), Love's Labour's Lost, iv. 3.

Allow^ (appro ve), //. Henry IV., Hi. 2; Troilus and Cressida,
Hi. 2.

All-Saints' Day. See HALLOWMAS.
[ All-Souls 1 Day, Richard III., v. 1.

All's Well that Ends Well, a comedy first published in 1623,
and judged to have been written in its present form about 1601 or
1602. But it is supposed to be a re-cast of an earlier play entitled
" Love's Labour's Won," mentioned by Meres in 1598, though some
editors have sought to identify that play with Much Ado about
Nothing, others with Taming of the Shrew, and one at least with
The Tempest. The general opinion, however, identifies it with this
play. The story is from Boccaccio's " Decameron," s where it is entitled "Giglietta di Nerbona," and was published in an English
translation in Paynter's " Palace of Pleasure," where Shakespeare may
have got it. The tale is followed quite closely in the principal incidents, but Shakespeare has added several important characters Laf eu,
Parolles, and the Countess. The scene is laid partly in France and
partly in Italy, and the time is perhaps the fourteenth century. Although repellent in its plot, this play has some of Shakespeare's finest
passages and some of his best creations of character.

Allycholly (melancholy), Two Gentlemen of Verona, iv. 2.

Almanac, of my true date, Comedy of Errors, i. 2. One by
whose birth he knew the date of his own.

Almanacs, allusions to weather prognostications in, II. Henry
IV., ii. 4 ; Antony and Cleopatra, i. 2 ; Sonnet xiv.

Alms-drink, Antony and Cleopatra, ii. 7. The portion of one's
share taken by others to relieve him. Perhaps here only the leavings, which would be given as alms.

Alonso, King of Naples, character in The Tempest, introduced
in the first scene. He and his son, with the usurping Duke of Milan,
whom he had aided in the usurpation, are shipwrecked in the storm
raised by Prospero. He afterward repents of the wrong, and consents to the marriage of his son Ferdinand with Miranda,

Alphabet, the, called Absey. See ABSEY-BOOK ; called the cross-row (or Christ-cross row, because it was often headed with a cross),
Richard III., i. 1.

Althea, dreamed she was delivered of a firebrand, II. Henry
IV., ii. 2. It was Hecuba that had that dream before the birth of
Paris ; burning the brand, II. Henry VI., i. 1. The destinies foretold that the life of her son Meleager should last no longer than a
brand then burning upon the hearth. She caught up the brand, extinguished, and saved it. But when her son grew to manhood he
slew her two brothers in a sudden passion ; and Althea, to avenge
their death, threw the brand upon the fire, and. as it burned, the life
of Meleager wasted away with it.

Amaimon, Merry Wives of Windsor, ii. 2, end; 1. Henry IV.,
ii. 4> One of the four demon-kings. His realm is in the north, the
quarter most haunted by evil spirits.

Amazement (consternation), The Tempest, i. 2 ; Hamlet, Hi. 4.
See ASTONISHMENT.

Ambassadors, from France, Henry V. The chief speaker was
the Archbishop of Bourges.

Ambition, growth of, The Tempest, i. 2 ; to expel remorse, The
Tempest, v. 1 ; shrunk, /. Henry VI, v. 4> the object of, glory, like a
circle in water, /. Henry IV., i. 2 ; of the Plantagenets, III. Henry
VI., i. 4 ,' charge to fling away, Henry VIII., iii. 2 ; a beastly, Timon,
iv. 3 ; our own fault if we are underlings, Julius Ccesar, i. 2 ; ladder
of, Julius Ccesar, ii. 1 ; of Caesar, iii. 2 ; with scruples, Macbeth, i. 5 ;
vaulting, Macbeth, i. 7 ; is but dreams and a shadow's shadow, Hamlet, ii. 2 ; the soldier's virtue, Antony and Cleopatra, iii. 1.

Amen, The Tempest, v. 1 ; say amen betimes, lest the devil cross
the prayer, Merchant of Venice, iii. 1 ; could not say, Macbeth, ii. 2.

America, Comedy of Errors, iii. 2 ; allusion to, Henry V1I1.,
v. 3, " Make new nations," etc.

Ames-ace, All's Well that Ends Well, ii. 3. The lowest
throw upon two dice two aces.

Amiens, one of the lords attending the banished duke in As
You Like It, introduced in ii. 1.

Amity. See FRIENDSHIP.

Amnesty, offer of, /. Henry IV., iv. 3 ; v. 1.

Amort (dispirited), Taming of the Shrew, iv. 3 ; I. Henry VI.,
iii. 2.

Amphion, harp of, The Tempest, ii. 1.

Amulets. See CHARMS, PERIAPTS.


Anmrath, II. Henry IV., v. 2. Amurath V., who, succeeding
his father, Amurath IV., caused all his brothers to be 'strangled.

Amyntas, King of Lycaonia, Antony and Cleopatra, Hi. 6.

Anarchy, prayer for, II. Henry IV., i. 1 ; danger of, Richard
III., ii. 2.

Anatomize (analyze), As You Like It, i. 1 ; ii. 7 ; II. Henry
VI., v. 2.

Anatomy, a mere, Comedy of Errors, v. 1 ; I'll eat the rest of
the, Twelfth Night, Hi. 2 ; that fell, which cannot heal, King John,
Hi. 4 ; in what part of the, does the name lodge, Romeo and Juliet,
in. 3.

Anchises, Julius Ccesar, i. 2. The father of ./Eneas, whom
JEneas bore away on his back from burning Troy.

Ancient (a standard, or standard-bearer, or ensign). Pistol and
lago were ancients ; an old-faced (flag), I. Henry IV., iv. 2 ; of war
(experienced), King Lear, v. 1.

Ancients, whether better than moderns, Sonnet ix.

Andirons, Cymbeline, ii. 4.

And let the canakin, song, Othello, ii. 3.

Andren (Arde), vale of, in Picardy, the meeting-place of the
Kings Francis I. and Henry VIII., Henry VIII., i. 1. The Field of
the Cloth of Gold.

Andrew, my wealthy, Merchant of Venice, i. 1. A merchant-man, supposed to be called so after the great admiral, Andrew
Doria.

Andromache, Hector's wife, a character in Troilus and Cressida, introduced in v. 3.

Andronici, tomb of the, Titus Andronicus, i. 1 or 2. Titus
brings home those of his twenty-five sons who have fallen, to be buried in the tomb of his ancestors.

Anemone, the flower that sprang from the blood of Adonis,
V. and A., 195. Purple was used for any bright color. Bion makes
the rose to spring from the blood, the anemone from the tears of
Venus.

Angelo, the deputy of the duke in Measure for Measure, introduced in the first scene a cold-hearted, self-righteous man, who not
only falls into the wickedness which he is making a great display of
punishing, but aggravates it by cruelty and breach of faith. The
development of the worse elements of his character, the existence of
which he had never suspected, his surprise at his own fall, and the
rapidity with which one baseness follows another in a life that was all selfishness and show even in its virtues, are brought out in the
play with great skill and subtlety.

Angelo, a goldsmith, character in Comedy of Errors, introduced
in Hi. 1.

Angel(s), made to weep, Measure for Measure, ii. 2 ; blessed
ministers above, Measure for Measure, v. 1 ; guardian, II. Henry
IV., ii. 2 ; attending evil, 11. Henry IV., i. 2 ; Macbeth, in. 1 ;
Antony and Cleopatra, ii. 3 ; fell by ambition, Henry VIII. , Hi. 2 ;
love good men, Henry VIII., ii. 2 ; visions of, Henry VIII., iv. 2 ;
beauty of, Romeo and Juliet, ii. 2 ; are bright still, Macbeth, iv. 3 ;
and ministers of grace, Hamlet, i. 4 ; heavenly guards, Hamlet, Hi.
4 ; sing thee to thy rest, Hamlet, v. 2.

Angel(s), (gold coins with the figure of an angel or saint), Merry
Wives of Windsor, i. 3; Merchant of Venice, ii. 7 ; King John, Hi, 3 ;
II. Henry IV., i. 2 ; an ancient, Taming of the Shrew, iv. 2. The
meaning of the last is obscure, but perhaps one of the old stamp, a
true coin. Some understand it to be a word cognate to angle, and
to mean either the bait or the victim that angled with or that angled
for.

Anger, in a woman, Taming of the Shrew, v. 2, " A woman
moved," etc. ; the king's, I. Henry I V., i. 3 ; like a full horse, Henry
VIIL, i. 1 ; sudden, Henry VIII., Hi. 2 ; my meat, Coriolanus, iv.
2 ; a short madness, Timon of Athens, i. 2 ; of Cassius, Julius
CcBsar, iv. 3 ; more in sorrow than in, Hamlet, i. 2 ; righteous, Lear,
ii. 2, " hath a privilege " ; Othello, Hi. 4, " There's matter in't," etc. ;
never made good guard for itself, Antony and Cleopatra, iv. 1.

Anglers, scene of part of King John and of I. Henry VI., v. 3 ;
addresses to citizens of, King John, ii. 1 or 2.

Angling, Much Ado about Nothing, Hi. 1; Antony and Cleopatra, ii. 5; for hearts, I. Henry IV., iv. 3.

Angus, a thane of Scotland, character in Macbeth, appears in
i. 3.

Angus, Earl of, J. Henry IV., i. 1.

Animals, souls of, in men, The Merchant of Venice, iv. 1; cruelty to, As You Like It, ii. 1 ; Cymbeline, i. 5 ; defend their young,
///. Henry VI., ii. 2; know their friends, Coriolanus, ii. 1; strife
among, Timon of Athens, iv. 3.

Anjou, scene of I. Henry VI., v. 2, 4; lost to England, II. Henry
VI., i. 1; iv. 1.

Anjou, Margaret of. See MARGARET.

Anna, the confidant of Dido, Taming of the Shrew, i. 1.

Anne, Princess of Wales, widow of the son of Henry VI., and
daughter of Warwick, a character in Richard 111., where she appears first in i. 2, and is successfully wooed in the street, while following the coffin of Henry VI., by Gloster (Richard III.), his murderer and the murderer of her husband. In iv. 2, he resolves that
she shall die, so that he may marry his brother's daughter, and
her death is announced in iv. 3 (March 1C, 1485). Her ghost appears
to Richard in v. 3.

Anne Boleyn. See BOLEYN.

Annotanize (stilted for annotate), Love's Labour's Lost, iv. 1.

Annoy, farewell to, ///. Henry VI., v. 7.

An old hare hoar (an old song), Romeo and Juliet, ii. 4.

Anon, Merry Wives of Windsor, Hi. 3; I. Henry IV., ii. 4. A
waiter's usual answer, used as " coming " is now.

Answer, you shall never take her without her answer, unless
you take her without her tongue, As You Like It, iv. 1 ; to fit all
questions, All's Well that Ends Well, ii. 2.

Antenor, a Trojan commander, character in Troilus and Cressida, passes through in i. 2, and is described by Pandarus. In Hi. 3
it is proposed to exchange him for Cressida, which is done, iv. 1.

Antenorides (name of a gate of Troy), Troilus and Cressida,
prologue.

Anthropophagi, and men whose heads, etc., Othello i. 3. Raleigh described such men in the account of his voyage to Guiana ;
there is another allusion in The Tempest, Hi. 3, to men whose heads
stood in their breasts.

Anthropophaginian (cannibal), used in fun by the Host, Merry
Wives of Windsor, iv. 5.

Antiates (of Antium), Coriolanus, i. 6.

Antic (buffoon in a farce), Much Ado about Nothing, Hi. 1, and
in other passages. The word antic, or antique, is also used as the
name of a dance, Macbeth, iv. 1; Love's Labour's Lost, v. 1.

Anticipation, Merchant of Venice, ii. 6 ; pleasure of, All's Well
that Ends Well, ii. 4; Richard II., ii. 3; the imaginary relish,
Troilus and Cressida, Hi. 2.

Antigonus, a character in A Winter's Tale, a lord at the
court of Leontes, introduced in ii. 1. Like his wife, Paulina, he is
at first an outspoken advocate of the suspected queen; but he
afterward weakens and is sent by the king to dispose of Perdita.
He is killed by a bear, Hi. 1, when on the way to his ship after leaving her on the desolate coast of Bohemia (!).

Antioch, scene of a part of Pericles.

Antiochus, King of Antioch, character in Pericles, Prince of
Tyre, introduced in i. 1 ; his death, ii. 4. His daughter, also a character in the play, a beautiful woman whose many suitors were given
the alternative of guessing a riddle or having their heads set on the
palace-gate, is introduced in i. 1 ; her death, ii. 4.

Antiopa, Midsummer Night's Dream, ii. 1. An Amazon,
daughter of Mars.

Antipathies, instinctive, Merchant of Venice, iv. 1; of contraries, Lear, ii. 2.

Antipholus, the name of twin brothers in the Comedy of Errors, who were separated in infancy, one being taken to Ephesus, the
other to Syracuse. The resemblance between them and that between
their servants, the Dromios, is the source of the errors. Antipholus
of Ephesus is introduced in Hi. 1, Antipholus of Syracuse in i. 2.

Antipodes, the, Much Ado about Nothing, ii. 1; Merchant of
Venice, v. 1; Richard II., Hi. 2; III. Henry VI., i. 4.

Antiquity, Hamlet, iv. 5 ; Sonnet Ixviii ; the service of the
antique world, As You Like It, ii. 3. In the sense of age, see AGE.

Antium, the Volscian capital, scene of Coriolanus, iv. 4, 5.

Antoniad, the, Cleopatra's ship, Antony and Cleopatra, Hi. 8 or
10.

Antonio, brother of Prospero, in The Tempest, whose place and
title as Duke of Milan he has usurped, first appears in i. 1. So far
from repenting of his crime, he urges Sebastian, brother of the King
of Naples, to commit a similar crime, and is willing himself to be the
assassin.

Antonio, father of Proteus in the Two Gentlemen of Verona,
appears in i. 3.

Antonio, brother of Leonato, in Much Ado about Nothing, introduced in i. 2.

Antonio, the merchant who is to lose the pound of flesh in The,
Merchant of Venice. He is the first speaker in the play. Although
possessed of great wealth, he seems to care neither for hoarding nor
spending it. The only passion he seems to have shown is his hatred
of Shylock's usurious practices, intensified by the Christian hatred of
his age for Shylock's race. Quiet, melancholy, and somewhat negative
in character, he stands among the more lively personages of the play
a sufferer rather than an actor.

Antonio, a sea-captain in Twelfth Night, introduced in ii, 1, a
constant friend of Sebastian.


Antonius, Marcus, Marc Antony, character in Julius Caesar,
introduced in i. 2 ; Cassius proposes that he shall die with Caesar,
ii. 1; his message to Brutus, and lament over Caesar, iii.l; his
funeral oration, Hi. 2.

Also a character in Antony and Cleopatra, introduced in i. 1; his
soldierly endurance, i. 4; Lepidus's praise of, travestied, Hi. 2; in
defeat, Hi. 2; complaint against Caesar, Hi. 4; his division of his
kingdoms, Hi. 6; resolved to fight by sea, Hi. 7 ; at Actium, Hi. 8-10; shame and despair, Hi. 9 or 11, 11 or 13; challenge to Caesar,
Hi. 11 or 13, iv. 1; parting with his followers, iv. 2; portent of his
fall, iv. 3; in supposed victory, iv. 8; in despair, iv. 10 or 12; 12
or 14; his death, iv. 12 or 14; 13 or 15; lamented by Cassar, v. 1; by
Cleopatra, v. 2.

" He refined the rough features of Marc Antony into the character of an Alcibiades. He passed silently over the youth of his hero,
he took from him his tendency to cruelty, covered the misdeeds of
the triumvirate with a veil, showed only the best side of his rapacity
and lavish prodigality, spoke loudly of his warlike past, his victory
over Brutus and Cassius, his heroic endurance of hun-ger and want
after his defeat at Modena, and strove especially to make his hero
interesting on the score of brilliant natural gifts. It is not to be disputed that Shakespeare by these touches brought out the most attractive side of Antony. Even in the voluptuary and the profligate
there is an alluring charm in the ready versatility, the natural superiority, the variety of talent, the abundance of resources, and in the
natural aptness to fill any part. Antony was indeed a man thus
variously endowed." GERVINUS.

" Antony is a man of genius, with many splendid and some generous qualities, but self-indulgent, pleasure-loving, and a daring
adventurer, rather than a great leader of the state." DOWDEN.

Antony and Cleopatra, a tragedy, first published in the folio
of 1623, is supposed to have been written in or near the year 1607,
both from internal evidence and from the fact that in 1608 a book
bearing the name was registered for publication, though for some
reason it was not published, by Edward Blount, publisher of the first
folio. It follows Plutarch's "Life of Antony" closely, beginning
in the year 40 B. c., when Fulvia died, and covering a period of
about ten years. The scenes are laid in Alexandria, Rome, Misenum, Athens, near Actium, Messina, and on a plain in Syria. White
calls this, poetically, the most splendid creation of Shakespeare's
genius, an opinion in which he follows Coleridge, who says :

" Of all Shakespeare's historical plays, Antony and Cleopatra is by
far the most wonderful. There is not one in which he has followed
history so minutely, and yet there are few in which he impresses the notion of angelic strength so much, perhaps none in which he impresses it more strongly. This is greatly owing to the manner in
which the fiery force is sustained throughout, and to the numerous
momentary flashes of nature counteracting the historic abstraction."

Antres (caves), Othello, i. 3.

Ape(s), the famous, Hamlet, Hi. 4, allusion to some forgotten
story ; foreheads of, Tlie Tempest, iv. 1 ; lead, in hell, Much Ado
about Nothing, ii. 1 ; Taming of the Shrew, ii. 1. The proverbial
future punishment of old maids was to lead apes in hell.

Apemantus, a cynic, character in Timon of Athens, introduced
in i. 1.

"Diogenes, in Lily's * Alexander and Campaspe,' sat to the
poet for Timon's contrast, the cynic Apemantus ; the quick, striking, epigrammatic answers to questions, which seem to be inserted
here and there too much for the sake of eliciting witty replies, are
quite on this model. The description of this antique fool is so perfect in its way that it is supposed Shakespeare must have seen the
short sketch of a cynic, which, in Lucian's 4 Public Sale of Philosophers,' is put into the mouth of Diogenes. It is there said that, in
order to belong to this sect, a man must be bold and shameless, and
revile every one from the king to the beggar ; thus he will draw all
eyes upon him, and appear manly. His speech must be barbarous,
his voice dissonant, and exactly like a dog's ; his face rigid, his expression the same, and altogether he must be brutish and rough.
Shame, equity, and moderation must be dispensed with, and blushes
must be wholly banished from his countenance." GERVINUS.

Aphrodisiacs, the potato, eringo, Merry Wives of Windsor,
v.5.

Apollo, lute of, Love's Labour's Lost, iv. 3 ; and Daphne, Midsummer Night's Dream, ii. 1; Troilus and Cressida, i. 1; plays,
Taming of the Shrew, Induction, 2 ; oracle of, consulted, A Winter's
Tale, ii. 1 ; Hi. 1, 2 ; v. 1.

Apologies : Proteus's to Valentine, Two Gentlemen of Verona,
v. 4 > Antony's to Octavius, Antony and Cleopatra, ii. 2.

Apostle-spoons. See SPOONS.

Apothecary, and his shop, Romeo and Juliet, v. 1.

Apparel, honour in the meanest, Taming of the Shrew, iv. 3 ; oft
proclaims the man, Hamlet, i. 3 ; vices appear through mean, King
Lear, iv. 6.

Apparitions : of hunters and hounds, The Tempest, iv. 1 ; of
Ca3sar, Julius Ccvsar, iv. 3 ; of Macduff, Malcolm, and the eight
kings, Macbeth, iv. 1. These are the Stuart kings to James V., said
to have been descended from Banquo. The many more, some with
twofold balls and treble sceptres, James VI. (James I. of England) and his posterity, who were to reign over the united kingdom ; of
Hamlet's father, Hamlet, i. 1, 4, 5. See also GHOSTS.

Appeached (accused), All's Well that Ends Well, i. 3.

Appeal, the boisterous late, Richard II., i. 1. The accusation
made against Norfolk of high treason.

Appearance, judging by the, Merchant of Venice, ii. 7 ; Hi. 2 ;
Twelfth Night, i. 2, " There is a fair behaviour," etc. ; Pericles, ii. 2.

Apperil (endanger), Timon of Athens, i. 2.

Appetite, of her eye, Merry Wives of Windsor, i. 3; digestion
wait on, Macbeth, Hi. 4; grown with what it fed on, Hamlet, i. 2 ;
and judgment, Lover's Complaint, I. 166.

Applause, Henry VI 11., iv. 1, " Such a noise arose," etc.

Apple-Johns (apples with wrinkled skin), that would keep two
years, II. Henry IV., ii. 4.

Apply (ply), Taming of the Shrew, i. 1.

Appreciation, after loss, All's Well that Ends Well, v. 3.

Approbation, receive her (enter on her probation), Measure, for
Measure, i. 3.

Apricock (apricot), Midsummer Night's Dream, iii. 1 ; Richard
1L, iii. 4.

April, spongy, The Tempest, iv. 1 ; love like, Two Gentlemen of
Verona, i. 3.

Aquitaine (a duchy in southwestern France), surrender of, Love's
Labour's Lost, i. 1; ii. 1.

Arabia, wilds of, Merchant of Venice, ii. 7 ; perfumes of, Macbeth, v. 1; trees of, Othello, v. 2 ; bird of, Antony and Cleopatra,
iii. 2; Cymbeline, i. 7.

Arch (chief), King Lear, ii. 1.

Archbishop, an, rebuked for rebellion, //. Henry IV., iv. 2.

Archbishops of Canterbury. See BOURCHIER, CANTERBURY,
CRANMER.

Archbishops of York. See ROTHERHAM, SCROOP, YORK.

Archelaus, King of Cappadocia, Antony and Cleopatra, iii. 6.

Archery, allusions to : wide o' the bow-hand (far from the mark),
Love's Labour's Lost, iv. 1; flight and bird bolt (long and short
shot) to cry aim (to encourage), Merry Wives of Windsor, ii. 3 ; iii.
1 ; King John, ii. 1; in a bottle like a cat, Much Ado about Nothing,
i. 1; the very pin of his heart cleft, etc., Romeo and Juliet, ii. 4.
The clout, which was the pin, the very centre of the target, is spoken
of in many places. Love's Labour's Lost, iv. 1; II. Henry IV., iii. 2;
King Le,ar, iv. 6.


Archibald, Earl of Douglas. See DOUGLAS.

Archidamus, an unimportant character in A Winter's Tale, an
attendant of Polixenes, appears in i. 1.

Arde, in Picardy, Henry VIII., i. 1.

Ardea (a city south of Rome), siege of, Lucrece, argument, and
11.

Arden, the forest of. See As You LIKE IT.

Argier (old English name of Algiers), The Tempest, i. 2.

Argosy (ies), Antonio's, Merchant of Venice, i. 1, 3; Hi. 2 ;
choked with an, Taming of the Shrew, v. 1.

Argument (cause), Henry V., Hi. 1 ; Troilus and Cressida, i.
1; Hamlet, iv. 4.

Argus, the hundred-eyed, Love's Labour's Lost, Hi. 1 ; Troilus
and Cressida, i. 2.

Ariachne (Arachne, the spider), Troilus and Cressida, v. 2.

Ariadne (daughter of Minos, King of Crete ; she was deserted
by her lover Theseus, whom she had rescued from the labyrinth),
Two Gentlemen of Verona, iv. 4; Midsummer Night's Dream, ii. 1.

Ariel, an airy spirit in The Tempest, whose service Prospero has
secured by the exercise of his magic power.

" Grace, tenderness, speed, and especially freedom and lightness,
the properties of his element, are peculiar to him. . . . Whilst the
other spirits hate the magician, yet are compelled to serve him,
Ariel obeys him thankfully and truly, without lies, without mistakes,
without a murmur ; for this, his perfect freedom, his all, is promised
him within a certain time, and of this time, for good service, one
year is abated. But even to wait this abridged time is painful to
him. It is exquisitely conceived and very beautiful. What a peculiarly melancholic character the poet has cast over the being and relations of this creature, divided as he is between a superior nature
and the aspirings of higher feelings ! . . . His lord will miss him
when he has given him his freedom ; but he, the airy creature, will
feel no longing after his dear master, whom he only seems to love
for the sake of his promised freedom. He asks for more, for speedier freedom, and Prospero must, once in a month, recount to the
quickly forgetting spirit the benefit he has received of his hands ;
then the variable servant struggles with his fluctuating nature, and
is again all obedience, fidelity, and promptness." GERVINUS.

Aries (the ram), Titus Andronicus, iv. 3.
Arion, rescued by the dolphin, Twelfth Night, i. 2.
Aristotle, Taming of the Shrew, i. 1 ; quoted by Hector, Troilus and Cressida, ii. 2. Aristotle lived 800 years after the Trojan war.
Ark, couples coming to the, As You Like It, v. 4.
Armado, Don Adriano de, a character in Love's Labour's Lost, introduced in i. 2, a fantastical Spaniard, full of sounding words and
boastings, but cowardly and of low instincts, chosen by the king to
amuse him and his fellow-students in their seclusion.

Armagnac, Earl of, /. Henry VL, v. 5.

Arm-gaunt, Antony and Cleopatra, i. 5. There is no satisfactory explanation of this word. It is sometimes read "arm-girt,"
covered with armour.

Armigero (armiger), Merry Wives of Windsor, i. 1. One who
bears arms, a gentleman. Written after the name in law-papers.

Arms, coats of. See HERALDRY.

Army, composition of an, King John, ii. 1 ; coming of an, King
John, iv. 4 ; appeal to an, Henry V., Hi. 1 ; embarkation of an, Henry V., Hi., chorus; spoiled trappings of an, Henry V., iv. 3 ; a ragged,
II. Henry VI., iv. 4 ; contempt for an opposing, Richard III., v. 3.

Aroint (avaunt), Macbeth, i. 3; King Lear, Hi. 4. Said to be
still used in the north of England, in some places pronounced rynt.

Aragon, the Prince of, one of the suitors of Portia in Merchant
of Venice, appears in ii. 9, and loses her by choosing the silver
casket.

Arras, hide behind the, I. Henry IV., ii. 4, and in many other
places. It was placed on wooden frames or on hooks far enough
from the wall to keep it from dampness ; figures on, Cymbeline, ii. 2.

Arrogance, fed by supple knees, Troilus and Cressida, Hi. 3.

Art, magic, TJie Tempest, i. 2 ; modifying nature, A Winter's
Tale, iv. 3 or 4; in painting, Lucrece, I. 1373. See PAINTING and
PICTURES.

Artemidorus, a sophist of Cnidos, character in Julius Ccesar,
appears in ii. 3 and Hi. 1, with a warning for Caesar. Plutarch says
he was a doctor of Greek rhetoric, and, knowing the designs of the
conspirators, with whom the practice of his profession had brought
him into contact, tried to warn Caesar. His warning, ii. 3 ; Hi. 1.

Arteries and Veins, Merchant of Venice, Hi. 2; Love's
Labour's Lost, iv. 3 ; King John, Hi. 3 ; Richard III., i. 2 ; Troilus
and Cressida, iv. 1 ; Coriolanus, v. 1; Romeo and Juliet, v. 1; Hamlet, i. 4, See also BLOOD, CIRCULATION OF THE.

Arthur, Duke of Brittany, a character in King John, was the
nephew of John and of Richard I., and by the latter designed, at
one time at least, as his successor. Arthur was born in 1188, and is
supposed to have been put to death at John's orders after being
made prisoner by him in 1202. He was imprisoned at the castle of
Falaise in Normandy, and afterwards in the castle of Rouen, where he is supposed to have met his death not, as in the play, in England. He was undisputed heir to Anjou, Touraine, and Maine, and
Duke of Brittany. As such he was a vassal of Philip, who took up
his cause for his own interest, and went to war with John. Arthur
first appears in ii. 1. He is gentle, innocent, and unambitious, yet
in the scene with Hubert shows a high degree of childish wisdom.
This scene is one of the finest in the play. His death, iv. 3.

Arthur's Show, II. Henry IV., Hi. 2. An exhibition of archers, who took the names of Arthur's knights. Sir Dagonet was a
sort of fool to the king.

Arundel, Archbishop. See CANTERBURY.

Arviragus, son of Cymbeline, disguised under the name of Cadwal. See G-UIDERIUS.

Ascanius (son of .^Eneas), II. Henry VI., Hi. 2. It was Cupid
disguised as Ascanius that talked to Dido.

Ascapart (a legendary giant), //. Henry VI., ii. 3.

Asher House, Henry VIII., Hi. 2. See ESHER HOUSE.

Ashes, as the phoenix, ///. Henry VI., i. 4; show cinders
through, Antony and Cleopatra, v. 2.

Asmath, a spirit, II. Henry VI., i. 4.

Asp, the, Antony and Cleopatra, v. 2.

Aspiration, shown by the gait, Troilus and Cressida, iv. 5.

Ass, a thrice double, Tempest, v. 1 ; Dogberry would be writ
down an, Much Ado about Nothing, iv. 2 ; Bottom transformed into
an, Midsummer Night's Dream, Hi. 1, 2 ; more captain than the
lion, Timon of Athens, Hi. 5 ; beating an, Hamlet, v. 1 ; allusion to
the fable of the old man and the ass, King Lear, i. 4, " Thou borest
thine ass," etc.

Assinego (little ass), Troilus and Cressida, ii. 1.

Associates, influence of, Merchant of Venice, Hi. 4, " In companions," etc. ; pitch doth defile, I. Henry IV., ii. 4 > let men take
heed of their company, II. Henry IV., v. 1; keep where wit is
stirring, Troilus and Cressida, ii. 1 ; thou art noble, Julius Caesar,
i. 2 ; converse with him that is wise, King Lear, i. 4

Assurance, made doubly sure, Macbeth, iv. 1.

Astonishment, signs of, A Winter's Tale, v. 2', " They spake
not a word," etc., Richard III., Hi. 7 ; at prodigies, Julius Caesar, i. 3.

Astringer, a Gentle, character in AWs Well that Ends Well, introduced in v. 1. A falconer that kept goshawks was so called.

Astrology, allusions to, The Tempest, i. 2; Two Gentlemen of
Verona, ii. 7 ; born under Saturn, Much Ado about Nothing, i. 3; under a dancing star, Much Ado about Nothing, ii. 1; under a rhyming
planet, Much Ado about Nothing, v. 2 ; under Mars, All's Well that
Ends Well, i. 1; the luckiest stars, All's Well that Ends Well, i. 3;
the most received star, All's Well that Ends Well, ii. 1 ; born under
Taurus, Twelfth Night, i. 3 ; constellation right apt, Twelfth Night,
i. 4 ; stars shine darkly, Twelfth Night, ii. 1 ; in my stars I am,
Twelfth Night, ii. 5 ; a bawdy planet, A Winter's Tale, i. 2 ; some
ill planet, A Winter's Tale, ii. 1; dishonour my fair stars, Richard
II., iv. 1 ; malevolent to you, I. Henry IV., i. 1 ; Glendower's nativity, I. Henry IV., Hi. 1; ruled like a wandering planet, //. Henry
VI., iv. 4 ; my thwarting stars, 111. Henry VI., iv. 6 ; star-crossed
lovers, Romeo and Juliet, i., prologue ; yet hanging in the stars, Romeo and Juliet, i. 4; inauspicious stars, Romeo and Juliet, v. 3 ; not
in our stars, Julius Ccesar, i. 2 ; fortune's star, Hamlet, i. 4 ; out of
thy star, Hamlet, ii. 2 ; orbs from whom we exist, King Lear, i. 1 ;
eclipses, King Lear, i. 2 ; the stars blamed for the vices of men,
King Lear, i. 2 ; your great aspect, King Lear, ii. 2 ; it is the stars,
King Lear, iv. 3 ; my good stars, Antony and Cleopatra, Hi. 11 or
13 ; our bloods obey, Cymbeline, i. 1 ; O learned indeed, Cyinbeline,
Hi. 2 ; senate-house of planets, Pericles, i. 1 ; stars that frown, Pericles, i. 4 ; a chiding nativity, Pericles, Hi. 1 ; mortal stars, Lucrece,
I. 13 ; not from the stars, Sonnets xiv., xv. ; in favour with their
stars, Sonnet xxv. ; whatsoever star, Sonnet xxvi. ; crooked eclipses,
Sonnet ix.

Astronomers, have no more profit, Love's Labour's Lost, i. 1.

Astronomy (astrology), Sonnet xiv.

As You Like It, a comedy first printed in 1623, though it was
entered in the "Stationers' Register" for publication in 1600. It
must have been written between 1598 and 1600. The story is taken
from a tale by Thomas Lodge, " Rosalynde : Euphues' Golden Legacie," first published in 1590, and reprinted at least ten times before
1642. The characters of Jaques, Touchstone, and Audrey are not in
the story; and Shakespeare changed the names of those he took, excepting Rosalind, Phoebe, Charles, and Adam (Adam Spencer in the
story). The scene of the play is in the Forest of Arden and in
France, though it does not correspond to Ardennes, and both place
and time are indefinite, intentionally so, as the character of the play
does not require definiteness in these respects.

Atalanta, the better part of, As You Like It, Hi. 2, verses.

Ate (goddess of Discord), Much Ado about Nothing, ii. 1 ; King
John, ii. 1 ; Julius Ccesar, Hi. 1.

Ates, more, Love's Labour's Lost, v. 2.

Athens, scene of the Midsummer Night's Dream, Timon of
Athens, and part of Antony and Cleopatra.

Athol, Earl of, /. Henry IV., i. 1.

Atlas (the Titan supposed to support the heavens), III. Henry
VI., v. 1; Antony and Cleopatra,, i. 5.

Atomies, shut coward gates on, As You Like It, Hi. 5 ; a team
of, Romeo and Juliet, i. 4.

Atone (to reconcile or be reconciled), Coriolanus, iv. 6; Othello, iv. 1.

Atonement of Christ, reference to the, Measure for Measure,
ii. 2, " Why, all the souls," etc.

Atropos (one of the Fates, the one that cut off the thread), //.
Henry IV., ii. 4.

Attempt, the, confounds us, Macbeth, ii. 2.

Attorney (substitute), Comedy of Errors, v. 1.

Audacious (spirited), Love's Labour's Lost, v. 1.

Audacity, arm me, Cymbeline,, i. 7.

Audit, Coriolanus, i. 1 ; Sonnets iv., xlix. See ACCOUNT.

Audrey, an honest and ugly country girl in As You Like It,
married to the clown Touchstone, introduced in in. 3.

Aufidius, Tullus, general of the Yolscians, character in Coriolanus, introduced in i. 2 ; his bravery, i. 1; fights with Marcius
(Coriolanus), i. 8; his hatred to him, i. 10; joins him, iv. 5 ; his
jealousy, iv. 7. He has the same desire for military glory that
Coriolanus has ; but he is of a much smaller and meaner nature.
His great ambition is to conquer Coriolanus, and for this he is willing to use any means, however dishonourable ; and Coriolanus falls
at last through his malicious trickery.

Augurer. See SOOTHSAYER.

Auguries, of success, Cymbeline, iv. 2 ; "Last night the very
gods," etc. See OMENS.

Augustus Caesar, demands tribute, Cymbeline, Hi. 1; character in Antony and Cleopatra. See CAESAR.

Aumerle, Edward, Duke of, son of the Duke of York, character
in Richard II., first appears in *. 3. He was high constable, and was
deprived of his dukedom for adhering to Richard, but allowed to
retain the earldom of Rutland, " Call him Rutland " (v. 2}. In Henry
V. he is again spoken of, now an old man and Duke of York, as dying
on the field of Agincourt (Henry V., iv. 6).

" The character of the Duke of Aumerle, who plays no brilliant
part in Richard II. after his mother had saved him from the punishment of high treason, and has prayed to God to make ' her old son
new,' is again silently brought forward by the poet in Henry V., a
new man indeed, who has become great with the heroic age, and dies
the death of a hero at Agincourt." GERVINUS.

Aunt, an old, Troilus and Cressida, ii. 2. Hesione, sister of Priam.

Austria, Leopold, Archduke of, a character in King John, where
he is made identical with Vidomar, Viscount of Lymoges, in a quarrel
with whom Richard I. of England fell, having been shot by one of
the viscount's vassals while besieging the castle of Chaluz. The
archduke died before Richard.

Authority, the demigod, new, Measure for Measure, i. 3;
"Whether it be the fault," etc.; a little brief, hath a medicine in
itself, Measure for Measure, ii. 2 ; abuse of, Measure for Measure,
ii. 4; vice in, Measure for Measure, iv. 2; danger of divided, Coriolanus, Hi. 1; a dog in office great image of, King Lear, iv. 6.

Authorship. Following is a summary of the plays that are
generally supposed to have been written in part by other hands than
Shakespeare's :

Titus Andronicus is thought by most critics to have been the
work of an earlier dramatist and merely touched up by Shakespeare,
though some suppose it to be mainly his own work, and attribute its
inferiority to the fact of its being his earliest play.

The three parts of King Henry VI., which are recasts of two
older plays, show other hands than Shakespeare's. The general opinion seems to be that Marlowe, Greene, Peele, and possibly Shakespeare
wrote the old plays, and that they were revised by Shakespeare, with
possibly the help of Marlowe.

King Richard III. is referred in part to Marlowe by some critics ;
others suppose that the passages ascribed to Marlowe were written
by Shakespeare under the influence of Marlowe, his probable collaborator on King Henry VI.

A large part of Henry VIII. is judged to be by Fletcher, viz.,
act i., scenes 3 and 4 ; the first two scenes of act ii. ; all of the third
act except the second scene to the exit of the king ; and all the remainder except the first scene of act v.

The first and second acts of Pericles, and the second, fifth, and
sixth scenes of the fourth act, and the choruses, are attributed to
some other author or authors.

Shakespeare's part in Taming of the Shrew is limited by some
critics to those parts in which Petruchio, Katherine, and Gruniio
appear prominently.

Parts of the witch-scenes in Macbeth have been conjectured to
be the work of Thomas Middleton, author of the play " The Witch,"
who is supposed to have assisted in preparing Macbeth for the stage.

Others have seen traces of other hands in small portions of the
Comedy of Errors, Much Ado about Nothing, the part of Hymen in
As You Like It, Romeo and Juliet, and. Timon of Athens ; and the
passage at the end of act iii. in Measure for Measure, the song beginning act iv., and the fool's rhymes at the end of King Lear, iii.
2, are supposed to be interpolations.

Many plays have been ascribed to Shakespeare that are not included in the ordinary editions of his works. Of these The Two
Noble Kinsmen has the greatest weight of opinion in its favour. It
purports to be the work of Fletcher and Shakespeare. A part of the
first and all of the second act of Edward III. have been attributed
to him, and he is also supposed by some to have had a hand in The
Yorkshire Tragedy. Other plays that have been thought to bear
traces of his hand are Arden of Feversliam, The Birtli of Merlin,
Fair Emm, George a Q-reen, 'Larum for London, The Merry Devil
of Edmonton, Mucedorus, and Warning for Fair Women.

Autolycus, an amusing and unique character in A Winter's
Tale, a pedlar, thievish and witty.

" The art of thieving as practised by him is no crime, but the gift
of some knavish god. He does not trample on the laws of morality,
but dances or leaps over them with so nimble a foot that we forbear
to stay him." DOWDEN.

Auvergne, Countess of, a character in /. Henry VI,, first appears in ii. 3, having sent for Talbot (ii. 2\ in hopes to keep him as
a prisoner. This incident is not in history.

Avarice, Malcolm accuses himself of, Macbeth, iv. 3.

Aversions, instinctive, Merchant of Venice, iv. 1.

Avoid (a vaunt), Comedy of Errors, iv. 3.

Away with, cannot (cannot endure), II. Henry IV., iii. 2.

Awful (law-abiding), Two Gentlemen of Verona, iv. 1 ; (respectful toward authority), _ZZ Henry IV., iv. 1.

Awkward (perverse), Pericles, v. 1.

Aye-word, gull him into an (make a by-word of him by gulling
him?), Twelfth Night, ii. 3.

Babe, a cast-away, A Winter's Tale, ii. 3, near the end ; love for a,
Macbeth, i. 7; at my breast (the asp), Antony and Cleopatra, v. 2.
Baccare (to check over-forwardness), Taming of the Shrew, ii. 1.

 
Bacchus, song to, Antony and Cleopatra, ii. 7.

Bachelor, of threescore, a, Much Ado about Nothing, i. 1 ; determination to live a, Much Ado about Nothing, i. 1, ii. 3 ; less honourable, As You Like It, Hi. 3.

Backgammon, spoken of under its old name "tables" in
Love's Labour's Lost, v. 2.

Baffle, 1. Henry IV., i. 2. To hang up by the heels ; punishment of a recreant knight, probably alluded to again in //. Henry
IV., i. 2, " to punish him by the heels," and in All's Well that
Ends Well, iv. 3, " his heels have deserved it," etc.

Baffled (abused), Richard II., i. 1.

Bagot, Sir William, a character in Richard IL, introduced in i.
3, a parasite of the king.

Bag-pipe, the melancholy, A Winter's Tale, iv. 3 ; I. Henry
IV.,i.2.

Bailie (give), Merry Wives of Windsor, i. 4>

Bajazet's mute, All's Well that Ends Well, iv. 1. Meaning unknown.

Balcony-scene, Romeo and Juliet, ii. 2.

Balked (heaped or buried), 1. Henry IV., i. 1. A balk is a little
mound or ridge.

Ballad(s) : of the king (Cophetua) and the beggar, Love's Labour's Lost, i. 2 ; Quince to write a, Midsummer Night's Dream, iv.
1 ; sale of, A Winter's Tale, iv. 3 or 4 / as a means of revenge, /.
Henry IV., ii. 2 ; dread of being the subject of, Antony and Cleopatra, v. 2, " And scaled rhymers," etc.

Ballad-mongers, /. Henry IV., Hi. 1.

Ballow (staff), King Lear, iv. 6.

Balm, healing of wounds by, III. Henry VI., iv. 8 ; Timon of
Athens, Hi. 5 ; Macbeth, ii. 2 ; meaning the oil for anointing kings,
Richard IL, Hi. 2 ; III. Henry VI., Hi. 1; medicinal gum, Othello,
v.2.

Balthasar, a servant of Portia in Merchant of Venice, Hi. 4.

Balthasar, Romeo's servant, appears in Romeo and Juliet, i. 1
and v . 3.

Balthazar, a merchant in Comedy of Errors, appears in Hi. 1.

Balthazar, a servant of Don Pedro in Much Ado about Nothing, introduced in i. 1.

Banbury cheese, Slender called, Merry Wives of Windsor, i. 1.
It was poor and thin.

Bangor, in Wales, scene of part of I. Henry IV.

Banishment, Two Gentlemen of Verona, Hi. 1 ; iv. 1; of Rosalind, As You Like It, i. 3 ; of Bolingbroke and Norfolk, Richard
II., i. 3; the bitter bread of, Richard II., Hi. 1; of Coriolanus, Hi.
3; of Romeo, Hi. 2, 3 ; of Alcibiades, Timon of Athens, Hi. 5 ; of
Kent, King Lear, i. 1 ; real, King Lear, i. 1.

Bank'd, their towns (passed by the towns on the banks of rivers), King John, v. 2.

Bankrupt, a poor and broken, As You Like, It, H. 1; heart,
a, Romeo and Juliet, Hi. 2 ; servants of a, Timon of Athens,
iv. 2.

Bankruptcy, Timon of Athens, ii. 2 ; Hi. 2.

Banners, on outer walls, Macbeth, v. 5.

Banquet, served by spirits, Tfie Tempest, Hi. 3 ; of the Capulets, Romeo and Juliet, i. 5 ; for a mother, of her son's flesh, Titus
Andronicus, v. 2, 3.

Banquo, an important character in Macbeth, a general in the
army that suppressed the revolt, i. 2. The witches prophesy, in i. 3,
that he shall be the father of a line of kings. See APPARITIONS.
Like Macbeth, he is tempted to take measures for realizing the
prophecy, ii. 1, " Restrain in me the cursed thoughts," etc., but he
thrusts aside the temptation, and preserves his integrity and his loyalty. He is described by Macbeth, in Hi. 1, and his murder planned ;
murdered, Hi. 3 ; his ghost appears to Macbeth, Hi. 4.

Baptism, of Elizabeth, Henry VIII., v. 5 ; symbol of, Henry V.,
i. 2 ; Othello, ii. 3.

Baptista, the player-queen in Hamlet, Hi. 2. A man's name,
though with the feminine ending.

Baptista Minola, father of Katherina and Bianca in Taming
of the Shrew, introduced in i. 1 a " narrow-prying father."

Bar, Duke of, mentioned, Henry V., Hi. 5; iv. 8.

Barabbas, Merchant of Venice, iv. 1. (See Matthew, xxvii. 20.)

Barbarians, Roman, Coriolanus, Hi. 1.

Barbary, Bolingbroke's horse, Richard II., v. 5.

Barbason (a demon), Merry Wives of Windsor, ii. 2, end ; Henry V., ii. 1.

Barber-monger (companion of barbers ?), King Lear, ii. 2.

Barber's shop, forfeits in a, Measure for Measure, v. 1. Alluding to the custom of imposing forfeits for bad conduct on the loungers in barber-shops.

Barbury hen, a, II. Henry IV., ii. 4.

Bardolph, Lord, character in //. Henry IV., appears in i. l t
where he brings false news to Northumberland, and in i. 3, where he
meets the other leaders of the rebellion.

Bardolph, one of the disreputable companions of Falstaff, character in the Merry Wives of Windsor, the two parts of Henry IV. ,
and Henry V. In the first three he is a corporal, in the last lieutenant.
He is introduced in the first scene of the Merry Wives of Windsor,
and in the second acts of the other plays. He is a great drunkard,
and his red nose is the inspiration of continual jests (Henry V., i. 2,
3). Falstaff calls him the "Knight of the Burning Lamp." His
character is described in Henry V., Hi. 2 ; his face, Hi. 6. He is
sentenced for stealing a pyx, Hi. 6, and hanged, iv. 4, end.

Barefoot, I must dance, Taming of the Shrew, ii. 1. Alluding
to the notion that, if a younger sister were married first, the elder
must dance barefoot at her wedding, or surely be an old maid.

Bargain, sold him a (taken him in), Love's Labour's Lost, in. 1;
close at a, /. Henry IV., Hi. 1.

Barge, Cleopatra's, Antony and Cleopatra, ii. 2.

Bargulus (or Bardylis), II. Henry VL, iv. 1. Mentioned by
Cicero. He was a pirate, and rose to be King of Illyria.

Barkloughly Castle, Richard 1L, Hi. 2. No such castle is
known.

Barm (yeast), Midsummer Night's Dream, ii. 1.

Barnacles, we shall be turned to, The Tempest, iv. 1. There
was a notion prevalent that the barnacle-goose was a transformation
of the barnacle, an idea which gave rise to the custom in France of
eating the bird on fast-days, as being of fishy substance.

Barnardine, a brutish prisoner in Measure for Measure, introduced in iv. 3.

Barnet, battle of (April 14, 1471), III. Henry VL, v. 2, 3.

Barrenness, supposed cure for, Julius Ccesar, i. 2.

Bartholomew, a page who plays the part of Sly's wife in the
induction to the Taming of the Shrew.

Bartholomew-pig, //. Henry IV., ii. 4. Allusion to the
roasted pigs which were a feature of the Smithfield Fair on Saint
Bartholomew's Day.

Bartholomew-tide (August 24), Henry V., v. 2.

Basan, the hill of, Antony and Cleopatra, Hi. 11 or 13. (See
Psalm xxii., 12.)

Base, prisoner's, allusions to, Two Gentlemen of Verona, i. 2;
the country, Cymbeline, v. 4; Venus and Adonis, I. 303; to bid the
wind a^base, to challenge it to run a race.


Basiliscolike, King John, i. 1. Name of a character, a braggart knight, in an old play, Soliman and Perseda, who insists on
being addressed by his title.

Basilisk, the (or cockatrice), allusions to its supposed power of
poisoning by its look, Twelfth Night, Hi. 4 ; A Winter's Tale, i. 2 ;
II. Henry VI., Hi. 2 ; III. Henry VI., Hi. 2; Richard III., i. 2;
iv. 1; Romeo and Juliet, Hi. 2; Cymbeline, ii. 4; Lucrece, 1. 54-0.

Basilisks (pieces of ordnance), /. Henry IV., ii. 3; Henry T 7 ".,
v. 2.

Bassanio, a character in the Merchant of Venice, introduced in
the first scene. It is to furnish him with the means to go as a suitor
to the rich Portia that Antonio has borrowed from Shylock. In the
early part of the play Bassanio appears a selfish and criminally careless fellow, a fortune-hunter, and hunting fortune at a fearful risk to
his friend, whom he expects to repay with the money of his future
wife. But in the later scenes of the play, when he makes his choice
of the caskets, and particularly when Antonio is in danger and he is
ready to sacrifice everything to his obligations to his friend, the
more manly and genuine qualities of his nature are revealed, and
justify the love in which he is held by Antonio and Portia.

Basset, a character in /. Henry VI., a Lancastrian, appears in
Hi. 4, in a quarrel with Vernon, and again in iv. 1.

Bassianus, character in Titus Andronicus, brother of Saturninus, introduced in i. 1, where he offers himself as a candidate for the
crown, and in the same scene he speaks of his love for Lavinia ; his
murder, ii. 3.

Basta (enough), Taming of the Shrew, i. 1.

Bastard (wine), Measure for Measure, Hi. 2 ; I. Henry IV.,
H. 4.

Bastard of Orleans. See ORLEANS.

Bastard(s), Perdita branded as a, A Winter's Tale, ii. 3 ; I love,
Troilus and Cressida, v.8; Edmund's soliloquy on, King Lear, i. 2 ;
all, Cymbeline, ii. 4 ; in flowers, A Winter's Tale, iv. 3.

Bat, the, Ariel's steed, The Tempest, v. 1; flight of the, Macbeth,
Hi. 2; wool of the, in the witches' cauldron, Macbeth, iv. 1.

Bate (to blunt), Love's Labour's Lost, i. 1 ; (to flutter as a falcon preparing for flight), Taming of the Shrew, iv. 1.

Bates, a soldier in the king's army in Henry V., first appears in
iv. 1, where he speaks his mind about the king to the king himself in
disguise.

Bath, a seething, Sonnets cliii., cliv.


Batler (used for beating soiled clothes in water), As You Like It t
ii. 4.

Battle, orders in, criticised, All's Well that Ends Well, Hi. 6 ;
the dead in, King John, ii. 2; eagerness for, /. Henry IV., iv. 1,
3, " No more, no more " ; conference before, /. Henry IV., v. 1 ; the
sun on the morning of, /. Henry IV., v. 1; before a, Henry V., Hi.
7 ; iv., chorus; iv. 2, 3 ; field of, Henry V., iv. 7; varying fortunes
of, III. Henry VI., ii. 5 ; address to soldiers before, Richard ZZZ,
v.3.

Battle (often used instead of army), Julius Ccesar, v. 1.

Battles, Cymbeline, v. 2, 3 ; in Prance, I. Henry VI., iv. 6; between Greeks and Trojans, Troilus and Cressida, v. 4, 5, 6 ; between
Glendower and Mortimer, I. Henry IV., i. 1 ; in France, /. Henry
VI., iv. 6. See ACTIUM, AGINCOURT, BARNET, BOSWORTH, CORIOLI, DUNSINANE, MORTIMER'S CROSS, PHILIPPI, ST. ALBAN'S, SHREWSBURY, TEWKSBURY, TOWTON, WAKEFIELD.

Bavin (kindling or brush-wood), Z Henry IV., Hi. 2.

Bawcock (beau coq), used for brave boy, Twelfth Night, Hi. 4 ;
A Winter's Tale, i. 2.

Bay, three pence a, Measure for Measure, ii. 1 ; the distance
between the beams of a house, by the number of which the sizes of
houses were reckoned.

Baynard's Castle, Richard III., Hi. 5. A house where Richard had lived, on the bank of the river in Thames Street, London,
said to have been built by a nobleman, Baynard, who came in with
the Conqueror ; it was burned twice, the second time in 1666.

Bayonne, Bishop of, Henry VIII., ii. 4.

Bay-trees, are withered, Richard II., ii. 4. The bay-tree was
supposed to keep off sickness and the devil, so that its withering was
an evil omen.

Beads (rosary), Comedy of Errors, ii. 2; Richard II., Hi. 3;
Richard III., Hi. 7.

Beadsman, I will be thy (will pray for thee), Two Gentlemen of
Verona, i. 1.

Beadsmen, Richard II., ii. 2.

Bear, Antigonus killed by a, A Winter's Tale, Hi. 3 ; Sackerson,
a famous, Merry Wives of Windsor, i. 1 ; a bush supposed a, Midsummer Night's Dream, v. 1 ; and ragged staff, arms of Warwick,
JZ Henry VI., v. 1 ; unlicked whelp of a, III. Henry VI., Hi. 2 ;
betrayed with glasses, Julius Ccesar, ii. 1.

Bear, the (constellation), Othello, ii. 1.


Bear-baiting, allusion to, " fight the course," Macbeth, v. 5.

Beard, a cain-coloured (red), Merry Wives of Windsor, i. 4 / on.
a woman, Merry Wives of Windsor, iv. 2 ; for an actor, Midsummer Night's Dream, i. 2 ; Jove send thee a, Twelfth Night, Hi. 1; greater than Dobbin's tail, Merchant of Venice, ii. 2 ; turned white with
the news, I. Henry IV., ii. 4; a youth's, Troilus and Cressida, i. 2 ;
of witches, Macbeth, i. 3; the insult of plucking the, Hamlet, ii. 2 ;
"many a wart," etc., King Lear, Hi. 7; shaving the, in respect, Antony and Cleopatra, ii. 2.

Bearing-cloth (christening-robe), A Winter's Tale, Hi. 3 ; I.
Henry VI., i. 3.

Bear in hand (keep along in expectation), Measure for Measure, i. 5 ; II. Henry IV., i. 2 ; Macbeth, in. 1.

Beast(s), a, of good conscience, Midsummer Nights Dream, v. 1 ;
particular additions (attributes) of, Troilus and Cressida, i. 2 ; know
their friends, Coriolanus, ii. 1 ; how betrayed, Julius Ccesar, ii. 1 ;
strife among, Timon of Athens, iv. 3 ; would have mourned longer,
Hamlet, i. 2; let a beast be lord of beasts, Hamlet, v. 2 ; since men
prove, Lucrece, I. 1148.

Beatrice, the principal female character in Much Ado about
Nothing, introduced in the first scene. She is perhaps the wittiest
of Shakespeare's women. Her raillery is unsparing, especially toward
Benedick, whom she singles out from the first for special attack.
But she is at the same time warm-hearted and affectionate, as shown
by her faithful and generous defence of Hero, when every one else,
even Hero's father, believed in her guilt.

" Her true love for Hero, her deep conviction of her innocence,
her anger at the designed malice of her public dishonour, stir up her
whole soul and convert it into a perfect contrast to that which we
have seen in her hitherto. This scene (iv. 1) possesses infinite effect
when performed without the least caricature, displaying those acutely
sensitive natures in all their agitation of feeling, yet without falling
into a sentimental tone, of which they are incapable. Sorrow for
Hero and for the honour of her house makes Beatrice gentle, tender,
and weakened into tears ; this ' happy hour ' facilitates to both their
serious confession. But, at the same time, this hour of misfortune
tests them [Benedick and Beatrice], accustomed as they are only to
jest and raillery, by a heavy trial, in the sustaining of which we are
convinced that these gifted* natures are not devoid of that seriousness
of life which regards no earnest situation with frivolity." GERVINUS.

Beauchamp. See WARWICK.

Beaufort, Edmund and John. See SOMERSET.

Beaufort, Henry, Cardinal. See WINCHESTER.

Beaufort, Thomas. See EXETER.

Beamnond, Lord Henry, mentioned in Richard 21., ii. 2, as one
of Bolingbroke's adherents.

Beaumont, a French noble, killed at Agincourt, mentioned,
Henry V., Hi. 5; iv. 8.

Beautified, a vile phrase, Hamlet, ii. 2.

Beauty, that nothing ill can dwell in, The Tempest, i. 2 ; holiday time of, Merry Wives of Windsor, ii. 1 ; is a witch, Much Ado
about Nothing, ii. 1 ; bought by judgment of eyes, Love's Labour's
Lost, ii. 1; makes young, Love's Labour's Lost, iv. 3; praise of,
Love's Labour's Lost, iv. 3 ; Midsummer Night's Dream, Hi. 2;
Cymbeline, v. 5; Merchant of Venice, i. 1; deceitfulness of, Merchant
of Venice, Hi. 2 ; Portia's, Merchant of Venice, Hi. 2 ; provoketh
thieves, As You Like It, i. 3 ; with honesty, As You Like It, Hi. 3;
no more than may go dark to bed, As You Like It, Hi. 5 ; of Helena,
All's Well that Ends Well, v. 3; all by God, Twelfth Night, i. 5;
scheduled, Twelfth Night, i. 5 ; purged pestilence, Twelfth Night, i.
1 ; virtue is, Twelfth Night, Hi. 4 ; of a low-born lass, A Winter's
Tale, iv. 3 ; short-lived, Henry V., v. 2 ; to be wooed, I. Henry VI.,
v. 3 ; if beauty have a soul, Troilus and Cressida, v. 2 ; without
renown, Coriolanus, i. 3 ; unapproachable, Romeo and Juliet, i. 1 ;
in comparison, Romeo and Juliet, i. 2, end; manly, Romeo and
Juliet, i. 3 ; upon the cheek of night, Romeo and Juliet, i. 5 ; light
of, Romeo and Juliet, ii. 2 ; with wickedness, Romeo and Juliet, Hi.
2 ; and honesty, Hamlet, Hi. 1 ; sense of, in inanimate objects, Othello,
ii. 1, speech of Cassio ; and ugliness, Cymbeline, i. 6 ; Imogen's, Cymbeline, ii. 2 ; Hi. 5, 6; of the daughter of Antiochus, Pericles, i. 1,
2; child of, Pericles, ii. 2 ; Venus and Adonis, I. 7 ; dead, Venus
and Adonis, I. 1076 ; effect of, on animals, I. 1093 ; needs no orator,
Lucrece, Z. 29; of Lucre tia, Lucrece, I. 52 ; made more beauteous
with truth, Sonnet liv. ; the mark of slander, Sonnet Ixx. ; and
flowers, Sonnet xcix.; unchanged, Sonnet civ.; descriptions of,
Sonnet cm.; traces of, Lover's Complaint, 1. 10; manly, Lover's
Complaint, I. 85; fleeting, The Passionate Pilgrim, xiii.; should be
perpetuated in children, Twelfth Night, i. 5 ; Sonnets i. to xvii.;
inspiration of poetry, Sonnets Ixxviii. to Ixxx., Ixxxiv. ; made richer
by truth, Sonnet liv. ; decay of, Sonnets lx., Ixv., Ixvii. ; living in
poetry, Sonnets xv. to xix., Ixiii., Ixv., ci., cvii. ; change in, Sonnets
Ixvii., Ixviii. ; of the mind, Sonnet Ixix.

Bedlam, the (lunatic), //. Henry VI., Hi. 1; King Lear, Hi. 7, end.

Bedlam beggar, tricks of a, King Lear, ii. 3.

Bedford, John, Duke of, third son of Henry IV., known as
Prince John of Lancaster in II. Henry IV., and as Duke of Bedford
in Henry V. and /. Henry VI., introduced in the second scene of
the former, and first of the latter. He is represented in the play as
having been at Harfleur and Agincourt, though he really stayed at
home as lieutenant of the whole realm of England. Henry V., on
his death-bed, made him Regent of France. He was prudent, patriotic, and skilful ; the greatest blot on his record is his treatment of
Joan of Arc, whom he caused to be burned as a witch. He is said
to have died of grief for the Treaty of Arras, which united the Duke
of Burgundy and Charles VII. His death (I. Henry VI., Hi. 2) occurred in 1435.

Beef, not good for the wit, Twelfth Night, i. 3 ; beef-witted,
Troilus and Cressida, ii. 1. See MEATS.

Beelzebub, Twelfth Night, v. 1.

Beer, small, II. Henry IV., ii. 2 ; Othello ii. 1.

Bees, the, The Tempest, v. 1, song ; murdered for their pains, //.
Henry IV., iv. 4 / commonwealth of, Henry V., i. 2.

Beetle, the, sufferings of, in death, Measure, for Measure, Hi. 1 ;
shard-borne, Macbeth, Hi. 2 ; Antony and Cleopatra, Hi. 2 ; Cymbeline, Hi. 3.

Beetle, a three-man (a pile-driver with three handles), 11. Henry
IV., i. 2.

Beggar(s), how a, should be answered, Merchant of Venice, iv.
1 ; a, made to think himself a king, Taming of the Shrew, induction, i. ; railing on the rich, King John, ii. 2 ; mounted, III. Henry
VI., i. 4 ; book (learning) of, Henry VIII., i. 1 ; no comets seen at
death of, Julius Ccesar, ii. 1.

Beggary, Falstaff on, II. Henry IV., i. 2 ; led by delay, Richard III., iv. 3.

Behaviour, what wert thou till this man showed thee f Love's
Labour 's Lost, v. 2 ; advice oil, Merchant of Venice, ii. 2; King Lear,
i. 4, " Have more than thou showest," etc. ; an index of character,
Twelfth Night, i. 2 ; advice to a young man on, Hamlet, i. 3.

Belarius, a banished lord in Cymbeline, introduced in Hi. 3.
He goes by the name of Morgan; tells his own story, Hi. 3 ; his
bravery, v. 3; avows his identity, v. 5.

Belch, Sir Toby, uncle of Olivia in Twelfth Night, introduced
in i. 3.

" A drunkard, a coarse realist of the lowest sort, he yet possesses
a slyness in seeing through the weaknesses of men who do not lie beyond his range of vision ; rough and awkward in his manners, he
yet so far knows how to assume the fashions of the town as to impose
upon Sir Andrew ; impudent enough to make an alehouse of Olivia's
palace, and to take no heed when she orders him to leave, he yet
knows how to keep on good footing with the servants of the house."

Belgia, Comedy of Errors, Hi. 2.

Bellario, Doctor, Portia's cousin in Padua, Merchant of Venice,
Hi. 4, iv. 1.

Bellona's bridegroom (Macbeth), Macbeth, i. 2. Bellona was
a Roman war goddess.

Bell(s), curfew, The Tempest, v. 1 ; Measure for Measure, iv. 2 ;
Romeo and Juliet, iv. 4; King Lear, Hi. 4; church, As You Like It,
ii. 7 ; Twelfth Night, v. 1 ; book and candle, King John, Hi. 3 ; passing, //. Henry IV., i. 1 ; Romeo and Juliet, v. 3 ; sweet, jangled,
Hamlet, Hi. 1; the funeral, Hamlet, v. 1.

Belly, the, and the members, fable of, Corioianus, i. 1. A very
old fable, perhaps by ^Esop.

Belxnan, a dog, Taming of the Shrew, induction, i.

Belmont, scene of a part of the Merchant of Venice. It was
the name of the residence of the heroine in the original tale, where
it is only described as being on a gulf.

Benedick, an important character in Much Ado about Nothing,
introduced in the first scene. The war of wit between him and Beatrice constitutes the great attractiveness of the play, and the plot by
which each is made to believe in the infatuation of the other, and by
which they are brought together, relieves the more serious plot against
the honour of Hero. See BEATRICE.

Benedictions. See BLESSINGS.

Benefits, forgot, As You Like It, ii. 7, song.

Bennet, St., Church of, in Upper Thames Street, London, Twelfth
Night, v. 1.

Bentivolii, family of Lucentio in Taming of the Shrew, i. 1.

Benvenuto (welcome), Love's Labour's Lost, iv. 2 ; Taming of
the Shrew, i. 2.

Benvolio, character in Romeo and Juliet, first appearing in i. 1,
Romeo's cousin and friend.

Berkeley, Thomes, fifth baron, character in Richard II., introduced in ii. 3. He was one of the commission sent to notify Richard
. of his deposition.

Berkeley, a gentleman attending on Lady Anne in Richard
III., introduced in i. 2.

Berkeley Castle, in Gloucestershire, Richard II., ii. 2, S; I.
Henry IV., i. 3.

Bermooth.es. See BERMUDAS.

Bermudas, the, The Tempest, i. %. Spelled Bermoothes according to the Spanish pronunciation. One Silvester Jourdan had published, not long before this play was written, "A Discovery of the
Bermudas, otherwise called the Isle of Divels," giving an account
of the wreck of a ship of Sir George Somers. Purchas, too, in his
" Pilgrimage," spoke of the Bermudas as " rent with tempests."

Bernardo, an officer in Hamlet, introduced in i. 1.

Berowne, or Biron(e), one of the lords attending on the king in
Love's Labour's Lost, the most sharply characterized among them, a
wit who, as Coleridge says, is " evidently the pre-existent state of
Benedick " in Much Ado about Nothing. He is introduced in the
first scene.

Berri, Duke of, Henry V., Hi. 5.

Bertram, Count of Rousillon, character in All's Well that Ends
Well, introduced in i. 1, a character very differently estimated by
critics. Dr. Johnson says of it : "I cannot reconcile my heart to
Bertram, a man noble without generosity, and young without truth ;
who marries Helena as a coward, and leaves her as a profligate."
Gervinus says : " The nobility of a fine nature is innate in Bertram ;
his degeneracy into pride is only youthful error. ... No inner mental life has yet penetrated his years of churlishness." While it is
difficult to avoid regarding Bertram as something of a sneak, yet it
seems evident that Shakespeare meant to portray him as one whose
errors spring from an overweening pride of birth excusable to the
heir of a name and fortune like his, from the natural thoughtlessness of youth, and from the influence of the vile Parolles, and
by no means unredeemable by the influence of a woman like Helena,
when once he is brought to appreciate her worth.

Besort (attendance), Othello, i. 3.

Bestraught (distraught), Taming of the Shrew, induction, 2.

Beteem, to pour out, or to afford, Midsummer Night's Dream,
i. 1 ; to permit, Hamlet, i. 2.

Betrayal, of Antony, iv. 10 or 12.

Betrothals, The Tempest, Hi. 1; iv. 1; A Winter's Tale, iv.8;
Merchant of Venice, Hi. 2; violation of, Measure for Measure, Hi.
1; secret, Twelfth Night, iv. 3; v. 1; proposed, King John, ii.
1 or 2.

Bevel (not morally upright), Sonnet cxxi.

Bevis, George, a follower of Jack Cade, 77. Henry VI., iv. 2.

Bevis (of Hampton), Henry VIII., i. 1. Made Earl of Southampton by the Conqueror. There were wonderful stories of his
bravery.

Bewilderment, like madness, Twelfth Night, iv. 3 ; Venus and
Adonis, I. 894.

Bezonian (Italian bisogno, a beggar, or a raw recruit), //. Henry
IV., v. 3; II. Henry VI., iv. 1.

Bianca, sister of the Shrew in the Taming of the Shrew, introduced in the first scene a contrast to her sister.

Bianca, Cassio's mistress in Othello, introduced in Hi. 4.

Bias, Taming of the Shrew, iv. 5; Richard II., Hi. 4. A weight
on one side of a bowl to incline it in running. Anything that ran
against it was a rub.

Bible, the, allusions to : Adam, Comedy of Errors, iv. 3 ; Love's
Labour's Lost, iv. 2 ; Much Ado about Nothing, ii. 1 ; As You Like
It, ii. 1; I. "Henry IV., Hi. 3 ; **Eenrn V., i. 1; II. Henry VI., iv. 2 ;
Hamlet, 4L Ij and Eve, Love's Labour's Lost,v. 2 ; Richard II., Hi.
4. Eve, Two Gentlemen of Verona, Hi. 1 ; Merry Wives of Windsor, iv. 2; Love's Labour's Lost, i. 1; Twelfth Night, i. 5. Cain,
Love's Labour's Lost, iv. 2 ; King John, Hi. 4; Richard II., v. 6 ;
II. Henry IV., i. 1 ; I. Henry VI., i. 3. ; Hamlet, v^J. Abel, Richard II., i. 1 ; I. Henry VI., i. 3. Abraham, Merchant of Venice, i.
3 ; Richard II., iv. 1; Richard III., iv. 3. Jacob, Merchant of
Venice, i. 3 ; ii. 5. Laban, Merchant of Venice, i. 3. Hagar, Merchant of Venice, ii. 5. Noah, Twelfth Night, Hi. 2. Japheth, 77.
Henry IV., ii. 2. The deluge, Comedy of Errors, Hi. 2. The ark,
As You Like" It, v. 4> Pharaoh, Much Ado about Nothing, Hi. 3 ;
I. Henry IV., ii. 4> Jael, The Tempest, Hi. 2, " Where thou mayst
knock a nail into his head." Job, Merry Wives of Windsor, v. 5,-
//. Henry IV., i. 2. Deborah, 7. Henry VL, i. 2. Daniel, Merchant
of Venice, iv. 1. Nebuchadnezzar, All's Well that Ends Well, iv. 5.
Samson, Love's Labour's Lost, i. 2 ; I. Henry VL, i. 2 ; Henry
VIII., v. 4. Goliath, Merry Wives of Windsor, v. 1; I. Henry VL,
i. 2. David, 77. Henry IV., Hi. 2. Achitophel, 77. Henry 1 V., i. 2 t .
Solomon, Love's Labour's Lost, i. 2 ; iv. 3. The Queen of Sheba,
Henry VIII., v. 5. Jezebel, Twelfth Night, ii. 5. Jephthah, IL
Henry VI., Hi. 2 ; III. Henry VI., v. 1 ; Hamlet, ii. 2. Herod,
Henry V.,iii.3; Hamlet, Hi. 2; Antony and, Cleopatra, i. 2; Hi.
3, 6 ; iv. 6. Dives and Lazarus, Richard II., iv. 1 ; I. Henry IV.,
Hi. 3; iv. 2; Richard Ill.,iv. 3. The prodigal son, Two Gentlemen of Verona, ii. 3 ; Merr^_Wives_of Windsor, iv. 5 ; Comedy of Errors,
iv. 3 ; As You Like It, i. 1; I. Henry IV., iv. 2 ; II. Henry IV., i.
2. The legion of devils, Merchant of Venice, i. 3; Twelfth Niglit,
Hi. 4. The house divided against itself, Richard II., v. 5 ; a camel
through a needle's eye, Richard II., v. 5. Judas, Love's Labour's
Lost, v. 2; As You Like It, Hi. 4; Richard II., Hi. 2 ; iv. 1; III.
Henry VI., v. 7. Pilate, Richard II., iv. 1; Richard III., i. 4.
Barabbas, Merchant of Venice, iv. 1. Golgotha, Richard II., iv. 1^;
Macbeth, i. 2. The keys of Saint Peter, Othello, iv. 2. Saint Philip's
daughters, /. Henry VI., i. 2. Will have mercy on whom he will
have mercy, Measure for Measure^ i. 3. Lead into temptation,
Measure for Measure, ii. 2. Spirits in prison, Measure for Measure,
ii. 3. Call brothers fools, Merchant of Venice, i. 1. The Nazarite,
Merchant of Venice, i. 3. The prayer for mercy, Merchant of Venice,
iv. 1. He that feeds the ravens, As You Like It, ii. 3. So holy writ
in babes hath judgment shown, etc., All's Well that Ends Well, ii. 1.
The canon of the law, etc., King John, ii. 1, an allusion to the second
commandment. The leopard change his spots, Richard II., i. 1.
Wisdom cries, I. Henry IV., i. 2. Return to vomit. //. Henry IV.,
i. 3; Henry V., Hi. 7. Book of Numbers quoted, Henry V., i. 2.
Demon with lion gait, Henry V., ii. 2. Another fall of man, Henry
V., ii. 2. Wolf in sheep's clothing, I. Henry VI., i. 3. " Medice te,"
etc., //. Henry VI., ii. 1. Prayer for enemies, Richard III., i. 3.
As snow in harvest, Richard III., i. 4. Woe to that land, etc.,
Richard III., ii. 3. Of better luck than your master, Henry VIII.,
v. 1. The hill of Basan, Antony and Cleopatra, Hi. 11 or 18.

Biggin, //. Henry IV., iv. 4. A head-band or cap of coarse linen.

Bigot, Robert (correctly Roger), second Earl of Norfolk, a character in King John, introduced in iv. 3. He was one of the twentyfive barons opposed to the king. See NORFOLK.

Bilbo (sword), Merry Wives of Windsor, i. 1; Hi. 5. Fine
swords were made at Bilboa in Spain.

Billiards, Antony and Cleopatra, ii. 5. An anachronism, as it
is a modern game.

Bills, on their necks, As You Like It, ii. 1. Alluding to the
weapon called a bill.

Biondello, one of the servants of Lucentio in Taming of the
Shrew, introduced in i. 1.

Birds, singing of, dependent on the listener, Merchant of Venice,
v. i. The ousel, throstle, wren, etc., A Midsummer Night's Dream,
Hi. 1, song. For other references, see under names of species.


Birnam "Wood, prophecy concerning, Macbeth, iv. 1 ; its fulfilment, v. 4, 5.

Biron or Birone. See BEEOWNE.

Birth, crying at, King Lear, iv. 6.

Birth. See BLOOD and RANK.

Bis coctus (twice cooked), Love's Labour's Lost, iv. 2.

Bisson (blinding), Hamlet, ii. 2 ; Coriolanus, ii. 1 ; Hi. 1.

Blackbird, the. See OUSEL.

Black-Friars, London, scene of Henry VIII., ii. 4.

Blackheath, in Kent, six miles southeast of London, scene of
//. Henry VI., iv, 2 and 3.

Black Monday, Merchant of Venice, ii. 5. Easter Monday, so
called from the violent storm of wind, hail, and lightning, April 14,
1360, to which King Edward III., with his army, was exposed on
that day, near Chartres in France.

Blanch of Spain, daughter of Alphonso, King of Castile, and
niece of King John, appears in King John, ii. 1.

Blasphemy, in the lowly and in the great, Measure for Measure,
ii. 2 ; Sebastian called, The Tempest, v. 1.

Blench (move), Measure for Measure, iv. 5.

Blessedness, single, A Midsummer Night's Dream, i. 1.

Blessings, invoked, The Tempest, v. 1 ; Two Gentlemen of Verona, i. 1; Twelfth Night, Hi. 1; Richard III., ii. 2 ; Coriolanus,
i. 5 ; Othello, ii. 1.

Blind man, a pretended, //. Henry VI., ii. 1.

Blindness, the best use of one's eyes, to see the way of, Cymbeline, v. 4.

Blindworm, A Midsummer Night's Dream, ii. 2 ; Macbeth,
iv. 1. A little snake with very small eyes, supposed to be very
venomous.

Blood, swooning at sight of, As You Like, It, iv. 3; drunk by the
earth, /. Henry IV., i. 1 ; stains of, Macbeth, ii. 2 ; v. 1 ; will have
blood "I am stept in so far," Macbeth, Hi. 4; circulation of the,
Measure for Measure, ii. 4 / King John, Hi. 3 ; II. Henry IV., v.
2 ; II. Henry VI., Hi. 2 ; Coriolanus, i. 1; Romeo and Juliet, iv. 1 ;
Julius Ccesar, ii. 1; Macbeth, ii. 2; Hamlet, i. 5; Othello, iv.2;
Lucrece, I. 1747.

Blood (in the sense of ancestry), claims of, As You Like It, i. 1 ;
distinctions of, All's Well that Ends Well, ii. 3 ; no sure foundation
of, King John, iv. 2; sacredness of royal, Richard II., i. 2 ; conduct
unworthy royal, /. Henry IV., Hi. 2; weighed against learning (a beggar's book), Henry VIIL, i. 1 ; a boil, etc., in my, King Lear, ii.
4; ties of, and evidence of good, Cymbeline, iv. 2, 4.

Blood-boltered (clotted), Macbeth, iv. 1.

Blow, blow, thou winter wind song, As You Like It, ii. 7.

Blue-caps (Scotchmen, so called from their blue bonnets), I.
Henry IV., ii. 4.

Blunt, Sir James, character in Richard III., first appears in v.
2, a partisan of Richmond. He was a great-grandson of the Sir Walter Blunt in I. Henry IV.

Blunt, Sir Thomas, mentioned in Richard II., v. 6, as having
been executed.

Blunt, Sir Walter, character in I. Henry IV., introduced in i. 1,
where the king calls him " a dear, a true industrious friend." In the
battle of Shrewsbury, act v., scene 3, he is dressed in one of the king's
coats, and Douglas, mistaking him for the king, kills him. His son,
Sir John Blunt, is mentioned in the next play, iv. 3.

Bluntness, Julius Ccesar, Hi. 2, " I have neither wit," etc. ; King
Lear, ii. 2.

Blushes, Much Ado about Nothing, iv. 1 ; AWs Well that Ends
Well, ii. 3; Lucrece, I. 59.

Boar, the (Richard III., whose device was a boar), Richard III.,
iii. 2 ; of Thessaly, Antony and Cleopatra, v. 2 ; iv. 13 ; hunting the
wild, Venus and Adonis, lines 614, 1105.

Boar's Head Tavern. See EASTCHEAP.

Boasters. See BRAGGARTS.

Boasting, Merry Wives of Windsor, ii. 3 ; As You Like It, i. 2 ;
King John, ii. 1; ii. 2 ; Henry V., iii. 7; iv. 3, 4; foolish, Lucrece,

7 ? I. oo.

Boatswain, a, character in The Tempest, i. 1.

Bobbed (got by cheating), Othello, v. 1.

Bocchus, King of Lydia, Antony and Cleopatra, iii. 6.

Bodies, our, our gardens, Othello, i. 3, lago ; over-care of, Sonnet cxlvi.

Bohemia, scene of part of A Winter's Tale.

Bohun, Edward, Henry VIIL, ii. 1. See BUCKINGHAM, EDWARD
STAFFORD, DUKE OF.
^_ Boldness, in a subject, I. Henry IV., i. 3.

Boleyn (or Bullen), Anne, maid of honour to Queen Katherine
and afterward queen, a character in Henry VIIL, introduced in i.
4, where she dances with the king, an incident that took place at a
banquet given by the king in 1527 to ambassadors from Francis I. She would not be a queen, ii. 3 ; made a marchioness, ii. 3 ; married, Hi. 2. This was January 25, 1533, or, according to some writers, November 14, 1532. In Hi. 2, Suffolk says, " I persuade me, from her will fall some blessing to this land, which shall in it be
memorized," a reference to her daughter Elizabeth. In the same
scene, Wolsey speaks of her as the weight that pulled him down, he
having planned that the king should marry the sister of the King of.
France after being divorced from Katherine. Anne's coronation and
beauty, iv. 1 ; the birth of Elizabeth, v. 1. Anne was beheaded in
1536.

" With what a delicate and yet luxuriant grace is she sketched
off, with her gaiety and her beauty, her levity, her extreme mobility,
her sweetness of disposition, her tenderness of heart, and, in short,
all her femalities ! How characteristic that she should first express
unbounded pity for her mistress, insisting chiefly on her fall from
her regal state and worldly pomp, thus betraying her own disposition ! " MRS. JAMESON.

Bolingbroke, Henry of, Duke of Hereford, and afterward Henry
IV. See HENRY IV.

Bolingbroke, Roger, a conjuror in II. Henry VI. ; first appears
in *. 4.'

Bolt, the fool's. See PROVERBS.

Bolting-hutch., /. Henry IV., ii. 4. A bin where meal is bolted.

Bombast (cotton used for wadding garments), Love's Labour's
Lost, v. 2 ; I. Henry IV., ii. 4.

Bombard (a leather drinking-vessel), I. Henry IV., ii. 4; Henry
VIII., v. 4.

Bona, Lady, the Princess Bonne of Savoy, a sister of the French
queen, character in III. Henry VI., introduced in Hi. 3. In ii. 6, Warwick proposes to ask her in marriage for Edward, which he does in Hi. 3, just before the news of Edward's marriage with the Lady Grey is announced by post. Edward's treatment of her is used against his heir by Richard in Richard III., Hi. 7. The story of
Edward's suit to her is not well authenticated.

Bona-robas (courtesans), //. Henry IV., Hi. 2.

Bona terra, etc., II. Henry VI., iv. 7. Good land, bad people.

Bond(s), his words are, Two Gentlemen of Verona, ii. 7 ; for a
pound of flesh, a, Merchant of Venice, Hi. 2, 3, 5 ; iv. 1 ; of heaven,
Troilus and Cressida, v. 2 ; of life, the, Macbeth, Hi. 2.

Bondage, is hoarse, Romeo and Juliet, ii. 2 ; deliverance from,
Julius Ccesar, i. 3 ; a way to liberty, Cymbeline, v. 4.

Bonfire, the everlasting, Macbeth, ii. 3.

Book, of songs and sonnets, Merry Wives of Windsor, i. 1 ; quarrelling by, As You Like It, v. 4 ; advice for a, Sonnet Ixvii.

Book (magic), The Tempest, v. 1.

Book (learning), //. Henry VI., iv. 7 ; Henry VIII., i. 1.

Book (writing on a tablet), Cymbeline, v. 4.

Book-knowledge, ridiculed in Armado, in Love's Labour's
Lost.

Book of Life, the, Richard II., i. 3.

Books, women are the, Love's Labour's Lost, iv. 3, near the end ;
in brooks, As You Like It, ii. 1 ; of our forefathers, //. Henry VI.,
iv. 7 ; binding of, Romeo and Juliet, i. 3 ; Hi. 2 ; love in, Sonnet
xxiii.

Books (favour), in one's, Much Ado about Nothing, i. 1.

Boot (advantage), /. Henry VI., iv. 6.

Borachio, the villainous follower of Don John in Much Ado
about Nothing, who invents the plot against Hero and acts the part
of her pretended lover ; first appears in i. 3.

Bore, a, I. Henry IV., Hi. 1, " he's as tedious," etc. ; Venus
and Adonis, I. 845.

Boreas (the north wind), Troilus and Cressida, i. 3.

Bores (stabs), Henry VIII., i. 1.

Borough, the head (in some modern editions the third). Verges
in Much Ado about Nothing. The former was an officer of the borough ; the third borough was a constable.

Borrowing, dulls husbandry, Hamlet, i. 3.

Bosworth Field, battle of, August 22, 1485. This battle, where
Kichmond, afterward Henry VII., defeated Richard III., was the
last of the Wars of the Roses. The field, or moor, is in Leicestershire. It is the scene of Richard III., v. 3, 4.

Botcher (cobbler), All's Well that Ends Well, iv. 3.

Bottle (bundle), of hay, Midsummer Night's Dream, iv. 1.

Bottom (spool, shuttle), of thread, Two Gentlemen of Verona, Hi.
2 ; Taming of the Shrew, iv. 3.

Bottom, Nick, a weaver, character in A Midsummer Night's
Dream, introduced in i. 2. In the play before the duke he takes the
part of Pyramus.

" Bottom, in his broad-blown self-importance, his all but impenetrable self-satisfaction, stands a head and shoulders higher in absurdity than any other comic personage in Shakespeare's early plays.
He is the admitted king of his company, the cock of his walk, and
he has a consciousness that his gifts are more than equal to his opportunities." DOWDEN.

Bouciqualt, mentioned, Henry V., Hi. 5 ; iv. 8.

Boult, a servant, in Pericles ; first appears in iv. 3.

Bounds. See LIMITS.

Bounty, should have eyes behind, Timon of Athens, i. 2 ; mars
men, Timon of Athens, iv. 2 ; that begs to be asked, Antony and
Cleopatra, Hi. 11 ; no winter in, Antony and Cleopatra, v. 2.

Bourbon, John, Duke of, character in Henry V. ; first appears in
Hi. 5, where he talks vaingloriously of the easy conquest that will
be made of the English.

Bourbon, Lord High Admiral, addressed in ///. Henry VI., Hi.
3. He was a grandson of the preceding.

Bourchier, Thomas, Archbishop of Canterbury and Cardinal,
character in Richard III., first appears in Hi. 1. His mother was a
daughter of the Duchess of Gloucester in Richard II. He had taken
sides with the Yorkists, and crowned Edward IV., Richard III., and
Henry VII. (Richmond).

Bourdeaux, scene of /. Henry VI., iv. 2, 5.

Bourn (burn, rivulet, or boundary), Troilus and Cressida, ii. 3 ;
this chalky, King Lear, iv. 6; of the undiscovered country, Hamlet.
Hi. 1.

Bowling, allusions to, Taming of the Shrew, iv. 5 ; Richard II.,
Hi. 4 > Coriolanus, v. ii ; rub on, etc., Troilus and Cressida, Hi. 2 ;
kissed the jack, Cymbeline, ii. 1.

Bow, the, is bent and drawn, King Lear, i. 1.

Boyet, a lord attending on the Princess of France in Love's Labour's Lost, an accomplished courtier wittily described by Berowne
(Biron) in act v., scene 2. He first appears in ii. 1.

Boy(s), the whining schoolboy, As You Like It, ii. 7 ; life and
ideas of, A Winter's Tale, i. 2 ; demureness in, II. Henry VI., ii. 3 ;
a bright, Richard III., Hi. 1 ; unrespective, Richard III., iv. 2 ;
sacrifice to present pleasure, Antony and Cleopatra, i. 4.

Brabant, Duke of, mentioned, Henry V., Hi. 5 ; iv. 8.

Brabantio, a Venetian senator, character in Othello, introduced
in i. 1, the father of Desdemona. His death, v. 2.

Brach (a hound), Taming of the Shrew, Induction i.

Bracy, Sir John, mentioned in I. Henry IV., ii. 4*

Braggarts, Much Ado about Nothing, v. 1; Two Gentlemen of
Verona, ii. 4 ; All's Well that Ends Well, Parolles in, iv. 3, etc. ;
tediousness of, /. Henry IV., Hi. 1 ; I cannot choose, etc., Romeo
and Juliet, ii. 6 ; They are but beggars, etc. ; wear their daggers
in their mouth, Cymbeline, iv. 2.


Braid (deceitful), All's Well that Ends Well, iv. 2.

Brains, boiled, The, Tempest, v. 1; dry, As You Like It, ii. 7 ;
idle comments of dwelling of the soul, King John, v. 7; when
the brains were out, the man would die, Macbeth, Hi. 4 / diminution
of, restores heart, or courage, Antony and Cleopatra, Hi. 11 or 13,
end ; forgeries of the, Lucrece, I. 460. See VENTRICLE OF MEMORY.

Brakenbury, Sir Robert, Lieutenant of the Tower, character in
Richard III. ; first appears in i. 1 ; his death, v. 5.

Brakes (thickets), of vice, Measure for Measure, ii. 1.

Brandon, Sir William, character in Richard III., first appears
in v. 3, in Richmond's army. He fell at Bosworth, v. 5.

Brandon, character in Henry VIII., introduced in i. 1. The
Duke of Buckingham was arrested by one Sir Henry Marney.

Brave, address to the, Coriolanus, i. 6, " Those are they," etc.

Bravery, of the princes, /. Henry IV., v. 4 ; of Talbot and his
son, /. Henry VI., iv. 5 ; in war, Coriolanus, i. 4, 5; ii. 2 ; Cymbeline, v. 3 ; of Posthumus, Cymbeline, v. 5.

Bravery (fine apparel), Taming of the Shrew, iv. 3.

Brawl (a dance), Love's Labour's Lost, Hi. 1.

Brawl, a, Othello, ii. 3.

Brazier, a, Henry VIII., v. 4.

Breach, once more unto the, Henry V., Hi. 1.

Breast (voice), Twelfth Night, ii. 3.

Brecknock, Richard III., iv. 2. Buckingham's castle in South
Wales, built in the time of the Conqueror, destroyed during the
Civil War. The keep is still standing.

Breeches, Two Gentlemen of Verona, ii. 7.

Breeching scholar, Taming of the Shrew, Hi. 1. To breech
was an old term meaning to whip, used in Merry Wives of Windsor,
iv. 1, " You must be breeched." A breeching scholar was a boy subject to whipping.

Breeding, of Orlando, As You Like It, i. 1.

Breese, or brize, Antony and Cleopatra, Hi. 8-10. The gadfly.

Brentford, fat woman, or witch of, Merry Wives of Windsor, iv.
2, 5. Supposed to be a well-known personage of Shakespeare's day,
named Gillian.

Bretagne, John de Montfort, Duke of, mentioned in Richard
II., ii. 1, as furnishing Bolingbroke with ships. Henry IV. afterward married his widow, Joan of Navarre.

Bretagnes, Richard III., v. 3.

Brevity, of fair things, Midsummer Night's Dream, i. 1; the
soul of wit, Hamlet, ii. 2.

Brewer's Horse, a, I. Henry IV., Hi. 3. He carried the liquor
on his back.

Bribery, attempt at, Merry Wives of Windsor, iv. 6 ; openness
to, All's Well that Ends Well, iv. 3; used, //. Henry IV., Hi. 2;
contempt for, Julius Caesar, iv. 3 ; defeats justice, Hamlet, Hi. 3,
speech of the king; Cymbeline, ii. 3 ; Hi. 3.

Bribe-Buck (a stolen one), Merry Wives of Windsor, v. 5.

Bridegroom, dress of a, Taming of the Shrew, Hi. 2.

Bridewell, palace at, scene of Henry VIII., Hi. 1, 2.

Bridge, what need the, much broader than the flood, Much Ado
about Nothing, i. 1.

Bridge, defence of the, Henry V., Hi. 6. Over the Ternois, at
Blangi. The French tried to break it down, but the English seized
and held it till the army passed over on the way to Calais.

Bridget, Mistress, alluded to, Merry Wives of Windsor, ii. 2.

Bridgnorth, in Salopshire, twenty miles from Shrewsbury, forces
to meet at, /. Henry IV., Hi. 2, end.

Brief (betrothal), AIVs Well that Ends Well, ii. 3.

Brief (inventory), Antony and Cleopatra, v. 2.

Briers, world full of, As You Like It, i. 3.

Bring in (call to the tapster), /. Henry IV, i. 2.

Britain, scene of part of Cymbeline ; its natural strength, Cymbeline, Hi. 1 ; a swan's nest, Cymbeline, Hi. 4. See ENGLAND.

British, bravery of the, Cymbeline, ii. 4.

Brocas, Sir Bernard, mentioned in Richard II., v. 6, as having
been beheaded for adherence to Richard.

Broker, a crafty knave, //. Henry VI., i. 2.

Brooding, on what's done, Macbeth, Hi. 2.

Brook, or Broom, name by which Ford gets himself introduced
to Falstaff, Merry Wives of Windsor, ii. 2.

Brooks, books in the running, As You Like It, ii. 1.

Broom. See BROOK.

Brothers, fight between, As You Like It, i. 1 ; duty to avenge
the death of, Richard II., i. 2.

Brownist, a (one of a sect of Puritans), Twelfth Night, Hi. 2.

Bruit (report), ///. Henry VI., iv. 7.

Brunette, a, Sonnets cxxvii., cxxx., cxxxi., cxxxii., cxlviii.

Brutus, Junius, a tribune of the people, character in Coriolanus introduced in i. 1 ; Menenius on, ii. 1. See SICINIUS.

Brutus, there was a, once, Julius Cmsar, i. 2. Lucius Junius
Brutus, prominent in the expulsion of the Tarquins and in turning
the kingdom into a republic. When consul afterward, he condemned his sons to death for an attempt to restore the kingdom.
He is again alluded to in ii. 1, " My ancestors did from the streets
of Rome," in the argument to Lucrece, and at lines 1734, 1807.

Brutus, Marcus Junius, the most important character in the
play Julius Ccesar; first appears in i. 2, talking with Cassius of the
danger to the republic from Csesar; his struggles, ii. 1; regretful
thoughts of, ii. 2, end ; the assassination, Hi. 1 ; justifies it, Hi. 1 ;
his speech, Hi. 2 ; his love of books and music, iv. 3 ; sees Cesar's
ghost, iv. 3 ; on self-murder, v. 1 ; farewell to Cassius, v. 1 ; his
death, v. 5.
"I do not at present see into Shakespeare's motive, his rationale, or
in what point of view he meant Brutus's character to appear. . . .
Surely, nothing can seem more discordant with our historical preconceptions of Brutus, or more lowering to the intellect of the StoicoPlatonic tyrannicide, than the tenets here attributed to him to him,
the stern Roman republican namely, that he would have no objection
to a king, or to Cresar, monarch in Rome, would Cassar but be as good
a monarch as he now seems disposed to be ! How, too, could Brutus
say that he found no personal cause none in Caesar's past conduct
as a man ? Had he not passed the Rubicon f Had he not entered
Rome as a conqueror 1 Had he not placed his Gauls in the Senate ?
. . . What character did Shakespeare mean his Brutus to be?"
COLERIDGE.
Brutus "acts as an idealist and theorizer might, with no eye for
the actual bearing of facts, and no sense of the true importance of
persons. Intellectual doctrines and moral ideas rule the life of
Brutus ; and his life is most noble, high, and stainless, but his public action is a series of practical mistakes. Yet, even while he errs,
we admire him, for all his errors are those of a pure and lofty spirit.
He fails to see how full of power Antony is, because Antony loves
pleasure, and is not a Stoic like himself ; he addresses calm arguments to the excited Roman mob ; he spares the life of Antony, and
allows him to address the people ; he advises ill in military matters.
All the practical gifts, insight, and tact which Brutus lacks are possessed by Cassius ; but of Brutus's moral purity, veneration of ideals,
disinterestedness, and freedom from unworthy personal motive, Cassius possesses little. And the moral power of Brutus has in it
something magisterial, which enables it to oversway the practical
judgment of Cassius." DOWDEN.
He is spoken of in //. Henry VI., iv. 1 ; in Antony and Cleopatra,
ii. 6, Pompey speaks of his motive ; and in Hi. 9 or 11, Antony calls
him the mad Brutus.

Bubbles, the earth hath, Macbeth, i. 3.

Bubukles (pimples), Henry V., Hi. 6.

Buckingham, Edward Stafford, Duke of. He calls himself
Edward Bohun (ii. 1), as he was descended from the Bohuns, and
from them inherited his office of constable, an office forfeited at his
death, and never again revived in England. A character in Henry
VI1L, introduced in the first scene, where he is arrested for treason.
His surveyor's testimony against him is given in i. 2, where the king
admits his learning and eloquence. He is condemned in ii. 1, and
speaks to the people. He was accused of aspiring to the throne, and
was executed in 1521. The Buckingham of Richard III. was his
father.

Buckingham, Henry Stafford, Duke of, character in Richard
III., first appears in i. 3. He was one of Richard's most powerful
friends ; in Hi. 7, he tries to make the people declare him king, and
offers him the crown. But he became disaffected because Richard
would not grant him the earldom of Hereford, to which he had a
claim, iv. 2, and joined in the conspiracy to place Richmond on the
throne. He headed an insurrection in Wales, iv. 3 ; but his army
was broken up by sudden floods, and deserted. He fled, but was
taken, iv. 4, and executed at Salisbury, v. 1. His ghost appears to
Richard, v. 3. He was a grandson of the Buckingham of //. Henry
VI., and son of Sir Humphrey Stafford.

Buckingham, Humphrey Stafford, Duke of, character in //.
Henry VI. ; first appears in i. 1. He is on the side of the king. In
///. Henry VI., i. 1, Edward, Earl of March, boasts of having
wounded him at St. Alban's, where his son, Lord Stafford, was slain.
He fell at the battle of Northampton in 1460. He was the son of
the Lord Stafford mentioned in /. Henry IV., v. 3, as having been
slain for the king, and the Buckingham of Richard III. was his
grandson, son of the Lord Stafford who fell at St. Alban's.

Buckle (bend), II. Henry IV., i. 1.

Bucklers, give the (surrender), Much Ado about Nothing, v. 2.

Bucklersbury, a place in the outskirts of London where herbs
and drugs were sold, Merry Wives of Windsor, Hi. 3.

Buckram, cases of (oversuits), Z Henry IV., i. 2.

Buckram Scene, the, /. Henry IV., ii. 4.

Bucks (household washing), II. Henry VI., iv. 2; buck-basket,
Merry Wives of Windsor, Hi. 5.

Bug (bugbear), Taming of the Shrew, i. 2, and elsewhere ; Warwick was the bug that feared us all, ///. Henry VI., v. 2.

Builder, the strongest, Hamlet, v. 1.


Bulks (projecting show-windows or outside stalls), Coriolanus,
ii. 1 ; Othello, v. 1.

Bull, the savage, etc., Much Ado about Nothing, i. 1 ; line from
"The Spanish Tragedy," by Thomas Kyd, printed in 1603, but
played before that time. It was much ridiculed by Kyd's contemporaries.

Bull-Baiting, allusions to, Troilus and Cressida, v. 8 ; v. 7,
" Now bull, now dog ! "

Bullcalf, one of the recruits in II. Henry IV., appears in
Hi. 2.

Bullets, paper, Much Ado about Nothing, ii. 3 ; leaden messengers, All's Well that Ends Well, Hi. 2.

Bully Monster, The Tempest, v. 1.

Bully Book (a bold, bluff, rollicking fellow), Merry Wives of
Windsor, ii. 1.

Bully Stale, Merry Wives of Windsor, ii. 3. Bully was a favourite word with the host of the Garter.

Bunch of Grapes, the, Measure for Measure, ii. 1. It was customary to give such names to rooms in taverns. See DOLPHIN CHAMBER, and JERUSALEM CHAMBER.

Bung (cant for purse, here cutpurse), //. Henry IV., ii. 4.

Bunting, took this lark for a, All's Well that Ends Well, ii. 3.
A bird like the lark, but songless.

Burgh, Hubert de. See HUBERT DE BURGH.

Burgonet (helmet), II. Henry VI., v. 1 ; Antony and Cleopatra,
i. 5. An anachronism.

Burgundy, Duchess of, III. Henry VI., ii. 1. She was third
cousin to the young Plantagenets, though she is spoken of as their
" kind aunt."

Burgundy, Duke of, character in King Lear, appears in i. 1, a
suitor for Cordelia ; but he withdraws the suit when she is disinherited. He is called " waterish Burgundy."

Burgundy, Philip the Good, Duke of, a character in Henry V.,
where he appears in the last scene, and in Henry VI., first appearing
in ii. 1. His sister was married to Bedford, and he was in alliance
with the English till 1435, when he was reconciled to the Dauphin
through the mediation of the pope. In Hi. 3 he is represented as
won over by Joan of Arc. His letter to Henry, announcing his
change of alliance, iv. 1.

Burial, Christian, given to a suicide, Hamlet, v. 1; with the head
to the east, Cymbeline, iv. 2.

Burn, burning out a, Romeo and Juliet, i. 2.

Burs, in the heart, As You Like It, i. 3.

Burton-Heath (Barton-on-the-Heath), in Warwickshire, Taming
of the Shrew, induction, 2.

Bury St. Edmund's, abbey of, in Suffolk, scene of II. Henry
VI., i. 2.

Bush, the thief doth fear each, III. Henry VI., v. 1 ; good wine
needs no, As You Like It, v. 4. A bush of ivy was used at a vintner's door, ivy being sacred to Bacchus.

Bushy, Sir John, a character in Richard II., introduced in i. 3.
He is a parasite of the king's. " In this 22 year of King Richard the
common fame ran that the King had letten to farm the realm unto
Sir William Scrope, Earl of Wiltshire, and then Treasurer of England, to Sir John Bushy, Sir John Bagot, and Sir Henry Green,
Knights." In the play only the Earl of Wiltshire is mentioned as
having the realm in farm.

Business, promptness in that, which we love, Antony and Cleopatra, iv. 4>

Butcher, privilege to a, II. Henry VI., iv. 3. Referring to the
practice of favouring some butchers by permits to kill a certain
number of cattle every week in Lent.

But shall I go mourn, song, A Winter's Tale, iv. 3.

Butter, pitiful-hearted, /. Henry IV., ii. 4>

Butterfly(ies), painted, Midsummer Night's Dream, Hi. 1; your,
was a grub, Coriolanus, v. 4 ; show not their mealy wings but to the
summer, Troilus and Cressida, Hi. 3.

Buttery-bar, Twelfth Night, i. 3.

Buttons, 'tis in his (he can do it), Merry Wives of Windsor, Hi.
1 ; (buds) Hamlet, i. 3.

Butts, Sir William, the king's physician in Henry VIII., introduced in v. 2. He was a friend of Cranmer and adherent of the
Protestant cause.

Butt-shaft (arrow to be shot at a butt or mark), Love's Labour's
Lost, i. 2, end.

" But yet," dislike for, Antony and Cleopatra, ii. 5.

By (aby, abide, pay for), III. Henry VI., v. 1.

 
Cabin'd, cribb'd, confin'd, Macbeth, Hi. 4.

Cacodsemon (an evil spirit), Richard III., i. 3.

Caddises (crewels or braid), A Winter's Tale, iv. 3 or 4.

Cade, Jack, leader of Cade's rebellion in 1450, who called himself Mortimer. The murder of Suffolk at Dover was followed by a rumor
that the king would take vengeance on the people of Kent, and this
was the immediate cause of the insurrection, though under the king's
weak rule there were real grievances to be redressed. Cade is a character in //. Henry VL, introduced in iv. 2. History says nothing
of York's agency as spoken of in Hi. 1. In iv. 6, he takes possession
of the capital by striking his staff on London stone (q. v.). He is
killed by Iden, iv. 10.

Cadmus (the legendary founder of Thebes, who introduced the
alphabet into Greece), Midsummer Night's Dream, iv. 1.

Caduceus (Mercury's rod), Troilus and Cressida, ii. 3.

Cadwal. See ARVIRAGUS.

Cadwallader, Henry V., v. 1. The last Welsh king.

Caesar, Julius, appears first in the second scene of the play that
bears his name ; his physical feebleness described by Cassius, i. 2 ;
his fearlessness, ii. 2 ; his refusal of the suit of Metellus, and his
death, Hi. 1 ; his ghost, iv. 3 ; Octavius promises to avenge him, v.
1; avenged, v. 3, "Thy spirit walks abroad," etc.

" The character of Cassar is conceived in a curious and almost
irritating manner. Shakespeare (as passages in other plays show) was
certainly not ignorant of the character of one of the world's greatest men. But here it is his weaknesses that are insisted on. He is
failing in body and mind, influenced by superstition, yields to flattery, thinks of himself as almost superhuman, has lost some of his
insight into character, and his sureness and swiftness of action.
Yet the play is rightly named Julius Ccesar. His bodily presence is
weak, but his spirit rules throughout the play, and rises after death
in all its might, towering over the little band of conspirators, who at
length fall before the spirit of Ca3sar as it ranges for revenge."
DOWDEN.

Allusions to Caesar : The hook-nosed fellow, //. Henry IV., iv.
2; quoted, //. Henry VI., iv. 7 ; began the Tower, Richard IL. v.
1 ; Richard III., Hi. 1. He did not build any part of it. Ship that
bare, I. Henry VI., i. 2; commentaries of, 11. Henry VI., iv. 7;
they that stabbed, 111. Henry VL, v. 5 ; Mark Antony and, Macbeth,
Hi. 1 ; the dust of, Hamlet, v. 1; Cleopatra's praise of, Antony and
Cleopatra, i. 5 ; death of, Antony and Cleopatra, ii. 6; in Britain,
Cymbeline, Hi. 1.

Caesar, Octavius (Augustus), who was triumvir after the death of
Julius Caesar, is introduced in iv. 1 of Julius Ccesar ; at Philippi, v.
1. He is also a character in Antony and Cleopatra, introduced in
i. 4. His fortune, ii. 3 ; Lepidus's praise of, travestied, Hi. 2 ; Antony's complaint of, Hi. 4; laments Antony's death, v. 1.
In Julius Caesar, Antony " was placed beside a man, the young
Octavius, who even then treated him, the elder in politics and war,
with haughtiness ; in whose vicinity his genius (that is, the practical, actively disposed part of his genius) felt itself oppressed, and
before whom his courage, his nobility, his magnanimity bowed, although unwillingly. An inward misgiving warned the more profound Julius Cassar against Cassius ; it needed a soothsayer to warn
this superficial being against Octavius [ii. his success more to Antony's luxuriousness. idleness, and frenzy than
to his own merits. . . . Where [Antony] is genial and wanton, Octavius is full of petty carefulness ; where the one idly, voluptuously,
and madly puts off, neglects, and forgets every public duty, the other
is all conscientiousness, economy, activity, and thoughtful quickness,
and is prompted at least as much by the common interests of the
state as by personal ambition." GERVINUS.

Caesars, there be many ere such another Julius, Cymbeline,
Hi. 1.

Cage (for vagabonds and criminals), //. Henry VI., iv. 2.

Cain, the curse of, Hamlet, Hi. 3, "The primal eldest." See
BIBLE.

Cain-coloured beard, Merry Wives of Windsor, i. 4. Cain
was represented in old tapestry with a yellow beard. Some editors
read cane-coloured.

Caithness, a thane of Scotland, character in Macbeth, appears in v. 2. Torfin, the son of Sigurd, affected to be independent
Earl of Caithness during the whole reign of Duncan and of Macbeth.

Caius, Dr., character in the Merry Wives of Windsor, first
spoken of in i. 1, introduced in *. 4> He is an irascible French physician, uses amusing English, is a suitor to Anne Page, and sends a
challenge to Parson Evans, i. 4.

Caius, kinsman of Titus, in Titus Andronicus, addressed in iv.
3 and v. 2.

Caius, name assumed by Kent in King Lear.

Cake, he that would have a, Troilus and Cressida, i. 1; is
dough, Taming of the Shrew, i. 1 ; v. 1.

Cakes and ale, Twelfth Night, ii. 3. The usual entertainment
on holidays and saints' days.

Calamity, sticking together in, King John, Hi. 4 ; prepared for,
Richard II., Hi. 2 ; full of words, Richard III., iv. 4 i wedded to.
Romeo and Juliet, Hi. 3.

Calchas, a Trojan priest who was sent by Priam to consult the
oracle at Delphi as to the result of the war. Being warned not to
return, as Troy was to be destroyed, he took part with the Greeks.

Cressida was his daughter. He is introduced in Hi. 3 of Troilus
and Cressida.

Calendar(s), of nativity, Comedy of Errors, v. 1; of gentry,
Hamlet, v. 2.

Caliban, a deformed monster in The Tempest, half-human, half-demon, whom Prospero has made his slave.
He is "all earth, all condensed, and gross in feelings and images; he has the dawmings of understanding without reason or the moral sense, and in him as in some brute animals this, advance to the intellectual faculties, without the moral sense, is marked by the appearance of vice." COLERIDGE.
Calipolis, feed and be fat, my fair, //. Henry IV., ii. 4. Travesty of a line in Peele's " Battle of Alcazar."

Callat (wanton), A Winter's Tale, ii. 3; Othello, iv.2.

Calpurnia, Caesar's wife, first appears in i. 2 of Julius Ccesar ;
her dreams and fears, ii. 2.

Calumny, none can escape, Measure for Measure, Hi. 2 ; will
sear virtue itself, A Winter's Tale, ii. 1 ; the fate of place, Henry
VIII., i. 2; not to be escaped, Hamlet, Hi. 1. See also SLANDER.

Calydon (a city of ^Etolia in Greece), the prince in, II. Henry
VI., i. 1. Meleager. See ALTHEA.

Cambio, name assumed by Lucentio in Taming of the Shrew, ii. 1.

Cambridge, Richard, Earl of, character in Henry V. His part
in the conspiracy to kill the king is mentioned in the prologue to the
second act. In the second scene of the same act his treachery is exposed and he is ordered to execution. He was son of Edmund Langley, Duke of York, and brother of the York in this play. He is
spoken of in /. Henry VI., ii. 5, in connection with the claim of the
house of York to the throne. His wife was the sister of Mortimer ;
and the Duke of York, their son and the father of Edward IV. and
Richard III., inherited from his mother the claim of the Mortimers.
Cambridge was beheaded in 1415.

Cambyses, King, /. Henry IV., ii. 4. Allusion to a play by
Thomas Preston, written about 1561, entitled "A Lamentable Tragedy, mixed ful of pleasant Mirth, conteyning the Life of Cambises,
King of Percia, from the beginning of his Kingdome unto his Death,
his one good Deed of Execution after the many wicked Deeds and
tirannous Murders committed by and through him, and, last of all,
his odious Death by God's Justice appointed, doon in such order as
foloweth." The story is from Herodotus and Justin. It was Langbaine's conjecture that the direct allusion was to the opening speech
of Cambyses, of which these lines are a specimen : "My counsaile grave and sapient,
With lords of legal train,
Attentive eares towards us bend,
And mark what shall be sain.
My sapient words, I say, perpend,
And so your skil delate :
You know that Mors vanquished hath
Cirus, the king of state ;
And I, by due inheritance,
Possess that princely crown,
Ruling by sword of mighty force,
In place of great renown."

Camelot (in Somersetshire, where many geese are said to have
been kept), King Lear, ii. 2.

Camillo, a character in A Winter's Tale, introduced in *. 1. He
is a lord of Sicilia, who, at the command of the king to poison his
guest, gives Polixenes warning, and flees with him to Bohemia.
Later in the play, he protects and advises Florizel and Perdita.

Camomile, the, grows faster for being trodden upon, I. Henry
IV., ii. 4.

Campeius (Laurence Campeggio), cardinal and legate, character
in Henry V1IL, introduced in ii. 2. He was Bishop of Salisbury,
but was deprived of his bishopric by Henry, who was irritated at his
conduct concerning the divorce from Queen Katherine.

Canary, name of a lively dance and also of a wine, Love's Labour's Lost, Hi. 1 ; Merry Wives of Windsor, Hi. 2, end; All's Well
that Ends Well, ii. 2. The dance is said to have originated in the
Canary Isles.

Cancer, more coals to, Troilus and Cressida, ii. 3.
Candle, how far that little, Merchant of Venice, v. 1 ; out, brief
candle, Macbeth, v. 5.

Candle-wasters (book-worms), Much Ado about Nothing, v. 1.
Canidius, Antony's lieutenant-general, introduced in iii. 7, of
Antony and Cleopatra; his desertion, iv. 6.
Canis (dog), Love's Labour's Lost, v. 2.

Canker, in the bud, Two Gentlemen of Verona, i. 1 ; hath not
thy rose a, Somerset, 1. Henry VI., ii. 4>' (the dog-rose), Much Ado
about Nothing, i. 3 ; I. Henry IV., i. 3 ; Sonnet liv.

Cannibals, II. Henry IV., ii. 4; Othello, i. 3 ; King Lear, i. 1,
" Make his generation messes." See ANTHROPOPHAGI.

Cannon, King John, i. 1. Gunpowder was not used until nearly a hundred years later. Cannons are said to have been first used by
the English at the battle of Cressy in 1346, though the Moors used
them in the year 1280. Another allusion is in Macbeth, i. 2.

Cannon-balls (gun-stones), Henry V., i. 2. In the earliest days
of the use of artillery, stone balls were fired from the guns.

Canterbury, Arundel, Archbishop of, mentioned in Richard II.,
ii. 1, as one of those with Bolingbroke. He crowned Bolingbroke as
Henry IV. in 1399.

Canterbury, Henry Chicheley, Archbishop of, character in Henry V., enters in the first scene, where he describes the change in the
king, and hopes to induce him to repeal the order passed in the last
reign for seizing property of the Church, by offering a large sum for
the wars in France. In the second scene he explains the claim of
the king to the crown of France, and eloquently urges Henry to enforce his claim. He was the founder of All Souls' College, Oxford.

Canterbury, Thomas Bourchier, Archbishop of. See BOURCHIER.

Canterbury Pilgrims, I. Henry IV., i. 2. Pilgrimages were
made to the shrine of St. Thomas a Becket at Canterbury.

Cantle (corner or part), I. Henry IV., Hi. 1 ; Antony and Cleopatra, Hi. 8 or 10.

Cantons (cantos), Twelfth Night, i. 5.

Canvass, I. Henry VI., i. 3. To trap, as wild fowl were taken
in a canvass or net.

Cap, order for a woman's, Taming of the Shrew, iv. 3.

Caper, Master, a prisoner, Merry Wives of Windsor, iv. 3.

Capet, Hugh, his title to the crown of France, Henry V., i. 2.

Caphis, servant of one of the creditors of Timon of Athens, introduced in ii. 1, where he is sent to dun for his master's due.

Capilet, family of, All's Well that Ends Well, v. 3.

Capilet, my horse, grey, Twelfth Night, Hi. 5.

Capocchia (fool), Troilus and Cressida, iv. 2.

Capon, Love's Labour's Lost, iv. 1. The French poulet means
both a young fowl and a love-letter.

Captain, the title of, //. Henry IV., ii. 4.

Captious, and intenible (taking in, not holding), All's Well that
Ends Well, i. 3.

Capucius, Eustachius, ambassador from Charles V., character in
Henry VIII., introduced in iv. 2. He was present at the death of
Queen Katherine in 1536.

Capulet, character in Romeo and Juliet, introduced in i. 1, Juliet's father, an irascible, tyrannical, meddlesome old man, unsteady in his feelings, and illogical in his actions and conversation.

Capulet, Lady, introduced in Romeo and Juliet, i. 1, a cold-hearted, conventional, unimpressible person, for whom Juliet in
quiet times shows a decent filial regard, but from whom she expects
no sympathy with her stronger feelings or in her troubles.

Car, John de la, the Duke of Buckingham's confessor, Henry
VIII., i.l; ii.l.

Carack(s), Comedy of Errors, Hi. 2 ; Othello, i. 2. Large ships
of burden.

Caraway, eaten with apples, //. Henry IV., v. 3.

Carbonado (a slice cut for frying), All's Well that Ends Well,
iv. 5 ; 1. Henry IV., v. 3 ; Coriolanus, iv. 5 ; King Lear, ii. 2.

Carbuncle, the ; allusions to its supposed power of giving out
unrefiected light, Titus Andronicus, ii. 3 ; Henry VIII., ii. 3; Hamlet, ii. 2.

Carded (mixed), /. Henry IV., Hi. 2.

Cards, games of : Primero, Merry Wives of Windsor, iv. 5; Henry VIII., v. 1 ; a card of ten (possibly also an allusion to primero),
Taming of the Shrew, ii. 1 ; the best cards, King John, v. 2 ; the
king was fingered from the deck, III. Henry VI., v. 1 ; he lurched
all swords, Coriolanus, ii. 2. (To lurch was to win easily) ; hardly
shall I carry out my side (get the game), King Lear, v. 1.

Carduus Benedictus (holy thistle, a medicinal herb, thought
good for heart-diseases), Much Ado about Nothing, Hi. 4.

Care, business, Merchant of Venice, i. 1 ; killed a cat, Much Ado
about Nothing, v. 1 ; an enemy to life, Twelfth Night, i. 3 ; on earth,
Richard II., ii. 2 ; premature aging by, /. Henry VI., ii. 5 ; no cure,
/. Henry VI., Hi. 3 ; in the aged, Romeo and Juliet, ii. 3.

Careires (short turning of a horse from side to side), Merry
Wives of Windsor, i. 1.

Carkanet (necklace), Comedy of Errors, Hi. 1 ; iv. 1.

Carl (churl), Cyinbeline, v. 2.

Carlisle, Thomas Merks, Bishop of, character in Richard II.,
introduced in Hi. 2. He was arrested for treason, iv. 1, but pardoned by Henry IV., v. 6.

" The grand type of genuine loyalty who stands faithfully by the
side of the lawful king, without concealing from him the stern voice
of truth ; who defies the unlawful usurper in the public assembly,
but still elicits, even from the latter, true honour, favour, and esteem."

Carnations, A Winter's Tale, iv. 3 or 4.

Carp, of truth, Hamlet, ii. 1. The carp was proverbially the
wisest of fishes. Its brain is said to be six times as large as the average fish-brain.

Carpets (tapestry table-cloths), Taming of the Shrew, iv. 1.

Carping 1 , not commendable, Much Ado about Nothing, Hi. 1.

Carriage (load), The Tempest, v. 1 ; King John, v. 7.

Carriers, conversation between, I. Henry I V., ii. 1.
. Cart, the horse drawn by the, King Lear, i. 4.

Carthage, Dido, the Queen of, Merchant of Venice, v. 1; TJie
Tempest, ii. 1.

Carve (to make gestures), Love's Labour's Lost, v. 2 ; Merry
Wives of Windsor, i. 3.

Casca, character in Julius Ccesar, first appears in i. 2. He is
bitter and sarcastic, and, though a friend of Caesar, is drawn into the
conspiracy by Cassius, and is one of the assassins, Hi. 1, the first to
strike. Antony calls him " the envious Casca," Hi. 2.

Case (pair or box ?), of lives, Henry V., Hi. 2.

Cashiered (relieved of cash), Merry Wives of Windsor, i. 1.

Caskets, choice of the, Merchant of Venice, ii. 7, 9; Hi. 2.

Cassandra, Priam's daughter, character in Troilus and Cressida, introduced in ii. 2. Apollo gave her the gift of prophecy, but
afterward ordained that her prophecies should never be believed. In
v. 3 she foretells the death of Hector.

Cassibelan, Cymbeline, i.l; Hi. 1. He was King of Britain before Tenantius.the father of Cymbeline, and, being conquered by the
Romans, agreed to pay tribute, B. c. 54.

Cassio, Michael, a Florentine, Othello's lieutenant, introduced in
i. 2. lago, who hates him for having been promoted above himself,
contemptuously describes him in i. 1 as an arithmetician, the Florentines being noted for banking and accounting. He is frank, simple,
and straightforward, enthusiastically devoted to Othello, and a reverent admirer of Desdemona (ii. 1}. He is disgraced, ii. 3; attacked
by Roderigo and wounded by lago, v. 1.

Cassius, Gains, character in Julius Ccesar, first appears in i. 2.
He was married to Brutus's sister Junia. His leanness, *. 2; talks
of Caesar with Brutus, *'. 2; quarrel with Brutus, iv. 3; farewell to
him, v. 1 ; his death, iv. 3. The character of Cassius is sharply contrasted with that of Brutus. " He is keen, practical, prompt, energetic, severe, and inexorable; his hatred for tyranny is mingled
with envy of the man whose life he had once saved, and for whose physical powers he feels contempt, and yet who seems about to ' bestride the narrow world like a Colossus.' A keen politician, he knows the special means to employ in influencing each of the confederates. He is less noble, less pure and disinterested than Brutus,
less a man of thought and principle, more a man of action." His
motive, Antony and Cleopatra, ii. 6 ; struck, Antony and Cleopatra,
Hi. 9 or 11. See also BRUTUS.

Cassocks (soldiers' cloaks), All's Well that Ends Well, iv. 3.

Castilian (then used as a term of reproach), Merry Wives of
Windsor, ii. 3.

Castiliano vulgo (probably a blunder for volto), with a Spanish,
or sober, face, Twelfth Night, i. 3.

Castle (a strong helmet), Troilus and Cressida, v. 2 ; Titus Andronicus, iii. 1.

Castle, old lad of the, /. Henry IV., i. 2. Allusion to Oldcastle,
the name first given to Falstaff, q. v.

Casuistry, of the legate, King John, iii. 1.

Cat(s), The Tempest, ii. 1; Midsummer Night's Dream, iii. 2;
Coriolanus, iv. 2 ; in a bottle like a, Much Ado about Nothing, i. 1;
allusion to the sport of hanging up a cat in a bottle of soot and
striking it ; the winner was the one who could break the bottle and
escape the soot. In some places the cat was afterward tortured to
death. Care killed a, Much Ado about Nothing, v. 1 ; a traitor, a,
All's Well that Ends Well, iv. 3 ; aversion to, Merchant of Venice,
iv. 1 ; All's Well that Ends Well, iv. 3 ; prince of cats. See TYBALT.
Nine lives of, Romeo and Juliet, iii. 1; in the adage, Macbeth, i. 7 ;
familiar of witches, Macbeth, i. 1 ; iv. 1 ; melancholy, /. Henry IV.,

Catalan (Chinaman, cheat), Merry Wives of Windsor, ii. 1;
Twelfth Night, ii. 3.

Cataract (on the eye, called the web and pin), A Winter's Tale,
i. 2 ; King Lear, iii. 4.

Catechism, Falstaff's, on honour, I. Henry IV,, v. 1.

Cater-cousins, Merchant of Venice, ii. 2. Quater or quarter-cousins.

Caterpillars, of the commonwealth, Richard II., ii. 3; II.
Henry VI., iii. 1 ; scholars, etc., called, 77. Henry VI., iv. 4.

Catesby, Sir William, character in Richard III., first appears in
*'. 3. He was unscrupulous in his devotion to the cause of Richard,
was taken prisoner at Bosworth, and executed by order of Henry
VII., August 25, 1485. His name is played upon in the rhyme :
"The Cat, the Rat, and Lovel the Dog,
Rule all England under the Hog."

Catling, Simon, a musician in Romeo and Juliet, iv. 4, named
from a string of catgut.

Catlings (catgut strings), Troilus and Cressida, Hi. 3.

Cato, mentioned, Coriolanus, i. 4. So in Plutarch, where it is
the author's comment, not that of a character, as here. Cato was
much later than Coriolanus. His suicide, Julius Ccesar, v. 1.

Cato, young, character in Julius Ccesar, appears in v. 3, and is
slain in the following scene.

Cat o' mountain, pinch-spotted, The Tempest, iv. 1.

Causeless (supernatural), All's Well that Ends Well, ii. 3.

Cause(s), a common, Troilus and Cressida, ii. 2 ; good or bad,
II. Henry IV., iv. 1; Henry V., iv. 1; II. Henry VL, Hi. 2.

Causes, inquiry into, A Winter's Tale, i. 2. " How should this
grow," etc.

Cautels, cautelous (deceptions, deceitful), Coriolanus, iv. 1;
Julius Ccesar, ii. 1 ; Hamlet, i. 3 ; Lover's Complaint, I. 303.

Caution, in war, II. Henry IV., i. 3 ; in trusting men, Henry V.,
ii. 3 ; in observing signs of evil, Richard III., ii. 3 ; an adder in the
path craves wary walking, Julius Cmsar, ii. 1 ; of age, Hamlet, ii. 1.

Cavaleiro-Justice, applied to Shallow by the Host, Merry Wives
of Windsor, ii. 1.

Caviare to the general, Hamlet, ii. 2. Caviare was a dish
made from sturgeons' roes, not liked by many.

Cawdor, Thane of, his revolt and the title given to Macbeth, i. 2 ;
Macbeth hailed as, i, 3 ; death of the former thane, i. 4. The account
corresponds with that by Stowe of the death of the Earl of Essex.

Cecily. See YORK, DUCHESS OF.

Celerity, most admired by the negligent, Antony and Cleopatra,
Hi. 7.

Celia, character in As You Like It, introduced in the second
scene, cousin of Rosalind, and her companion in the forest under the
name of Aliena. " Celia is more quiet and retired ; but she rather
yields to Rosalind than is eclipsed by her. She is as full of sweetness, kindness, and intelligence, quite as susceptible, and almost as
witty, though she makes less display of wit. She is described as less
fair and less gifted ; yet the attempt [by her father] to excite in her
mind a jealousy of her lovelier friend . . . fails to awaken in the
generous heart of Celia any other feeling than increased tenderness
and sympathy for her cousin."

Celibacy. See MAIDENHOOD and MARRIAGE.

Censure, taken to one's self, As You Like It, ii. 7 ; take each
man's, Hamlet, i. 3.

Censures (advice), Richard III., ii. 2.

Censurers, of those in power, Henry VIIL, i. 2.

Centaur, the (inn), Comedy of Errors, i. 2.

Centaurs (monsters, half man, half horse), Midsummer Night' s
Dream, v. 1 ; King Lear, iv. 6 ; Titus Andronicus, v. 2.

Century (a hundred), King Lear, iv. 4 ; Coriolanus, i. 7 ; Cymleline, iv. 2.

Cerberus (the three-headed dog at the entrance to Tartarus),
Love's Labour's Lost, v. 2; II. Henry IV., ii. 4; Titus Andronicus,
ii. 4 or 5 ; Troilus and Cressida, ii. 1.

Ceremony, the idol, Henry V., iv. 1 ; not needed in true friendship, Timon of Athens, i. 2 ; an indication of cooling friendship,
Julius Ccesar, iv. 2 ; sauce to meat, Macbeth, Hi. 4; mere mechanic
compliment, Antony and Cleopatra, iv. 4.

Ceremonies (interpretation of omens), Julius CcBsar, ii.

Ceres (goddess of the harvest), The Tempest, iv. 1; IL Henry VI

Cerimon, a lord of Ephesus, in Pericles, introduced in Hi. 2 ;
his healing art, Hi. 2 ; v. 3. " Cerimon, who is master of the secrets
of nature, who is liberal in his ' learned charity,' ... is like a first
study for Prospero." DOWDEN.

Cesario, name assumed by Viola in Twelfth Night.

Cess (measure), out of all, I. Henry IV., ii. 1.

Chafe, the carriage of (bearing of anger), Antony and Cleopatra,
i.3.

Chain, speech like a tangled, Midsummer Night's Dream, v, 1 ;
rub your chain with crumbs, Twelfth Night, ii. 3. Stewards and
other upper servants wore chains of gold or silver.

Challenge(s), from Cains to Evans, Merry Wives of Windsor,
i. 4,' directions for a, Twelfth Night, Hi. 2 ; sent, Twelfth Night, Hi.
4 ; of Bolingbroke to Norfolk, Richard II., i. 1 ; Aumerle to Bagot,
Richard II., iv. 1; of the prince to Hotspur, /. Henry IV., v. 1, 2 ;
Hector's, Troilus and Cressida, i.3 ; Laertes to Hamlet, Hamlet, v. 2 ;
Albany's to Edmund, King Lear, v. 3 ; Antony's to Cassar, Antony
and Cleopatra, Hi. 11 or 13. See GLOVES.

Cham, the great (sovereign of Tartary), Much Ado about Nothing, ii. 1.

Chamber, to your, Richard III., Hi. 1. London was called the
king's chamber.

Chamberlain, the, a character in /. Henry IV., in league with
the highwaymen, ii. 1.

Chamberlain, the lord, character in Henry VIII., introduced
in *'. 3. Sir Charles Somerset, Earl of Worcester.

Chambers, Henry VIII., i. 4. Short pieces of ordnance, used
chiefly on festive occasions.

Chameleon, the, Two Gentlemen of Verona, ii. 1,4; Hamlet, Hi.
2 ; referring to the supposed fact that it lived on air; its changes of
colour, III. Henry VI., Hi. 2.

Champ, Richard du, a modern French name oddly used in Cymbeline, iv. 2.

Champions, encounter of, in the lists, Richard II., i. 3 ; honours of, affect the reputation of the whole, Troilus and Cressida, i.
3 ; near the end like a bold, Pericles, i. 1.

Chance, staking on, Merchant of Venice, i. 1, " In my school days," etc. ; Richard III., v. 4, " I have set my life," etc. ; fulfilment
of prophecy to be left to, Macbeth, i. 3 ; Hi. 1. See also FORTUNE.

Chancellor, the lord, character in Henry VIII., introduced in
v. 2. Sir Thomas More.

Change, in a man's disposition, Coriolanu?, v. 4; the lamentable, King Lear, iv. 1 ; of sovereigns, King John, Hi. 4.

Changeling (child supposed to be left by fairies in place of another), Midsummer Night 's Dream, ii. 1 ; A Winter's Tale, Hi. 3 ; iv.
3; I. Henry IV., i. 1.

Changes, wrought by time, II. Henry IV., Hi. 1.

Channel, called the sea, ///. Henry VI., ii. 2.

Chanticleer, The Tempest, i. 2, song.

Chantries, little chapels where masses were said for the dead
founders of churches, Twelfth Night, iv. 3 ; Henry V., iv. 1.

Chapeless (chape, catch of the scabbard), Taming of the Shrew,
Hi. 2.

Character, a high, Two Gentlemen of Verona, ii. 7, " His words
are bonds," etc. ; manifested, Measure for Measure, i. 1 ; tests of
Measure for Measure, i. 4, end ; of Wolsey, Henry VIII., iv. 2
change in, Coriolanus, v. 4; obscured by one defect, Hamlet, i. 4
sudden change in, King Lear, i. 1, "This is most strange," etc.
beauty of, a reproof to sin, Othello, v. 1.

Charactery (writing), Julius Ccesar, ii. 1, and elsewhere.

Characts (appellations), Measure for Measure, v. 1.

Chares (chores), Antony and Cleopatra, iv., end; v. 2.

Charge-House (free school), Love's Labour's Lost, v. 1.

Charing-Cross, I. Henry IV., ii. 1. Regarded as the central
point of London.

Charity, a neighbourly, Merchant of Venice, i. 2 ; fulfils the
law, Love's Labour's Lost, iv. 3; capricious, II. Henry IV., iv. 4.
See also BOUNTY.

Charity, St., Hamlet, iv. 5.

Charlemagne, a physician that could raise, All's Well that
Ends Well, ii. 1 ; and the Salic law, Henry V., i. 2.

Charles, the wrestler thrown by Orlando in As You Like It, introduced in i. 1 ; the wrestling-match is in i. 2.

Charles V., Einperor of Germany, Henry VIII., i. 1 ; Wolsey's
revenge on, ii. 1.

Charles VI., of France, character in Henry V., first appears in
ii. 4. He shows a more just idea of the strength of the English than
do his nobles.

Charles VII., of France, character in I. Henry VI., introduced
in i. 2, but spoken of in the first scene. His success began with the
advent of Joan of Arc, i. 2 ; his compact with the English, v. 4.

Charles's Wain, I. Henry IV., ii. 1. Said to be a corruption
of Chorl's or Churl's Wain the Great Bear. Some, however, suppose the constellation to have been named in honour of Charlemagne.

Charmian, character in Antony and Cleopatra, introduced in
i. 2, an attendant and confidante of Cleopatra.

Charms, magic, The Tempest, i. 2 ; ii. 1, 2 ; Hi. 2 ; iv. 1; v. 1;
Richard III., Hi. 4 ; Macbeth, iv. 1 ; King Lear, ii. 1 ; love, Othello, i. 1, 2, 3 ; allusion to charms against death, Cymbeline, v. 3, " In
mine own woe charmed," etc. ; silence for a, Othello, v. 2.

Charneco, II. Henry VI., ii. 3. A kind of sweet wine made in
Charneco, Portugal.

Charnel-house, horrors of a, Romeo and Juliet, iv. 3.

Charolois, mentioned, Henry V., Hi. 5.

Charon, who ferried the dead over the river Acheron, Richard
III., i. 4 ; Troilus and Cressida, Hi. 2.

Chartreux, monk of the, Henry VIII., i. 1.

Charybdis, Merchant of Venice, Hi. 5.

Chase, the, Venus and Adonis, I. 3.

Chase, terms of the. See HUNTING TERMS.

Chastity, Romeo and Juliet, i. 1; more than life, Measure for Measure, ii. 4 ; ice of, As You Like It, Hi. 4 ; as the icicle, Coriolanus, v. 3 ; Cymbeline, ii. 3.

Chatham, clerk of, a character in //. Henry VL, introduced in
t v. 2.

Chatillon, Hugh de, French ambassador in King John, introduced in the first scene.

Chatillon, Jaques, mentioned in Henry V., Hi. 5 ; iv. 8.

Chaudron (entrails). Macbeth, iv. 1.

Cheapside, //. Henry VL, iv. 2, 7.

Cheater (or escheater, an officer that looked after reversions),
Merry Wives of Windsor, i. 3.

Check, Hamlet, iv. 7 (or Jf), and elsewhere. Said of a hawk that
starts away from the lure.

Cheerfulness, Merchant of Venice, i. 1, " Let me play the fool,"
etc. ; conduces to longevity, Love's Labour's Lost, v. 2 ; a merry
heart goes all the day, A Winter's Tale, iv. 2.

Cheese, allusion to the love of the Welsh for, Merry Wives of
Windsor, v. 5 ; Thersites called, Troilus and Cressida, ii. 3.

Cherry-pit (a game of pitching cherry-stones), Twelfth Night,
Hi. 4.

Chertsey, monastery, Richard III., i. 2.

Cherubin (old form of the word cherub), The Tempest, i. 2, and
elsewhere.

Chess, allusions to : Taming of the Shrew, i. 1, " To make a
stale of me," etc. ; The Tempest, v. 1 ; King John, ii. 1, " Mayst be
a queen and check the world ; " //. Henry VL, Hi. 1, " Mates," etc.

Chester, //. Henry IV., i. 1.

Chests, or caskets, the choice in, Merchant of Venice, i. 2.

Cheveril (kid), Twelfth Night, Hi. 1 ; Romeo and Juliet, ii. 4 ;
a conscience of, Henry VIII, ii. 3.

Chewet, I. Henry IV., v. 1. Probably the same as chough,
jackdaw.

Chicheley, Henry. See CANTERBURY.

Chiding, of lovers, Two Gentlemen of Verona, Hi. 1; of children, Othello, iv. 2 ; II. Henry IV., iv. 4.

Child (used for girl f ), A Winter's Tale, Hi. 3. Perhaps it should
read "a god or a child," as the shepherd thought in Greene's story.
Likeness of a, to its father, A Winter's Tale, ii. 3 ; pleadings of a,
King John, iv. 1; government by a, Richard III., ii. 3; a discarded, King Lear, i. 1 ; a thankless, King Lear, i. 4 / H. 4.

Childeric, mentioned, Henry F., i. 2. Childhood, second. As You Like It, ii. 7 ; Hamlet, ii. 2.

Childish-foolish, too, for this world, Richard III., i. 3.

Children, should not know wickedness, Merry Wives of Windsor, ii. 2; ingratitude of, Measure for Measure, Hi. 1, " Friend hast
thou none," etc. ; innocence and influence of, A Winter's Tale, i. 2 ;
cast away, ii. 8 ; wise, live not long, Richard III., Hi. 1; on the
stage, Hamlet, ii. 2. Children as actors were much in fashion at the
time the play was written. A company of them played at the Blackfriars Theatre, and were called Children of the Revels ; unfilial, King
Lear, H. 4 / dying before their parents, Lucrece, I. 1756 ; the beautiful should leave, Sonnets i. to xvii. See also INGRATITUDE.

Child Roland, King Lear, Hi. 4. A fragment of an old ballad.

Chine, mourning in the (mumps), Taming of the Shrew, Hi. 2 ;
(variorum, " mose in the chine," not explained) ; of beef, Henry VIII.,
v.4.

Chiron, son of Tamora, in Titus Andronicus, introduced in i. 1
(or 2), as a prisoner of the Romans. He is released by the emperor ;
plots against Lavinia, ii. 1, 3, 4,' is killed, v. 2. A brutal and disgusting character.

Chisel, what, could cut breath, A Winter's Tale, iv. 3.

Chivalry, I. Henry IV., v. 1; Henry V., iv. 6; in the vein of,
Troilus and Cressida, v. 3.

Choice, obligation to stand by one's, Troilus and Cressida, ii. 2.

Choler, like gunpowder, Henry V., iv. 7 ; let reason question
with, Henry VIII., i. 1.

Chopine, Hamlet, ii. 2. A very thick-soled shoe or clog worn
by Spanish and Italian ladies.

Choplogic (to bandy words, quibble), Romeo and Juliet, Hi. 5.

Chopping (changeable), Richard II., v. 3.

Choruses, are introduced at the beginning of each act in Henry
V., and first and second acts of Romeo and Juliet.

Chough (jackdaw), The Tempest, ii. 1 ; Hamlet, v. 2 ; and elsewhere.

Christ, atonement by, Measure for Measure, ii. 2, " He that
might the vantage," etc. ; II. Henry VI., Hi. 2, " To free us from
his Father's wrathful curse " ; the captain, Richard II., iv. 1 ;
"those blessed feet," I. Henry IV., i. 1; redemption by his blood,
Richard III., i. 4.

Christendoms (Christian names), All's Well lhat Ends Well, i. 1 ;
King John, iv. 1.

Christenings. See GOSSIPS, SPOONS, and ELIZABETH.

Christians, hatred toward, Merchant of Venice, i. 3 ; " mean to
be saved," etc., Twelfth Night, Hi. 2 ; war between, King John, v.
2 ; I. Henry IV., v. 1; crusade of, Richard II., iv. 1.

Christmas-tide, Hamlet, i. 1, end; comedy for, Love's Labour 's Lost, v. 2 ; gambold for, Taming of the Shrew, induction, 2.

Christom-child, Henry V., ii. 3. One that dies soon after its
baptism.

Chronicle, of day by day, The, Tempest, v. 1 ; players are chronicles of the time, Hamlet, ii. 2.

Chrysolite, one entire and perfect, Othello, v. 2. An old Jewish
writer is said to have mentioned a chrysolite, a stone having supernatural virtues, which was in the form of a woman, and had power
against all charms.

Chuffs (coarse, fat fellows), I. Henry IV., ii. 2.

Church, plain as the way to, where bells have knolled to, As
You Like It, ii. 7 ; headship of the, in England, King John, Hi. 1 ;
ransacking the, King John, Hi. 4 >' forgotten the inside of a, I. Henry IV., Hi. 3 ; proposal to convert its property to uses of the state,
Henry V., i. 1 ; attack on the, /. Henry VI., i. 1.

Churchman, qualities becoming a, Henry VIII., Hi. 2 ; v. 3 ;
I. Henry VI., Hi. 1.

Churchyards, scenes in, Romeo and Juliet, v. 3 ; Hamlet, v. 1.

Churlishness, As You Like It, ii. 4.

Cicely Hacket, Taming of the Shrew, induction, 2.

Cicero (106-43 B. c.), introduced as a character in Julius Ccesar,
i. 2; his eyes, i. 2; his reputation, ii. 1; would never follow a
thing begun by others, ii. 1 ; his death reported, iv. 3. Allusion to
his murder, II. Henry VI., iv. 1.

Cicester, or Chichester, Richard II., v. 6.

Cinna, one of the conspirators in Julius Ccesar, first appears in
i. 3. After his exit his worth and popularity are spoken of.

Cinna, a poet, character in Julius Ccesar, to be distinguished
from the conspirator of the same name, appears in Hi. 3. Plutarch
says he was mistaken for Cinna the conspirator, and slain by the
people.

Cinque-pace, Much Ado about Nothing, ii. 1. A dance in
measures of five.

Cinque-ports, the, Henry VIII., iv. 1. The five ports were
Dover, Hastings, Hythe, Romney, and Sandwich. They had enjoyed
special privileges since the days of Edward the Confessor (circa 1050),
on condition of providing a certain number of ships in time of war.

Cipher, a, in a rich place, A Winter's Tale, i. 2 ; value of, Henry V., i., chorus; without a figure, King Lear, i. 4.

Circe (a fabled sorceress), cup of, Comedy of Errors, v. 1; Henry
VI., v. 2.

Circum circa (round about), Love's Labour's Lost, v. 1.

Circumlocution, Measure for Measure, ii. 1, Pompey's account ;
Armado's letter, Love's Labour's Lost, i. 1 ; Romeo and Juliet, Hi.
2, the nurse ; //. Henry IV., ii. 1, the hostess.

Circum-mured (walled about), Measure for Measure, iv. 1.

Circumspection, a tyrant's hatred of, Richard III., iv. 2 ; recommended, Othello, Hi. 3.

Circumstanced (content with circumstances), Othello, Hi. 4.

Citizens, fat and greasy, As You Like It, ii. 1.

City, the people are the, Coriolanus, Hi. 1.

City woman, dress of the, As You Like It, ii. 7.

Civet, Much Ado about Nothing, Hi. 2; As You Like It, Hi.
2 ; to sweeten imagination, King Lear, iv. 6.

Civility, Merchant of Venice, ii. 2 ; empty of, As You Like It,
ii. 7. See COURTESY.

Clack-dish (a rattling dish used by beggars), Measure for Measure, Hi. 2.

Claims, ancient, Henry V., ii. 4.

Clamour your tongues (set them all off together like a peal of
bells to close the ringing), A Winter's Tale, iv. 3 or 4.

Clare, St., sisterhood of, Measure for Measure, i. 5.

Clarence, George, Duke of, son of the Duke of York, and brother
of Edward IV. and Richard III. He is a character in ///. Henry
VI., introduced in ii. 6, where he is named Duke of Clarence. In
iv. 1, he takes part with Warwick, ostensibly on account of Edward's
marriage, and in v. 1 again changes sides. Richard's designs toward
him are expressed at the end of v. 6. He is also introduced in Richard III., i. 1 ; imprisoned in the Tower and secretly murdered, i. 4 /
Edward's sorrow for his death, ii. 1. His ghost appears to Richard,
v. 3. His children, ii. 2; iv. 1, 2, 3. The boy was Edward, Earl of
Warwick. He was kept a prisoner after Bosworth, and put to death
in 1499, on a charge of being an accomplice of Perkin Warbeck. He
was the last Plantagenet. The character of Clarence seems to have
deserved the epithets heard in his dream, i. 2, " false, fleeting, perjured Clarence."

Clarence, Thomas, Duke of, son of Henry IV., character in second part, introduced in iv. 4.

Claribel, daughter of the King of Naples, mentioned in The
Tempest, ii. 1; v. 1.

Claudio, character in Measure, for Measure, introduced in i. 3.
He is a young noble under sentence of death, on which sentence the
plot of the drama depends. He is of light disposition, fickle, mercurial, and of lively imagination, far inferior to his sister Isabella in
strength and elevation of character.

Claudio, the lover of Hero in Much Ado about Nothing, introduced in the first scene. He is a young Florentine, who has been in
the wars with Don Pedro of Aragon, and his bravery is spoken of
before he enters.

" With regard to Claudio's character, Shakespeare has so blended
the elements in his nature, he has given such a good foundation of
honour and self-reliance to his unstable mind and fickle youth, that
we cannot, with all our disapprobation of his conduct, be doubtful
as to his character. Changeable as he is, he continues stable in no
choice of friends and loved ones, since he had never continuously
tested them ; at the slightest convulsion of events he is overpowered
by first impressions, and he is without the strength of will to search
to the bottom of things. This would be an odious and despicable
character, if the changeableness were not tempered by the excitability of a tender feeling of honour." GERVINUS.

Claudius, Brutus's servant in Julius Ccesar, appears in iv. 3.

Claudius, King of Denmark, Hamlet's step-father, introduced
in *. 2. In the original history he is called Fengo. He has poisoned
Hamlet's father, i. 5, and possessed himself of his dominions and his
widow. His remorse, Hi. 1, leads him to prayer, Hi. 4, but not to
restitution or open repentance. He seeks Hamlet's life, v. 2, and
after the failure of his first scheme, plots with Laertes, iv. 7, that
Hamlet shall die by the poisoned foil, or afterward by the poisoned
cup, iv. 7; and he himself receives them both, v. 2.

Claw (flatter), Much Ado about Nothing, i. 3.

Clay, differs in dignity, Cymbeline, iv. 2.

Clean kam (nothing to the purpose), Coriolanus, Hi. 1.

Clearness (from suspicion), that I require, Macbeth, Hi. 1.

Cleomenes, an unimportant character in A Winter's Tale, sent
by Leontes to the oracle at Delphos, ii. 3 ; Hi. 1.

Cleon, Governor of Tharsus, character in Pericles, first appears
in i. 4 ; he is an accomplice after the fact in the supposed murder of
Marina, iv. 3 (or Jf) ; his punishment, v., end.

Cleopatra, Queen of Egypt, introduced in the first scene of Antony and Cleopatra. Her complexion, i. 1, 5 (she was of Greek extraction, and probably therefore not black) ; her age, i. 5 (she was then twenty-eight) ; her splendor, ii. 2; anger and jealousy, ii. 5 ; carried in a mattress, ii. 6; Queen of Syria, Hi. 6 ; purpose to go into the war, Hi. 7; at Actium, Hi. 8-10; her submission to Caesar,
Hi. 11 or 13 ; charged by Antony with betraying him, iv. 10 or 12;
feigns death, iv. 11, 12 or 13, 14 ; her grief for Antony, iv. 13 or 15 ;
her horror of being carried to Rome, her message to Caesar, and her
death, v. 2.

"I have not the slightest doubt that Shakespeare's Cleopatra is the
real historical Cleopatra, the 'rare Egyptian,' individualized and
placed before us. Her mental accomplishments, her unequalled
grace, her woman's wit and woman's wiles, her irresistible allurements, her starts of ungovernable temper, her vivacity of imagination, her petulant caprice, her fickleness and her falsehood, her tenderness and her truth, her childish susceptibility to flattery, her magnificent spirit, her royal pride, the gorgeous Eastern colouring of the
character all these contradictory elements has Shakespeare seized,
mingled them in their extremes, and fused them into one brilliant truth of the character than the admission that Shakespeare's patra produces exactly the same effect on us that is recorded of the real Cleopatra? She dazzles our faculties, perplexes our judgment, bewilders and bewitches our fancy ; from the beginning to the end
of the drama, we are conscious of a kind of fascination against which
our moral sense rebels, but from which there is no escape." MRS.
JAMESON.

Allusions to Cleopatra: As You Like It, Hi. 2, song ; a gipsy,
Romeo and Juliet, ii. 4 ; her figure on tapestry, Cymbeline, ii. 4>

Clepe (call), Hamlet, i. 4, and elsewhere.

Clergy, the, like an effeminate prince, /. Henry VI., i. 1 ; robbed,
//. Henry VI., i. 3.

Clergyman(men), good-humoured ridicule of, Merry Wives of
Windsor, Hi. 1 ; reproaches against a, /. Henry III., Hi. 1; in war,
//. Henry IV, i. 2; office of, //. Henry IV., iv. 2.

Cliff (clef), Troilus and Cressida, v. 2.

Clifford, John, Lord, son of Thomas, character in II. Henry VI.,
where he appears in v. 1 and 2 as " young Clifford," and in ///.
Henry VI., introduced in the first scene. In revenge for his father's
death, he kills the young Earl of Rutland in cold blood, i. 3, and for
his cruelty he receives the name of " the butcher," act ii., scene 2.
In i. 4 he is represented as stabbing York, and in ii. 3, Warwick's
brother, and fighting with Richard, ii. 4. His death at the battle of
Towton, ii. 6. He was in reality slain shortly before that battle, at
Ferrybridge (March 28, 1461), where he first defeated the Yorkists, and was then defeated by them under Lord Falconberg. His murder
of Rutland is again spoken of in Richard HI., i. 2.

Clifford, Thomas, Lord, character in II. Henry VI., introduced
in v. 1. He was a grandson of Hotspur, and a partisan of Henry.
He was killed at the battle of St. Albans (February 17, 1461), v. 2.

Cliffs, at Elsinore, Hamlet, i. 4 / at Dover, King Lear, iv. 6 ;
Comedy of Errors, Hi. 2 ; II. Henry VI., Hi. 2.

Clifton, Sir John, at Shrewsbury, /. Henry IV., v. 4*

Cling (wither), Macbeth, v. 5.

Clinquant, tinsel, Henry VIII., i. 1.

Clip (to clasp, embrace), //. Henry VI., iv. 1, and elsewhere.

Clitus, a servant of Brutus in Julius Ccesar, appears in v. 5.

Cloak, an old, makes a new jerkin, Merry Wives of Windsor, i.
3 ; on a horse, II. Henry VI., iv. 7 ; my inky, Hamlet, i. 2.

Clock(s), a woman like a German, Love's Labour's Lost, Hi. 1,
end; time hath made me his, Richard IL, v. 5 ; their arms are set
to strike on like, Henry VI., i. 2.

Cloten, son of the queen in Cymbeline, introduced in i. 2. He
was intended by the king and queen for Imogen's husband. His
wickedness, i. 1; encounter \vith Posthumus, i. 1,2 ; Imogen's opinion of, Hi. 4 > his death, iv. 2.

" The character of Cloten, the conceited, booby lord, and rejected
lover of Imogen, though not very agreeable in itself, and at present
obsolete, is drawn with great humour and knowledge of character."
HAZLITT.

Clothair, Henry V., i. 2 ; Henry VIII., i. 3.

Clothes, the soul of a man, All's Well that Ends Well, H. 5 ;
tattered clothes, King Lear, iv. 6 ; but one suit of, Taming of the,
Shrew, induction, 2, " What raiment I'll wear," etc.

Clotpolt(s) (blockheads), Oswald a, King Lear, i.4; Troilus and
Cressida, H. 1; Cymbeline, iv. 2.

Cloud, in the face, Antony and Cleopatra, Hi. 2. A horse is said
to have a cloud in his face when he has a dark spot between the
eyes.

Cloud(s), when, appear, wise men put on their cloaks, Richard
III., ii. 3 ; overcome us, like a summer, Macbeth Hi. 4>' forms of,
The Tempest, ii. 2; Hamlet, Hi. 2 ; Antony and Cleopatra, iv. 12
or 14.

Clout, the, Love's Labour's Lost, iv. 1 ; King Lear, iv. 6, and
elsewhere. The bull's-eye of the target, a piece of white cloth.
r Clowder, name of a dog, Taming of the Shrew, induction, 1.

Clown, a, character in All's Well that Ends Well, introduced in
the third scene.

Clown, a character in A Winter's Tale, appears first in Hi. 3.

Clown(s), acting by, Midsummer Night's Dream, v. 1 ; meat and
drink to see a, As You Like It, v. 1; Hamlet, Hi. 2. See JESTERS.

Clubs, cry of, /. Henry VI., i. 3 ; Henry VIII., v. 4. A rallying-cry among apprentices.

Clytus, mentioned, Henry V., iv. 7.

Coals, carry, Henry V., Hi. 2 ; Romeo and Juliet, i. 1. To bear
insults.

Coat(s) of arms, the dozen white luces in their, Merry Wives
of Windsor, i. 1; lions of England's, I.Henry VI., i. 5 ; in heraldry,
Midsummer Night's Dream, Hi. 2.

Cobbler, a, Julius Ccesar, i. 1.

Cobham, Edward Brooke, Lord, mentioned in ///. Henry VI.,
in the second scene.

Cobham, Eleanor. See GLOUCESTER, DUCHESS OF.

Cobham, Reginald, Lord, mentioned in Richard 11., ii. 1, as
one of the adherents of Bolingbroke. He was the grandfather of
the Duchess of Gloucester in II. Henry VI.

Cobloaf (a small, misshapen loaf), Troilus and Cressida, ii. 1.
Alluding to the misshapen head of Thersites.

Cobweb, a fairy in the Midsummer Night's Dream, Hi. 1.

Cock, the word sometimes used as a corruption of " God," Hamlet, iv. 5, and elsewhere.

Cockatrice, or basilisk, Richard III., iv. 1. It was fabled to
be hatched by a toad or serpent from the egg of a cock ; kills by a
look, Twelfth Night, Hi. 4,' Romeo and Juliet, Hi. 2 ; Lucrece, I.
540. See also BASILISK.

Cock-a-whoop, set (begin a fight), Romeo and Juliet, i. 5.

Cock-crow, The Tempest, i. 2, song ; Richard III., v. 3 ; ghosts
vanish at, Hamlet, i. 1, 2 ; at Christmas, Hamlet, i. 1.

Cock-fighting, allusions to, Antony and Cleopatra, ii. 3 ; Hamlet, v. 2, " The potent poison quite o'ercrows," etc.

Cockle-hat, Hamlet, iv. 5, song. Hat with a cockle-shell, the
pilgrim's badge, on it.

Cockney (perhaps an under-cook, originally), Twelfth Night, iv.
1 ; King Lear, ii. 4.

Cock-shut time, Richard III., v. 3. Evening twilight, when
nets, called cock-shuts, were set in the woods for woodcocks.

Cocytus, Titus Andronicus, ii. 3 or 4. The river of lament.

Codling (an unripe apple), Twelfth Night, i. 5.

Cod's head, to change the, for the salmon's tail, Othello, ii. 1.

Cceur de Lion (Richard I.), King John, i. 1 ; I. Henry VI., in. 2.

Cog (to load dice, to cheat), Love's Labour's Lost, v, 2 ; Richard
III., i. 3 ; Troilus and Cressida, v. 6, and elsewhere.

Coigne of vantage (jutting point of a wall), Macbeth, i. 6.

Coil, Two Gentlemen of Verona, i. 2 ; I am not worth this, King
John, ii. 1 ; this mortal, Hamlet, Hi. 1.

Colbrand, King John, i. 1 ; Henry VIII., v. 3. A Danish giant
with whom Guy of Warwick fought before King Athelstane.

Colchos, or Colchis, on the eastern shore of the Black Sea, where
was the Golden Fleece, Merchant of Venice, i. 1.

Coleville, Sir John, character in 11. Henry IV., introduced in
iv. 3. He is a rebel, surrenders to Falstaff, and is ordered to execution at York by Prince John of Lancaster.

Collatinus, husband of Lucrece, argument and I. 7.

Collatium, southeast of Rome, scene of Lucrece.

Collector(s), of knowledge, As You Like, It, ii. 7; of trifles, As
You Like It, v. 4; A Winter's Tale, iv.2.

Collied (black, as in the collieries), Midsummer Night's Dream,
i. 1; Othello, ii. 3.

Collier (term of reproach), Twelfth Night, Hi. 4 ; Romeo and
Juliet, i. 1.

Collop (a slice of flesh ; figuratively, a child), A Winter's Tale, i.
2; I. Henry VI., v. 4.

Colme-Kill (Colomb's Cell), Macbeth, ii. 4. The island Icolmkill or lona, one of the Hebrides, where Saint Colomb landed in the
sixth century. The cathedral was a burial-place for kings. Fortyeight Scotch, four Irish, and eight Norwegian kings, besides many
lords of the isles, are said to be buried there.

Colossus, like a, Julius Ccesar, i. 2 ; Troilus and Cressida, v. 5.

Colours, colourable (those not fast ?), Love's Labour's Lost, iv. 2.

Colt (trick), I. Henry IV., ii. 2.

Columbine, Hamlet, iv. 5. It was emblematic of lovers forsaken.

Combat, clapper-clawing, Troilus and Cressida, v. 5 ; challenge
to single, I. Henry IV., i. 3 ; v. 1; Troilus and Cressida, i. 3. See
CHALLENGES.

Combined, combinate (pledged), Measure for Measure, Hi. 1 ;
iv. 3.

Come away, come away, Death, song, Twelfth Night, ii. 4.


Come-off (come down, pay), Merry Wives of Windsor, iv. 3.

Come, thou monarch of the vine, song, Antony and Cleopatra, ii. 7.

Come unto the yellow sands, song, The Tempest, i. 2.

Comedy, the most lamentable, Midsummer Night's Dream, i. 2;
a sweet, iv. 2 ; catastrophe of the old, King Lear, i. 2.

Comedy of Errors, the, might be called a farce, so glaringly
improbable are the incidents ; was first published in the folio of 1623,
but written long before, probably among the earliest of the plays.
(See Henry IV. of France.) It is known to have been acted at the
Christmas Revels at Gray's Inn in 1594. The plot is from a translation by W. W. (William Warner) of the " Mena3chmi " of Plautus,
published in 1595, but made and circulated in manuscript some time
before, or from an earlier English play, " The Historie of Error,"
acted at Hampton Court in 1576. A similar story is told in Goularb's
"Admirable and Memorable Histories," 1607; and Dryden's play,
" The Two Sosias," is founded on that of Plautus. In the original
there is but one pair of twins. The play is full of anachronisms, and
the time of action is indefinite. The scene is in Ephesus, a city that
had a bad reputation for sorcery and all kinds of villainy.

Comet(s), omens of evil, Taming of the Shrew, Hi. 2; 1. Henry
VI., i. 1 ; Hi. 2 ; Julius Ccesar, ii. 2 ; wondered at like a, /. Henry
IV., Hi. 2.

Comfort, made of losses, AWs Well that Ends Well, iv. 8; cold,
King John, v. 7 ; in heaven, Richard II., ii. 2 ; in thoughts of
others' misfortunes, Richard II., v. 5 ; hateful to the despairing,
Richard II., Hi. 2 ; too late, Henry VIII., iv. 2.

Comforters, profitless, Much Ado about Nothing, v. i.

Cominius, a general, character in Coriolanus, introduced in i. 1.

Commandments, the ten, Measure for Measure, i. 2 ; (the fingers) //. Henry VI., i. 3.

Commentaries, Caesar's, II. Henry VI., iv. 7.

Commentary, fearful, is servitor to dull delay, Richard III.,
iv. 3.

Commission, Angelo's, Measure for Measure, i. 1; to right
wrongs, a, King John, ii. 1; an altered, Hamlet, v. 2.

Commodity (law or justice), Merchant of Venice, Hi. 3; (self-interest), power of, King John, end of act ii.

Commons, the, love in their purses, Richard II., ii. 2.

Commonty (comedy), Taming of the Shrew, induction, 2.

Commonwealth, an ideal, The, Tempest, ii. 1. This is taken from Montaigne ; the king's, Love's Labour's Lost, iv. 1 ; disease of the, //. Henry IV., iv. 1.

Companions, young, A Winter's Tale, i. 2 ; evil, //. Henry IV.,
iv. 4.

Company (companion), All's Well that Ends Well, iv. 3.

Company, too lavish of one's, I. Henry IV., Hi. 2, "God pardon
thee," etc. ; caution concerning one's, /. Henry IV., ii. 4; H> Henry
IV., v. 1.

Comparative (one that makes comparisons, a would-be wit), I.
Henry IV., i. 2; Hi. 2.

Comparisons, are odorous, Much Ado about Nothing, Hi. 5.

Compassed (circular) window, Troilus and Cressida, i. 2.

Compassion, III. Henry VI., i. 4, had he been slaughterman,
etc. ; a grace of the gods, Coriolanus, v. 3.

Compensations, for losses, All's Well that Ends Well, iv. 3 ;
Richard, III., iv. 4> " The liquid drops," etc. ; Cynibeline, iv. 2,
" Some falls," etc.

Competency, advantage of a moderate, Merchant of Venice,
i.2.

Competitors (confederates), Love's Labour's Lost, ii. 1 ; Twelfth
Night, iv. 2.

Complexion, fair, Twelfth Night, i. 5, " "Tis beauty truly blent,"
etc. ; a dark, Merchant of Venice, ii. 1 ; Comedy of Errors, Hi. 2 ;
" Mislike me not for my," etc., Othello, i. 2 ; Sonnets cxxvii., cxxx.,
cxxxi., cxxxii.

Compliment(s), Two Gentlemen of Verona, ii. 4,' Love's Labour's
Lost, i. 1 ; like the encounter of dog-apes, As You Like It, ii. 5 ; exchange of, As You Like It, Hi. 2 ; lowly feigning called, Twelfth
Night, Hi. 1 ; Heaven walks on earth, Twelfth Night, v. 1 ; A Winter's Tale, iv. 3 or 4. See also FLATTERY.

Composition (what was compounded for), Measure for Measure,
v. 1 ; (consistency), Othello, i. 3.

Compromise, inglorious, King John, v. 1; Richard II., ii. 1.

Compt (judgment), Othello, v. 2.

Comptible (accountable, sensitive), Twelfth Night, i. 5.

Concealment, like a worm i' the bud, Twelfth Night, ii. 4.

Concealments (mystic arts), I. Henry IV., Hi. 1.

Conceit(s), winged, Love's Labour's Lost, v. 2 ; nearer death than
the powers, As You Like It, ii. 6 ; derived from some forefather
grief, Richard II., ii. 2 ; strongest in weakest bodies, Hamlet, Hi. 4
may rob the treasury of life, King Lear, iv. 6.

Conclusion, lame and impotent, Othello, ii. 1; a foregone,
Othello, in. 3.

Conclusions (experiments), to try, Hamlet, iii. 4 ; Cyrribeline, i. 5.

Concolinel, Love's Labour's Lost, iii. 1. Probably the beginning of a forgotten song.

Condition (disposition), Merchant of Venice, i. 2 ; 1. Henry
IV., i. 3 ; (art) Timon of Athens, i. 1.

Conduct. See BEHAVIOUR.

Coney-catching (poaching, cheating), Merry Wives of Windsor,
i. 1, 3 ; Taming of the Shrew, iv. 1 ; v. 1.

Confect, Count, applied by Beatrice to Benedick, Much Ado
about Nothing, iv. 1.

Confession, of Borachio, Much Ado about Nothing, v. 1; of
Leontes, A Winter's Tale, iii. 2 ; exhortation to, Richard II., i. 3 ;
riddling, Romeo and Juliet, ii. 3.

Confidence, in a leader, Julius Caesar, ii. 1; in one's cause,
Richard II., i. 3; rash, All's Well that Ends Well, iii. 6.

Confiners (borderers), Cynibeline, iv. 2.

Confiscation, threatened, As You Like It, iii. 1 ; Merchant of
Venice, iv. 1; Comedy of Errors, i. 2 ; of John of Gaunt's property,
Richard II., ii. 1.

Confound (consume), I. Henry IV., i. 3 ; Coriolanus, i. 6. Confusion, how soon bright things come to, Midsummer Night's
Dream, i. 1; like a raven, King John, iv. 3 ; let confusion live,
Timon of Athens, iv. 1.

Conjurer (exerciser), Pinch in Comedy of Errors, v. 1.

Conqueror, noise before and tears behind a, Coriolanus, ii. 1 ;
afraid to speak, a, Love's Labour's Lost, v. 2 ; came over with the,
Taming of the Shrew, induction, i. Sly calls him Richard.

Conquest, a, with no profit in but the name, Hamlet, iv. 4*

Conrade, one of the followers of Don John in Much Ado about
Nothing, introduced in i. 3.

Conscience, The Tempest, ii. 1 ; iii. 3 ; examination of, Measure
for Measure, ii. 2, 3 ; and the fiend, Merchant of Venice, ii. 2 ; silenced by interest, King John, iv. 2 ; tumult in, King John, iv. 2 ;
clog of, Richard II., v. 6 ; a good, II. Henry IV., v. 5 ; outward,
Henry V., iv. 1; a corrupted, II. Henry VI., iii. 2, "Thrice is he
armed," etc. ; fears of a guilty, ///. Henry VI., v. 6, " The thief doth
fear," etc. ; in a purse makes cowards, Richard III., i. 4 ; hath a
thousand tongues is a coward and a word that cowards use, Richard
III., v. 3; a tender place, Henry VIII., ii. 2 ; accusations of, Henry VIII, ii. 4; a still and quiet, Henry VIII., Hi. 2 ; tortures of, Macbeth, Hi. 2 ; v.3 ; those thorns that in the bosom lodge, Hamlet, i.5 ; makes cowards, Hamlet, Hi. 1 ; ii. 4,' a fettered, Cymbeline, v. 4,' whose is entirely free, Othello, in. 3 ; warning of, Lucrece, 1.190; in
love, Sonnet cli. See also REMORSE and GUILT.

Consequence, yet hanging in the stars, Romeo and Juliet, i. 4;
cannot be trammelled up, Macbeth, i. 7.

Consideration, Julius Caesar, i. 2 ; like an angel came, Henry
V.,i.l.

Consort (concert), Two Gentlemen of Verona, Hi. 2; (company),
Two Gentlemen of Verona, iv. 1.

Conspectuities (perceptions), Coriolanus, ii. 1.

Conspiracies : The Tempest, ii. 1 ; of the Percys, 1. Henry IV., i.
3; ii. 3, 4; Hi. 1; iv.l; against the king's life, Henry V.,H.2 ; II.
Henry VI., i. 4; of Richard and Buckingham, Richard III., Hi. 1;
against Caesar, Julius Ccesar, ii. 1.

Conspiracy, beginning of, Julius Ccesar, i. 2; in darkness
ripened, Julius Ccesar, ii. 1 ; popular, Coriolanus, Hi. 1.

Conspirators, Henry V., ii., chorus; leanness of, Julius Ccesar,
i. 2 ; justifying themselves and anticipating their fame, Julius
Ccesar, Hi. 1.

Constable of France, Charles Delabreth or D'Albret, the, character in Henry V., first appears in ii. 4. He is perhaps the finest
character among the French nobles introduced into the play. He
fell at Agincourt, October 25, 1415, iv. 8.

Constance of Brittany, mother of Arthur in King John, introduced in ii. 1. After the death of Geoffrey Plantagenet, her husband, she was married by her father-in-law against her will to Randal de Blondeville, whom she afterward separated from and then
married Guy of Thouars. She died in 1201, before John gained possession of Arthur, though she is represented in the play as still living at that time and still a widow. Dramatically, Constance is a fine
character. Her whole nature is dominated by her love for her son
and her ambition for him. Without much principle or any fairness
of mind, she is impassioned, imaginative, and eloquent where his
rights are concerned, and some of the highest strains of poetry in theplays are uttered by her. See especially the scolding scene between
her and Elinor, act ii., scene 1, and also act Hi., scenes 1 and 4.

Constancy, want of, Two Gentlemen of Verona, v. 4 ; protestation of, A Winter's Tale, iv. 3 or 4> v > 1 > persistent, Troilus and
Cressida, i. 3; Troilus a name for, Troilus and Cressida, Hi. 2; Julius Ccesar, Hi. 1; vows of, Cymbeline, i. 1; of wives, Henry VIII., ii.2 ; Othello, iv. 2 ; Romeo and Juliet, iv. 1. See LOVE, CONSTANCY IN.

Constantine, Z Henry VI., i. 2.

Constantinople, Henry V., v. 2.

Consulship, election to the, Coriolanus, ii. 2 ; Hi. 3. \

Consumption, of the purse, II. Henry IV., i. 2.

Contagion, pretended fear of, Measure for Measure, i. 2.

Contain (retain), Merchant of Venice, v. 1.

Contemporaries, judging one's self by his, Sonnet xxii.

Contempt, consequences of, Z Henry 1 V., Hi. 1, " In faith, my
lord," etc. ; epithets of, I. Henry IV., ii. 4 ; III. Henry VI., i. 4.

Contemptible (contemptuous), Much Ado about Nothing, ii. 3.

Content, commend you to your own, Comedy of Errors, i. 2;
sleep of, II. Henry IV., iv. 5 ; a life of, III. Henry VI., ii. 5; a
crown, III. Henry VI., Hi. 1 ; lowly birth with, the best having,
Henry VI II., ii. 3 ; the best state, without, Timon of Athens, iv.
3 ; one's desire obtained without, Macbeth, Hi. 2 ; farewell to, with
poverty, Othello, Hi. 3 ; blessedness of, Cymbeline, i. 7.

Contention, broke loose, II. Henry IV., i. 1. See QUARRELS.

Continent (container), Antony and Cleopatra, iv. 12, and elsewhere.

Contriving (sojourning), Antony and Cleopatra, i. 2.

Con tutto il core, etc. (with all my heart, well met), Taming of
the Shrew, i. 2.

Convent, a, the scene of Measure for Measure, i. 5.

Convent (summon), Measure for Measure, v. 1 ; Henry VIII.,
v. 1 ; Coriolanus, ii. 2 ; (to be convenient), Twelfth Night, v. i.

Conversation, Love's Labour's Lost, v. 1 ; on a journey, Richard IL, ii. 3 ; soft parts of, Othello, Hi. 3.

Convertites (converts), As You Like It, v. 4 > King John, v. 1 ;
Luerece, I. 743.

Convey, conveyance (stealing craft), Merry Wives of Windsor,
i. 3, and elsewhere ; (manage), King Lear, i. 2.

Convulsions, caused by magic, The Tempest, iv. 1.

Cookery, fine Egyptian, Antony and Cleopatra, ii. 6 ; Imogen's,
Cymbeline, iv. 2.

Copatain hat (sugar-loaf hat), Taming of the Shrew, v. 1.

Cope (reward), Merchant of Venice, v. 1.

Cophetua, King, Love's Labour's Lost, iv. 1; II. Henry IV., v.
3; Romeo and Juliet, ii. 1.


Copper-spur (a prisoner), Measure for Measure, iv. 3.

Copy (burden), of conference, Comedy of Errors, v. 1.

Coram, used by Slender as a title of Shallow, Merry Wives of
Windsor, i. 1, either for quorum, because he was a justice of quorum,
or quoted like armigero from a phrase used in warrants, coram me
, armigero, before me , knight.

Coranto, All's Well that Ends Well, ii. 3; Twelfth Night, i. 3,
and elsewhere. A lively Italian dance.

Cord, charity of a penny, Cymbeline, v. 4.

Cordelia, the youngest daughter of King Lear. She refuses to
make professions of love to her father, as her sisters do, is disinherited, and betrothed to the King of France, i. 1 ; returns with an
army to restore her father, Hi. 7 ; iv. 2, 3, 4 ', the battle, iv. 6, 7 ; v.
1, 2 ; she is defeated and taken, v. 2 ; put to death in prison, v. 3.

" Everything in her seems to lie beyond our view, and affects us
in a manner which we feel rather than perceive. The character appears to have no surface, no salient points upon which the fancy can
readily seize ; there is little external development of intellect, less of
passion, and still less of imagination. It is completely made out in
the course of a few scenes. ... It is not to be comprehended at
once or easily. . . . The impression it leaves is beautiful and deep,
but vague. Speak of Cordelia to a critic or to a general reader, all
agree in the beauty of the portrait, for all must feel it ; but when
we come to details, I have heard more various and opposite opinions
relative to her than any other of Shakespeare's characters. . . . What
is it, then, which lends to Cordelia that peculiar and individual truth
of character, which distinguishes her from every other human being U
It is a natural reserve, a tardiness of disposition, ' which often leaves
the history unspoke which it intends to do ; ' a subdued quietness of
deportment and expression, a veiled shyness thrown over all her emotions, her language, and her manner ; making the outward demonstration invariably fall short of what we know to be the feeling within." MRS. JAMESON.

Corin, the old shepherd in As You Like It, introduced in ii. 4,
for whom Eosalind and Celia buy his master's flock and pasture.

Corinth, in Greece, Comedy of Errors, i. 1; v. 1; Timon of
Athens, ii. 2.

Corinthian, I. Henry IV., ii. 4. Slang for a wild roystering
fellow.

Coriolanus, a tragedy first published in 1623, and from the evidences of style supposed to have been written at a late period of the
author's work, 1608-1610. The material was drawn from the translation of Plutarch by Sir Thomas North, many passages and expressions being copied literally, though there are variations from the story. The time of action fills about four years 494 to 490 B. c. It is one of the finest of the plays, dealing with the struggles between the patricians and the plebeians of Rome.

Coriolanus, Caius Marcius, surnamed, enters in the first scene
of the drama that bears his name. His pride and disdain of the
poor, i.1; bravery, i. 4, 6, 8, 9 ; Hi. 2; his sincerity, Hi. 1; wounded,
*'. 5 ; fights with Aufidius, i. 8 ; refuses spoils, i. 9; receives his surname, i. 9 ; the people's hatred of him, ii. 1 ; his triumph and wounds,
ii. 1; made consul, ii. 2 ; the tribunes' treachery, ii. 3; his arrest
and sentence, Hi. 1; will not sue to the people, Hi. 2; goes to Aufidius, iv. 4, 5; marches against Rome, iv. 6; Aufidius's opinion of
him, iv. 7; besought to return to Rome, v. 1; he is accused, v. 6; his
death, v. 6.

Coriolanus is a noble and heroic character, ruined by his haughty,
contemptuous, unbending spirit. When he is banished he goes away
in bitterness and takes up arms against his country, but lays them
down at the suit of his wife and mother. His relations with them
form a relief to his hateful pride of rank and contempt for the
people.

Corioli, the city taken by Coriolanus from the Volscians, about
494 B. c., act i., scene 10, from which his surname was taken ; scene
of a part of the play.

Cormorant, the, allusions to its voracity, Love's Labour's Lost, i.
1; Troilus and Cressida, ii. 2 ; Coriolanus, i. 1.

Cornelia, mother of the Gracchi, Titus Andronicus, iv. 1.

Cornelius, a courtier in Hamlet, introduced in i. 2.

Cornelius, a physician in Cymbeline, introduced in i. 5, to whom
the queen applies for poisons to administer to Imogen.

Cornwall, Duke of, Regan's husband, in King Lear, introduced
in the first scene. He is slain by his servant when " going to put
out the other eye of Gloucester," iv. 2.

Coronation, a second, King John, iv. 2 ; of Bolingbroke, Richard II., v. 2 ; procession, Henry VIII., iv. 1.

Corpse(s), like a flower-strewn, A Winter's Tale, iv. 3 or 4 ; an
unhandsome, /. Henry IV., i. 3; decay of, Hamlet, v. 1; the sailor's superstition that it is unlucky to have one on board, Pericles,
Hi. 1 ; regarding one bleeding, Richard III., i. 2.

Correction, degrading, King Lear, ii. 2 ; difficulties of, ZZ.
Henry IV., iv. 1.

Corruption, through bad company, I. Henry IV., i. 2.

Corruption, in Vienna, Measure for Measure, v. 1; wins not more than honesty, Henry VIII., Hi. 2 ; honoured by the name of Cassius, Julius Cc&sar, iv. 3 ; rank, Hamlet, Hi. 4. See also BRIBERY.

Corvinus, King of Hungary, who took Vienna in 1485, Measure
for Measure, i. 2.

Corydon, lament of, Passionate Pilgrim, xviii.

Cost, fashion to avoid, Much Ado about Nothing, i. 1; counting
the, //. Henry IV., i. 3.

Costard, a clown in Love's Labour's Lost, introduced in i. 1, a
blunderer in the use of long words in imitation of the pedantry of
his superiors, but blundering into some shrewd sayings.

Costumes, brought from France, Henry VIII., i. 3.

Coted, come to the side of, Hamlet, ii. 2*

Cot-quean, Romeo and Juliet, iv. 4. A man meddling with
kitchen affairs.

Cotsall, Merry Wives of Windsor, i. 1. See COTSWOLD MAN.

Cotswold man, a (an athlete), II. Henry IV., Hi. 2. The Cotswold Hills, in Gloucestershire, were the scene of rural sports on
Thursday in Whitsun-week, the Cotswold games.

Counsel, to the sorrowing, Much Ado about Nothing, v. 1 ; the
cripple, Merchant of Venice, i. 2 ; friendly, /. Henry VI., Hi. 1 ; is
a shield, Richard III., iv. 3; Christian, Henry VIII., Hi. 1; too
late, Julius Caesar, ii. 4> two may keep, Romeo and Juliet, ii. 4.
See also ADVICE.

Counsellors, the winds truthful, As You Like It, ii. 1 ; good,
lack no clients, Measure for Measure, i. 2 ; love's, Cymbeline, Hi. 2.

Countenance(s), lay my, to pawn, Merry Wives of Windsor, ii.
2 ; almost chide God for making you that, you are, As You Like It,
iv. 1; one more in sorrow than in anger, Hamlet, i. 2.

Counter. See HUNTING.

Counter-caster, Othello, i. 1. Allusion to the use of counters
in casting accounts.

Counter-check, quarrels in. See DUELLING.

Counterfeit, to die is to be a, /. Henry IV., v. 4; of passion,
Much Ado about Nothing, ii. 3.

Counter-gate, love to walk the (a prison-gate), Merry Wives of
Windsor, Hi. 3.

Counterpoints (counterpanes), Taming of the Shrew, ii. 1.

Countries, on a fat woman, Comedy of .Errors, Hi. 2.

Country, the, manner of, at court, As You Like It, Hi. 2.

Country, an unsettled, King John, iv. 3; v. 1 ; the undiscovered,
Hamlet, Hi. 1 ; disease of a, Macbeth, v. 3. See also PATRIOTISM,

Courage, boasts of, Merry Wives of Windsor, i. 1; ironical
praise for, Merry Wives of Windsor, Hi. 1; boasted, Merchant of
Venice, ii. 1 ; Much Ado about Nothing, i. 1 ; mounteth with occasion, King John, ii. 1; exhortation to, King John, v. 1; of feeble,
11. Henry IV., Hi. 2 ; the dauphin's, Henry V., Hi. 7 ; French
boasts of, Henry V., Hi. 7 ; iv. 2 ; prayer for, Henry V., iv. 1 ; of
Fluellen, Henry V., iv. 7 ; of the English, Henry V., iv. 3; after
loss, ///. Henry VL, v. 4; Coriolanus, ii. 2, Hi. 1, "His nature is
too noble," etc., Hi. 3 ; true, Timon of Athens, Hi. 5 ; sticking point
of, Macbeth, i. 7 ; for anything material, Macbeth, Hi. 4; boasts
of, Macbeth, v. 3 ; Goneril's boasts of, King Lear, iv. 2, See also
BRAVERY and VALOUR.

Course, the holy, Julius Ccesar, i. 2.

"That day [the feast Lupercalia] there are divers noble mens
sons, yong men, which run naked through the citie, striking in sport
them they meete in their way, with leather thongs, hair and all on,
to make them give place." NORTH'S " PLUTARCH."

Court, a soldier in the king's army in Henry V., who first appears
in iv. 1.

Court, a beauty of the, Merry Wives of Windsor, Hi. 3 ; life at,
As You Like It, ii. 1; All's Well that Ends Well, i. 1 ; Hi. 2; manners of, As You Like It, Hi. 2; All's Well that Ends Well, ii. 2;
do you take the court for Paris garden, Henry VIII., v. 3 ; holy-water of the (flattery), King Lear, Hi. 2 ; news of, King Lear, v. 3 ;
folly of seeking preferment at, Cymbeline, Hi. 3.

Court-cupboard (a sideboard), Romeo and Juliet, i. 5.

Courtenay, Sir Edward, mentioned in Richard III., iv. 4, together with his brother Peter, Bishop of Exeter.

Courtesan, a, a character in the Comedy of Errors, iv. 3.

Courtesy, advice concerning, All's Well that Ends Well, ii. 1;
to an oyster-wench, Richard II., i. 4, without love, Timon of
Athens, i. 1, speech of Apemantus; dissembling, Cymbeline, i.2;
to cover sin, Pericles, i. 1 ; of the wrong breed, Hamlet, Hi. 2.

Courtier(s), a model for, All's Well that Ends Well, i. 1, 2 ; the
curse of kings to be attended by, King John, iv. 2 ; inconstancy of,
Richard II., iv. 1; description of a, /. Henry IV., i. 3 ; discord
among, I. Henry IV., iv. 1 ; hypocrisy of, Cymbeline, i. 1 ; poor
wretches, Cymbeline, v. 4.

Courtney, Sir Edward, in arms, Richard III., iv. 4.

Courtship. See LOVE and LOVERS.

Covent (old form for convent), Measure for Measure, iv. 3.

Coventry, a city in Warwickshire, and roads near, scene of the
meeting of Bolingbroke and Norfolk in Richard II., of part of I.
Henry IV., and ///. Henry VI., v. 1.

Coventry, a mayor of, III. Henry VI., v. 1.

Covetous, the, Lucrece, 1. 134.

Covetousness, skill confounded in, King John, iv. 2.

Cow, a curst, has short horns, Much Ado about Nothing, ii. 1.

Cowardice, hated by women, Two Gentlemen of Verona, Hi. 1 ;
of a parson, Merry Wives of Windsor, in. 1 ; of preferring life to
honour, Measure for Measure, Hi. 1 ; refuge of, As You Like It, v.
4; All's Well that Ends Well, i. 1; religious in, Twelfth Night, Hi.
4; hoxes (cuts the hamstrings of) honesty, A Winter's Tale, i. 2 ; a
calf's skin for strong on the stronger side, King John, Hi. 1 ; in
the noble, Richard II., i. 2 ; I. Henry IV, ii. 3, 4; iv. 3 ; of suicide, Romeo and Juliet, Hi. 3 ; the gods shame, Julius Ccesar, ii. 2;
accusations of, King Lear, iv. 2; self-accusation of, Hamlet, ii. 2 ;
of procrastination, Hamlet, iv. 4 ; Antony and Cleopatra, Hi. 9 or
11 ; Cymbeline, Hi. 6 ; slanderous, Much Ado about Nothing, v. 1 ;
Henry V, iv. 5 ; I. Henry VI., i. 5 ; infectious, ///. Henry VI., v.
4;i.4>

Coward(s), a, that hath drunk, The Tempest, Hi. 2 ; boast of a,
Merry Wives of Windsor, i. 1; Merchant of Venice, Hi. 2; with
martial outside, As You Like It, i. 3 ; a high-born, Taming of the,
Shrew, induction, 2 ; description of a, All's Well that Ends Well,
Hi. 6; iv. 3 ; the gift of a, Twelfth Night, i. 3 ; like the hare in the
proverb, King John, ii. 1; three, I. Henry IV., i.2; on instinct a, /.
Henry IV., ii. 4; description of a, Henry V., Hi. 2 ; iv. 3 ; souls of
geese, Coriolanus, i. 4, 6 ; die many times, Julius Ccesar, ii. 2 ; to
live a, Macbeth, i. 7 ; made by tailors, King Lear, ii. 2 ; milk-livered,
King Lear, iv. 2; bred by plenty, Cymbeline, Hi. 6; father cowards, Cymbeline, iv. 2 ; brave by example, Cymbeline, v. 3.

Cowish (cowardly), King Lear, iv. 2.

Cowl-staff (for carrying a burden on the shoulders of two men),
Merry Wives of Windsor, Hi. 3.

Cowslips, The Tempest, v. 1, song ; Midsummer Night's Dream,
ii. 1 ; freckled, Henry V. v. 2 ; Cymbeline, ii. 2.

Coxcombs. See DANDY.

Coyness, Much Ado about Nothing, Hi. 1.

Coystril (an army-follower), Twelfth Night, ii. 3.

Cozened, would all the world might be, Merry Wives of Windsor, iv. 5.

Coziers (botchers), Twelfth Night, ii. 8.

Crab, name of a dog, Two Gentlemen of Verona, ii. 3.

Crab, backward like a, Hamlet, ii. 2.

Crabs (apples), roasted, Love's Labour's Lost, v. 2 ; Midsummer Night's Dream, ii. 1. A favourite drink for winter nights, especially at Christmas-time, was " lamb's wool," made of ale with crabs
roasted in it, and flavoured with nutmeg.

Crack of doom, Macbeth, iv. 1.

Crack (a bold boy), Coriolanus, i. 3; 11. Henry IV., Hi. 2.

Crack (to load), Macbeth, i. 2.

Cracker (a braggart), King John, ii. 1.

Crack-hemp (gallows-bird), Taming of the Shrew, v. 1.

Craft, richer than innocency, Measure for Measure, Hi. 2 ; denunciation of, Twelfth Night, v. 1 ; of the fox, ///. Henry VI., iv.
7 ; met with craft, Hamlet, Hi. 4, end.

Craftsmen, wooed with craft, Richard II., i. 4.

Cramps, invoked by magic, The Tempest, iv. 1 ; v. 1.

Crants (Krantz, garlands), Hamlet, v. 1. The only instance
known of the use of the word in English.

Cranmer, Thomas, Archbishop of Canterbury, character in Henry VIII., introduced in v. 1; spoken of by Henry, ii. 4, end; his
zeal for the divorce, Hi. 2 ; a heretic, Hi. 2 ; his accusation by Gardiner and interview with the king, v. 1 ; disgraced and tried for heresy,
and championed by the king. v. 2; the popular opinion of, v. 2 ; his
prophecy concerning Elizabeth, v. 4. He was put to death in 1556,
(aet. sixty-six) during the reign of Mary, who hated him both as a
Protestant and for his agency in the divorce of her mother.

Crare (or crayer, a small, clumsy ship), Cymbeline, iv. 2.

Crassus, a gentleman mentioned in Measure for Measure, iv. 5.

Crassus, Marcus, his death avenged, Antony and Cleopatra,
Hi. 1.

Crecy, battle of (Aug. 3, 1346), mentioned, Henry V., i. 2; ii. 4.

Credent (unquestionable), Measure for Measure, iv. 4>

Credit (credulity), Comedy of Errors, Hi. 2.

Credit, give no, Henry V., ii. 3.

Creditor(s), duns of, Timon of Athens, ii. 1, 2 ; Hi. 4; nature a,
Measure for Measure, i. 1.

Credulity, Othello, iv. 4; Antony and Cleopatra, v. 5 ; Cymbeline, v. 5.

Cressets (torches), /. Henry IV., Hi. 1.

Cressida, daughter of Calchas, heroine of Troilus and Cressida, first appears in i. 2. In her, Coleridge says, Shakespeare " has drawn the portrait of a vehement passion, that, having its true origin and proper cause in warmth of temperament, fastens on, rather than fixes to, some one object by liking and temporary preference." Cressida is introduced in i. 2 of Troilus and Cressida. Her beauty and wit, *. 1. She is exchanged (iv. 1, 2, 3} for Antenor and sent to the Greek camp; forgets Troilus and loves Diomedes. Ulysses divines her character, iv. 5 ; her inconstancy discovered by Troilus, v. 2. She is artful and coquettish, passionate but not affectionate, and therefore ardent and inconstant. Ulysses says of her :

"... Her wanton spirits look out
At every joint and motive of her body."

Allusions to Cressida: Cressida's uncle (Pandarus), All's Well
that Ends Well, ii. 1; Cressida to this Troilus, Twelfth Night, Hi. 1.

Cressy. See CRECY.

Crest, the devil's, Measure, for Measure, ii. 4 >' prouder than blue
Iris, Troilus and Cressida, i. 3.

Crete, the desperate sire of, 7. Henry VL, iv. 6 ; fool of, III. Henry VI., v. 6. Daedalus, who made wings for himself and his son
Icarus.

Crickets, merry as, /. Henry IV., ii. 4 ; cry of, ominous, Macbeth, ii. 2 ; song of, at night, Cymbeline, ii. 2.

Crime, suggestions of, The Tempest, ii. 1; Hi. 2, 3 ; petty, Two
Gentlemen of Verona, iv. 1 ; unpunished, Measure for Measure, i. 4 ;
cherished by virtues, All's Well that Ends Well, iv. 3 ; plans for, As
You Like It, i. 1 ; ii. 3 ; A Winter's Tale, i. 2 ; hints for, King John,
Hi. 3 ; effects of, King John, Hi. 4; results of declaring the purpose
to commit and the sight of means, King John, iv. 2 ; not inherited,
Timon of Athens, v. 5 ; the mind before a, Julius Ccesar, ii. 1 ; first
suggestion of, Macbeth, i. 3 ; for naught, Macbeth, iii. 1 ; to secure results of crime, Macbeth, iii. 2, 4 ; will out, Hamlet, i. 2, end ;
a gross, Hamlet, iii. 4 / revelations of, King Lear, iii. 2 ; planned,
King Lear, iv. 6 ; accusation of, Othello, i. 3 ; time for shrift of,
Othello, v. 2.

Crisis, the, King John, iii. 4 > Macbeth, iv. 2, " Things at the
worst," etc.

Crispian (Crispin and Crispianus), Saint, feast of, October 25th,
Henry V., iv. 3. Saint Crispin made shoes to render himself independent while preaching Christianity, and is the tutelar saint of
shoemakers.

Critical, nothing if not, Othello, ii. 1.

Criticism, on men, Much Ado about Nothing, Hi. 1.

Critics, satire on, Love's Labour's Lost, iv. 2, speech of Holofernes, near the end.

Croaker, a, Troilus and Cressida, v. 2.

Crocodile, the mournful, //. Henry VI., Hi. 1 ; Antony's description of the, Antony and Cleopatra, ii. 7 ; tears of the, Othello,
iv. 1 ; eat a, Hamlet, v. 1.

Cromer, Sir James, //. Henry VI., iv. 7.

Cromwell, Thomas, subordinate of Wolsey in Henry VIII., introduced in Hi. 2. Wolsey's advice to him, Hi. 2 ; preferments of,
iv. 1 ; v. 1. He entered Parliament and defended Wolsey ; the king
made him Earl of Essex, and he became chancellor and vicar-general. He was the most influential adviser of the king, and it was
through his policy that the Church of England separated from the
Papacy. After Henry's marriage with Anne of Cleves, however,
which he brought about, he fell in favour, and was finally arrested
on a charge of treason and beheaded in 1540.

Crosby Place, Richard III., i. 2 r 3. A house still standing in
Bishopsgate Street, London.

Cross, the bitter, I. Henry IV., i. 1 ; you Pilates have delivered
me to my, Richard II., iv. 1.

Crosses, wayside, Merchant of Venice, v. 1 ; (coins which had
crosses on the back), Love's Labour's Lost, i. 2.

Cross-row, the alphabet in the primer, called so because headed
by a cross, Richard III., i. 1.

Cross-ways, suicides buried at, where stakes were driven through
the bodies, Midsummer Night's Dream, Hi. 2.

Crow(s), singing of the, Merchant of Venice, v. 1 ; over a battlefield, Henry V., iv. 2 ; ominous, Julius Caesar, v. 1; Macbeth, Hi. 2;
Troilus and Cressida, iv. 2 ; the treble-dated, the Phoenix and the
Turtle.

Crow-flowers, Hamlet, iv. 7. Said to have been the ragged
robin.

Crow-keeper, Romeo and Juliet, i. 4; King Lear, iv. 6. A man or boy who drives crows from fields, or a scarecrow.

Crowd, a, foolishness of, Measure for Measure, i. 4 ; in London,
Henry VIIL, v. 4.

Crown, the imperial, A Winter's Tale, iv. 3 or 4 ; cares go with
like a well resigning a, Richard II., iv. 1 ; uneasy lies the head
that wears a, II. Henry IV., Hi. 1 ; an ill-gotten weight of a the
prince takes the, //. Henry IV., iv. 4> would the, were red-hot steel, Richard III., iv. 1. This may be an allusion to the punishment of a burning crown for regicides and usurpers. Sweet to wear, III. Henry VI., i. 2; for York, ///. Henry VI., i. 4; of content, III. Henry VI., Hi. 1 ; ambition for, ///. Henry VI., Hi. 2 ; offered,
Julius Ccesar, i. 2 ; Hi. 2 ; might change the nature, Julius Ccesar,
ii. 1 ; gift of a, King Lear, i. 1, 4>' a thousand flatterers in a, Richard II., ii. 1 ; iii. 2,3 ; a fruitless, Macbeth, Hi. 1.

Crowner (coroner), Twelfth Night, i. 5 ; Hamlet, v. 1.

Crucifixion of Christ, the, /. Henry IV., i. 1.

Cruels (cruelties), King Lear, Hi. 7.

Cruelty, Merchant of Venice, iv. 1, " A stony adversary," etc. ;
prayer for, Macbeth, i. 5 ; Hamlet, Hi. 2, 4; in a woman, III. Henry VI., i. 4, " tiger's heart," etc. ; inhuman, King Lear, Hi. 7,
" Because I would not see," etc. ; toward Lear, iv. 7 ; to the falling,
Henry VIII., v. 2; Othello, v. 2.

Crusades, the, Richard II., iv. 1; I. Henry IV., i. 1; II. Henry
IV., Hi. 1 ; iv. 4.

Crusadoes (Portuguese coins of gold stamped with a cross),
Othello, iii. 4.

Cry, They come, Macbeth, v. 5 ; you and your, Coriolanus, iv. 6 ;
of players, a, Hamlet, iii. 2. A cry was a pack of hounds ; aim (give
encouragement), Merry Wives of Windsor, iii. 2.

Cubiculo (chamber, lodging), Twelfth Night, iii. 2.

Cuckold(s), Merry Wives of Windsor, ii. 2 ; iii. 5; v. 5 ; Measure for Measure, v. 1 ; Much Ado about Nothing, ii. 1 ; Merchant
of Venice, v. 1; All's Well that Ends Well, i. 3 ; A Winter's Tale,
i. 2 ; Coriolanus, iv. 5 ; Antony and Cleopatra, i. 2 ; Troilus and
Cressida, iv. 1; Cymbeline, ii. 4; Othello, iii. 3 ; iv. 3 ; calamity
the only true, Twelfth Night, i. 5.

Cuckoo, the, Merry Wives of Windsor, ii. 1; Love's Labour's
Lost, v. 2, song ; voice of, Midsummer Night's Dream, iii. 1 ; Merchant of Venice, v. 1 ; in June, /. Henry IV., Hi. 2 ; in the sparrow's
nest, /. Henry IV., v. 1 ; Antony and Cleopatra, ii. 6 ; King Lear,
i. 4; sings in kind, All's Well that Ends Well, ii. 1.

Cuckoo-buds, Love's Labour's Lost, v. 2. Variously supposed
to be the cowslip, crowfoot, and pile-wort.

Cuckoo-flower, King Lear, iv. 4. Probably ragged robin.

Cucullus non facit monachum (the cowl does not make the
monk), Measure for Measure, v. 1 ; Twelfth Night, i. 5.

Cullion, -ly (scullion), Taming of the Shrew, iv. 2 ; King Lear,
ii. 2 ; Henry V., iii. 2.; II. Henry VI., i. 3.

Cum privilegio, etc., the words of an old grant of privilege
for printing a book with the sole right of putting to press, Taming
of the Shrew, iv. 4>

Cunning, bashful, The Tempest, Hi. 1; skilled, Taming of the
Shrew, i. 1; ii. 1; to be strange, Romeo and Juliet, ii. 2 ; plaited,
King Lear, i. 1; errs in ignorance, not in, Othello, Hi. 8.

Cupid, introduced as a character in Timon of Athens, i. 2.

Cupid, foiled, The Tempest, iv. 1 ; Merry Wives of Windsor, v.
5 ; challenged, Much Ado about Nothing, i. 1 ; ii. 1 ; Hi 1, 2 ;
Love's Labour's Lost, i. 2 ; ii. 1 ; Hi. 1; iv. 3 ; v. 2 ; Midsummer Night's Dream, i. 1 ; ii. 1, 2 ; Hi. 2 ; Merchant of Venice, ii. 6. 9 ;
As You Like It, iv. 1, end; All's Well that Ends Well, i. 1; Hi. 2;
Troilus and Cressida, Hi. 2, 3 ; Romeo and Juliet, i. 1, 4; ii. 1, 5 ;
Othello, i. 3 ; King Lear, iv. 6; his brand in a boiling spring, Sonnets cliii., cliv.

Cur(s), small, /. Henry VI., Hi. 1 ; bark when their fellows do,
Henry VIII., ii. 4,' that like nor peace nor war, Coriolanus, i. 1 ;
Casca like a, Julius Caesar, v. 1 ; Ajax and Achilles, Troilus and
Cressida, v. 4.

Curan, a courtier in King Lear, introduced in ii. 1.

Curds and cream, queen of, A Winter's Tale, iv. 3 or 4.

Curfew, the solemn, The Tempest, v. 1 ; Measure for Measure,
iv. 2; Romeo and Juliet, iv. 4 a slip for matin, probably.

Curio, a gentleman attending on the duke in Twelfth Night, introduced in the first scene, an unimportant character.

Curiosity, woman's, Two Gentlemen of Verona, i. 2 ; As You
Like It, Hi. 2 ; (exact scrutiny), King Lear, i. 1; (fastidiousness),
Timon of Athens, iv. 3 ; (fine distinctions), King Lear, i. &

Current(s), course of an unhindered, Two Gentlemen of Verona,
ii. 7 ; corrupted, of this world, Hamlet, Hi. 3 ; of the sea, Othello,
Hi. 3.

Curses, on Prospero, The Tempest, ii. 2 ; of the church, King
John, Hi. 1, 3 ; for murder, King John, iv. 3 ; on Judases, Richard
II., Hi. 2 ; of Suffolk recoil of, //. Henry VI., Hi. 2 ; v. 1; Anne's,
Richard III., i. 2 ; Margaret's, Richard III., i. 3 ; Hi. 3, 4 ; iv. 1 ;
teaching of, Richard III., iv. 4; of a mother on her son, Richard
111., iv. 4 ; York's on Margaret, Richard III., i. 3 ; of Thersites,
Troilus and Cressida, v. 1; on Romans, Coriolanus, i. 4; iv. 1, 2 ;
Timon of Athens, Hi. 6; iv. 1, 3 ; Julius Ccesar, Hi. 1; not loud but
deep, Macbeth, v. 2 ; a father's, King Lear, i. 1, 4; ii. 4; on a liar,
Othello, v. 2 ; Lucrece, I. 967. See also MALEDICTIONS.

Curst (cross, scolding, ill-tempered), Two Gentlemen of Verona,
Hi. 1; Taming of the Shrew, i. 1, 2; Richard III., i. 2 ; and others.

Curtal, name of a horse, AlTs Well that Ends Well, ii. 3.

Curtal dog (curtail), a, Merry Wives of Windsor, ii. 1.

Curtis, one of the servants of Petruchio in the Taming of the
Shrew, introduced in iv. 1.

Curtle-axe (cutlass), As You Like It, i. 3.

Custard, leaped into the, All's Well that Ends Well, ii. 5.
An allusion to the custom of having a clown leap into a custard at a
feast.

Custard coffin (the crust of a pie was called a coffin), Taming
of the Shrew, iv. 2.

Custom(s), if obeyed in all things, Coriolanus, ii. 3 ; one honoured
in the breach, Hamlet, i. 4 ; that monster, Hamlet, Hi. 4 ,' makes insensible, Hamlet, v. 1 ; nice, courtesy to kings, Hamlet, v. 2 ; the
plague of, King Lear, i. 2 ; new, Henry VIII., i. 3. See HABIT,
FASHION.

Cut, the unkindest, Julius Ccesar, Hi. 2.

Cut, Twelfth Night, ii. 3. A name applied to a horse.

Cut and long tail (short-and long-tailed dogs that is, people
of all ranks), Merry Wives of Windsor, Hi. 4.

Cutpurse, requisites for a, A Winter's Tale, iv. 3 or 4.

Cuttle, play the saucy, //. Henry IV., ii. 4. Perhaps an allusion to the cuttle-fish, which hides itself by throwing out a black
juice from its mouth.

Cyclops, Titus Andronicus, iv. 3 ; Hamlet, ii. 2.

Cy dnus River, the, in Cilicia, Antony and Cleopatra, ii. 2 ; v.
2; Cymbeline, ii. 4.

Cymbals, Coriolanus, v. 4.

Cymbeline, a play classed with the tragedies, though not tragic
in its ending. It was first printed in 1623, and is supposed to have
been written in 1609 or 1610. The historic material for it, that
regarding the Roman tribute, is taken from Holinshed. The story
of Posthumus and his wife is from one of the novels of the " Decameron." The time, as nearly as can be determined of a play that
utterly disregards consistency in time as well as in other regards, is
shortly before the Christian era. The vision or dream of Posthumus,
in iv. 4i is supposed to be by some other hand than Shakespeare's.
Hazlitt calls Cymbeline " one of the most delightful of Shakespeare's
historical plays," and Swinburne says of it, " I may say I have always loved this one above all other children of Shakespeare." The greatest charm of the play is in the character of Imogen.

Cymbeline, King of Britain, first appears in the drama that
bears his name, toward the close of the first scene. He is weak, and
entirely under the influence of his queen.

Cynic(s), Timcn and Apemantus in Timon of Athens ; curses of
a, Timon of Athens, iv. 1, 3 ; quarrel of, Timon of Athens, iv. 3 ;
epitaph on a, Timon of Athens, v. 4 ; vile rhymes of a, Julius Ccesar,
iv. 3.

Cynicism, of Cassius, Julius Ccesar, i. 2, " I do not know the
man," etc. ; Sonnet Ixvi.

Cynthia, Venus and Adonis, I. 727. The moon, or Diana.

Cypress, let me be laid in, Twelfth Night, ii. 4. Coffins were
made of cypress-wood.

Cyprus, an island in the Mediterranean, scene of the last four
acts of Othello.

Cyprus (a veil of crape), Twelfth Night, Hi. 1.

Cytherea (Venus), Taming of the Shrew, induction, 2 ; A Winter's Tale, iv. 3 or 4; Cymbeline, ii. 2 ; Passionate Pilgrim, iv., vi.,
ix., xi.

 
 
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