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Quails, fighting, Antony and Cleopatra, ii. 3.
Quaint (neat, ingenious), Two Gentlemen of Verona, ii. 1 ; in,
1 ; Taming of the Shrew, iv. 3, and elsewhere.
Quare (wherefore), Love's Labour's Lost, v. 1.
Quarrel(s), no valour in a false, Much Ado about Nothing, v.
1; between Hermia and Helena Lysander and Demetrius, Midsummer Night's Dream, Hi. 2 ; the seven causes of, As You Like It,
v. 4; between Lafeu and Parolles, All's Well that Ends Wett,,ii. 3,
"Do you hear," etc. ; of Constance and Elinor, King John, ii. 1;
should be left to Heaven, Richard II., i. 2 ; Richard IIL, i. 4 ; of
Pistol and Nym, Henry V., ii. 1 ; of an Irishman and a Welshman,
Henry V., Hi. 2 ; of Pistol and Muellen, Henry V^v. 1 ; of Bolingbroke and Norfolk, Richard II., i. 1-3; II. Henry !V.,iv. 1; of
Vernon and Basset, 1. Henry VI., Hi. 4; iv. 1; just, IL Henry VI.,
Hi. 2; among sons and brothers, IIL Henry VI., i. 2; of Gloucester,
Elizabeth, and Margaret, Richard IIL, i. 3 ; seeking a, Romeo and
Juliet, Hi. 1; beware of entrance to, Hamlet, i. 3; a drunkard full
of, Othello, ii. 3 ; between, Antony and Caesar, Antony and Cleopatra^
ii.2 ; between Plantagenet and Somerset, /. Henry, VI., ii. 4> thrice
is he armed that hath his quarrel just, II. Henry VI., Hi. 2.
Quart d'ecu (about eightpence), All's Well that Ends Well,
iv. 3.
Quat (pimple), Othello, v. 1.
Queen, Margaret asserts her right to be, Richard IIL, i. 3 ;
Anne would not be a, Henry VIII., ii. 3; over passion, King Lear,
iv. 3 ; in jest, Richard IIL, iv. 4 ,' of Carthage, see DIDO.
Queen of Night, thrice crowned, As You Like It, Hi. 2. Diana, Luna, Hecate, a triune goddess.
Queen of Richard II. See ISABELLA.
Queen, Cymbeline's, character in the play, first appears in scene
i. She is the step-mother of Imogen, whom she hates for rejecting
her son Cloten. She is able, crafty, and unscrupulous, and has complete ascendancy over Cymbeline. She gets the supposed poison,
i. 5 ; her ability, ii. 1, end ; her death and confession, v. 5.
Quell (murder), Macbeth, i. 7.
Quern (hand-mill), Midsummer Night's Dream, ii. 1.
Questionable (conversable), Hamlet, i. 4>
Questions, a lover's, As You Like It, Hi. 2.
Quibbling. See PUNNING.
Quickly, Mistress, hostess of the Boar's Head tavern in Eastcheap, character in /. Henry 1 V., introduced in ii. 4 / in IL Henry
IV., introduced in ii. 1; and in Henry V., in ii. 1. In the latter
play she is represented as married to Pistol, who speaks of her death
in v. 1 ; she is also a character in the Merry Wives of Windsor, first spoken of in i. 2, and introduced in i. 4. She is housekeeper and servant for Dr. Caius, and an agent for the suitors of Anne Page. The identity of the Mrs. Quickly of the comedy with the Mrs. Quickly of the historical plays has been questioned, but without
much reason.
Quicksilver, fled like, //. Henry IV., ii. 4.
Quiddits (quibblings, equivocation), Hamlet, v. 1.
Qui est la ? Paysans, etc., Z Henry VI., Hi. 2. Who is there ?
Peasants, poor people of France.
Quietus (settlement, as of accounts), Hamlet, Hi. 1.
Quill, in the, II. Henry VI., i. 3. Of uncertain meaning ; either
in the quile, meaning heap, or in the coil, that is, in the confusion of
the crowd.
Quillets (quibbles), Love's Labour's Lost, iv. 3; I. Henry VI.,
ii. 4; II. Henry VI., Hi. 1.
Quills, the porcupine's, Hamlet, i. 5.
Quince, Peter, a character in Midsummer Night's Dream, introduced in i. 2. He is a carpenter, and takes the prologue in the play
before the duke, and the character of Thisbe's father. He is the
manager of the performance, and a poet as well, for Bottom says,
" I will get Peter Quince to write a ballad of this dream." He makes
some of the funniest blunders in the piece, and in the prologue
" doth not stand upon points."
Quintain, As You Like It, i. 2. A wooden figure on which
young men practised, in their training in the use of arms.
Quintus, son of Titus Andronicus in the play of that name, introduced in i. 1 or 2 ; falls into the grave of Bassianus, and is taken
for his murderer, ii. 3 or 4; executed, Hi. 1.
Quip modest, the. See DUELLING.
Quis (who), Love's Labour's Lost, v. 1.
Quit (avenge), King Lear, Hi. 7.
Quod me alit, etc., Pericles, ii. 2. What nourishes, extinguishes me.
Quoint, Francis, mentioned in Richard II., ii. l y as one of the
companions of Bolingbroke.
Quoits, the game of, II. Henry IV., ii. 4.
Quoniam (wherefore), Love's Labour's Lost, v. 2.
Quotations, of Scripture, Richard III., i. 8; Merchant of Venice, i. 3 ; Hi. 2.
Quotations, in the plays. See HORACE, LILLY, OVID, SENECA,
SIDNEY, and other names of authors quoted from.
Quoted (noticed), Hamlet, ii. 1. Pronounced and sometimes
written cote.
Quotidian (daily fever), of love, As You Like It, in. 2.
B, the dog's name, Romeo and Juliet, ii. 4. Dogs were said to
arre and bark.
Babato (ruff), Much Ado about Nothing, Hi. 4>
Babble, the, Hamlet, iv. 5 or 2; I. Henry IV., iv. 2. See
MOBS, MULTITUDE.
Back, the, Measure for Measure, iv. 1 ; called an engine, King
Lear, i. 4 ; Henry VI., ii. 5 ; of this tough world, King Lear, v. 3.
Back (clouds), Antony and, Cleopatra, iv. 12 or 14 ; Hamlet, ii. 2.
The word in " leave not a rack behind," The Tempest, iv. 1, may
have the same meaning, or may mean wreck, as in " rack and ruin."
Bage, tiger-footed, Coriolanus, Hi. 1 ; deaf as the sea, hasty as
fire, Richard II., i. 1 ; of the great, Antony and Cleopatra, iv. 1 ;
labyrinth of fury, Troilus and Gressida, ii. 3 ; eyeless, King Lear,
Hi. 1.
l Baggedness, looped and windowed, King Lear, Hi. 4.
Bagged-robin, said to be the " cuckoo-flowers," King Lear, iv. 4.
Baging-wood (raging-mad), /. Henry VI., iv. 7.
. Bagozine, a pirate mentioned in Measure for Measure, iv. 3.
Bailing, As You Like It, iv. 3 ; Twelfth Night, i. 5 ; Troilus
and Cressida, i. 3; ii. 1; Hamlet, ii. 2 ; King Lear, ii. 2.
Bain, the, it raineth every day, song, Twelfth Night, v. 1 ; invocation to, King Lear, Hi. 2.
Bainbow, the, The Tempest, iv. 1; secondary, called water-galls, Lucrece, I. 1588. See IRIS.
Bally, a, in battle, Cymbeline, v. 3.
Bambures, a French lord in Henry V., first appears in Hi. 7;
his death at Agincourt, iv. 8.
Bamston, Sir John (correctly Thomas), mentioned in Richard
II., ii. 1, as one of the adherents of Bolingbroke. He was warden
of the Tower when Richard was imprisoned there.
Bancour, will out, //. Henry VI., i. 1.
Bank, pride and distinctions of, All's Well that Ends Well, ii.
3 ; differences and indications of, A Winter's Tale, iv. 3 or 4 / disgrace to, /. Henry IV., Hi. 2 ; proper observance of, Troilus and
Cressida, i. 3 ; one's own doing, Julius Ccesar, i. 2 ; disadvantage
of, Cymbeline, ii. 1.
Bank (jog), As You Like It, Hi. 2.
Hansom, for life, Comedy of Errors, i. 1 ; demand for a, Henry
V.) iv. 3 ; v. 3, 5, 6; the sepulchre of the world's, Richard II., ii. 1
Rape of Lucrece, the. See LUCRECE.
Haps (enwraps), Cymbeline, i. 6.
Rapture (fit), Coriolanus, ii. 1.
Bareness. See POPULARITY.
Rarity, gives value, Sonnet Hi.
Rascal (a lean deer), I. Henry VI., iv. 2, and elsewhere.
Rash, Master, a prisoner, Measure for Measure, iv. 3.
Rat(s), Hamlet, Hi. 4 ; leave a doomed ship, The Tempest, i. 2 ;
an Irish, As You Like It, Hi. 2. Referring to the saying that rats
were rhymed to death in Ireland. See TRANSMIGRATION.
Ratcliff, Sir Richard, character in Richard III., first appears
in ii. 2, an adherent and confidant of Richard. See CATESBY.
Hauglit (reached), Love's Labour's Lost, iv. 2 ; Antony and Cleopatra, iv. 9.
Raven(s), feathers of, used in witchcraft, The Tempest, i. 2;
young, must be fed, Merry Wives of Windsor, i. 3; chides blackness, Troilus and Cressida, ii. 3 ; allusion to the notion that they
desert their young on account of their ugliness, Titus Andronicus,
ii. 3 ; foresee death, Julius Ccesar, v. 1 ; ominous, Macbeth, i. 5 ;
Titus Andronicus, ii. 3 ; Hamlet, Hi. 2 ; o'er the infected house,
Othello, iv. 1. The ill-omened bird was thought to hang over houses
where the plague was. This is also referred to in Much Ado about Nothing, ii. 3.
Ravenspurg, or Ravenspur, Richard II.. ii. 1, end ; ii. 2, 3 ;
I. Henry IV., i. 3. It was a port at the mouth of the Humber,
gradually destroyed by the encroachments of the sea, until, by the
middle of the sixteenth century, it had entirely disappeared.
Ravings, of madness, King Lear, Hi. 4 ; iv. 6.
Razed (a word applied to the damage done by a boar), Richard
III., Hi. 2.
Razes (roots), 1. Henry IV., ii. 1.
Readiness, Henry V., iv. 3, " All things are ready, if our minds
be so."
Reading, how well he's read, to reason against, Love's Labour's
Lost, i. 1.
Reapers, dance with nymphs, The Tempest, iv. 1.
Rearmice. See REREMICE.
Reason, nobler, The Tempest, v. 1; and rhyme, Two Gentlemen
of Verona, ii. 1; Love's physician, Merry Wives of Windsor, ii. 1; Sonnet cxlvii. ; "dares her no," or "dares her on," Measure for Measure, iv. 4. The first reading would mean, bids her not to denounce me. The second would mean, my reason dares her to go on and do it, since she will not be believed. In madness, Measure for
Measure, v. 1 ; keeps little company with love, Midsummer Night's
Dream, Hi. 1; a grand jury man. Twelfth Night, Hi. 1 ; and respect,
not for manhood and honour, Troilus and Cressida, ii. 2 ; the receipt of, Macbeth, i. 7 ; dethroned, Hamlet, Hi. 1; what we are without, Hamlet, iv. 4 > sent after the thing it loves, Hamlet, iv. 5, " Nature is fine in love," etc. ; in madness, King Lear, iv. 6 ; office of, Othello, i. 3.
Reasons, a woman's, Two Gentlemen of Verona, i. 2; if, as
plenty as blackberries, 1. Henry IV., ii. 4; good, must give place to
better, Julius Ccesar, iv. 3 ; strong, make strong actions, King John,
Hi. 4 ; larded with, Hamlet, v. 4 ; like two grains of wheat in two
bushels of chaff, Merchant of Venice, i. 1.
Rebeck, name of a musician in Romeo and Juliet, iv. 4.
Rebel(s), evils invoked on, Richard II., Hi. 2; suspicion of pardoned, II. Henry IV., iv. 1 ; called on to repent, /. Henry VI., Hi.
3 ; worthy to be a, Macbeth, i. 2.
Rebellion, untread the way of, King John, v. 4; of Bolingbroke, Richard II., ii. 1-3 ; Hi. 3 ; difficulty of managing, /. Henry
IV., iv. 1, Worcester's speech ; offer of pardon for, I. Henry IV., iv.
3 ; v. 1; colour to face the garment of, /. Henry IV., v. 1 ; never
forgiven, I. Henry IV., v. 2 ; ever rebuked, I. Henry IV., v. 5; ill-luck of effect of the word on troops turned to religion, II. Henry
IV., i. 1 ; reasons for, //. Henry IV., iv. 1 ; Jack Cade's, II. Henry
VI., iv. 2-6 ; of workingmen, Henry VIII., i. 2 ; of the plebeians,
Coriolanus, i. 1 ; general, Coriolanus, iv. 6.
Rebukes, improved, Measure for Measure, iv. 6 ; Much Ado
about Nothing, ii. 3 ; sensitiveness to, Cymbeline, Hi. 5, " Forbear
sharp speeches," etc.
Recheat, Much Ado about Nothing, i. 1. A hunting term,
meaning a call sounded on the horn to bring back the dogs from a
wrong scent.
Recklessness, caused by the world's treatment, Macbeth, Hi. 1.
Reckoning, fit for a tapster, Love's Labour's Lost, i. 2 ; a pity
to get a living by, Love's Labour's Lost, v. 2.
Reconciliation, of enemies, Richard II., i. 1 ; Richard III.,
ii. 1 ; of kings, A Winter's Tale, v, 2.
Recreation, melancholy from want of, Comedy of Errors, v. 1.
Recruits, Falstaff's, 77. Henry IV., Hi. 2.
Recure (recover), Richard III., Hi. 7.
Rede (teaching or counsel), recks not his own, Hamlet, i. 3.
Redemption, by Christ, Measure for Measure, ii. 2.
Redime te captum, etc., Taming of the Shrew, i. 1. Redeem
thyself, captive, for as little as thou canst ; quoted from Terence as
in Lilly's " Latin Grammar."
Red-lattice phrases, Merry Wives of Windsor, ii. 2. Ale-houses had red lattices.
Reeds, eaves of, The Tempest, v. 1. Reeds were used for thatch.
Refelled (refuted), Measure for Measure, v. 1.
Refinement, affected, Twelfth Night, ii. 5 ; Hamlet, v. 1.
Reflection, Henry V., iv. 1, " I and my bosom must debate
awhile."
Reform, in character, patching, Twelfth Night, i. 5 ; unexpected,
I. Henry IV., i. 2, end; Henry V., i. 1; in the state, //. Henry VI.,
ii. 2.
Regan, one of the daughters of King Lear, introduced in the
first scene. Her professions of filial love, i. 1; treatment of her
father, ii. 4; she becomes a widow, iv. 2 ; betroths herself to Edmund, iv. 5 ; v. 1 ; is poisoned by her sister, v. 3. See GONERIL.
Regicide, A Winter's Tale,i. 2; Richard IL, v. 6; Macbeth,
i. 7.
Regiment (authority), Antony and Cleopatra, Hi. 6.
Regreets (greetings), Merchant of Venice, ii. 9; King John,
Hi. 1.
Regret, uselessness of, Macbeth, Hi. 2, " Things without remedy," etc.; Othello, i. 3, "When remedies are past," etc.; for the
dead, Antony and Cleopatra, i. 2.
Reguerdon (reward), I. Henry VI., Hi. 1.
Reignier (Rene), Duke of Lorraine and Anjou, and titular King
of Naples, Sicily, and Jerusalem, father of Margaret, queen to Henry
VI., character in I. Henry VI., first appears in i. 1. Suffolk speaks
of his titles and influence in v. 5 ; York taunts his daughter with his
high-sounding titles and poverty in the third part, i. 4, and Richard
in ii. 2. At the close of the third part he is said to have pawned
Sicily and Jerusalem to ransom his daughter.
Relationship, Macbeth, ii. 3, " The near in blood," etc. ; Hamlet, i. 2, " A little more than kin and less than kind." See BLOOD,
KINSHIP.
Religion, every error in, approved, Merchant of Venice, Hi. 2; fickleness in, Much Ado about Nothing, i. 1 ; pretense of, Richard 111., Hi. 7. See HYPOCRISY, QUOTATION.
Remediate (remedial), King Lear, iv. 4.
Remedies, lie in ourselves, All's Well that Ends Well, i. 1;
heroic, for the state, Coriolanus, Hi. 1; things without remedy
should be without regard, Macbeth, Hi 2.
Remember (remind), The Tempest, i. 2.
Remembrance, burdened with heaviness that's gone, The Tempest, v. 1; of a widow, II. Henry IV., ii. 3; of the valiant dead,
Henry V., i. 2 ; sworn, Hamlet, i. 5 ; of things precious, Macbeth,
iv. 3 ; summoned, Sonnet xxx.
Remonstrance, King Lear, i. 1 ; A Winter's Tale, ii. 2.
Remorse, Much Ado about Nothing, iv. 1; King John, iv. 2;
Richard II., v. 5, end ; Richard III., ii. 1; v. 3 ; Macbeth, iii. 2,
4,' v. 1 ; Hamlet, i. 5 ; King Lear, i. 4, " most small fault," etc. ;
Othello, iv. 6, 9 ; Antony and Cleopatra, iv. 6, 9 ; Cymbeline, v. 1 ;
Lucrece, lines 708, 730 ; A Winter's Tale, iii. 2.
Remorse (pity), Measure for Measure, v. 1 ; II. Henry VI., iv. 1 ;
Merchant of Venice iv. 1, and elsewhere.
Remotion (remoteness), Timon of Athens, iv. 3 ; King Lear, ii. 4.
Remuneration, the Latin for three farthings, Love's Labour's
Lost, iii. 1.
Render (describe), As You Like It, iv. 3.
Rene, King. See REIGNIER.
Reneag, or renege (deny, renounce), King Lear, ii. 2; Antony
and Cleopatra, i. 1. A word akin to renegade.
Renown. See FAME, GLORY.
Renunciation, easy, Lover's Complaint, I. 239.
Repentance, he who is not satisfied by, Two Gentlemen of Verona, v. 4; toward heaven, Measure for Measure, ii. 3 ; of Oliver,
As You Like It, iv. 3 ; of a usurper, As You Like It, v. 4 ; forbidden, A Winter's Tale, iii. 2, " But thou tyrant," etc. ; of a
tyrant, A Winters Tale, iii. 2, end ; v. 1 ; proposed, /. Henry IV. y
i. 2 ; iii. 3 ; v. 2, 5 ; leisure for, Richard III., iv. 4; without restitution, Hamlet, iii. 3; before death, Cymbeline, v. 4, "My conscience," etc. ; of Enobarbus, Antony and Cleopatra, iv. 9; to patch
up this old body for heaven, _Z7. Henry IV., ii. 4; if my wind were
but long enough to say my prayers, I would repent, Merry Wives of
Windsor, iv. 5.
. Reply churlish, the. See DUELLING.
Reports, false, //. Henry 1 V., induction, i. 1.
Repose, times f or, Henry VIII., v.l; foster-nurse of Nature,
King Lear, iv. 4 >' from travel, Sonnet xxvii.
Representative, character of a, Troilus and Cressida, i. 3.
Reprisals, ///. Henry VI., ii. 2, " To whom do lions," etc.
Reproof (rebuttal), 1. Henry IV*, i. 2; valiant, the, see DUELLING; Hamlet r s, of his mother. Hamlet, Hi. 4; for fickleness, King
John, Hi. 1 ; ill-timed, The Tempest, ii. 1.
Repugn (resist), /. Henry VI~, iv. 1.
Reputation, the bubble, As You Like It, ii. 7 ; value of, Richard II., i.l; Othello, Hi. 1,3 ; the immortal part, Othello, ii. 3; mistaken, Sonnet cxxi. See also NAME.
Rere-mice (bats), Midsummer Night's Dream, ii. 2. The first
part of the compound is from the Anglo-Saxon hreran, to stir, to
flutter. The word is, therefore, equivalent to flitter-mouse.
Reserve, effects of, /. Henry IV., Hi. 2.
Resignation, to the will of Heaven, Richard II., v.2 ; to apparent evils, Henry V., iv. 1, " There is some soul of goodness," etc. ; to
the inevitable, Antony and Cleopatra, Hi. 6; to death, Merchant of
Venice, iv. 1.
Resolution, in spite of one repulse, The Tempest, Hi. 3; sudden, Two Gentlemen of Verona, i. 3 ; should not be quenched with
hope, Measure for Measure, Hi. 1 ; dauntless spirit of, King John,,
v. 1 ; the native hue of, sicklied o'er with the pale cast of thought,,
Hamlet, Hi. 1 ; placed, Antony and Cleopatra, v. 2. See DETERMINATION, WILL.
Resolved (assured), /. Henry VI., Hi. 4.
Respect, too much, upon the world, Merchant of Venice, i. 1.'
Respect (circumspection), takes away valour, Troilus and Cressida, ii. 2.
Rest, to set up one's, Comedy of Errors, iv. 3 ; All's Well that
Ends Well, ii. 1, and elsewhere. To resolve upon, to lay a wager
upon.
Restraint, result of excess, Measure for Measure, i. 3.
Results, great, from insignificant causes, All's Well that Ends
Well, ii. 1.
Resurrection, the, allusion to, Much Ado about Nothing, v. 3,
song, " Till death be uttered."
Retire (a retreat), I. Henry IV., ii. 3.
Retirement, from towns, Two Gentlemen of Verona, v. 4 ; from
court life, As You Like It, ii. 1; Hi. 2 ; in old age, Z Henry IV.> v*
1 ; King Lear, i. 1.
Retort (reject), Measure for Measure, v. 1.
Retort courteous, the. See DUELLING.
Retreat, of Hotspur's soldiers, //. Henry IV '., i. 1; a, Coriolanus, i. 4.
Retribution, certainty of, on earth, Macbeth, i. 7 ; Richard
III., ii. 1; iv. 4; v. 4; Timon of Athens, v. 5.
Retrospection, Sonnet xxx.
Revel(s), a, Hamlet, i. 4 ; Timon of Athens, ii. 2.
Revenge, schemes of, Merry Wives of Windsor, i. 3 ; ii. 1;
spirit of, overcome by kindness, As You Like It, iv. 3 ; of the Percys, 1. Henry IV., i. 3; Clifford's, III. Henry VL, i. 3, 4; ii. 3;
Warwick's, III. Henry VL, ii. 3 ; on one that loves, Richard III.,
i. 2 ; deaf to reason, Troilus and Cressida, ii. 2 ; Tamora in the
guise of, Titus Andronicus, v* 1 ; against country, Coriolanus, iv. 5 ;
Caesar's spirit, ranging for, Julius Ccesar, Hi. 1 ; threats of, King
Lear, ii. 4, last part; taken during prayer, incomplete, Hamlet, Hi.
3; should have no bounds, Hamlet, iv. 7 ; vows of, Hamlet, iv. 5 ;
Macbeth, iv. 3 ; Othello, Hi. 3, end ; v. 2 ; suggestion of, Cymbeline,
i. 6; the humility of Christians, Merchant of Venice, Hi. 1.
Revenges, of Time, Twelfth Night, v. L
Revenue, farming the, Richard II., i. 4.
Re verbs (reverberates), King Lear, i. 1.
Reverence, angel of the world, Cymbeline, iv. 2.
Reverses. See ADVERSITY, FORTUNE, MISFORTUNE.
Revolt (desert), II. Henry VL, iv. 2.
Revolts, against Duncan, Macbeth, ii. 2 ; minutely, Macbeth,
v. 1 ; of the plebs, see PLEBEIANS. See also REBELLION.
Revolution, spirit of, Antony and Cleopatra, i. 3; how it must
be dealt with, King John, v, 2.
Reward, too slow for merit, Macbeth, i. 4>
Reynaldo, servant of Polonius, appears in ii. 1 of Hamlet.
Rhesus, III. Henry VL, iv. 2, Olysses and Diomedes broke
into his tent and stole his white steeds, because of a prophecy that
Troy could never be taken if once they drank from the Xanthus.
Rhetoric, sweet smoke of, Love's Labour's Lost, Hi. 1.
Rhinoceros, the armed, Macbeth, Hi. 4
Rhodope, I. Henry VL, i. 5 or 6. A celebrated courtesan,
erroneously said to have built the smallest and finest of the pyramids at Memphis.
Rhyme, and reason, Two Gentlemen of Verona, ii. 1; Love's
Labour's Lost, i. 1; neither, nor reason, Comedy of Errors, ii. 2 ; one, like a butter-woman's jog (rank) to market, As You Like It, Hi. 2; love in, Sonnets xxxii., xxxviii.
Rhymes, a lover's, Midsummer Night's Dream, i. 1 ; As You
Like It, Hi. 2 ; iv. 3.
Rhyming, taught by love, Love's Labour's Lost, iv. 3.
Rhyming planet, born under a, Much Ado about Nothing,
v.2.
Rhys-ap-Thomas. See RICE-AP-THOMAS.
Rialto, the, Merchant of Venice, i. 3 ; Hi. 1. The Ponte di Rialto, or bridge of the Rialto, over the Grand Canal at Venice, was
used as an exchange.
Ribaudred, or ribaldred (ribald), Antony and Cleopatra, Hi. 8
or 10.
Rice-ap-Thomas (or Rhys), Richard III., iv. 5. He brought
re-enforcements for Richmond to Bosworth Field.
Rich, and poor, the, fable concerning, Coriolanus, i. 1.
Richard, Kings II. and III., dramas of. See KING RICHARD II.
and KING RICHARD III.
Richard, Duke of York, son of Edward IV., character in Rich'
ard III., first appears in ii. 4. See EDWARD V. and PRINCES IN THE
TOWER.
Richard I. (Cmur de Lion), King of England from 1189 to 1199,
King John, i. 1 ; ii. 1.
Richard II., eighth king of the house of Plantagenet, born
1366, died 1400. He was the son of Edward the Black Prince, and
succeeded his grandfather, Edward III., in 1377, at the age of eleven.
He is introduced in the first scene of the play that bears his name^
where two nobles bring their quarrel before him, and where is presented " the germ of all the after-events in his insincerity, partiality,
arbitrariness, and favouritism, and in the proud, tempestuous temperament of his barons." In iv. 1, he resigns the crown and is sent
to the Tower ; in v. 2, he is killed by Exton. In person Richard is
represented as very handsome, having a fair, delicate, and feminine
style of beauty ; in character he was weak, with an overweening confidence in his divine right and the respect of his subjects for it. He
is given to indirect methods and dissimulation, is easily depressed
and easily excited with hope and confidence. At the same time the
reader's sympathy is aroused by his amiability and by his misfortunes. But in his weakness he had spent his revenues foolishly, and
consequently had resorted to extortionate taxes, and even confiscation. Allusions to him in other plays: his unkingly conduct, /.
Henry IV., Hi. 2; prophecy by him, II. Henry IV., Hi. 1 ; penitence for his dethronement and murder, Henry V., iv. 1.
Richard III. (1450-1485), character in the secdnd and third
parts of Henry VI., under the names of Richard Plantagenet and
Duke of Gloucester. In II. Henry VI. he is introduced in v. 1, and
in ///. Henry VI. in i. 1. His courage, i. 4 / his purpose to gain
the crown, Hi. 2 ; iv. 1 ; his deformity, Hi. 2. In v. 5 he stabs the
prince, and offers to kill Margaret ; and in v. 6 stabs King Henry.
The play that bears his name begins with a soliloquy, in which he
declares his designs; his name presented to the citizens and the
crown offered to him, Hi. 7. He enters crowned in iv. 2, and orders
the murder of the princes ; is reproached by their mother and denounced by his, iv. 4; his courage at Bosworth, v. 4; his death, v. 5.
" There is something sublime and terrible in so great and fierce
a human energy as that of Richard concentrated within one withered and distorted body. This is the evil offspring and flower of the
long and cruel civil wars this distorted creature, a hater and scorner
of man, an absolute cynic, loveless and alone, disregarding all human
bonds and human affections, yet full of intellect, of fire, of power."
DOWDEN.
Riches. See GOLD, MONEY, WEALTH.
Richmond, Margaret, Countess of, Richard III., i. 3. She was
the mother of Henry VII. Stanley was her third husband.
Richmond, Henry Tudor, Earl of (1456-1509), afterward Henry
VII., character in III. Henry VI., introduced in iv. 6, where the
king, whose half-brother he was, utters a prophecy concerning him,
and in the same scene it is resolved to send him to Brittany. He
appears again in Richard III., as the head of the Lancastrian party.
In iv. 3 he is called a Breton, from his residence in Brittany. He is
spoken of in iv. 4 as being in Wales, first appears in v. 2, and is
made king in v. 5. He is represented in the play as pious and conscientious. By his marriage with the daughter of Edward IV., he
united the claims of the houses of York and Lancaster.
Riddance, from a knave, Much Ado about Nothing, Hi. 3.
Riddles, Dull's, Love's Labour's Lost, iv. 2 ; one proposed to
suitors, Pericles, i., prologue ; book of, Merry Wives of Windsor, i. 1.
Ridicule, one must seem senseless of, As You Like It, ii. 7 ; indifference to, Much Ado about Nothing, ii. 3 ; of the Greek generals, Troilus and Cressida, i. 3.
Right, to do a great, do a little wrong, Merchant of Venice, iv.
1; o'ercoming might, //. Henry IV., v. 4; warring with right,
Troilus and Cressida, Hi. 2.
Rigol (circle), II. Henry IV., iv. 4 ; Lucrece, 1. 1745.
Rim (entrails), Henry V., iv. 4.
Hinaldo, steward to the Countess of Rousillon in All's Well that
Ends Well, introduced in i. 3.
Ring(s), exchange of, Two Gentlemen of Verona, ii. 3 ; refused,
Two Gentlemen of Verona, iv. 4 ," Shy lock's turquoise, Merchant of
Venice, Hi. 1 ; Portia's, Merchant of Venice, Hi. 2 ; iv. 1, 2 ; v. 1 ;
with death's-heads in, Love's Labour's Lost, v. 2 ; proverbial phrases
on, Merchant of Venice, v. 1 ; As You Like It, Hi. 2 ; Hamlet, Hi.
2, " The posy of a ring ; " an old, All's Well that Ends Well, Hi, 2,
7 ; iv. 2; v. 3; exchange of, at marriage, Twelfth Night, v. 1;
thumb, Z Henry IV., ii. 4> engagement, Richard III., i. 2 ; the
king's, an emblem of his authority, Henry VIII., v. 1, 3 ; one shining by its own light, Titus Andronicus, ii. 3 or 4 > of Posthumus,
Cymbeline, i. 1 ; ii. 4 ; v. 5.
Ringlets, the green, sour, The Tempest, v. 1. A fungous growth
that was supposed to be made by dancing fairies.
Ringwood, Merry Wives of Windsor, ii. L A common name
for a dog.
Riot, a, Merry Wives of Windsor, i. 1.
Risk, of everything on one cast, /. Henry IV., iv. 1.
Rivage (bank, shore), Henry V., Hi., chorus.
Rivality (equality), Antony and Cleopatra, Hi. 5.
Rivalry, necessary, of Antony and Caesar, Antony and Cleopatra,
v.l.
Rivals, in love, quarrels of, Two Gentlemen of Verona, ii. 4.
Rivals (associates), Hamlet, i. 1.
Rive (to fire), I. Henry VI., iv. 2.
Rivers, flowery banks of, The Tempest, iv. 1; drown their
shores, Richard II., Hi. 2.
Rivers, Anthony Woodville, Earl, character in 777. Henry VI.,
introduced in iv. 4, and in Richard III., introduced in i. 8. He
was a son of the Woodville, lieutenant of the Tower, in /. Henry
VL, and brother of Elizabeth, Lady Grey, who became the wife of
Edward IV. His marriage with a rich heiress, daughter of Lord
Scales, is spoken of in iv. 1 of the former play, where Gloucester
upbraids Edward IV. with having given her to his wife's brother
rather than to one of his own. He was seized by Richard's orders
and beheaded at Pontefract (1483), Richard III., Hi. 3; his ghost
appears to Richard, v. 3. Lord Rivers translated from the French
the second book printed in England by Caxton, " Dictes and Sayeings of the Philosophers." He made other translations, and also " Divers Balades ayenst the Seven Dedely Synnes."
Rivo, 1. Henry IV., ii. 4' -A. Bacchanalian exclamation, meaning unknown.
Roan. See ROUEN.
Roaring, an extempore part, Midsummer Night's Dream, i. 2;
of lions, The Tempest, ii. 1.
Roast, rules the, II. Henry VI., i. 1.
Robbery, if unknown to the robbed, Othello, Hi. 3 ; of reputation, Othello, Hi. 3 ; in behalf of charity, Troilus and Cressida, v. 3.
Robin, FalstafTs page, Merry Wives of Windsor, i. 3.
Robin Goodfellow. See PUCK.
Robin Hood. See HOOD.
Robin Redbreast (ruddock), allusion to the notion that he covers the dead, Cymbeline, iv.2.
Rochester, scene of a part of I. Henry IV. It is twenty-eight
miles southeast of London.
Rod, the, more mocked than feared, Measure for Measure, i. 4>
Roderigo, a Venetian gentleman, character in Othello, introduced in i. 1. He is in love with Desdemona, and is made a dupe
by lago. His encounter with Cassio, v. 1.
"Without any fixed principle, but not without the moral notions and sympathies with honour which his rank and connections
had hung upon him, is already well fitted and predisposed for the
purpose ; for every want of character and strength of passion, like
wind loudest in an empty house, constitute his character." COLEEIDGE.
Rogero, a gentleman at the palace, A Winter's Tale, v. 2.
Rolands, /. Henry VI., i. 2. Roland was one of Charlemagne's
twelve peers.
Romage (rummage, overturning), Hamlet, i. 1.
Roman(s), degenerate, Julius Ccesar, i. 3; promises of, Julius
Ccesar, ii. 1 ; such a, Julius Ccesar, iv. 3 ; the noblest, Julius Ccesar,
v. 5 ; the injurious, Cymbeline, Hi. 1.
Roman fool, play the (Cato of Utica?), Macbeth, v. 5.
Romano, Giulio, a painter of the sixteenth century, spoken of
as a sculptor in A Winter's Tale, v. 2.
Roman thought, a, hath struck him, Antony and Cleopatra,
i.2.
Rome, scene of parts of Titus Andronicus, Antony and Cleopatra, Coriolanus, Julius Ccesar, and Cymbeline ; her knowledge of her neighbours, Coriolanus, i. 2; attacked, Coriolanus, iv. 6; dissensions in, i. 1; Hi. 1-3 ; iv. 2, 3 ; gratitude of, Coriolanus, Hi. 1, " Now the good gods," etc. ; ingratitude of a wilderness of tigers, Titus Andronicus, Hi. 1; degenerate, Julius Ccesar, i. 2 ; loved
more, Julius Caesar, iii. 2.
Rome (papal), curse of, King Jo7m, iii. 1 ; dictation of, King
John, v. 2 ; tricks of, Henry VIIL, ii. 4> ena >
Romeo, hero of Romeo and Juliet, first appears in i. 1. He is in
love with Rosaline, Capulet's niece; goes to Capulet's feast, i. 5 ; in
Capulet's garden, ii. 2 ; marries Juliet, ii. 6 ; slays Tybalt, and is
banished, iii. 1 ; in Mantua, v. 1; slays Paris and dies, v. 3. See
ROSALINE.
"The wise Friar Laurence perceived that 'affliction was enamoured' of the susceptible qualities of this deeply agitated and
violent nature, and that he was ' wedded to calamity.' . . . Reserved,
disdainful of advice, melancholy, laconic, vague and subtle in his
scanty words, he shuns the light, he is an interpreter of dreams, his
disposition is foreboding, and his nature pregnant with fate." GERVJNUS.
Romeo and Juliet was first published in 1597, but the version
then printed is supposed to have been rewritten from an earlier one,
dating as far back as 1591. The story is very old. Some of the
chief incidents appeared in a Greek romance by Xenophon of Ephesus. It was first told in Italian by Luigi da Porto, of Vincenza, who
died in 1529. His novel was published six years after his death. It
was told again by Bandello, in 1554, and from him translated into
French by Boisteau. William Paynter translated the French version into English for his " Palace of Pleasure," 1567. But the story
had previously appeared in English verse by Arthur Brooke, 1562.
Shakespeare no doubt used both Paynter and Brooke in his play, but
it bears a closer resemblance to Brooke's poem, which has considerable merit, than to the other. But Brooke speaks in his preface of
having seen the story on the stage not long before ; so that there
was an English or perhaps Latin play to which Shakespeare and he
may both have been indebted. The time is early in the fourteenth
century ; at least the occurrence on which it is founded is referred
to the year 1303, and the events of the play occupy but a few days.
" The enmity of the two families is the hinge on which everything
turns ; very appropriately, therefore, the representation begins with
it. The spectator must have seen its outbreaks himself in order to
know what an insuperable obstacle it is to the union of the lovers.
The animosity of the masters has rather rude representatives ; we see how far the matter must have gone when those foolish fellows
cannot meet without forthwith falling into a quarrel. . . . The reconciliation of the heads of the families over the dead bodies of their children, the only drop of balm left for the torn heart, is not possible except through their being informed as to the course of events. The unhappiness of the lovers is thus not wholly in vain ; sprung
out of the hatred with which the piece begins, it turns, in the cycle
of events, back toward its source, and stops it up forever." SCHLEGEL.
Ronyon (Fr. rognon, a mangy person), Macbeth, i. 3. Rumpfed ; the rumps were given to the cooks.
Rook, the, ominous, Macbeth, Hi. 4.
Rooked (lodged), III. Henry VI., v. 6.
Room, description of a, Cymbeline, ii. 4.
Rope-ladder, Two Gentlemen of Verona, ii. 4 ; Hi. 1.
Rope-tricks, Taming of the Shrew, i. 2. Conjectured to be a
blunder for rhetoric.
Rosalind, the heroine of As You Like It, first appears in the
second scene.
" She is fresh as the morning, sweet as the dew-awakened blossoms, and light as the breeze that plays among them. She is as
witty, as voluble, as sprightly as Beatrice, but in a style altogether
distinct. In both the wit is equally unconscious ; but in Beatrice it
plays about us like the lightning, dazzling, but also alarming ; while
the wit of Rosalind bubbles up and sparkles like the living fountain,
refreshing all around. Her volubility is like the bird's song ; it is
the outpouring of a heart filled to overflowing with life, love, and
joy, and ail sweet and affectionate impulses." MRS. JAMESON.
Rosaline, the wittiest of the ladies attending on the princess in
Love's Labour's Lost, beloved by Berowne or Biron, first appears in
ii. 1. She is, perhaps, an earlier sketch of Beatrice.
Rosaline, the first fancy of Romeo, spoken of by him and his
friends in the earlier part of the play.
" This "[Romeo's love to Rosalind] " has been to many a stumbling-block, and Garrick rejected it in the alteration of the play. To me it
appears indispensable ; it is like the overture to the musical sequence
of moments which all unfold themselves out of that first when Romeo
beholds Juliet. Lyrically taken, though not in respect of the action
(and its whole charm surely rests on the tender enthusiasm which it
breathes), the piece would be imperfect if it did not contain within itself
the rise of his passion. But ought we to see him at first in a state of
indifference H How is his first appearance exalted through this, that,
already removed from the circumstances of cold reality, he walks out
the consecrated ground of fancy ! The tender solicitude of his parents r his restless pinings, his determined melancholy, his fanatical
inclination for loneliness, everything in him announces the chosen
one and the victim of love. His youth is like a thunderous day in spring, when sultry air surrounds the loveliest, most voluptuous flowers. Shall his quick change of mind deprive him of sympathy or do we not argue from the instantaneous vanquishment of his first inclination, which in the beginning appeared so strong, the omnipotence of the new impression 1 " SCHLEGEL.
Boscius, III. Henry VI., v. 6; Hamlet, ii. 2. A Eoman comic
actor, died 62 B. c.
Bose(s), a, in the ear, King John, i. 1. Allusion to the fashion
of wearing a flower or a knot of ribbon in the ear or the hair near
it; by any other name, Romeo and Juliet, ii. 2; against the blown,
Antony and Cleopatra, Hi. 11 or 13; odours of, Sonnet liv. ; red and
white, Sonnet xcix. ; at Christmas, Love's Labour's Lost, i. 1 ; of the
fair state, Hamlet, Hi. 1.
Rosemary, A Winter's Tale, iv. 3 or 4 ; Romeo and Juliet, ii.
4; iv.5; Hamlet, iv. 5; Pericles, iv. 6. It was thought to strengthen
the memory, and was therefore a token of remembrance ; was used
at weddings and funerals, and to garnish dishes at feasts.
Bosencrantz, a courtier in Hamlet, introduced in ii. 2. He
and Guildenstern were schoolfellows of Hamlet, Hi. 4. He calls
them " adders fanged," and tells Rosencrantz in iv. 2 that he is a
sponge, soaking up the king's favour, rewards, and authorities.
They carry the orders concerning Hamlet to England, v. 2, and are
themselves sacrificed. It is not expressly told whether the two
courtiers knew the nature of the order they carried ; but Hamlet's
answer to Horatio, v. 2, " They did make love to this employment,"
implies that they did, or that he thinks they did.
" Though directly they " [Rosencrantz and Guildenstern] " take
no part in the action, they are nevertheless willing, for the sake of
their personal aggrandizement and influence, to become the guilty
instruments of another criminal's design. This subserviency, however, is but another and baser form of thinking and acting only for
self, and it is therefore appropriately punished, not by the might of
a foreign and hostile volition, but by the capricious sport of trilling
contingencies." ULBICT.
the, of York and Lancaster, I. Henry VI., ii. 4; iv. 1;
II. Henry VI., i. 1; losses in wars of, 111. Henry VI., v. 7 ; battles
of the Wars of, see BATTLES.
Boss, Lord William, a character in Richard II., introduced in
ii. 3, a partisan of Bolingbroke, who made him lord treasurer after
his accession.
Boss, a thane of Scotland, character in Macbeth, introduced in
i. 3. The title properly belonged to Macbeth, to whom it came by the death of his father, as that of Thane of Glamis is said in the play
to have.done.
Roted (learned by rote), Coriolanus, in. 2.
Bother (a horned beast), Timon of Athens, iv. 3.
Rotherham, Thomas, Archbishop of York, character in Richard III., first appears in ii. 4. He was kept in prison for a time by
Richard.
Rottenness, in Denmark, Hamlet, i. 4.
Rouen (then pronounced and sometimes spelled Roan), scene of
a part of Henry V. ; taken by the French and lost again, /. Henry
VI., Hi. 2. It is in Normandy, sixty-seven miles northwest of Paris.
Rougemont, Castle. See EXETER.
Roundel (a dance), Midsummer Night's Dream, ii. 3.
Rounder (circle), King John, ii. 1.
Rounding (telling a secret about in confidence), A Winter's
Tale, i. 2.
Rouse, a cup in which to drink a health, Hamlet, i.^4; Othello,
ii. 3.
Rousillon, an ancient province of southern France, scene of a
part of All's Well that Ends Well.
Rousillon, Count of. See BERTRAM.
Rousillon, Countess of, a character in AIVs Well that Ends
Well, appearing first in i. 1, mother of the young count. Just, clear-sighted, and affectionate, she does not allow her love for her son to
blind her to his errors, nor do her pride of rank and dignity of station make her undervalue the merits of the lowlier Helena.
_ " But the whole charm and beauty of the play, the quality which
raises it to the rank of its fellows, by making it lovable as well as
admirable, we find only in the ' sweet, serene, sky-like ' sanctity and
attraction of adorable old age, made more than ever near and dear
to us in the incomparable figure of the old Countess of Rousillon."
SWINBURNE.
Roussi, a French noble, mentioned, Henry V., Hi. 5 ; iv. 8.
Rout, description of a, Cymbeline, v. 3.
Rowland, a gentleman mentioned in Measure for Measure, iv. 5.
Rowland, Child, King Lear, Hi. 4. A fragment of an old ballad, a part only of which has been recovered.
Rowland de Boys, Sir, father of Oliver and Orlando in As You
Like It, mentioned in i. 1, and other places in the play.
Royalty. See CROWNS, KINGS, PRINCES.
Roynish (scurvy), As You Like It, ii. 2.
Rub, there's the, Hamlet, Hi. 1.
Ruddock (redbreast), the, covers the dead, Cymbeline, iv. 2.
Rudeness, a sauce to wit, Julius Caesar, i. 2.
Rudesby (rude fellow), Twelfth Night, iv. 1; Taming of the
Shrew, Hi, 2.
Rue, A Winter's Tale, iv. 3 or 4> sour herb of grace, Richard
11., Hi. 4 ; Hamlet, iv. 5.
Ruff (the turned-over top of the boot), All's Well that Ends Well,
Hi. 2.
Ruffle (make disturbance), Titus Andronicus, i. 1 or 2.
Rugby, a servant of Dr. Caius in the Merry Wives of Windsor,
first appears in i. 4. His worst fault, according to Mrs. Quickly,
is that he is " given to prayer."
Rulers, virtues of, Measure for Measure, Hi. 2.
Rules, of living, All's Well that Ends Well, i. 1, " Love all," etc.
Rumour, a pipe, II. Henry IV., induction; doubles numbers,
//. Henry IV., iii. 1 ; in cruel times, Macbeth, iv. 2.
Rumour, " the presenter " in //. Henry 1 V., delivers the induction, painted full of tongues, a common character in the masque of
that day.
Rural sports. See SPORTS.
Rush, Tib's, All's Well that Ends Well, ii. 2. Rush ring, sometimes used in rustic betrothals.
Rushes, lay you down on, I. Henry IV., iii. 1. It was the custom to strew floors with rushes.
Russia, a night in, Measure for Measure, ii. 1 ; Emperor of,
Hermione his daughter, A Winter's Tale, Hi. 2.
Rust, better to be eaten with, than to be scoured to nothing with
perpetual motion, II. Henry IV., i. 2.
Rutland, call him, Richard II., v. 2. The Dukes Aumerle,
Surrey, and Exeter were deprived of their dukedoms, but allowed to
retain the earldoms of Rutland, Kent, and Huntingdon.
Rutland, Edmund Plantagenet, Earl of, third son of the Duke
of York, a character in III. Henry VI., introduced in i. 3, where he
is slain in cold blood by Clifford, after the battle of Wakefield. He
was seventeen years of age. His murder is spoken of in Richard
III., i. 2, 3, and iv. 4.
Saba, Henry VIII., v. 4. Queen of Sheba.
Sabell, Hamlet, iii. 2. A yellowish colour ; but some editions
have sables.
Sack, the virtues of, II. Henry IV., iv. 3. The name was applied to several kinds of wine. Falstaff's is thought to have been
sherry.
Sackerson, Merry Wives of Windsor, i. 1. An educated bear
exhibited in London in Shakespeare's time.
Sacrament, death without the, Hamlet, i. 5 ; taking the, King
John, v. 2 ; Richard II., i. 1; iv. 1; v. 2 ; All's Well that Ends
Well, iv. 3.
Sacrifices, at Delphos, A Winter's Tale, iii. 1 ; to appease the
dead, Titus Andronicus, i. 1 or 2 ; spotted livers in the, Troilus and
Cressida, v. 3.
Sad (serious), Two Gentlemen of Verona, i. 3; A Winter's Tale,
iv. 3 or h and elsewhere.
Sadness, an unaccountable, Merchant of Venice, i. 1 ; Richard
II., ii. 2; unlimited, Much Ado about Nothing, i. 3.
Safety, he that steeps his, in true blood, King John, iii. 4.
Saffron, All's Well that Ends Well, iv. 5; A Winter's Tale, w. 2.
Used to colour pastry with ; also a fashionable colour in clothing.
Sagittary, the, Troilus and Cressida, v.5; a sign in Venice,
Othello, i. 1. The sagittary was an archer centaur who fought for
the Trojans.
Sailors, characters in Twelfth Night, Hamlet, and Othello.
Sain (said), Love's Labours Lost, iii. 1.
Saint(s), baiting a hook with, Measure for Measure, ii. 2 ; the
great may jest with, Measure for Measure, ii. 2 ; to vex a, Taming
of the Shrew, iii. 2; seeming a, and playing the devil, Richard III.,
i. 3 ; have hands that pilgrims' hands do touch, Romeo and Juliet, i.
5 ; a damned, Romeo and Juliet, iii. 2.
Saint Albans, scene of a part of II. Henry VI.; battle of
(May 22, 1455), II. Henry VI., v. 2, 3; III. Henry VI., i. 1; Richard III., i. 3. The last reference is to the second battle, which took
place February 17. 1461. The Yorkists were defeated by Queen
Margaret's forces. Saint Albans is in Hertfordshire, twenty miles
northwest of London.
Saint Albans, Mayor of, character in II. Henry VI., introduced in ii. 1. The town was not incorporated until 1552, and
therefore had no mayor at this time.
Saint Bennet's Church, in Illyria, Twelfth Night, v. 1. There
was a Saint Bennet's church in London.
Saint Colmes' Inch (Saint Colomb's Island), Macbeth, i. 2.
Sweno was made to pay heavily, according to the " Chronicle," for
the privilege of burying his men at Colmes' Inch, now Inchcomb, a
small island in the Firth of Forth.
Saint Edmund's Bury, scene of a part of King John.
Saint George, our ancient word of courage, Richard III., v. 3.
Saint Paul's Cathedral, Richard III., Hi. 6. It was the custom to post bulletins there for the public to read.
Salad-days, my, when I was green in judgment, Antony and
Cleopatra, i. 5.
Salamander, that, applied to Bardolph, I. Henry IV., iii. 3.
Salanio, or Solanio, character in the Merchant of Venice, introduced in the first scene, a friend of Antonio and Bassanio.
Salarino, a character in the Merchant of Venice, introduced in
the first scene, a friend of Antonio and Bassanio.
Salerio, a friend of Bassanio in the Merchant of Venice, appears
as a messenger in iii. 2.
Salic law, the, explained, Henry V., i. 2.
Salisbury, scene of v. 1, in Richard 111. It is seveuty-eight
miles west-southwest of London.
Salisbury, William Longsword, Earl of, character in King John,
introduced in the first scene. His abhorrence of John's treachery to
Arthur caused him to go over to the side of France, iv. 2 ; but he
returned after the accession of Henry III. He was a son of Henry
II. and the fair Rosamund Clifford.
Salisbury, John Montacute, Earl of, a character in Richard, II.,
first appears in ii. 4> He was beheaded (v. 6) in consequence of his
adherence to Richard. The earl in Henry V. was his son.
Salisbury, Thomas Montacute, Earl of, character in Henry V.
and I. Henry VI., appearing first in iv. 3 of the former play. He
was restored to his father's title, forfeited for adherence to Richard
II., after about ten years, and was one of the ablest captains under
Henry V. in France, where he was killed, as in the play, before Orleans, I. Henry VI., i. 4. He was " as f u ^ f valour as of kindness, princely in both." He had no son, and the title went to Richard Nevill, the Salisbury of the next play, who married his only
daughter Alice.
Salisbury, Richard Nevill, Earl of, son-in-law of the preceding,
character in IJ. Henry VI. He was at first a partisan of the king,
but deserted to the Yorkists, fought at Saint Alban's, Bloreheath,
Northampton, and Wakefield. At the last-named battle he was
wounded and taken, and soon afterward beheaded. Warwick, " the
king-maker," was his son, and succeeded to his father's title, though he is known in history and literature by the title that he received
through his wife.
Sallet (a close-fitting head-piece), //. Henry VI., iv. 10.
Salt-butter rogue, a, Merry Wives of Windsor, ii. 2. One not
rich enough to eat freshly made butter.
Saltiers (satyrs), A Winter's Tale, iv. 3.
Saltpetre, villainous, I. Henry IV., i. 3.
Salutations, Coriolanus, ii. 1; Henry V., iv. 1; Othello, ii. 1;
quiet, Midsummer Night's Dream, v. 1; to Octavia, Antony and
Cleopatra, Hi. 6.
Salvation, All's Well that Ends Well, iv. 3, " Sir, for a quart
d'ecu he will sell the fee-simple of his salvation."
Samingo (San Domingo), II. Henry IV., v. 3.
Samphire, a gatherer of, King Lear, iv. 6.
Sampson, a servant of Capulet, character in Romeo and Juliet,
appears in i. 1.
Samson, Love's Labour's Lost, i. 2 ; I. Henry VI., i. 2 ; Henry
VIII., v. 3.
Sanctuary, the privilege of, Comedy of Errors, v. 1 ; Richard
III., ii. 4 ; Hi. 1 ; shall we desire to raze (to put the holy to base
uses), Measure for Measure, ii. 2, last part; no place should be, for
murder, Hamlet, iv. 7 or 4>
Sandal Castle, two miles from Wakefield, scene of III. Henry
VI., i. 2-4. It was built about 1320 ; during the civil war it was
besieged by the parliamentary army, and afterward destroyed by
order of Parliament, and but little now remains of the ruins.
Sanded (sandy-coloured), Midsummer Night's Dream, iv. 1.
Sands (Sandys), William, Lord, character in Henry VIII., introduced in i. 3.
Sans (without, a French word in common use in Shakespeare's
time), As You Like It, ii. 7, and elsewhere.
Sarcasm, Much Ado about Nothing, ii. 1.
Sardis, scene of, Julius Ccesar, iv. 2. It is forty-five miles east
of Smyrna, in Asia Minor.
Sarum Plain, King Lear, ii. 2. Sarum is the local name for
Salisbury.
Satan, slanderous as, Merry Wives of Windsor, v. 5. See DEVIL,
Satiety. See SURFEIT, EXCESS.
Satire, keen and critical, Midsummer Night's Dream, v. 1; wit
larded with malice, Troilus and Cressida, v. 1 ; liberty for, As You
Like It, ii. 7 ; Love's Labour's Lost, v. 2.
Satisfaction, Merchant of Venice, iv. 1, " He is well paid that is
well satisfied."
Satisfy (quench), Measure for Measure, Hi. 1.
Satis quod sufficit, Love's Labour's Lost, v. 1. Enough is as
good as a feast.
Saturn, Much Ado about Nothing, i. 3 ; II. Henry IV., ii. 4;
Titus Andronicus, ii. 3 ; Cymbeline, ii. 5 ; Sonnet xcviii.
Saturninus, a character in Titus Andronicus, son of the late
emperor, and afterward emperor, introduced in the first scene, where
he urges his hereditary claim to the throne. He is made emperor at
the instance of Titus, and marries Tamora, queen of the Goths;
kills Titus (v. 3\ who has just slain Tamora ; and is himself killed by
Lucius, who becomes his successor.
Satyr(s), A Winter's Tale, iv. 4 > Hyperion to a, Hamlet, i. 2.
They were goat-like deities of the woods and fields.
Savages, life of, Cymbeline, Hi. 3 ; Twelfth Night, iv. 1.
Saviolo, Vincentio. See DUELLING.
Saviour. See CHRIST.
Savoy, the, II. Henry VI., iv. 7. A palace of the Duke of Lancaster, destroyed in Wat Tyler's rebellion in 1381. It was on the
bank of the Thames.
Saws, full of wise, As You Like, It, ii. 7.
Say (a kind of woollen cloth), II. Henry VI., iv. 7.
Say (and Sele), James Fiennes, Lord, character in II. Henry VI.,
introduced in iv. 4. In iv. 2 Cade's men resolve to have his head,
and in iv. 7 he is taken. His head was set on London Bridge.
Say that thou didst forsake me for some fault, Sonnet
Ixxxix.
Scales, Thomas, Lord, character in II. Henry VI., appears in
iv. 5, spoken of in I. Henry VI., i. 1 ; his daughter, ///. Henry VI.,
iv. 1. He was put to death by the Yorkists in 1460. His only
daughter and heiress married Earl Rivers.
Scaling (weighing), Coriolanus, ii. 3.
Scall (scald-head), Merry Wives of Windsor, Hi. 1.
Scambling, Henry V., i. 1; v. 2. Mondays and Saturdays in
Lent were called scambling days. No regular meals were served,
and members of the household scambled or served themselves as
best they could.
Scamels, The Tempest, ii. 2. The meaning is uncertain ; the
sea-gull, the young of the limpet or scam, and the kestrel or stannyel, have been suggested,
Scandal, Julius Ccesar, i. 2 ; Sonnet cxii.
Scantling (portion), Troilus and Cressida, i. 3.
Scape-goat, Lepidus to be made a, Julius Ccesar, iv. 1.
Scarce had the sun dried up the dewy morn, Passionate
Pilgrim, vi.
Scarecrow, of the law, a, Measure for Measure, ii. 1 ; Talbot
exhibited as a, I. Henry VI., i. 4>' called a crow-keeper, Romeo and
Juliet, i. 4'
Scarlet, and John, Merry Wives of Windsor, i. 1. Robin Hood's
men.
Scarre, All's Well that Ends Well, iv. 2; Cymbeline, v. 5. So
in some editions. The meaning is uncertain, but seems to be occasion or opportunity.
Scars, he jests at, that never knew a wound, Romeo and Juliet,
ii. 2; shown by a candidate, Coriolanus, ii. 2.
Scarus, character in Antony and Cleopatra, introduced in Hi.
10, friend of Antony.
Schoolboy, the whining, As You Like It, ii. 7 ; stupidity of the,
Much Ado about Nothing, ii. 1.
School-days, friendship of, Midsummer Night's Dream, Hi. 2.
Schoolmasters, Miranda's, The Tempest, i. 2 ; pretended, Taming of the Shrew, i. 1, 2. See HOLOFERNES, EVANS, and PINCH.
Sciatica, Measure, for Measure, i. 2 ; Timon of Athens, iv. 1.
Scogan, Henry, said in II. Henry IV., Hi. 2, to have had his
head broken by Falstaff. He wrote a ballad to the princes, sons of
Henry IV.
Scone, a place near Perth, where the Scottish kings were
crowned, Macbeth, ii. 4, and the last line of the play.
Scorn, in love, Two Gentlemen of Verona, Hi. 1; in her eyes,
Much Ado about Nothing, Hi. 1 ; the slow finger of, Othello, iv. 2 ;
of love, Venus and Adonis, 1. 252 ; of the people, Coriolanus, Hi. 1 ;
11. Henry IV., iv. 1 ; the argument of one's own, Much Ado about
Nothing, ii. 3 ; and derision never come in tears, Midsummer Night 's Dream, Hi. 2.
Scotland, scene of the greater part of Macbeth. It is thought
that a play on a Scotch subject was desired to be represented before
James 1. Its misery under Macbeth, iv. 3 ; its barrenness, Comedy
jof Errors, Hi. 2.
Scots, invasions of England by, and king of, taken, Henry V., i. 2.
Scottish lord, a, described. Merchant of Venice, i. 2.
Scrimer (escrimeur, fencer), Hamlet, iv. 7 or 4.
Scripture, the devil can cite, Merchant of Venice, i. 3 ; odd
ends from, Richard III., i. 3. See BIBLE.
Scrofula, cure of, by the king, Macbeth, iv. 3. See KING'S EVIL.
Scroop, or Scrope, Sir Stephen, a character in Richard II., introduced in Hi. 2. He was a loyal friend to Richard, but was afterward taken into favour by Henry IV. His son is the Lord Scroop
who is a character in Henry V.
Scroop, Richard. Archbishop of York, character in both parts of
Henry IV. In i. 3 of the first part, he is spoken of as disaffected
toward the king on account of the death of his brother, the Earl of
Wiltshire. He was not, however, a brother of the earl, who was a
Scroop of Masham, brother of Lord Scroop of Richard II., and uncle
of the one of Henry V. Many historians are said to have made the
error into which Shakespeare has fallen. The archbishop joins Northumberland's party in opposition to the king. In the second part he
appears first in i. 3, where the conspirators meet at his palace. In
iv. 1 and 2, they receive an embassy from the king and disperse their
army. But the king's party did not keep its faith, and the archbishop was condemned with scarcely a form of trial and executed in
1405. This was the first instance of capital punishment inflicted on
a bishop. He requested the executioner to despatch him with five
strokes of the sword, in memory of the five wounds of the Saviour.
He was regarded as a martyr, and pilgrimages were made to his tomb.
Scroop, Henry, Lord, of Masham, character in Henry V. His
connection with a conspiracy to murder the king is spoken of in the
prologue to act ii. He is exposed and ordered to execution in ii. 2,
where the king reproaches him for his treachery toward a monarch
whose intimate friendship he had enjoyed, and whose counsels he had
shared. The king had sent him on an embassy to France, and he
was said to have been corrupted while there by the offer of an enormous bribe. He was beheaded in 1415.
Scroyles (scrubs), King John, ii. 1 or &
Scruple, some craven, Hamlet, iv. 4 or 1 ; a Trojan slave for
every, of Helen's weight, Troilus and Cressida, iv. 1.
Sculls, scaled (schools of fishes), Troilus and Cressida, v. 5.
Sculpture, Cymbeline, ii. 4; A Winter's Tale, v. 2, 3.
Scylla and Charybdis, Merchant of Venice, Hi. 5.
Scythian, the barbarous. King Lear, i. 1.
Sea, the, storms on, The Tempest, i. 1; II. Henry IV., Hi. 1;
grew civil, Midsummer Night's Dream, ii. 2 ; allusion to the notion
that those buried in, could not rest for one hundred years, Midsummer Night's Dream, Hi. 2 ; obeys the moon, A Winter's Tale, i. 2 ;
1. Henry IV., *. 2 ; treasures of, Henry V., i. 2 ; backed with, III.
Henry VI., iv. 1; the bottom of, Richard III., i. 4; what fool hath
added water to, Titus Andronicus, Hi. 1 ; in storm, King Lear, Hi,
7; Othello, ii. 1; dangers of, Pericles, ii., prologue; watery kingdom, Merchant of Venice, ii. 6 ; a thief, Timon of Athens, iv. 3.
Sea-captains, characters in TJie Tempest, introduced in i. 2, and
in Twelfth Night, introduced in i. 2.
Sea-change, suffered a, The Tempest, i. 2, song.
Seacoal, George, mentioned in Much Ado about Nothing, Hi. 8.
Seacoal-fire, a, //. Henry IV., ii. 1. So called because the coal
was brought across the sea.
Seal, the great, Henry VIII., Hi. 2.
Sea-maid, music of, See under MAIDENHOOD.
Seamanship, The Tempest, i. 1 ; Twelfth Night, v. 1, " A bawbling vessel was he captain of," etc.
Sea-monster, the, King Lear, i. 4. Probably the hippopotamus, which stood for ingratitude.
Sear, Hamlet, ii. 2. The part of a gun acted on by the trigger ;
to be tickled of the sear, is to be easily moved.
Seas, the multitudinous, Macbeth, ii. 2.
Season, the right, makes perfect, Merchant of Venice, v. 1;
roses and snow out of, Love's Labour's Lost, i. 1 ; the appropriate,
Antony and Cleopatra, ii. 2, " Every time serves for the matter that
is then born in it."
Seasons, inappropriate weather of, due to fairies, Midsummer Night's Dream, ii. 1 ; supposed to allude to the peculiar weather of
1594; unnatural, are omens of ill, //. Henry IV., iv. 4.
Sebastian, brother of the King of Naples, in The Tempest, appears in the first scene. He is a base character, aggravating his
brother's grief at the loss of his son with reproaches and mockery,
and plotting with Antonio to take the king's life in order that he
himself may secure the throne.
Sebastian, name assumed by Julia in the Two Gentlemen of
Verona, iv. 4.
Sebastian, brother of Viola in Twelfth Night, first appears in
ii. 1, a simple, manly, straightforward character.
Secrecy, All's Well that Ends Well, iv. 3, " I am the grave of
it;" no lady closer for, I. Henry IV., ii. 3 ; let your secrecy moult
no feather, Hamlet, ii. 2; give it an understanding but no tongue,
Hamlet, i, 2.
Secretaries, of Wolsey in Henry VIII., were Dr. Richard Pace
(q. v.) and William Burbank.
Secret(s), deep and dangerous, /. Henry IV., i. 3; trusting a
woman with, /. Henry IV., ii. 3 ; Julius Ccesar, ii. 1 ; trusting the
air with, Titus Andronicus, iv. 2; key of a, Hamlet, i. 3 ; hints
about a, Hamlet, i. 5, end ; revealing, Hamlet, Hi. 4 ; rip the heart
to find a, Cymbeline, Hi. 5; two may keep, Romeo and Juliet,
ii. 4.
Sect, a creature to begin a, with success, A Winter's Tale, v. 1 ;
love a, Othello, i. 3.
Sectary, Cranmer called a, Henry VIII., v. 3 ; an astronomical
(astrologer), King Lear, i. 2.
Security, for debt, Falstaff on, II. Henry IV.. i. 2 ; obstacle to,
Macbeth, Hi. 4> mortals' enemy, Macbeth, Hi. 5 ; for Scotland,
Macbeth, Hi. 6 ; our advantages lull us to false, King Lear, iv. 1,
" Our means secure us ; " make assurance doubly sure, Macbeth, iv.
1; fast find, fast bind, Merchant of Venice, ii. 5.
Sedges, Two Gentlemen of Verona, ii. 7 ; Much Ado about
Nothing, ii. 1 ; Taming of the Shrew, induction, 2.
Sedition. See INSURRECTION, REBELLION.
Seel (to close up the eyes, as in the training of a hawk), //. Henry IV., Hi. 1; Macbeth, Hi. 1; Othello, i. 3 ; Hi. 3.
Seely, Sir Bennet, mentioned in Richard II., v. 6, as having
been beheaded. This character is variously called Sir Bennet or
Benedict Seely, Sir John Scheveley, and Sir John Shelley.
Seemers (hypocrites), revelation of, Measure for Measure, i. 4,
end.
Seeming, faults from, Measure for Measure, Hi. 2 ; appearance
of humane, Othello, ii. 1 ; I know not seems, Hamlet, i. 2 ; deceptive, Much Ado about Nothing, iv. 1.
Seen (versed), in music, Taming of the Shrew, i. 2.
Seen, to have, much, As You Like It, iv. 1.
Segregation (scattering), Othello, ii. 1.
Seized (possessed), Hamlet, i. 1.
Seleucus, Cleopatra's treasurer, introduced in v. 2 of Antony
and Cleopatra, where he declares her inventory false, and is reproached by her for his ingratitude.
Self, to see one's, as others see, As You Like It, i. 2, speech of
Celia; my other, Richard III., ii. 2; Troilus and Cressida, Hi. 2 ;
swear by thy gracious, Romeo and Juliet, ii. 2; faults of one's,
Lucrece, I. 633.
Self-abnegation, in love, Sonnets xxxv.-xxxix., lxxxviii.-xc.,
clxix.
Self-accusation, of Helena, AW a Well that Ends Well, iii. 2;
of Malcolm, Macbeth, iv. 3.
Self-assumption, Troilus and Cressida, ii. 3.
Self-betrayal, Lucrece, I. 160.
Self-bounty (natural generosity), Othello, iii. 3.
Self-charity, Othello, ii. 3.
Self-comparisons, Macbeth, i. 2. Blows to compare with his
own.
Self-condemnation, by over-severity, Measure for Measure,
iii. 2.
Self-control, King John, iii. 1, " Better conquest," etc. ; Sonnet
xciv. ; Othello, i. 3.
Self-covered, King Lear, iv. 2. Disguising the real self.
Self-defence, III. Henry VI., ii. 2, " The smallest worm," etc. ;
killing in, Timon of Athens, Hi. 5; Othello, ii. 3, speech of Montano.
Self-denial, Love's Labour's Lost, i. 1, " Brave conquerors," etc.
Self-esteem, of Glendower, I. Henry IV., iii. 1 ; Twelfth Night,
ii. 3.
Self-examination, Measure for Measure, ii. 2, " Go to your
bosom," etc. ; Coriolanus, ii. 1, " Oh, that you could turn your eyes
toward the napes of your necks, and make an interior survey of your
good selves."
Self-help, AWs Well that Ends Well, i. 1, end.
Self-interest, in serving, King Lear, ii. 4. See also COMMODITY.
Self-knowledge, Measure for Measure, ii. 2 ; All's Well that
Ends Well, iv. 1, " Is it possible he should know what he is and be
that he is?"
Self-love, the most inhibited sin, All's Well that Ends Well,
i. 1 ; sensitiveness of, Twelfth Night, i. 5 ; not so vile as self-neglecting, Henry V., ii. 4,' none, in a true soldier, //. Henry VI.,
v. 2 ; read contrary, Sonnet Ixii. ; is universal, Othello, i. 3.
Self-praise, AW a Well that Ends Well, i. 3, " We wound our
modesty," etc. ; Troilus and Cressida, i. 3, speech of JEneas ; ii. 3,
" He that is proud," etc.
Self-reliance, AW 8 Well that Ends Well, i. 1, " Our remedies oft
in ourselves do lie."
Self-slaughter. See SUICIDE.
Self-unable (not self-guided) motion, AWs Well that Ends
Well, iii. 1.
Sembla'ble (like, likeness), Timon of Athens, iv. 3 ; Hamlet, v. 2.
Semiramis, Taming of the Shrew, induction, 2 ; Titus Andronicus, ii. 1. A traditionary Queen of Assyria about 2000 B. c.
Semper idem (always the same), for absque, etc. (without this
there is nothing), scraps of Latin that Pistol has picked up from
mottoes, 77. Henry IV., v. 5.
Sempronius, a kinsman of Titus Andronicus, addressed in iv. 3.
Sempronius, one of the lords, flatterers of Timon of Athens, introduced in Hi. 3, refuses a loan to Timon on the pretence of anger
at not having been applied to first.
Senators, characters in Julius Ccesar, Timon of Athens, Titus
Andronicus, Cymbeline, and Othello.
Seneca, quotations from, Titus Andronicus, ii. 1 ; iv. 1 ; cannot
be too heavy, Hamlet, ii. 2.
Senoys (Sienese), the, All's Well that Ends Well, i. 2.
Sensation, a theory of, Lucrece, I. 442.
Sense, common, All's Well that Ends Well, ii. 1.
Senseless, exceeding good, Twelfth Night, Hi. 4.
Senses, of the king, have but human conditions, Henry V., iv.
1 ; other senses imperfect from the eyes' anguish, King Lear, iv. 6 ;
untuned, King Lear, iv. 7.
Sentence, a, like a glove, Twelfth Night, Hi. 1.
Sentences, drunk out of his five, Merry Wives of Windsor, i. 1.
Separation. See PARTING.
Sepulchre, the Holy, Richard II., ii. 1.
Sequent (follower), Love's Labour's Lost, iv. 2.
Serenade, Lysander's, Midsummer Night's Dream, i. 1.
Serenity, of temper, Hamlet. Hi. 2.
Sergeant, a soldier in Macbeth, i. 2. The title was applied to
an officer of higher rank formerly than now. The sergeant ranked
next to the esquire.
Sergeant-at-arms, a, character in Henry VIII., i. 1.
Sermons, in stones, As You Like, It, ii. 1.
Serpent(s), look like the flower, but be the, Macbeth, i. 5 ; allusion to the belief that the bite of one could be cured by its blood,
Richard II., i. 1, " I am disgraced," etc. ; allusion to the absence of,
from Ireland, Richard II., ii. 1, " Now for our Irish wars," etc. ;
lest pity prove a, Richard II., v. 3, allusion to the fable of the farmer
and the viper ; of old Nile, Antony and Cleopatra, i. 5 ; the worm
of Nilus, Antony and Cleopatra, v. 2; bred of mud by the sun, Antony and Cleopatra, ii. 7.
Serpigo (a skin disease), Measure for Measure, Hi. 1 ; Troilus
and Cressida, ii. 3.
Servant(s), true, A Winter's Tale, i. 2, "Why he that wears,"
etc. ; treatment of a, Comedy of Errors, iv. 4 i faithlessness of, Henry VIII., ii. 1 ; addressed by the master's name (Varro), Timon of
Athens, ii. 2 ; faithful, Timon of Athens, iv. 2 ; kept feed, Macbeth,
Hi. 4 ; sworn (alluding to the custom of servants taking an oath of
fidelity), Cymbeline, ii. 4 ; a good, does only just commands, Cymbeline, v. 1 ; an unprofitable, Merchant of Venice, ii. 5.
Service, of the antique world, As You Like It, ii. 3 ; zealous, of
the king, Henry VIII., Hi. 2; folly of faithful, Othello, i. 1; to the
state, Othello, v. 2.
Servilius, a servant of Timon of Athens, introduced in ii. 2.
Sessa (cease), Taming of the Shrew, induction, 1; King Lear,
Hi. 6.
Setebos, the name of a god spoken of by Caliban as the god of
his mother Sycorax, The Tempest, i. 2 ; v. 1. In Richard Eden's
" History of Travayle," London, 1577, Setebos is given as the name
of a god worshipped by the Patagonians.
Seven ages of man, the, As You Like It, ii. 7.
Several (a field enclosed, not common), Love's Labour's Lost, ii. 1.
Severn River, the, affrighted, I. Henry IV., i. 3 ; the sandy-bottomed, 1. Henry IV., Hi. 1.
Sewer (one who placed dishes on the table), Macbeth, i. 7.
Sexton, a, character in Much Ado about Nothing, iv. 2.
Seymour, Richard de St. Maur, Lord, spoken of in Richard II.,
ii. 3, as being at Berkeley Castle with the Duke of York.
Seyton, name of an officer attending Macbeth in v. 8, 5.
Shadow, a recruit in II. Henry IV., appears in Hi. 2.
Shadows, those that kiss, Merchant of Venice, ii. 9; of the
king, I. Henry IV., v. 4 ; to fill the muster-roll, //. Henry IV., Hi.
2 ; have struck more terrors than the substance of ten thousand soldiers, Richard III., v. 3.
Shafalus, true to Procrus, Midsummer Night's Dream, v. 1. See
PROCRIS.
Shaft, one sent after another, Merchant of Venice, i. 1; the
rich golden (Cupid's), Twelfth Night, i. 1; or a bolt, see PROVERBS.
Shall, his popular shall, Coriolanus, Hi. 1.
Shall I compare thee to a summer day ? Sonnet xviii.
Shallow, Robert, a country justice in II. Henry IV., introduced
:n Hi. 2, and in the Merry Wives of Windsor, introduced in the first scene. He is a fool, a braggart, and a liar, boasting of sins in his
youth which he never committed. The character is supposed to be
a caricature of Sir Thomas Lucy, who caused Shakespeare to be arrested for stealing deer. See LUCY.
Shallowness, All's Well that Ends Well, ii. 3, " I did think
thee," etc., and " Do not plunge," etc. ; Hastings accused of, //. Henry IV., iv. 2.
Shame, death the fairest cover for, Much Ado about Nothing,
iv. 1; hath spoiled the world, King John, Hi. 4; marked by Nature
to do a deed of, King John, iv. 2 ; not to be borne, even at the
king's command, Richard II., i. 1 ; serves thy life and attends thy
death, Richard III., iv. 4 ; ashamed to sit upon his brow, Romeo and
Juliet, Hi. 2 ; where is thy blush, Hamlet, Hi. 4 ; a sovereign, King
Lear, iv. 3 ; imagines itself detected, Lucrece, I. 134%.
Shards (wings), of the beetle, Macbeth, Hi. 2; Antony and Cleopatra, Hi. 2 ; Cymbeline, Hi. 3 ; (fragments of pottery), Hamlet, v.l.
Sharked (gathered or snapped), Hamlet, i. 1. To shark is to
live by shifts.
Shaving, of the head before execution, Measure for Measure,
iv. 2. Prisoners often desired to receive the tonsure of the monks
before death.
Shaw, Dr. Ealph, Richard III., Hi. 5. He and Friar Penker
are sent for by Gloucester to meet him at Baynard's Castle. Sir
Thomas More says they were " both doctors in divinity, both great
preachers, both of more learning than virtue, of more fame than
learning, and of more learning than truth." Dr. Shaw was a brother
of the lord mayor, Sir Edmund Shaw.
She, the unexpressive, As You Like It, Hi. 2.
Shealed (shelled), King Lear, i. 4.
Shearman (tailor), //. Henry VI., iv. 2.
Shears, a pair of proverbial saying, Measure for Measure, i. 2.
Sheba, Queen of. See SABA.
Sheep, love kills, Love's Labour's Lost, iv. 3 ; the harmless, III.
Henry VI., v. 5.
Sheep-biter (thief), Twelfth Night, ii. 5.
Sheep-shearing, feast at, A Winter's Tale, iv. 3, 4.
Shent (scolded), Merry Wives of Windsor, i. 4; Twelfth Night,
iv. 2 ; Troilus and Cressida, ii. 3 ; Coriolanus, v. 2 ; Hamlet, Hi. 2.
Shepherd, the unfolding star calls up the, Measure for Measure, iv. 2 ; life of a, As You Like It, Hi. 2 ; III. Henry VI., ii. 5 ;
philosophy of a, As You Like It, Hi. 2 ; dead, As You Like It, Hi. 5.
The dead shepherd is Marlowe, and the saw is quoted from his
" Hero and Leander," published in 1598.
Shepherd, an old, is a character in A Winter's Tale, introduced
in Hi. 3, the reputed father of Perdita.
Shepherd, an old, a character in 1. Henry VI., father of Joan
of Arc, introduced in v. 4, where he is denied by his daughter.
Shepherd to his love, the (by Christopher Marlowe), Passionate Pilgrim, xx.
Shepherdesses. See MOPSA and DORCAS.
Sheriff, of Northamptonshire, character in King John. Sir Simon de Pateshull.
Sheriff, a, character in I. Henry IV.
Sheriff of York, mentioned in 77. Henry IV. Sir Thomas
Rokeby.
Sheriff, a, character in II. Henry VI.
Sheriff, of Wiltshire, character in Richard III., first appears in
v. 1. Henry Long, of Wraxall.
Sheriff's post, Twelfth Night, i. 5. Set up at the sheriff's door
for placing notices on.
Sherris, effects of, 77. Henry IV., iv. 3.
Ship(s), scene on a, The Tempest, i. 1 ; carcass of a, The Tempest, i. 2 ; cannot perish, having thee on board, Two Gentlemen of
Verona, i. 1 ; movement of, Henry V., Hi., chorus, " Behold the
threaden sails," etc. ; the state like a, in danger, III. Henry VI., v t
4 ; Grecian, Troilus and Cressida, prologue.
Shipwreck, The Tempest, i. 2 ; ii. 1; Comedy of Errors, i. 1;
Twelfth Night, i. 2 ; A Winter's Tale, Hi. 3; Merchant of Venice,
Shirley, Sir Hugh, the Shirley mentioned in 7. Henry IV., v. 4,
as having worn one of the coats of the king at Shrewsbury, and having been slain.
Shirt, a. and a half, in a whole company, I. Henry IV., iv. 2; of
Nessus, Antony and Cleopatra, iv. 10.
Shive (slice), Titus Andronicus, ii. 1.
Shoe-maker, the, should meddle with his yard and the tailor
with his last, Romeo and Juliet, i. 2.
Shoe-tie, a traveller and prisoner, spoken of in Measure for
Measure, iv. 3. This was a name commonly applied to a traveller.
Shog (jog), Henry V., ii. 1, 3.
Shore, Jane, Richard IIl.,i. 1; Hi. 4, 5. Mistress of Edward
IV., and afterward of Hastings.
Shortcake, Alice, Merry Wives of Windsor, i. 1,
Shot, to pay, Two Gentlemen of Verona, ii. 5.
Shoughs (a shaggy kind of dogs), Macbeth, Hi. 1.
Shoulder-shotten (having a dislocated shoulder), Taming of
the Shrew, ii. 3.
Shovel-boards, Merry Wives of Windsor, i. 1. The broad shillings of Edward VI. were used in playing the game of shuffle-board,
and were familiarly called by the name of the play. The game was
also called shove-groat, and is alluded to in II. Henry IV., ii. 4.
Show, the outward, seldom jumpeth with the heart, Richard
111., Hi. 1.
Show, a street, Coriolanus, ii. 1.
Shrewd (shrewish), Taming of the Shrew, i. 1, 2, and elsewhere.
Shrewsbury, scene of part of /. Henry IV. ; rebel forces at, /.
Henry IV., Hi. 2 ; battle of, /. Henry IV., v. 3-5 ; eve of the battle,
iv. 4 ; offer of pardon before it, v. 1 ; reports of the battle, //. Henry IV., i. 1 ; Northumberland's failure to be at, II. Henry IV., ii. 3.
It is one hundred and forty miles northwest of London. The battle
was fought July 23, 1403.
Shrewsbury clock, fought a long hour by, I. Henry IV., v. 4.
Shrewsbury, Earl of. See TALBOT.
Shrieve (sheriff), All's Well that Ends Well, iv. 3.
Shrift, a short, Richard III., Hi. 4; riddling confession makes
riddling shrift, Romeo and Juliet, ii. 3.
Shroud (protection), Antony and Cleopatra, Hi. 11 or 13 ; III,
Henry VI., iv. 3.
Shrove-Tuesday, fit as a pancake for, AWs Well that Ends
Well, ii. 2. The English peasantry call the day "pancake Tuesday."
Shylock, the Jew in the Merchant of Venice, introduced in **. 3.
His impassioned appeal in the first scene of the third act, " Hath not
a Jew eyes," etc., is the only place where Shakespeare seems to intend
arousing the least sympathy for the usurer. In all other scenes his
meanness and avarice are dwelt upon almost to the exclusion of his
justifiable resentment at the insults to his race. He hates Antonio
more for spoiling his business than for reviling his religion ; and he
would gladly see his only child dead before him if he might regain
his ducats. There seems to be no reason to believe that Shakespeare
intended any rebuke to the Jew-hating spirit of his time.
"Hebler does not hesitate to call Shylock a comic personage,
whose fate, proportionately, is no harder, rather milder, than that
which finally befalls other comic characters, Falstaff, for example.
Gervinus is vexed that ' vulgarity and madness could go so far as to
make a martyr out of this outcast of humanity.' A martyr he certainly is not, but we must allow extenuating circumstances in his
favor. . . . But who made him a usurer I . . . We know no other
answer to this question but that the Christians have made Shylock
what he is. We do not mean to say that Shakespeare intended to hint
at anything of the kind, although the temptation to draw such inferences lies nearer in this play than elsewhere in. Shakespeare. Whether
the poet intended it or not, Shylock, in his hands, has become the
representative of Judaism in its lowest degradation, and this degradation has undeniably been caused by centuries of political and social
bondage." KARL ELZE.
Sibyl, as old as, Taming of the Shrew, i. 2 ; work of a, Othello,
Hi. 4.
Sibylla (the sibyl), Merchant of Venice, i. 2.
Sibyls, the nine, of Rome, /. Henry VI., i. 2. There were not
nine sibyls of Rome, but nine books offered to Tarquin by the sibyl.
The number of all the sibyls is variously stated at from two to
twelve, the last being the number given by the mediaeval monks,
who ascribed to each a prophecy of Christ.
Sicilia, scene of a part of A Winter's Tale.
Sicilian Lord, a, character in A Winter's. Tale.
Sicily, King of. See REIGXIER.
Sicinius Velutus, a tribune of the people, character in Coriolanus, introduced in i. 1 ; Menenius on, ii. 1. He and Brutus are
typical politicians, crafty, cowardly, dextrous, and vain of their
authority.
Sick, the, Birone sentenced to visit and cheer them, Love's Labour's Lost, v. 2.
Sickness, untimely, /. Henry IV., iv. 1; thrown off, Julius
Ccesar, ii. 1, end ; leisure for, I. Henry IV., iv. 1.
Sic spectanda fides, Pericles, ii. 2. Thus faith is to be proved.
Sidney, Sir Philip (1554-1586), quotation from, Merry Wives
of Windsor, Hi. 3, " Have I caught my heavenly jewel," the first
line of a song in "Arcadia." See under KING LEAR and HAMLET.
Siege (seat, rank), Measure for Measure, iv. 2 ; Hamlet, iv. 7 or
4; Othello, i. 2.
Siege, envious, of Neptune, Richard II., ii. 1 ; laugh, to scorn,
Macbeth, v. 5.
Sieges, of Angiers, King John, ii. 1; end of the, of Harfleur,
Henry V., Hi. 3 ; of Orleans, I. Henry VI., i. 2, 4-6; ii. 1, 2; of
Corioli, Coriolanus, i. 4.
Sieve, as water in a, Much Ado about Nothing, v. 1 ; AWs Wett
that Ends Well, i. 3; a vehicle for witches, Macbeth, i. 3.
Sighs, cooling the air with, The Tempest, i. 2 ; to drive a boat,
Two Gentlemen of Verona, ii, 3; of Imogen, Cymbeline, iv. 2 ;
blood-drinking, IL Henry VL, Hi. 2; blood-sucking, 111. Henry VI.,
iv. 4 ; to shatter all his bulk, Hamlet, ii. 1 ; a spendthrift, Hamlet,
iv. 7 or 4. The last alluding to the belief that sighing consumes the
blood ; blows a man up like a bladder, I. Henry IV., ii.4; a battery
of sighs, III. Henry VL, Hi. 1.
Sigh, no more, song, Much Ado about Nothing, ii. 3.
Sight, annoyances to, King John, iv. 1; more impressive than
hearing, Lucrece, I. 1324.
Sightless (invisible), Macbeth, i. 5.
Signs, of coming trouble, Richard III., ii. 3 ; in the clouds,
Antony and Cleopatra, iv. 12 ; of the times, Troilus and Cressida,
i. 3. See OMENS.
Silence, herald of joy, Much Ado about Nothing, ii. 1 ; in whom
commendable reputation for wisdom gained by, Merchant of Venice, i. 1; appeal of, As You Like It, i. 3 ; offending (flouts me),
Taming of the Shrew, ii. 1 ; and speech, All's Well that Ends Well,
i. 1; of innocence, A Winter's Tale, ii. 2 ; before a storm, Hamlet,
ii. 2 ; not proof of want of love, King Lear, i. 1 ; intensifies feeling,
Venus and Adonis, 1. 331 ; be politic with, I. Henry VL, ii. 5 ; speech
in dumbness, A Winter's Tale, v. 2.
Silence, a country justice in //. Henry IV., first appears in Hi.
#. He is a great admirer of Shallow, is very dull when sober, and
very boisterous when drunk.
Silius, character in Antony and Cleopatra, introduced in
Hi. 1.
Silly-cheat (pocket-picking), A Winter's Tale, iv. 2.
Silly sooth (simple truth), Twelfth Night, ii. 4.
Silver, pale and common drudge, Merchant of Venice, Hi. 2.
Silver, name of the spectre of a hound, The Tempest, iv. 1 ; a
dog, Taming of the Shrew, induction, 1.
Silvia, a daring and witty girl in the Two Gentlemen of Verona,
introduced in ii. 4 ; described by her father, iii. 1.
Silvius, a shepherd in As You Like It, in love with Phoebe, introduced in ii. 4, an importunate but humble and long-suffering
lover, whom no repulses can drive away or incite to reprisals.
Similes, the most unsavoury, L Henry IV. ^ i. 2; currish, Taming of the Shrew y v. 8.
Simois, a river that flows from Mount Ida and joins the Seamander in the plain of Troy, Lucrece, lines 1437, 1442.
Simonides, King of Pentapolis, character in Pericles, introduced
in ii. 2, father-in-law of the prince.
Simpcox, Saunder, an impostor in //. Henry VI., introduced in
ii. 1, who pretends to have received his sight by a miracle. His wife
appears in the same scene.
Simple, Blender's servant in the Merry Wives of Windsor, introduced in the first scene.
Simpleness, and duty, Midsummer Night's Dream, v. 1.
Simplicity, of the upright, King Lear, i. 2, end ; how green
you are and fresh, King John, Hi. 4.
Simular (simulator, counterfeit), King Lear, Hi. 2.
Sin(s), men of, The Tempest, Hi. 3; some rise by, Measure for
Measure, ii. 1; results of pardoning, Measure for Measure, ii.2;
most dangerous temptation to, Measure for Measure, ii. 3 ; compelled charity in, Measure for Measure, ii. 4; comparison of become a virtue not accidental a trade. Measure for Measure, Hi. 1 ;
remorse for, and fear of exposure effect of one, Measure for Measure, v. 4 ; teach, the carriage of a saint, Comedy of Errors, Hi. 2 ;
cunning, can cover itself, Much Ado about Nothing, iv. 1 ; in chiding sin, As You Like It. ii. 7; allusion to the dogma of original, A
Winter's Tale, i. 2, "The imposition hereditary ours;" gathering
head, II. Henry IV., Hi. 1 ; struck down like an ox, I. Henry VI.,
iv. 2 ; will pluck on sin, Richard III., iv. 2 ; mercy emboldens, Timon of Athens, Hi. 5 ; resistance against, Hamlet, Hi. 4 ,' apprehensiveness of, Hamlet, iv. 5 or 2 ; plate, with gold, King Lear, iv. 6 ;
one, provokes another, Pericles, i. 1 ; Cymbeline, i. 7, "The cloyed
will," etc. ; hidden in majesty, Lucrece, I. 93; with opportunity, Lucrece, I. 878; suffering for others', Lucrece, I. 1478 ; in the lovely,
Sonnets xciv.-xcvi. ; some, do bear their privilege, King John, i. 1 ;
the oldest, committed the newest way, II. Henry IV., iv. 4,' may be
absolved in English, Henry VIII., Hi. 1.
Since brass, nor stone, nor earth, nor boundless sea, Sonnet Ixv.
Since I left you mine eye is in my mind, Sonnet cxiii.
Sincerity, in love, Henry V., v. 2 ; of Coriolanus, Coriolanus,
Hi. 1, " He would not flatter Neptune for his trident," etc. ; folly
of, Othello, i. 1, " But I will wear my heart upon my sleeve," etc. ;
in speech, A Winter's Tale, i. 1.
Sincklo, a name sometimes given to the first player in the induction to the Taming of the Shrew, and also to one of the huntsmen in III. Henry VI. It is thought to have been the name of an actor in Shakespeare's company ; but " Giles Senclowe is mentioned in
the ' Paston Letters ' as having been in Scotland with Queen Margaret."
Sinel (correctly, Finel or Finlay), Thane of Glamis, father of
Macbeth, Macbeth, i. 3.
Singing, ridicule of Balthazar's, Much Ado about Nothing, ii.
3; Perdita's, A Winter's Tale, iv. 3 or 4; of Lady Mortimer, /.
Henry IV., Hi. 1 ; of the nightingale and wren, Merchant of Venice,
v. 1 ; of Edmund, King Lear, i. 2 ; sing the savageness out of a
bear, Othello, iv. 1 ; the singing-man of Windsor, //. Henry IV., ii. 1.
Sink-a-pace (cinque-pas), a dance whose measures are in fives,
Twelfth Night, i. 3.
Sinners, at the gate of hell, Macbeth, ii. 3.
Sinning, more sinned against than, King Lear, Hi. 2.
Sin of self-love possesseth all mine eye, Sonnet Ixii.
Sinon, III. Henry VI., in. 2 ; Cymbeline, Hi. 4; in a painting,
Lucrece, lines 1521, 1529. The Greek who, pretending to desert to
the Trojans, persuaded them to admit the wooden horse. Sir. This title was applied to curates, as Sir Nathaniel, Sir
Hugh Evans. Sir Oliver Martext, Sir Topas, said to have properly
belonged to such ecclesiastics as had taken the degree of bachelor of
arts, or dominus.
Sirrah, generally used to an inferior, but Poins uses it to the
prince in I. Henry IV., i. 2.
Sir-reverence (saving your reverence), Comedy of Errors, Hi. 2.
Sisters, the weird. See WITCHES.
Sit (live, board), at ten pounds a week, Merry Wives of Windsor,
i.3.
Sith, si thence (since), Measure for Measure, iv. 1; All's Well
that Ends Well, i. 3 ; King Lear, i. 1, and elsewhere.
Siward, Earl of Northumberland and general of the English
forces that fight against Macbeth. He was the brother of Duncan's
wife. His son Osberne is called in the play young Siward. They
appear in v. 4, and young Siward is killed by Macbeth in v. 7. This
famous earl was reported by tradition the descendant of a bear. He
fought with Hardicanute and against Godwin on the side of the
Confessor. It is said that when he came to die he said to his attendants : " Lift me up, that I may die standing like a soldier, and
not grovelling like a cow. Put on my coat of mail ; cover my head with my helmet, put my buckler on my left arm, and my gilded axe in my right hand, that I may expire in arms/'
Sixpenny strikers, 1. Henry IV., ii. 1. Bullies who would
knock a man down for sixpence.
Sizes (allowances of money), King Lear, ii. 4.
Skains-mates (companion scapegraces, originally brothers-in-arms), Romeo and Juliet, ii. 4/
Skill, in contrast with ignorance, Hamlet, v. 2.
Skills (signifies), Taming of the Shrew, Hi. 2; Twelfth Night,
v. 1; 11. Henry VI., Hi. 1.
Skin, silver, laced with golden blood, Macbeth, ii. 3.
Skin-coat, your, King John, ii. 1. See HIDE,
Skogan. See SCOGAN.
Skull(s), Romeo and Juliet, iv. 1; v. 3; moralizing on a, Hamlet, v. 1.
Slab (glutinous), Macbeth, iv. 1.
Slander, will stain any name, Comedy of Errors, ii. 1 ; is forever housed when it gets possession avoid occasion for, Comedy of
Errors, Hi. 1 ; power of, Much Ado about Nothing, Hi. 1; on Hero,
Much Ado about Nothing, Hi. 2, 3 ; v. 1, 4,' changed to remorse,
Much Ado about Nothing, iv. 1 ; on Diana, AW 8 Well that Ends
Well, v. 3 ; none in an allowed fool, Twelfth Night, i. 5 ; venomed
spear of, Richard IL, i. 1; poisoned shot of, Hamlet, iv. 1 or Hi. 5;
damned nature of, Othello, Hi. 3, " If thou dost slander," etc. ; to
get office, Othello, iv. 2 ; sly, Cymbeline, i. 6 ; sharpness of, Cymbeline, Hi. 4 ; mark of, Sonnet Ixx. ; the sting of, A Winter's Tale, ii.
3 ; a coiner of, Troilus and Cressida, i. 3. See also CALUMNY.
Slanderers, imprecation on, Othello, iv. 2, "A halter pardon
him," etc. ; condemn themselves, Sonnet exxi. ; base newsmongers,
/. Henry IV., Hi. 2.
Slang. See KED-LATTICE PHRASES.
Slave(s), that pays, Henry V., ii. 1; bred a dog, Timon of
Athens, iv. 3 ; mechanics, Antony and Cleopatra, v. 2 ; trusted with
a muzzle and enfranchised with a clog. Much Ado about Nothing,
i. 3 ; Shylock on the state of a, Merchant of Venice, iv. 1.
Sleave of care, the, Macbeth, ii. 2. Sleave is silk thread.
Sleep, seldom visits sorrow, The Tempest, ii. 1; life rounded
with a, The Tempest, iv. 1 ; an after-dinner, Measure for Measure,
Hi. 1; of the traveller, Measure for Measure, iv.2; shuts sorrow's
eye, Midsummer Night's Dream, Hi. 2 ; the image of death trick
played upon Sly in, Taming of the Shrew, induction, 1 ; see also
LORD ; to the great and the lowly, //. Henry IV., iii. 1 ; dwell upon thine eyes, Romeo and Juliet, ii. 2 ; of the young, Romeo and Juliet,
ii. 3 ; Troilus and Cressida, iv. 2 ; untroubled, Julius Ccesar, ii. 1 ;
murdered, Macbeth, ii. 2; season of all natures, Macbeth, Hi. 4;
secrets uttered in, Macbeth, v. 1; Othello, Hi. 3 ; of the weary, Cymbeline, Hi. 6 ; life and death in, Lucrece, I. 402 ; the ape of death,
Cymbeline, ii. 2.
Sleeve, a pledge of love, Troilus and Cressida, iv. 4; v. 2-4.
Sleeve-hand (cuff), A Winter's Tale, iv. 3 or 4.
Sleided (unwrought) silk, Pericles, iv., prologue.
Slender, Abraham, an awkward country fellow in the Merry
Wives of Windsor, and a suitor to Anne Page, introduced in the
first scene.
" Slender and Sir Andrew Aguecheek are fools troubled with an
uneasy consciousness of their folly, which in the latter produces a
most edifying meekness and docility, and in the former awkwardness, obstinacy, and confusion." MACAULAY.
Slenderness, hyperboles on, I. Henry IV., ii. 4> "Away, you
starveling," etc. ; " My own knee," etc., 77. Henry IV., Hi. 2, 4. See
LEANNESS.
'Slid (by God's lid), Merry Wives of Windsor, Hi. 4.
'Slight (by his light), Twelfth Night, ii. 5. and elsewhere.
Slighted (pitched), Merry Wives of Windsor, Hi. 5.
Slip (a false coin), Romeo and Juliet, ii. 4 ; quibble on the word,
Troilus and Cressida, ii. 3, "If I could have remembered a gilt
counterfeit, thou wouldst not have slipped out of my contemplation."
Slops (large boulstered trousers), Much Ado about Nothing, Hi.
2 ; Romeo and Juliet, ii. 4 ; Henry I V., i. 2.
Sloth, betrays to loss, /. Henry IV., iv. 3 ; sleep of, Cymbeline,
Hi. 6.
Slovenliness, punishment of, by fairies, Merry Wives of Windsor, v. 5.
Slubber (slight), Merchant of Venice, ii. 8.
Slubber (soil), Othello, i. 3.
Sly, Christopher, a tinker, chief character in the induction to the
Taming of the Shrew. A lord who finds him dead-drunk has him
carried to his house and waited on when he awakes as if he were the
proprietor of the place.
" Sly is of the family of Sancho Panza, gross and materialistic in
his tastes and habits, 'but withal so good-humoured and self-contented, that we would fain leave him unvexed by higher ideas or aspirations ; all the pains taken to delude him into the notion that
he is a lord will not make him essentially other than ' Old Sly's son,
of Burton Heath,' who has run up so long a score with the fat ale-wife of Wincot." DOWDEN.
Small-pox, allusion to marks of, Love's Labour's Lost, v. 2,
" Face full of O's."
Smalus, A Winter's Tale, v. 1. Apparently a prince of Libya.
Smatch (smack, tincture ), Julius Ccesar, v. 5 ; II. Henry IV., i. 2.
Smell(s), an ancient and fish-like, The Tempest, ii. 2 ; villainous,
Merry Wives of Windsor, in. 5.
Smile, Jane, mentioned in As You Like It, ii. 4.
Smiles, the craft of, Richard II., i. 4 ,' of Cassius, Julius Caesar,
i. 2 ; of Imogen, Cymbeline, iv. 2 ; when time shall serve, Henry V.,
ii. 1 ; and tears, King Lear, iv. 3 ; king of, /. Henry IV., i. 3.
Smiling, with millions of mischief in the heart, Julius Caesar,
iv. 1 ; one's cheek into years, Love's Labour's Lost, v. 2 ; smile and
murder while they smile, ///. Henry VI., Hi. 2; and be a villain,
Hamlet, i. 5 ; as the wind sits, King Lear, i. 4.
Smith, the weaver, a follower of Jack Cade in II. Henry VI.
Smithfield, now a part of London, scene of //. Henry IV.,
iv. 7.
Smoked (discovered or suspected), All's Well that Ends Well,
iii. 6 ; iv. 1.
Smulkin, a fiend, King Lear, iii. 4. See MAHU.
Snail, the, Comedy of Errors, ii. 2 ; As You Like It, iv. 1 ; King
Lear, i. 5 ; Venus and Adonis, I. 1033.
Snake, the, Midsummer Night's Dream, ii. 2 ; As You Like It,
iv.3; scotched the, Macbeth, iii. 2 ; warmed the, III. Henry VI.,
iii. 1. See ADDER and SERPENT.
Snare, taken in his own, Twelfth Night, v. 1, " That thine own
trip shall be thine overthrow."
Snare, one of the sheriff's officers in II. Henry IV., ii. 1.
Sneak-cup, a, /. Henry IV., Hi. 3. One who baulks his glass.
Sneap (rebuke, snub), II. Henry IV., ii. 1.
Sneaping (pinching, nipping), Love's Labour's Lost, i. 1; A
Winter's Tale, i.. 2.
Sneek up (perhaps from "his neck up," that is, be hanged),
Twelfth Night, ii. 3.
Snout, Tom, a tinker, character in Midsummer Night's Dream,
introduced in i. 2. He is cast for the part of Pyramus's father, but
appears in the play as the wall.
Snow, a mockery king of, Richard II., iv. 1 ; consecrated, on
Dian's lap, Timon of Athens, iv. 3 ; of Taurus, Midsummer Night's
Dream, v. 2 ; a little, tumbled about, becomes a mountain, King
John, Hi. 4 ; in harvest, Richard III., i. 4.
Snuff, took it in, /. Henry IV., i. 3. Snuff was made of aromatic
substance before tobacco was used for it. Here there is a quibble on
the cant use of the phrase.
Snug, a joiner, character in Midsummer Night's Dream, introduced in i. 2. In the play before the duke he takes the part of the
lion, and explains who he is, that the ladies may not be frightened
" a very gentle beast and of a good conscience."
So am I as the rich., Sonnet Hi.
So are you to my thoughts as food to life, Sonnet Ixxv.
Society, no comfort to one not sociable r Cymbeline, iv. 2.
Softly-sprighted man, a, Merry Wives of Windsor, i. 4.
Bo is it not with me as with that muse, Sonnet xxi.
Sol, the glorious planet, like a king, Troilus and Cressida, i. 3.
Solanio. See SALANIO.
Soldier(s), of Pharaoh, Much Ado about Nothing, Hi. 3 ; base
for, to love, Love's Labour's Lost, i. 2 ; full of strange oaths, As You
Like It, ii. 7 ; jests at a cowardly, All's Well that Ends Well, i. 1,
" Under Mars," etc. ; honour of a, All's Well that Ends Wdl, ii. 1 ;
would have been a, but for those vile guns, I. Henry IV., i. 8; Hotspur and his comrades, I. Henry IV., iv. 1; Falstaff's, I. Henry IV.,
iv. 2 ; a braggart, Henry V., Hi. 6 ; speaks like a, Coriolanus, Hi. 3 ;
not appreciated in peace, Coriolanus, iv. 7 ; dreams of a, Romeo and
Juliet, i. 4,' a better, Julius Ccesar, iv. 3 ; a daring, Macbeth, Hi. 1 ;
death of a, Macbeth, v. 7 ; King John, v. 5 ; III. Henry VI., ii. 3;
your sister is the better, King Lear, iv. 5 ; little blessed with soft
phrase adventures of a, Othello, i. 3 ; one fit to stand by Ctesar
life of, Othello, ii. 3 ; endurance of a, Antony and Cleopatra, i. 4;
should brook wrongs as little as gods, Timon of Athens, Hi. 5 ; a
brave, I. Henry VI., Hi. 2 ; unapt to weep, /. Henry VI., v. 3 ; a
true, hath no self-love, //. Henry VI., v. 2.
Soldiers, introduced on the stage in All's Well that Ends Well,
King John, Henry V., I. Henry VI., III. Henry VI., Richard III.,
Coriolanus, Titus Andronicus, King Lear, Antony and Cleopatra,
Cymbeline, Macbeth.
Soldiership, theoretical, Othello, i. 1.
Soliloquies, Hamlet, i. 2 ; ii. 2 ; Hi. 1; iv. 4; King Lear, i.2.
ii. 3; Hi. 7; iv. 1; v. 2; Othello* i.3; Hi. 3; v. 2; Macbeth, i. 5,7;, ii. 1, 3 ; Hi. 1; Richard III., i, 1, 2 ; Troilus and Cressida, ii. 3 ;
v. 10; Romeo and Juliet, ii. 3, 5 ; in* 2 ; iv. 3 ; v. 1; Timon of
Athens, iv. 1, 3 ; Julius Ccesar, Hi. 1 ; Cymbeline, ii. 2, 5 ; Hi. 2, 3,
6; iv. 1, 2; v. 1; Pericles, i. 1, 2.
Solinus, Duke of Ephesus, character in the Comedy of Errors,
introduced in i. 1.
Solitude, Two G-entlemen of Verona, v. 4.
Solomon, Love's Labour's Lost, i. 2 ; iv. 3,
Solon (about 638-559 B. c.), laws of, on a father's rights, Midsummer Night's Dream, i. 1.
Solon's happiness, Titus Andronicus, i. 1 or 2* " No man can
be pronounced happy till he is dead."
Solyman, Sultan (about 1495-1566), Merchant of Venice, ii. 1.
Some glory in their birth, some in their skill, Sonnet xci.
Somerset, John Beaufort, third Earl of, afterward first Duke,
character in L Henry VI. In ii. 4 he calls for allegiance to the red
rose of Lancaster. The Somerset of the second part is his brother.
His daughter, Margaret Beaufort, became Countess of Richmond
and mother of Henry VIL
Somerset, Edmund Beaufort, fourth Earl of, afterward second
Duke, character in II. Henry VI. He was for some time chief of
the king's party, and was accused by the Duke of York of various
offences against the country, was arrested and imprisoned, but was
afterward restored to office. He held the offices of Regent of France
and Constable of England. He was slain at St. Alban's II. Henry
VL, v. 2 and is said in the first scene of the third part to have
fallen by the hand of Richard, afterward King Richard III. His
son, Henry, who succeeded him, was taken prisoner at Hexham and
beheaded by the Yorkists. His second son, Edmund, became the
fourth duke, and is the Somerset of the third part.
Somerset, Edmund Beaufort, fourth Duke of, character in III.
Henry VI., introduced in iv. 1. He commanded a force at Barnet,
v. 2, and at Tewksbury, v. 4, where he was taken prisoner, v. 5. He
was beheaded two days later, the last of the male line of the Beauforts. He was a son of the Beaufort of the second part.
Somerville, Sir John, character in III. Henry VI., introduced
in v. 1, a partisan of York.
Some say thy fault is youth, Sonnet xcvi.
Somnambulism, Macbeth, v. 1.
Son(s), the king envies Northumberland his, /. Henry IV., i. 1;
his grief over his own, Richard II., v. 3; I. Henry IV., i. 1; Hi. 2; iv. 4, 5; devoted to their country, Coriolanus, i. 3 ; dead in honour,
Titus Andronicus, Hi. 1,
Song(s), old, Twelfth Night, ii. 4 ; Pericles, i., chorus ; Othello,
iv. 3; soothing, I. Henry IV., Hi. 1 ; an exquisite, Othello, ii. 3;
opular, A Winter's Tale, iv. 3. See also Music and SINGING.
Songs : Come unto these yellow sands : The Tempest, i. 2 ; Full
om five, The Tempest, i. 2 ; While you here do snoring lie, The
M. vmpest, ii. 1 ; Where the bee sucks, The Tempest, v. 1 ; The mas-' - j^ter, the swabber, The Tempest, ii. 2; Farewell, master, The Tempest, ii. 2 ; Flout 'em and scout 'em, The ^empest, Hi. 2 ; Honour,
iches, marriage blessing, The Tempest, iv. i\' Who is Silvia? Two
Gentlemen of Verona, iv. 2; To shallow rivers (by Marlowe), Merry
Wives of Windsor, Hi. 1 ; Whenas I sat in Babylon, Merry" Wives
of Windsor, Hi. 1 ; Fortune, my foe (old song, alluded to), Merry
Wives of Windsor, Hi. 3 ; Fie on sinful fantasy, Merry Wives of
Windsor, v. 5 ; Take, oh, take those lips away (authorship ^certain),
Measure for Measure, iv. 1 ; Sigh no more, Much Ado about Nothing,
ii. 3; The god of love, Much Ado about Nothing, v. 2 ; Pardon,
goddess of the night, Much Ado about Nothing, v. 3 ; On a day,
alack the day, Love's Labour's Lost, iv, 3 ; When daisies pied and
violets blue, Love's Labour's Lost, v. 2 ; When icicles hang by the
wall, Love's Labour's Lost, v. 2; You spotted snakes, Midsummer Night's Dream, ii. 2 ; The ousel cock, so black of hue, Midsummer Night's Dream, Hi. 1 ; Now, until the break of day, Midsummer Night's Dream, v. 1; If we shadows have offended, Midsummer Night's Dream, v. 1 ; Tell me, where is fancy bred ? Merchant of
I Venice, Hi. 2 ; Under the greenwood tree, As You Like It, ii. 5;
\Blow, blow, thou winter wind, As You Like It, ii. 7; sweet Oli' ver (fragment of an old ballad), As You Like It, Hi. 1; Wliat shall
I he have that killed the deer? As You Like It, iv. 2; It was a lover
and his lass, As You Like It, v. 3 ; Then is there mirth in heaven,
As You Like It, v. 4; Wedding is great Juno's crown, As You Like
It, v. 4 ; Fire, fire, cast on water Jack, boy ! ho ! boy ! Where is
the life that late I led It was the friar of orders gray, Taming of
the Shrew, JA>. 1; Was this fair face the cause, All's Well that Ends
/ Well,i. si Q mistress mine, where are you roaming? Twelfth Night,
\ ii. 3 (not by Shakespeare) ; snatches of old popular, Twelfth Night, ii.
, 3 ; Hold thy peace Three merry men There dwelt a man in Baby-\jj Ion 0, the twelfth day of December Farewell, dear heart His
eyes do show Shall 1 bid him go? (the last three are from Corydon's
Farewell to Phyllis) Come away, come away, Death, Twelfth Night, u. 4; Hey, Robin, Twelfth Night, iv. 2 (not by Shakespeare) ; I amr^"
gone, sir, Twelfth Night, iv. 2 ; When th^at I was a little, tiny boy,
Twelfth Night, v. 1 (not by Shakespeare) ; When daffodils begin to
peer, A Winter's Tale, iv. 2 or 3 ; But shall I go mourn, A Winter's
Tale, iv. 2 or 3 ; Jog on, jog on, A Winter's Tale, iv. 2 or 3 ; Lawn
as white as driven snow, A Winter's Tale, iv. 3 or 4 > Gret you hence,
A Winter's Tale, iv. 3 or 4 ; Will you buy any tape 1 A Winter's
Tale, iv. 3 or 4 ; Do nothing but eat, //. Henry IV., v. 3 ; Be merry,
be merry, II. Henry IV., v. 3 ; A cup of wine, II. Henry IV., v. 3 ;
Fill the cup, //. Henry IV., v. 3; Do me right, //. Henry IV., v.
3; Auld Robin Hood, //. Henry IV., v. 3; Orpheus with his lute,
Henry VIII. J,ii. 1 ; Love, love, nothing but love, Troilus and Cressida, Hi. 1 ; (An old hare hoar, Romeo and Juliet, ii. 4 ; When griping grief, Romeo and Juliet, iv.5 (4.5.125) (by Richard Edwardsja of the witches, Macbeth. Hi. ,5, the song, "Come away," from MicMleton's
*' Witch " is usedj/fo-morrow is St. Valentine's day, Hamlet, iv. 5
or 2 ; They bore' him barefaced on the bier, Hamlet, iv. 5 or 2 ; And
will he not come again, Hamlet, iv. 5 or 2 ; For bonny sweet Robin,
Hamlet, iv., 5 or 2 ; How should I your true love, Hamlet, iv. 5 or 2 ;
In youth when I did love, Hamlet, v. 2 (from a ballad attributed to
Lord Vaux) ; Fools had ne'er less wit in a year, King Lear, i. 1 ;
He that has, and a little, tiny wit, King Lear, Hi. 2 ; Let the canakin clink, Othello, ii. 3 ; King Stephen was, Othello, ii. 3 ; The poor
fool sat, Othello, iv. 3 ; Come, thou monarch of the vine, Antony and
Cleopatra, ii. 7 ; Hark, hark, the lark, Cymbeline, ii. 3 ; Fear no
more the heat, Cymbeline, iv. 2. Have I caught my heavenly jewel?
(by Sir Philip Sidney), Merry Wives of Windsor, Hi. 3.
Songs and Sonnets, Book of, Merry Wives of Windsor, i. 1.
A popular book of the time, by the Earl of Surrey and others.
Sonnets, the, one hundred and fifty-four in number, were first
published in 1609, in a small quarto, including also the Lover's Complaint, by Thomas Thorpe, who probably pirated them. They were
alluded to in 1598 by Meres as " sugred sonnets " circulated among
Shakespeare's private friends. Two of them were published in the
Passionate Pilgrim (q. v.}. The time of writing may have extended
over several years, and probably did. They are dedicated to W.
H., but to whom these initials belonged is still a mystery. . William
Herbert, Earl of Pembroke, has been named, the first folio having
been dedicated to him and his brother. Some have supposed the
initials to be those of the Earl of Southampton to. v.) reversed. The
first one hundred and twenty-six are addressed to a man much younger than the writer and deeply beloved by him. The remaining ones, excepting the last two, are addressed to a woman, dark-complexioned, and not at all fair, or, it would seem, virtuous either,
who has been trifling with the writer and the friend to whom the
former sonnets are addressed. It is generally supposed that they
are the record of actual experiences of the poet, though it is possible
that they are dramatic and ideal. On this point Mr. Halliwell-Phillips says :
" The words of Meres " [" his sugared sonnets among his private
friends"] "and the insignificant results of Jaggard's efforts" [to
make a collection of Shakespeare's poems, in which he was able to include only two of the sonnets], "lead to the inference that these
strange poems were an assemblage of separate contributions made
by their writer to the albums of his friends, no two of the latter
being favoured with identical compositions. There was no tradition
adverse to a belief in their fragmentary character in the generation
immediately following the author's death, as may be gathered from
the arrangement found in Benson's edition of 1640 ; and this concludes the little real evidence on the subject that has descended to
us. It was reserved for the students of the present century, who
have ascertained so much respecting Shakespeare that was unsuspected
by his own friends and contemporaries, to discover that his innermost earnest thoughts, his mental conflicts, and so on, are revealed
in what would then be the most powerful lyrics yet given to the
world. But the victim of spiritual emotions that involve criminatory reflections, does not usually protrude them voluntarily on the
consideration of society ; and, if the personal theory be accepted, we
must concede the possibility of our national dramatist gratuitously
confessing his sins and revealing those of others, proclaiming his
disgrace and avowing his repentance, in poetical circulars distributed
by the delinquent himself among his most intimate friends. There
are no external testimonies of any description in favor of a personal
application of the sonnets, while there are abundant difficulties arising from the reception of such a theory. Among the latter is one
deserving of special notice, for its investigation will tend to remove
the displeasing interpretation all but universally given of two of the
poems those in which reference is supposed to be made to a bitter
feeling of personal degradation allowed by Shakespeare to result from
his connection with the stage. Is it conceivable that a man who
encouraged a sentiment of this nature, one which must have been
accompanied with a distaste and contempt for his profession, would
have remained an actor years and years after any real necessity for
such a course had expired ? . . . When, in addition to this voluntary long continuance on the boards, we bear in mind the vivid interest in the stage, and in the purity of the acted drama, which is
exhibited in the well-known dialogue in Hamlet, and that the poet's
last wishes included affectionate recollections of three of his fellowplayers, it is difficult to believe that he could have nourished a real
antipathy to his lower vocation. It is, on the contrary, to be inferred that, however greatly he may have deplored the unfortunate
estimation in which the stage was held by the immense majority of
his countrymen, he himself entertained a love for it that was too
sincere to be repressed by contemporary disdain."
Sonnets to Sundry Notes of Music, title of the latter part of
the Passionate Pilgrim.
SO now I have confessed that he is thine, Sonnet cxxxiv.
Sonties (saints or sanctities), Merchant of Venice, ii. 2.
So oft have I invoked thee for my muse, Sonnet Ixxviii.
Soon at night (very soon), Measure for Measure, i. 5 ; Comedy
of Errors, i. 2.
Soothsayer, a, character in Julius Ccesar, appears in i. 2,
where he warns Csesar to beware the Ides of March, and in later
scenes.
Soothsayer, a, character in Antony and Cleopatra, introduced
in i. 2 ; prophesies to Antony, ii. 3.
Soothsayer, a, character in Cymbeline, introduced in iv. 2,
where he speaks once only, and foretells success to the Romans;
he appears again as a prisoner in v. 5, where he interprets an oracle
for Cymbeline.
Sophistry, in self-justification, Julius Ccesar, ii. 1.
Sophy (Shah), the, Merchant of Venice, ii. 1 ; Twelfth Night,
ii. 5; Hi. 4.
Soporifics, Othello, Hi. 3, " Not poppy nor mandragora," etc.
Sorcerers, Ephesus full of, Comedy of Errors, i. 2.
Sorcery, The Tempest, Hi. 2, see MAGIC ; //. Henry VI., i. 4.
Sorrow, patience under, Much Ado about Nothing, v. 1 ; here I
and, sit, King John, Hi. 1 ; canker, King John, Hi. 4 ,' of the queen,
Richard II., Hi. 4; of the king, Richard II., iv. 1; for the dead
king, _ZZ Henry IV., v. 2 ; breaks seasons, Richard III., i. 4; for
the dead, Richard III., iv. 4; a golden, Henry VIII., ii. 3 ; concealed, Titus Andronicus, ii. 4 or 5 ; more in, than anger, Hamlet,
i.2 ; each must bear his own, Hamlet, Hi. 2, "Why let the stricken,"
etc. ; a rarity most beloved. King Lear, iv. 3 ; heavenly, Othello, v.
2 ; odd tricks of, Antony and Cleopatra, iv. 2 ; doubled by sight of
unattainable relief, Lucrece, 1. 1114. See GRIEF, PAIN, MOURNING.
Sorrows, come not singly, Hamlet, iv. 5 or 2, 7; Pericles, i. 4.
Sort (set), Richard II., iv. 1 ; Richard III., v. 3.
Sort and suit (rank and following), men of, Measure for
Measure, iv. 4.
So shall I live supposing thou art true, Sonnet xciii.
Sossius, Antony and Cleopatra, Hi. 1.
Sot (fool), Merry Wives of Windsor, Hi. 1; Twelfth Night, i. 5.
Soto, Taming of the Shrew, induction, 1. A character in " Woman Pleased," by Beaumont and Fletcher.
Soul(s), give up the body rather than the, Measure for Measure,
ii. 4; an evil, producing holy witness, Merchant of Venice, i. 3 ; the
clothes the, All's Well that Ends Well, ii. 5 ; disputes with sense,
Twelfth Night, iv. 3; the brain the dwelling of the, King John, v.
7; burden of a guilty, Richard II., i. 3 ; future of the, Richard II., Hi. 1 ; sold to the devil, /. Henry IV., i. 2 ; grows with the body,
Hamlet, i. 3; invulnerable, Hamlet, i. 4; prophetic, Hamlet, i. 5;
in bliss, thou art a, King Lear, iv. 7 ; spotted, Lucrece, I. 719 ; in a
dishonoured body, Lucrece, I. 1169 ; a true, Sonnet cxxv. ; its fading
mansion, Sonnet cxlvi. ; all. were forfeit once, Measure for Measure,
ii. 2 ; punishment of departed, Measure for Measure, Hi. 1, "Ay,
but to die," etc. ; Othello, v. 2, " Blow me about in winds," etc. ; harmony in immortal, Merchant of Venice, v. 1 ; if, fly in the air, and
be not fixed, Richard III., iv. 4. See TRANSMIGRATION OF SOULS.
Sound and fury, life full of, Macbeth, v. 5.
Sources : Few of the plots of the plays were invented by Shakespeare, possibly none, though there are some for which no originals have been found. Many of the stories are very old, and had appeared in several versions and languages ; many were already familiar to English audiences of that day. They were, for the most part,
bald narrations of incidents, dull plays, or simple ballads. Under
the name of each play will be found mention of the principal source
or sources drawn upon. Below is given an alphabetical list of them
under the names of authors, or, in cases where the author's name is
not known of the novel, play, or story :
ARIOSTO. The story of Ariodanto and Genevra, from his " Orlando Furioso," which was known in an English translation by Sir
John Harington (1591), resembles that of Hero in Much Ado about
Nothing. The "Search for the Island of Lampedusa," from the
same work, has a description of a storm at sea, which has been likened to that in The Tempest.
"BARLAAM AND JOSEPHAT," is a middle-age Greek romance of
about A. D. 800, in which appeared the story of the caskets (Merchant of Venice) for the first time, so far as is known.
BALE, BISHOP. " The Pageant of Kynge John," by Bishop Bale,
was written about 1550. See below " Troublesome Raigne of King
John."
BANDELLO. Twelfth Night is supposed to be founded mediately
or immediately on his novel "Mcuola," the original of " Apollonius
and Silla." See RICH. His story of " S. Timbreo di Cardona " has
some features and names in common with Much Ado about Nothing.
See also BELLEFOREST, BROOKE, PAINTER, and DA PORTO.
BARCKLEY, SIR RICHARD. His " Felicity of Man " (1598) has an
" Account of Timon."
BELLEFOREST published " Histoires Tragiques," translations, in
which was the " Hystorie of Hamblet," from Bandello.
BOCCACCIO. The story of the wager in Cymbeline is found in
that of " Bernabo da Genova," and All's Well that Ends Well is
drawn from his story of " Giglietta di Nerbona."
BROOKE, or BROKE, ARTHUR, is the supposed author of the poem
" Romeus and Juliet," after Bandello.
CAXTON, " Recuyell of the Historyes of Troye " (circa, 1476), was
consulted, perhaps, for Troilus and Cressida.
CHAUCER, GEOFFREY. His " Troylus and Cryseyde " may have
been referred to by Shakespeare in writing his drama.
CHETTLE. See WOLSEY, below.
CINTHIO, GIRALDI. His " Hecatommithi " has a story of a Moorish
captain that seems to be a version of the one on which Othello is
founded. See WHETSTONE.
DA PORTO LUIGI, published in 1535 an Italian novel telling the
story of Romeo and Juliet for the first time, so far as is known,
and the story was retold by Bandello in 1554.
"FAMOUS VICTORIES OF HENRY V., THE, CONTAINING THE HONOURABLE BATTELL OF AGINCOURT," a play written between 1580 and
1588, furnished the outlines of the two parts of Henry IV. and
Henry V.
FIORENTINO, GIOVANNI, or S. GIOVANNI, of Florence. The incident of the buck-basket in the Merry Wives of Windsor is in his
" II Pecorone," as well as the circumstance of taking the husband
into confidence. " II Pecorone " also has the story of the bond used
in the Merchant of Venice.
Fox, JOHN. His " Book of Martyrs " (1563) contains a passage
that was probably before the writer of the first scene of the fifth act
of Henry VIII.
GEOFFREY OF MONMOUTH, who wrote in the twelfth century, told
the story of Lear and his three daughters.
"GERNUTUS, THE JEW," is the name of an old ballad giving the
story of the bond that is used in the Merchant of Venice.
"GESTA ROMANORUM " is an old collection of stories in which the
story of the caskets used in the Merchant of Venice and the history
of King Lear are related.
"GL' INGANNATI " (" The Deceived "), an Italian play by an unknown author, strongly resembles Twelfth Night.
GOULART'S "Admirable and Memorable Histories" contains
stories resembling those of the Comedy of Errors and Measure for
Measure. It also gives the story of a trick played on an artisan by
Philip the Good, Duke of Burgundy, evidently the original of the
plot of the induction to the Taming of the Shrew.
GOWER, JOHN : Apollonius of Tyre, from his " Conf essio Amantis,"
forms the basis of Pericles, in which Gower is introduced as the
chorus. There was a version of the story in Laurence Twyne's
" Patterne of Painefull Adventures " (1576).
GREENE, EGBERT. His "Pandosto: The Triumph of Time"
(1588), afterward called " The History of Dorastus and Fawnia," furnished the material for A Winter's Tale. He is also the supposed
author of the old play " Taming of a Shrew." In one of his works
he refers to Shakespeare as " an upstart crow beautified with our feathers in his own conceit the only shake-scene in the country."
HALL, EDWARD, an early historian whose chronicles were probably consulted. He wrote of the " Union of the two noble and illustrate families of Lancastre and York " (1548).
HARINGTON. See ARIOSTO, above.
HIGGINS, JOHN, author of " How Queen Cordila in despair slew
herself, the year before Christ 800," printed in " The Mirror for
Magistrates " (1587), and perhaps referred to for King Lear.
HOLINSHED, RAPHAEL, wrote " Chronicles of Englande, Scotlande,
and Irelande " (1577), which were largely drawn upon by Shakespeare
in the English historical plays, and in Cymbeline, Macbeth, and
King Lear.
LODGE, THOMAS, a dramatist and novelist, was the author of
"Rosalynde: Euphues' Golden Legacie" (1592), which furnished
the plot of As You Like It.
LUCIAN, a Greek satirical writer, tells the story of Timon of
Athens, and was one of Shakespeare's authorities.
LYDGATE, " Historye, Sege, and Dystruccion of Troye " (1513).
MONSTRELET, ENGUERRAND DE, a French chronicler, 1390-1453 :
his account of the negotiations of Charles, King of Navarre, with
the King of France for the Duchy of Nemours, may have furnished
a hint for Love's Labour's Lost.
MONTAIGNE, MICHEL. The ideal commonwealth of Gonzalo in
The Tempest is from Montaigne, whose works were translated into
English by Florio in 1603. A copy of this translation, containing
Shakespeare's autograph, now in the British Museum, is the only book
that is known to have been owned by him.
MONTEMAYOR: his "Diana" contains the story of the "Shepherdess Felismena," from which some part of the plot of Two Gentlemen of Verona is supposed to have been drawn. The resemblance
is not close.
NORTH, SIR THOMAS, translated Plutarch's " Lives " from a French
version into English (1579), and his works undoubtedly furnished
Shakespeare with materials for Coriolanus, Timon of Athens, Julius
CcBsar, and Antony and Cleopatra. "The Life of Theseus" and
"The Life of Pericles" also served in the Midsummer Night's
Dream and in Pericles.
"NORTHERN LORD." the, a ballad, has the story of the pound of
flesh, resembling that in the Merchant of Venice.
OVID. Prospero's speech to the fairies in The Tempest, v. 1, is
imitated from Medea's in Ovid, and many expressions in it are
found in an old translation by Golding (1565-'87).
PAINTER, WILLIAM. His " Palace of Pleasure " (1566-'67) has the
story of " Rhomeo and Julietta," from Bandello, " Giletta of Narbona," translated from Boccaccio, original of All's Well that Ends
Well, and " The Life of Timon."
PLAUTUS. His " Mencechmi " was translated by W. W. ( William
Warner ?), 1595, and resembles the Comedy of Errors.
PLUTARCH. See NORTH.
KICH, BARNABY, told the story of "Apollonius and Silla," on
which Twelfth Night is based, in a collection called " Farewell to
the Militarie Profession " (1581).
SAXO GRAMMATICUS, author of a " Historia Danica," in which the
story of Hamlet appeared, wrote about the end of the twelfth century. See BELLEFOREST.
"SHREWD AND CURST WIFE LAPPED IN MOREL'S SKIN, THE," is
an old poem, slightly resembling The Taming of the Shrew.
SIDNEY, SIR PHILIP. His "Arcadia" (1590) has a story, "The
Paphalgonian Unkind King," resembling that of Gloster and his
sons in King Lear.
"TAMING OF A SHREW, THE," is an old play of unknown authorship, on which The Taming of the Shrew was founded.
"TROUBLESOME RAIGNE OF KING JOHN, THE," a play by an unknown author, intervened between Bishop Bale's drama and that of
Shakespeare, which is thoroughly remodelled from it.
"TRUE CHRONICLE HISTORY, THE, OF KING LEIR AND HIS THREE
DAUGHTERS," is an old play, written about 1593.
TWYNE, LAURENCE. See above, under GOWER.
" WAKING MAN'S DREAM, THE," is in a fragment of an old book of
stories conjectured to be a collection by Richard Edwards, published
in 1570. In it is a version of the story of " Philip, the Good Duke
of Burgundy," already referred to under Goulart as the original of
the plot of the induction to the Taming of the Shrew.
WHETSTONE, GEORGE. His " Promos and Cassandra " (1578) resembles Measure for Measure. It was founded on a story by Giraldi
Cinthio, and was first written by Whetstone in a play.
WOLSEY, CARDINAL, a drama by Henry Chettle and others (about
1601), probably furnished some suggestions for King Henry VIII.
" YORK AND LANCASTER, FIRST PART OF THE CONTENTION BETWEEN
THE Two FAMOUS HOUSES OF, WITH THE DEATH OF THE GOOD DUKE
HUMPHREY," etc., and the "True Tragedie of Richard, Duke of
Yorke," and the " Death of Good King Henrie the Sixt," are the old
plays on which the second and third parts of Henry VI. are founded.
It is uncertain whether they were written by Shakespeare himself, but
it is highly improbable that they were, and doubtful whether the
old plays came from the same hand.
Souse (to attack violently), King John, v. 2.
South, the foggy, As You Like, It, Hi. 5 ; Cymbeline, ii. 3 ; the
sweet, Twelfth Night, i. 1; the dew-dropping, Romeo and Juliet,
1. 4; the spongy, Cymbeline, iv. 2.
Southam, III. Henry VI., v. 1.
Southampton, a seaport of Hampshire, scene of a part of
Henry V.
Southampton, Henry Wriothesly, third Earl of, to whom the
Venus and Adonis and Lucrece were dedicated, was a favourite of
Queen Elizabeth until his marriage. He took part in the rebellion
of Essex, was condemned for high treason, and kept in the Tower
till the queen's death. He died in 1524. Some suppose that the
Sonnets are also dedicated to him, his initials being simply reversed.
For this, see SONNETS.
South Sea, of discovery, a, As You Like It, Hi. 2.
Southwark, now a part of London, scene of 11. Henry VI.,
iv. 8.
Southwell, John, or Thomas, a priest in //. Henry VI., introduced in i. 4. He was priest and canon of St. Stephen's in Westminster. He died in the Tower before the time for his execution.
Sowl (pull), Coriolanus, iv. 5.
Sowter (cobbler), name of a hound, Twelfth Night, ii. 5.
Spain, Comedy of Errors, Hi. 2 ; Love's Labour's Lost, i. 1.
Span-counter, II. Henry VI., iv. 2. A game in which the second player won by throwing his counter or coin within a span of that
of the first.
Spaniel, love like a, Two Gentlemen of Verona, iv. 2 ; to play
the, Midsummer Night's Dream, ii. 2 ; Henry VIII., v. 2; Antony
and Cleopatra, iv. 10.
Sparrow, Philip, King John, i. 1. The sparrow was called
Philip because its note was thought to sound like the name ; care of
Providence for the, As You Like It, ii. 3 ; Hamlet, v. 2.
Spavins, Taming of the Shrew, Hi. 2 ; Henry VIII., i. 3.
Speaking, to the purpose, A Winter's Tale, i. 2, " I have spoke ; "
Perdita's, iv. 3 or 4 ; is for beggars, Troilus and Cressida, Hi. 3.
Spectacles, a pair of, Troilus and Cressida, iv. 4.
Speculation (vision), no, in those eyes, Macbeth, Hi. 4,' turns
not to itself till it hath travelled, Troilus and Cressida, Hi. 3.
Sped (finished), Taming of the Shrew, v. 2, end.
Speech, free, Taming of the Shrew, iv. 3; too much, All's Well
that Ends Well, i. 1; a warlike. King John, ii. 1 or 2 ; daggers in,
Hamlet, Hi. 2; by the card, Hamlet, v. 1; rude in, Othello, i. 3;
wild, Troilus and Cressida, i. 3; 'tis a kind of good deed to say
well, and yet words are no deeds, Henry VIII., Hi. 2 ; one excellently well penned, Twelfth Night, i. 5 ; sweet, A Winter's Tale ;
Hotspur's, imitated by the valiant, _ZZ Henry IV., ii. 3.
Speed (success), A Winter's Tale, Hi. 2.
Speed, the keen-witted servant of Valentine in the Two Gentlemen of Verona, introduced in i. 1.
Spells, /. Henry VI., v. 4; Merry Wives of Windsor, iv. 2 ;
Antony and Cleopatra, iv. 10. See CHARMS.
Spendthrift. See EXTRAVAGANCE.
Spenser, Passionate Pilgrim, viii.
Sper (bar), Troilus and Cressida, prologue.
Spet (old past of spit), Merchant of Venice, i. 3.
Sphere, to be in too high a, Antony and Cleopatra, ii. 7.
Spheres, discord in the, As You Like It, ii. 7; music from the,
Twelfth Night, Hi. 1 ; spherical predominance, King Lear, i. 2. See
ASTROLOGY.
Spider(s), the painter plays the, Merchant of Venice, Hi. 2 ; in
the cup, A Winter's Tale, ii. 1; a bottled, Richard III., i. 3 ; iv. 4;
supposed to suck up venom, Richard IL, Hi. 2; -like, Henry VIII,,
i. 1; a brain more busy than the, //. Henry VI., Hi. 1.
Spinster, a, on a wife's duty reasons for being a, Comedy of
Errors, ii. 1.
Spirits (courage, disposition), for anything not dishonourable,
Measure for Measure, Hi. 1 ; coy and wild, Much Ado about Nothing, Hi. 1; undaunted, in a dying breast, /. Henry VI., Hi. 2 ; wanton, Troilus and Cressida, iv. 5 ; high, before death, Romeo and
Juliet, v. 3 ; I see there's mettle in thee, Othello, iv. 2.
Spirits (souls), finely touched to fine issues, Measure for Measure, i. 1 ; the delighted, see DELIGHTED ; a thousand in one breast,
Richard, IL, iv. 1; cannot be kept in bondage, Julius Caesar, ii. 1;
that gallant, hath aspired the clouds, Romeo and Juliet, Hi. 1.
Spirits (of the air), in a cloven pine, The Tempest, i. 2 ; from
the vasty deep, /. Henry IV., Hi. 1; from under earth, 1. Henry VI,,
v. 3 ; 11. Henry VI., i. 2 ; ii. 1 ; of peace, Henry VIII., iv. 2 ; that
tend on mortal thoughts, Macbeth, i. 5 ; the Martii, or spirits of revenge, the authors of murders ; black and white, red and gray, Macbeth, iv. 1 ; the extravagant and erring, Hamlet, i. 1.
Spirits (ghosts), damned spirits all, Midsummer Night's Dream,
Hi. 2 ; may walk again, A Winter's Tale, Hi. 3 ; II. Henry VI., i.
4; no blood in, Julius Ccesar, ii. 1; will speak, Hamlet, i. 1; at
death, Sonnet Ixxiv. See GHOSTS.
Spleen, the, connected with laughter, Measure for Measure, ii.
2; Love's Labour's Lost, v. 2 ; Taming of the Shrew, induction, 1;
Twelfth Night, Hi. 2.
Spleen (passion), Midsummer Night's Dream, i. 1; of a weasel,
I. Henry IV., ii. 3 ; of all the fiends, Coriolanus, iv. 1; the venom
of, Julius Ccesar, iv. 3,
Spleen (impetuosity), I. Henry VI., iv. 6 ; Richard III., v. 3.
Spoils, offered, Coriolanus^ i. 9; despised, Coriolanus, ii. 2; not
distributed, Hi. 3; heavy, v. 5.
Sponge (drunkard), Merchant of Venice, i. 2 ; a king's favourite, Hamlet, iv. 2 or v. 6.
Spoon(s), a long, to eat with the devil, The Tempest, ii. 2 ;
Comedy of Errors, iv. 3 ; you'd spare your, Henry VIII., v. 2.
The last refers to the christening-spoons given by the sponsors,
sometimes called apostle-spoons, because they bore each an image
of one of the apostles.
Sport, that pleases best, Love's Labour's Lost, v. 2, " Nay, my
good lord," etc.; o'erthrown by sport, Love's Labour's Lost, v. 2;
for ladies, As You Like It, i. 2 ; rural, A Winter's Tale, iv. 3, 4 ;
very reverend, Love's Labour's Lost, iv. 2; painful, The Tempest,
Hi. 1.
Spot(s), of blood, Macbeth, v. 1 ; of anger, Julius Ccesar, i. 2.
Sprag (alert), Merry Wives of Windsor, iv. 1.
Sprighted (haunted), Cymbeline, ii. 3.
Spring, Love's Labour's Lost, v. 2, song ; Romeo and Juliet, i.
2 ; Sonnet xcviii. ; Passionate Pilgrim, xxi. ; song of, Love's Labour's Lost, v. 2 ; flowers of, A Winter's Tale, iv. 3.
Spurs (the long roots of trees), Cymbeline, iv. 2 ; The Tempest, v. 1.
Spy, accusation of being a, The Tempest, i. 2 ; commissioning
a, Hamlet, ii. 1.
Squander (scatter), Merchant of Venice, i. 3; squandering
glances of the fool, As You Like ft, ii. 7.
Square (quarrel), Antony and Cleopatra, Hi. 11 or 13, and elsewhere.
Square, of sense, the, King Lear, i. 1. Obscure ; perhaps the
four quarters or complete domain of sensation.
Squares, the brave, of war, Antony and Cleopatra, Hi. 9.
Squash (an unripe peas-cod), Twelfth Night, i. 5; A Winter's
Tale, i. 2 ; Midsummer Night's Dream, Hi. 1.
Squier (square), A Winter's Tale, v. 2 ; I. Henry IV., ii. 2.
Squirrel, the joiner, Romeo and Juliet, i. 4 ; hoard of the, Midsummer Night's Dream, iv. 1.
Staff, a, is soon found to beat a dog, II. Henry VI., Hi. 1.
Stafford, the Lord of, I. Henry IV. Edmund, fifth Earl of
Stafford.
Stafford, Sir Humphrey, and William his brother, characters in
77. Henry VI., introduced in iv. 2. They are slain in iv. 3, in Cade's
rebellion. Cade calls them silken-coated slaves.
Stafford, Lord, character in 777. Henry VI., addressed by the
king in iv. 1. He was Sir Humphrey Stafford, of Southwyck, a
cousin of the two preceding, a Yorkist, and in the play is ordered
with Pembroke to levy men, and prepare for war ; but he afterward
deserted Pembroke, for which offence he was attainted and beheaded in 1469.
Stafford, Humphrey, Henry, and Edward. See BUCKINGHAM.
Stage, the world a, Merchant of Venice, i. 1 ; As You Like It,
ii. 7; Sonnet xv. See ACTORS.
Staggers, the, Taming of the Shrew, in. 2; All's Well that
Ends Well, ii. 3 ; Cymbeline, iv. 5.
Stains, on those that should be pure, Lucrece, 1. 1009 ; of blood,
Macbeth, v. 1.
Stale (decoy), The Tempest, iv. 1; (stalking-horse, butt), Titus
Andronicus, i. 1 or 2.
Staleness, of the world. Hamlet, i. 2.
Stalking, like a strange soul upon the Stygian banks, Troilus
and Cressida, Hi. 2.
Stalking-horse, As You Like It, v. 4> A real or artificial horse
from behind which a fowler shot his game.
Standard(s), The Tempest, Hi. 2 ; advance your, Richard III.,
v.3.
Stands upon (is incumbent), Richard III., iv. 2 ; Hamlet, v. 2 ;
Antony and Cleopatra, ii. 1.
Stanley, Sir John, character in II. Henry VL, introduced in ii t
/. The Duchess of Gloucester was banished to the Isle of Man and
put into his care. The Stanleys in III. Henry VI. and Richard III.
were his brothers.
Stanley, Sir William, brother of the preceding, character in III*
Henry VI., introduced in iv. 5, where he assists Edward IV. to
escape from Middleham Castle, to which he had been sent by Warwick. In Richard III.) iv. 5, he is named as one of those who have
joined Richmond. The re-enforcements he brought to the field of
Bosworth turned the battle against Richard ; and Richmond, when
he became Henry VII., made him lord chamberlain and one of his
counsellors. He, however, was implicated in the rebellion of Perkin
Warbeck, and was condemned, after a form of trial, and beheaded in
the year 1495.
Stanley, Thomas, Lord, character in Richard III., where he is
also called Derby, though he was not made Earl of Derby until after
the battle of Bosworth. He married the Countess of Richmond, and
was therefore stepfather of Henry VII. He was present when Hastings was seized, and narrowly escaped death. He was sent to the
Tower, but released through Richard, who suspected his loyalty,
and kept his son George as a hostage for his good faith while he sent
him to levy soldiers. He raised the men, but did not bring them on
the field until the last moment, when his brother William's forces
turned the victory to the side of Richmond.
Stanley, George, son of the preceding, is spoken of in Richard
III., iv. 5, as being kept as surety for his father's good faith, " If I revolt, off goes young George's head." He afterward became Lord Strange.
Stannyel, the, checks (the kestrel flies at), Twelfth Night, ii. 5.
Stanzo (old form of stanza), As You Like It, ii. 5.
Star-chamber matter, a, Merry Wives of Windsor, i. 1. The
old court of star-chamber had jurisdiction in cases of riots.
Starchy. See STRACHY.
Starling, a, taught to speak, /. Henry IV., i. 3.
Star(s), shine no brighter for astronomers, Love's Labour's Lost,
i. 1 ; harmony of the, Merchant of Venice, v. 1; a bright particular, All's Well that Ends Well] i. 1; two, not in one sphere, /. Henry
IV., v.4; cinders of the element, II. Henry IV., iv. 3; Diana's
waiting-women, Troilus and Cressida, v. 2 ; cut him out in little,
Romeo and Juliet, Hi. 2; the northern, Julius Ccesar, Hi. 1; a
shooting, Venus and Adonis, I. 815 ; influence of, see ASTROLOGY.
Starve-lackey, the rapier and dagger man, a prisoner mentioned in Measure for Measure, iv. 3.
Starveling, Robert, a tailor, character in the Midsummer Night's Dream, introduced in i. 2. He is cast for the part of Thisby's mother in the play of the artisans, but, as she has nothing to say,
he acts the part of moonshine.
State, diseases of the, II. Henry IV., iv. 1 ; considerations of,
in marriage, Hamlet, i. 3.
States, the married calm of, Troilus and Cressida, i. 3 ; when
mighty, characterless are grated to dusty nothing, iii. 2.
Station, effect of high, on the wise and on the foolish, Measure
for Measure, ii. 4; dignified by deeds, All's Well that Ends Well,
ii. 3, " From lowest place," etc. ; being in too high a, Antony and
Cleopatra, ii. 7.
Station (attitude), Hamlet, iii. 4.
Statist (statesman), Cymbeline, ii. 4 / Hamlet, v. 2.
Statue, unveiling of a. A Winter's Tale, v. 3.
Stature, of Hermia and Helena, Midsummer Night's Dream,
iii. 2 ; of Rosalind, As You Like It, i. 3.
Statute-caps, Love's Labour's Lost, v. 2. Caps prescribed by
law for persons below a certain rank.
Stealing, by line and level, The Tempest, iv. 1; the way to,
Merry Wives of Windsor, i. 3 ; the wise call it conveying, Merry
Wives of Windsor, i. 3 ; one's self, Macbeth, ii. 3.
Steel, true as, Troilus and Cressida, iii. 3; Romeo and, Juliet,
i. 4; when steel grows soft, Coriolanus, i. 9.
Stelled (starry), King Lear, Hi. 7.
Stalled (steeled, engraved). Lucrece, I. 1444; Sonnet xxiv.
Stephano, a drunken butler in The Tempest, introduced in ii.
2. The plot that he lays with Caliban and Trinculo, to take the
island and make himself king, is a travesty of the plot of Antonio
and Sebastian.
Stephano, a servant of Portia in the Merchant of Venice, appears in v. 1.
Stepmothers, Cymbeline, i. 1; Midsummer Night's Dream, i. 1.
Sterility, invoked, King Lear, i. 4; charm against, Julius
Ccesar, i. 2.
Steward, in Timon of Athens, in some versions Flavius, q. v.
Stewardship, of talents, Measure for Measure, i. 1, " Thyself
and thy belongings," etc.
Stickler (one who separates combatants, an arbitrator), Troilus
and Cressida, v. 9.
Stigmatic (one marked, as by being branded for crime ; also applied to a deformed person), //. Henry VL, v. 1; III. Henry VI.,
ii. 2.
Stillitory (distillery), Venus and Adonis, 1. 443.
Stoccata (a sword-thrust), Romeo and Juliet, Hi. 1.
Stock-fish (dried cod), L Henry IV., ii. 4, and elsewhere.
Stocks, punishment in the, Two Gentlemen of Verona, iv. 4 ;
All's Well that Ends Well, iv. 3 ; King Lear, ii. 2, 4 ; Coriolanus,
v. 3; Richard II., v. 5 ; Comedy of Errors, Hi. 1; Merry Wives of
Windsor, iv. 5 ; " Bilboes," a kind of stocks used at sea, a bar of
iron to link together mutinous sailors, are spoken of in Hamlet,
v. 2. The name comes from Bilboa, a place in Spain where steel
instruments were made.
Stomach (variously used for appetite, pride, ambition, courage,
anger), Two Gentlemen of Verona, i. 2; Taming of the Shrew, v. 2;
I. Henry IV., ii. 3 ; Henry VIII.. iv. 2.
Stomaching (holding grudges), Antony and Cleopatra, ii. 2.
Stone-bow (cross-bow for shooting stones), Twelfth Night, ii. 5 Stones (the enamelled), Two Gentlemen of Verona, ii. 7 ; precious, Lover's Complaint, I. 210; from slings, Henry V. iv. 7 ; base,
made precious, Richard III., v. 3.
Stony-Stratford, a market-town of Berkshire, Richard III.,
ii. 4.
Storm(s), raised by magic, The Tempest, i. 1, 2 ; v. 1 ; at sea,
Comedy of Errors, i. 1; A Winter's Tale, Hi. 3; stillness before a, Hamlet, ii. 2; Othello, ii. 1; Pericles, Hi., prologue, 1; on the heath, King Lear, ii. 4, end; Hi. 1, 2; betokened by a red morn, Venus and Adonis, I. 453. See TEMPESTS.
Stover (fodder), The Tempest, iv. 1.
Strachy, lady of the, Twelfth Night, ii. 5. An obscure allusion, conjectured by some to refer to a story of a lady of the house
of Strozzi ; by others that " it was a hint to the audience to expect
subsequent allusion to the Starchy affair" that is, exorcisms attempted by Puritan ministers in the case of a family named Starchy,
and that these allusions were in the scene where the clown, as Sir
Topas, attempts to cast out the supposed devil from Malvolio (iv. 2}.
Dyce defines it as the judge's or lawyer's widow.
Strain, of noble, Much Ado about Nothing, ii. 1 ; Julius Ccesar,
v. 1 ; of man, bred out into baboon and monkey, Timon of Athens,
i. 1 ; a degenerate, Troilus and Cressida, ii. 2.
Strange, passing, Othello, i. 3; more, than fiction, Twelfth
Night, Hi. 4*
Strangers, I do desire we may be better, As You Like It, Hi. 2.
Strappado, I. Henry IV., ii. 4. A kind of torture, produced
by drawing a man up by his arms, which were tied behind, and letting him fall with a jerk.
Stratagems. See PLOTS.
Strato, a servant of Brutus in Julius Ccesar, appears in v. 5.
Straw, a wisp of, ///. Henry VI., ii. 2. Scolds and wantons
were often crowned with a wisp of straw when punished.
Strawberries, grow under the nettle, Henry V., i. 1 ; in the
bishop's garden, Richard III., Hi. 4.
Stream, music of a, Two Gentlemen of Verona, ii. 7.
Strength. See GIANT, HERCULES.
Stricter (more restricted), Cymbeline, v. 4.
Strife, among peoples of one faith, I. Henry VI., v. 1.
Strikers (borrowers, thieves), /. Henry IV., ii. 1.
Striving, to do better than well, King John, iv. 2 ; King Lear,
i.4.
Strokes, bad, with good words. Julius Ccesar, v. 1.
Stuart kings, the, Macbeth, iv. 1. See APPARITIONS.
Student-life, Shallow's, //. Henry IV., Hi. 2.
Study, aim and fruitlessness of, Love's Labour's Lost, i. 1; iv.
3 ; most profitable when congenial, Taming of the Shrew, i. 1.
Stuff, such, as dreams are made of, The Tempest, iv. 1 ; as madmen tongue and brain not, Cymbeline, v. 4.
Styga, per, etc., Titus Andronicus, ii. 1. "I am dragged
through the Styx, through the ghosts." SENECA.
Style, aggravate his (add to his titles), Merry Wives of Windsor,
ii. 2 ; a boisterous and cruel, As you Like It, iv. 3 ; a tedious, 1.
Henry VI., v. 1.
Styx, to hover on the shore of, Titus Andronicus, i. 1 or 2 ; like
a stray soul upon the banks of, Troilus and Cressida, Hi. 2 ; v. 4.
Submission, of a son, II. Henry IV., v. 2; Richard III., ii. 2;
a French word, /. Henry VI., v. 1. See OBEDIENCE.
Subordinates, danger of too great fame to, Antony and Cleopatra, Hi. 1.
Subordination, necessity of, Troilus and Cressida, i. 3.
Subscribed (signed away), King Lear, i. 2.
Subscription (submission), King Lear, Hi. 2.
Subtle (smooth), Coriolanus, v. 2.
Subtleties, The Tempest, v. 1. Metaphor from an old name for
fancy viands.
Subtracters (detractors), Twelfth Night, i. 3.
Suburbs, Measure for Measure, i. 2. Such people " lived mostly
in the suburbs of London in Shakespeare's day." WHITE. Dwell I
but in the suburbs of your good pleasure ? Julius Ccesar, ii. 1.
Success, bad, of things ill-got, ///. Henry VI., ii. 2.
Success (succession), A Winter's Tale, i. 2.
Sufferance, the badge of, Merchant of Venice, i. 3 ; of a dying
beetle, Measure for Measure, Hi. 1; ease comes of, //. Henry IV.,
v. 4; lingering, Measure for Measure, ii. 4.
Suffering, fellowship in, King Lear, Hi. 6, end; unmerited,
Richard 11., v. 1 ; King Lear, v. 2.
Suffolk, Michael de la Pole, third Earl of. His death and that
of the Duke of York, at Agincourt, are pathetically described in
Henry V., iv. 6. He is again mentioned in iv. 8. The Suffolk of /.
Henry VI. was his brother and successor in the earldom.
Suffolk, William de la Pole, fourth Earl of, afterward Duke,
character in I. Henry VI., introduced in ii. 4, and in II. Henry VI.,
introduced in the first scene. He held high command in France
under the regent Bedford, and was sent to negotiate the marriage of
the king with Margaret of Anjou. According to the play, they were
deeply attached to each other. Holinshed says the queen " entirely
loved the duke." There is a prophecy concerning him in //. Henry
VI., i. 4, alluded to again in iv. 1. He was unpopular with the
people for having given up Anjou and Maine, and was accused of murder of his rival, Humphrey of Gloucester. He was condemned on a charge of treachery, and banished by the king, //. Henry VI., Hi. 2. On his way from the country he was seized and put
to death by pirates, iv. 1.
Suffolk, Charles Brandon, Duke of, character in Henry VII I.,
introduced in *. 2. He was the son of Sir William Brandon, who
fell on Bosworth Field. He was called the handsomest man of his
day, and was a great favourite with the king, with whom he was
brought up. He married, for his third wife, Henry's sister, Mary
Tudor, widow of Louis XII. of France. The unequal marriage gave
occasion for the lines :
" Cloth of frieze be not too bold,
Though thou art matched with cloth of gold ;
Cloth of gold do not despise,
Though thou art matched with cloth of frieze."
Suggest, suggestion (tempt, temptation), The Tempest, ii. 1;
AWs Well that Ends Well, Hi. 5; I. Henry IV., iv. 3; Lucrece, I.
37 ; Sonnet cxliv ; Macbeth, i. 3, and elsewhere.
Suicide, The Tempest, Hi. 3 ; Romeo and Juliet, v. 3 ; cowardly,
Romeo and Juliet, Hi. 3; Julius Ccesar, i. 3; v. 1; shortens the
time of fearing death, Julius Ccesar, Hi. 1 ; the Almighty's canon
'gainst, Hamlet, i. 2 ; soliloquy on, Hamlet, Hi. 1 ; burial of a, Hamlet, v. 1; Gloucester's intended, King Lear, iv. 6; v. 2; Roderigo's
contemplated, Othello, i. 3; of Othello, v. 2 ; of Antony, Antony and
Cleopatra, iv. 12 or 14 ; is it sin *? Antony and Cleopatra, iv., end ;
of Cleopatra, Antony and Cleopatra, v. 2; prohibition against, Cymbeline, Hi. 4.
Suitors, discussion of, Merchant of Venice, i. 2 ; Taming of the
Shrew, ii. 1 ; poor, have strong breaths, Coriolanus, i. 1. See LOVERS, LOVE-MAKING.
Sullenness, Much Ado about Nothing, i. 3.
Summer, brevity of, Sonnet xviii ; St. Martin's, I. Henry VI.,
i. 2 ; short summers have a forward spring, Richard III., Hi. 1.
Sun, the, adoration of, AWs Well that Ends Well, i. 3, " Thus
Indian-like," etc. ; that orbed continent, Twelfth Night, v. 1 ; looks
on all alike, A Winter's Tale, iv. 3 or 4 ; plays the alchemist, King
John, Hi. 1 ; wandering knight imitate the, /. Henry IV., i. 2 ; in
March, nourishes agues, I. Henry IV., iv. 1 ; his fiery car, Richard,
III., v. 3 ; as certain as it is fire, Coriolanus, v. 4 ; Juliet is the, Romeo and Juliet, ii. 2 ; if Caesar can hide it with a blanket, Julius Ccesar, Hi. 1 ; too much in the, Hamlet, i. 2 ; perhaps an allusion to the meaning of the expression as homeless and friendless ; influence of eclipses of, King Lear, i. 2 ; burn the great sphere, Antony and
Cleopatra, iv. 12 or 14; weary, Venus and Adonis, I. 178 ; his daily
course, Sonnet mi ; the shadowed livery of the burnished, Merchant
of Venice, ii. 1 ; men shut their doors against a setting, Timon of
Athens, i. 2; the sun's a thief, and with his great attraction \obs
the vast sea, Timon of Athens, iv. 3.
Sun(s), our half-faced, II. Henry VI., iv. 1. The device of Edward IV. ; three, III. Henry VI., ii. 1. An historical incident.
Sunday(s), sigh away, Much Ado about Nothing, i. 1 ; marriage
on, Taming of the Shrew, ii. 1. Sunday was a favourite day for the
ceremony.
Sunflower (marigold), the, A Winter's Tale, iv. 3 or 4.
Sunrise, Love's Labour's Lost, iv. 3 ; Richard IL, ii. 3 ; 1.
Henry IV., v. 1; Romeo and Juliet, i. 1; ii. 3 ; Hi. 5 ; Venus and
Adonis, 1. 860 ; Sonnet xxxiii.
Sunset, King John, v. 4; Richard IL, ii. 4; Richard III., v.
3 ; Julius Ccesar, v. 3.
Superfluity, disadvantage of, Merchant of Venice, i. 2 ; to gild
refined gold, to paint the lily, King John, iv. 2.
Superfluous (too rich), King Lear, iv. 1.
Supernatural, the, discredited, All's Well that Ends Well, ii.
3; belief in, Julius Ccesar, i. 3 ; Macbeth, Hi. 4, "Can such things
be," etc. See also OMENS and SUPERSTITIONS.
Superstitions, regarding fairies, Merry Wives of Windsor, iv.
4 ; v. 5 ; odd numbers, Merry Wives of Windsor, v. 1 ; the jewel in
the toad's head, As You Like It, ii. 1 ; that a man rescued from
drowning would do his rescuer some injury, Twelfth Night, ii. 1,
" If you will not murder me," etc. ; Pandulph shows how they may
be turned to account, King John, Hi. 4, " How green you are," etc. ;
concerning eclipses, Macbeth, ii. 3 ; Hamlet, i. 1; King Lear, i. 2 ;
that the murdered bleed at the presence of the murderer, Richard
III., i. 2 ; that blood will have blood, Macbeth, Hi. 4 > concerning
the dead on shipboard, Pericles, Hi. 1. See also OMENS, GHOSTS,
DREAMS, MAGIC, and WITCHCRAFT. Coleridge says, "Superstition
of one sort or another is natural to victorious generals," and Shakesspeare attributes superstitious fears to Macbeth and Caesar.
Supplication, Measure for Measure, ii. 2 ; Two Gentlemen of
Verona, Hi. 1.
Sur-addition (surname), Cymbeline, i. 1.
Surfeit, the father of fast, Measure for Measure, i. 3; of honey, L Henry IV., Hi. 2 ; of good things, Merchant of Venice, i. 2. See
EXCESS.
Surge, the murmuring, King Lear, iv. 6.
Surgeons and surgery, allusions to: Midsummer Night's Dream, v. 1 ; Merchant of Venice, iv. 1 ; Twelfth Night, v. 1 ; I.
Henry IV., v. 1; Henry V., iv. 1; Troilus and Cressida, v. 1 ; Macbeth, iv. 3 ; King Lear, iv. 6; Othello, ii. 3.
Surplice, of humility, All's Well that Ends Well, i. 3. Alluding to the controversy about wearing the surplice.
Surprise. See ASTONISHMENT.
Surreined (overworked), Henry V., Hi. 5.
Surrender, summons to, King John, ii. 1 or 2 ; Henry V.,
Hi. 3.
Surrey, Thomas Holland, Duke of, character in Richard II., introduced in i. 3. His father was the king's half-brother, a son of
Joan, " the fair maid of Kent," by her first husband, Sir Thomas
Holland. He acted as marshal at the meeting of Mowbray and
Bolingbroke, i. 3, in place of Mowbray, who was hereditary earlmarshal. At the accession of Henry IV. he was deprived of his
title, Duke of Surrey, which he was the first to bear, and which has
never been revived, but kept his former title, Earl of Kent. He
afterward joined in the conspiracy against Henry, was taken and
executed, and his head set on London Bridge.
Surrey, Thomas Fitz-Alan, Earl of, enters in //. Henry IV., Hi.
1, but does not speak.
Surrey, Thomas Howard, Earl of, character in Richard III.,
introduced in v. 3. He was the son of the Duke of Norfolk in this
play, and is the Duke of Norfolk in Henry VIII. After the battle
of Bosworth he was attainted, imprisoned, and deprived of his title ;
but he was released after three years, and restored to the title of
Earl of Surrey. He commanded the English forces at Flodden
Field in 1513, and for that service was restored to his father's rank
and title as Duke of Norfolk. See NORFOLK.
Surrey, Thomas Howard, Earl of, character in Henry VIII., introduced in in. 2. He was a son of the preceding. He also served
at Flodden, and was afterward Lord Admiral of England and Lord
Lieutenant of Ireland. The latter post he charges Wolsey in Hi. 3
with having obtained for him to get him away from the country, so
that he could not aid Buckingham, who was his father-in-law. His
son was the famous Earl of Surrey, scholar and poet, who was executed by order of Henry VIII. Norfolk, the character in this play, was destined for the same fate, but escaped by the death of the king the day before the one fixed for his execution.
Surveyor, of the Duke of Buckingham, in Henry VIII.. was
Charles Knevet or Knivet, cousin of the duke. He testifies against
his master in i. 2.
Suspicion, Merchant of Venice, i. 3 ; A Winter's Tale, i. 2 ; iv.
1 or 2 ; ever on a traitor, /. Henry IV., v. 2 ; ready tongue of, II.
Henry IV., i. 1; ground for, II. Henry VI., Hi. 2; haunts the
guilty, III. Henry VI., v. 6 ; want of, in innocence, King Lear, i. 2,
end ; poison, Othello, Hi. 3 ; against Macbeth, Hi. 6 ; ornament of
beauty (suspect), Sonnet Ixx; aroused, Hamlet, Hi. 2.
Sutton-Co'fil (Coldfield), I. Henry IV., iv. 2. A town about
twenty-four miles north of Coventry.
Swallow, the, A Winter's Tale, iv. 3 ; Timon of Athens, Hi. 6 ;
ominous, Antony and Cleopatra, iv. 12.
Swan(s), dying song of the, Merchant of Venice, Hi. 2 ; King
John, v. 7 ; Othello, v. 2 ; Lucrece, I. 1611 ; thy, a crow, Romeo and
Juliet, i. 2 ; let the priest be the death-divining swan, The Phoenix
and the Turtle.
Swans, Juno's (for peacocks), As You Like It, i. 2.
Swarths (swaths), Twelfth Night, ii. 3.
Swashers, three, Henry V., Hi. 2.
Swashing (swaggering), As You Like It, i. 3.
Swearing, like a lady like a comfit-maker's wife, I. Henry IV.,
Hi. 1, near the end ; by a gentleman, Cymbeline, ii. 1 ; why should
I think you can be mine, and true, though you in swearing shake
the throned gods ? Antony and Cleopatra, i. 3. See OATHS.
Sweet Cytherea sitting by a brook, Passionate Pilgrim, iv.
Sweet love, renew thy force, Sonnet Ivi.
Sweet marjoram, King Lear, iv. 6.
Sweetness, in speech, Julius Ccesar, v. 1.
Sweet rose, fair flower, Passionate Pilgrim, x.
Sweets, sour in digestion, Richard II., i. 3 ; to the sweet, Hamlet, v. 1 ; grown common, Sonnet cii.
Sweno, King of Norway, brought an army to Fife, and, with
the aid of Cawdor, vanquished the Scots at Culros, but was afterward beaten by Macbeth, Macbeth, i. 2.
Swiftness, like the arrow, Midsummer Night's Dream, Hi. 2 ;
of hope, Richard III., v. 2.
.. Swimmers, as two spent, Macbeth, i. 2.
Swimming, Ferdinand's, The Tempest, ii. 1; by Cassar and
Cassius, Julius Ccesar, i. 2.
Swinge (whip), Taming of the Shrew, v. 2, and elsewhere.
Swinge-bucklers (carousers), II. Henry IV., Hi. 2.
Swinstead Abbey, King John, v. 3, 6, 7. Swinstead, or Swineshead, is in Lincolnshire, seven miles from Boston, and was itself once
a port, the sea flowing up to its market-place, which was a harbour.
John did not die there, as in the play, but at Newark Castle, in Nottinghamshire. The story of his death is thus told by Roger of Wendover : " While Louis was continuing the siege of Dover for a length
of time, and without success, John, with a large force, had been committing terrible ravages in the counties of Suffolk and Norfolk. At
last he took his way through the town of Lynn, where he was received with joy by the inhabitants, and received large presents from
them. He then took his march toward the north, bnt in crossing
the river Wellester, he lost all his carts, wagons, and baggage-horses, together with his money, costly vessels, and everything which
he had a particular regard for ; for the land opened in the middle of
the water and caused whirlpools, which sucked in everything, as
well as men and horses, so that no one escaped to tell the king of the
misfortune. He himself narrowly escaped with his army, and passed
the following night at a convent called Swineshead, where, as was
thought, he felt such anguish of mind about his property which was
swallowed up by the waters, that he was seized with a violent fever
and became ill ; his sickness was increased by his pernicious gluttony,
for that night he surfeited himself with peaches and drinking new
cider, which greatly increased and aggravated the fever in him. He
however left that place at early dawn, although in pain, and proceeded to the castle of Lafort [Sleaford] to take up his quarters, and
at this place he was in such pain, that on the following day it was
with difficulty that he reached Newark on horseback; there his disease gained ground, and he confessed himself and received the
eucharist from the Abbot of Croxton. . . . Being then asked by the
abbot where he would wish to be buried in case he should die, he
answered, ' To God and St. Wolstan I commend my body and soul.'
After this, on the night next after St. Luke the Evangelist's day
[October 19, 1216] he departed this life, having reigned eighteen
years and a half ; his body was dressed in royal robes and carried to
Worcester, and was there honourably buried in the cathedral church
by the bishop of that place." Nothing now remains of the original
abbey, which was founded in 1154. It was demolished in 1610, and the materials were built into a stone mansion, known also as Swineshead Abbey.
Switzers, Hamlet, iv. 5 or 2. Mercenary soldiers, the king's
guards. The Swiss served various countries as mercenaries.
Sword(s), a charmed, The Tempest, i. 2 ; to open the world
with, Merry Wives of Windsor, ii. 2 ; study the word and the,
Merry Wives of Windsor, Hi. 1; wooed with the, Midsummer Night's Dream, i. 1; sworn by, A Winter's Tale, ii. 3 ; Hamlet, i.
5; hidden with crowns, Henry V., ii., chorus; of a lath, //. Henry
VL, iv. 2 ; carve a passage with voice in the, Macbeth, v. 7 ; tender-mindedness does not become a, King Lear, v. 3 ; of heaven,
Measure for Measure, Hi. 2 ; eat, Much Ado about Nothing, iv. 1 ;
Troilus and Cressida, ii. 3.
Sword-and-buckler, prince, a, T. Henry IV., i. 3. The buckler
was deemed a " clownish, dastardly weapon."
Sword-dance, allusion to, All's Well that Ends Well, ii. 1 ; Antony and Cleopatra, Hi. 2, A dance in which skill was shown in the
handling and striking together of swords.
Swordsmen, old, Merry Wives of Windsor, ii. 3.
Sycophants, Timon of Athens, Hi. 6 ; King Lear, ii. 2, " Such
smiling rogues as these," etc.
Sycorax, a witch, mother of Caliban in The Tempest, spoken of
in i. 2 ; v. 1. She had had Ariel for her servant, and for disobedience shut him up in a cloven pine, from which Prospero released
him after a dozen years.
"As long as I can remember the play of The Tempest, one passage in it has always set me upon wondering. It has puzzled me beyond measure. ... It is where Prospero, relating the banishment of Sycorax from Argier, adds :
* For one thing that she did, ,
They would not take her life.'
... At length I think I have lighted upon a clue which may lead to
show what was passing in the mind of Shakespeare when he dropped
this imperfect rumour. In the ' Accurate Description of Africa,' by
John Ogilby, folio, 1670, page 230, 1 find written as follows: 'In the
last place, we will briefly give an account of the Emperor Charles
the Fifth, when he besieged this city [Algier]. This prince, in the
year 1541, having embarqued upon the sea an army of 22,000 men
aboard eighteen galleys and an hundred tall ships, not counting the
barques and shallops, and other small boats, in which he had engaged the principal of the Spanish and Italian nobility with a good
number of the Knights of Malta. . . . They next fell to battering
the city by the force of cannon ; which the assailants so weakened,
that in that great extremity the defendants lost their courage and resolved to surrender. But as they were thus intending, there was a witch of the town, whom the history does not name, which went to seek out Assam Aga, that commanded within, and prayed him to make it good yet nine days longer, with assurance that within that
time he should infallibly see Algier delivered from that siege, and
the whole army of the enemy dispersed so that Christians should be
as cheap as birds. In a word, the thing did happen in the manner
as foretold ; for, upon the 21st day of October, in the same year,
there fell a continual rain upon the land, and so furious a storm at
sea, that one might have seen ships hoisted into the clouds and in
one instant again precipitated into the bottom of the water : insomuch that that same dreadful tempest was followed with the loss of
fifteen galleys and above an hundred other vessels ; which was the
cause why the Emperor, seeing his army wasted by the bad weather,
pursued by a famine, occasioned by wrack of his ships in which was
the greater part of his victuals and ammunition, he was constrained
to raise the siege, and set sail for Sicily, whither he retreated with
the miserable reliques of his fleet. In the meantime, that witch
being acknowledged the deliverer of Algier, was richly remunerated
and the credit of her charms authorized. . . . And hereupon those
of Algier, to palliate the shame and the reproaches that are thrown
upon them for making use of a witch in the danger of this siege, do
say that the loss of the forces of Charles V. was caused by a prayer
of one of their Marabous, named Cidy Utica, which was at that time
in great credit, not under the notion of a magician, but for a person
of holy life. Afterwards, in remembrance of their success, they have
erected unto him a small mosque without the Babason gate, where
he is buried, and in which they keep sundry lamps burning in honour
of him ; nay, they sometimes repair thither to make their sola, for a
testimony of greater veneration.' Can it be doubted for a moment,
that the dramatist had come fresh from reading some older narrative
of this deliverance of Algier by a witch, and transferred the merit of
the deed to his Sycorax, exchanging only the * rich remuneration,'
which did not suit his purpose, to the simple pardon of her life ?
Ogilby wrote in 1670 ; but the authorities to which he refers for his
account of Barbary are Johannes de Leo, or Africanus, Louis Marmol,
Diego de Haedo, Johannes Gramaye, Braeves, Cel. Curio, and Diego
de Torres, names totally unknown to me, and to which I beg leave to
refer the curious reader for his fuller satisfaction." CHARLES LAMB.
Sylla, //. Henry VL, iv. 1.
Sympathy, obligation of, The Tempest, v. 1; offered, Merry
Wives of Windsor, ii. 1, letter ; in sorrow, Much Ado about Nothing,
v. 1 ; craving for, Richard II., v. 1 ; ignorant, Lucrece, lines 1228,
1270 ; with the wretched, King Lear, Hi. 4, 6 ; iv. 1 ; in suffering,
Othello, Hi. 3 ; Tempest, i. 2; v. 1.
Syracuse, in Sicily, home of some of the characters in the
Comedy of Errors ; traffic between Ephesus and, i. 1.
Syracuse, Duke of, referred to in the Comedy of Errors, i. 1.
Syria, a plain in, scene of a part of Antony and Cleopatra.
Index A to C
Index D to F
Index G to J
Index K to M
Index N to P
Index T to V
Index W to Z
Shakespeare's plays in order of date written
First performance and first published dates
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