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Table (in chiromancy, the whole collection of lines on the palm),
Merchant of Venice, ii. 2.
Tables (memorandum-tablets), Two Gentlemen of Verona, ii. 7 ;
Hamlet, i. 5 ; Troilus and Cressida, v. 5.
Tabor, music of the, The Tempest, Hi. 2; Ariel's, The Tempest,
iv. 1 ; a fool's, Twelfth Night, Hi. 1 ; Much Ado about Nothing,
ii. 3.
Tabourines, Antony and Cleopatra, iv. 8 ; Troilus and Cressida, iv. 5.
Taciturnity, Troilus and Cressida, iv. 2.
Tailor, abuse of a, Taming of the Shrew, iv. 3 ; to turn, 7". Henry IV., Hi. 1 ; tailors were proverbially fond of music; made by a,
Cymbeline, iv. 1 ; King Lear, ii. 2 ; an exclamation made on falling, Midsummer Night's Dream, ii. 1; goose of a, Macbeth,
ii. 3 ; the, with his last, Romeo and Juliet, i. 2.
Take all my loves, my love, yea, take them all, Sonnet xl.
Take, O take, song, Measure for Measure, iv. 1 (of doubtful
authorship).
Take thine old cloak, stanzas from the song, Othello, ii. 3.
The song is to be found in Percy's " Reliques."
Takes the cattle, Merry Wives of Windsor, iv. 4> An animal
stricken by the fairies with disease was said to be taken.
Taking-(infected) airs, King Lear, ii. 4; (witchcraft), King
Lear, Hi. 4>
Talbot, John. Lord, afterward Earl of Shrewsbury, character in
J. Henry VI. This famous general was taken prisoner by the
French at the siege of Patay in 1429, alluded to in i. 1, where his
bravery at the siege is described. He first appears in i. 4, having
been exchanged for Lord Ponton de Saintrailles. His successes are
enumerated in iii. 4, and he is there made Earl of Shrewsbury, be- fore the king's coronation, which took place in 1431, though, as a
matter of fact, he did not receive the title till 1442. He was afterward made Earl of Waterford and Wexford. In ii. 3 the Countess
of Auvergne alludes to the fact that his name was such a terror in
France that " mothers stilled their babes " with it, and expresses
surprise at the insignificance of the great general's appearance. He
conducted the siege of Bordeaux and took the town, iv. 2-5, and was
defeated and killed at Castillon, iv. 7. This occurred in 1453, long
after the execution of Joan, though it is not so represented in the
play. Talbot's death ended English hopes of dominion in France.
Talbot, young John, son of the Earl of Shrewsbury, character in J. Henry VI., introduced in iv. 5 ; his bravery, iv. 5-7 ; his death,
iv. 7.
Talbot, Sir Gilbert, mentioned in Richard IIL, iv. 5, as one of
the adherents of Richmond, a grandson of the Earl of Shrewsbury
in Henry VI.
Tale, thereby hangs a, Merry Wives of Windsor, i. 4 ; As You
Like It, ii. 7 ; Taming of the Shrew, iv. 1 ; Othello, Hi. 1 ; an ancient, new told, King John, iv. 2 ; an honest, speeds best plainly
told, Richard IIL, iv. 4; a sad, befits winter, A Winter's Tale, ii.
1 ; life like an idiot's, Macbeth, v. 5 ; effect of a frightful, Hamlet, i.
5 ; a round, unvarnished, Othello, i. 3 ; of woe, Richard II., v. 1 ; a
true, Merchant of Venice, Hi. 1.
Tale, as thick as, Macbeth, i. 3. Tally fast as one could count.
Talents, thankfulness for, Love's Labour's Lost, iv. 2 ; hidden,
Twelfth Night, i. 3, " Wherefore are," etc. ; only felt by communications, Troilus and Cressida, iii. 3.
Talents (talons), Love's Labour's Lost, iv. 2.
Talking. See SPEECH, WORDS.
Talker(s), caution to a great, Merchant of Venice, i. 1 ; are no
doers, Richard 111., i. 3 ; exhorted to brevity, Troilus and Cressida,
i. 5 ; like a woman, /. Henry IV., i. 3 ; a voluble knave, Othello,
ii. 1 ; without action, Titus Andronicus, v. 2.
Tall (brave, fine), Twelfth Night, i. 3, and elsewhere.
Tallow-keech, I. Henry IV., ii. 4. A round lump ready to be
carried from the butcher to the chandler.
Taming of the Shrew, The, a comedy first printed in the folio
of 1623. The date of writing has been variously conjectured, the
dates assigned ranging from 1596 to 1606. There was an older play,
" The Taming of a Shrew," by an unknown author, guessed to be
Kobert Greene, published in 1594, but probably on the stage for
some time before. In this there was little of the part of Bianca and
her suitors ; but Shakespeare is not credited with the writing of this
part. It is supposed to be the work of an inferior hand, either a colabourer with him, or one who revamped the old play, and whose
version was in turn revamped by Shakespeare, whose hand appears in
the induction and the scenes in which Petruchio, Katherina, and
Grumio are the chief actors. The story of the induction is told in the
" Arabian Nights." It is given as an anecdote of Philip the Good,
Duke of Burgundy, in Goul art's " Admirable and Memorable Histories," and as " The Waking Man's Dreame " in a collection of comic
stories by Richard Edwards, published in 1570. That part relating to Bianca is founded on Ariosto's " Gli Suppositi," translated by
Gascoigne with the title " Supposes." The story of the shrew has
some resemblance to that in an old poem, " The Curst Wife Lapped
in Morel's Skin." The time of the comedy is the time of Shakespeare.
" That delicious episode, the Induction, presents us with a fragment of the rural life with which Shakespeare himself must have been
familiar in his native county. With such animated power is it written that we almost appear personally to witness the affray between
Marian Racket, the fat ale-wife of Wincot, and Christopher Sly ; to
see the nobleman, on his return from the chase, discovering the insensible drunkard ; and to hear the strolling actors make the offer of
professional services that was requited by the cordial welcome to the
buttery. Wincot is a secluded hamlet near Stratford-on-Avon, and
there is an old tradition that the ale-house frequented by Sly was
often resorted to by Shakespeare for the sake of diverting himself with
a fool who belonged to a neighbouring mill. Stephen Sly, one of
the tinker's friends or relatives, was a known character at Stratford-on-Avon, and is several times mentioned in the records of that town.
This fact, taken in conjunction with the references to Wilmecote and
Barton-on-the-Heath, definitely prove that the scene of the Induction
was intended to be in the neighbourhood of Stratford-on-Avon, the
water-mill tradition leading to the belief that Little Wilmecote, the
part of the hamlet nearest to the poet's native town, is the Wincot
alluded to in the comedy." HALLIWELL-PHILLIPPS.
Taming school, a, Taming of the Shrew, iv. 2.
Tamora, Queen of the Goths, character in Titus Andronicus,
first appears in i. 1 or 2 , as a prisoner, where she pleads for her son,
about to be sacrificed on the tomb of the sons of Titus. She is released, courted by the emperor, and made empress. She asks the
pardon of Titus and his sons, intending to take vengeance on them
treacherously. Her revenge, ii. 3 ; iv. 4 ; disguises herself as Revenge, v. 2 ; killed by Titus, v. 3.
Tarn-worth, a market-town on the border of Staffordshire and
Warwickshire ; plain near, scene of v. 2 in Richard III.
Tanlings (tanned persons), Cymbeline, iv. 4>
Tanta est, Henry VIII., Hi. 1. So great is thy integrity of
mind, most serene queen.
Tanteene, etc., II. Henry VI., ii. 1. "Dwells such wrath in
celestial souls I " VIRGIL.
Tapestry, often called painted cloth, As You Like It, Hi. 2 ;
the story of Cleopatra in, Cymbeline, ii. 4 ; the siege of Troy, Lucrece, L 1367. Proverbial phrases were often wrought on it. Turkish, Comedy of Errors, iv. 1; Tyrian, Taming of the Shrew, ii. 1.
Tapster, jests on a, I. Henry IV., ii. 4; reckoning fit only for a,
Love's Labour's Lost, i. 2.
Tardiness, a, in nature, King Lear, i. 1.
Target, the device of three suns upon that of Edward IV., ///.
Henry VL, ii. 1.
Tarpeian rock, the, Coriolanus, Hi. 1, 2. A precipice near the
Capitol, in Rome, from which traitors and other malefactors were
thrown.
Tarquinius, Lucius, surnamed Superbus, King of Rome, died
about 495 B. c., Lucrece, argument and poem.
Tarquinius, Sextus, Lucrece, argument and poem.
Tarquins, the, allusions to, Titus Andronicus, Hi. 1; iv. 1;
Coriolanus, ii. 1, 2 ; v. 4; Julius Ccesar, ii. 1; Macbeth, ii. 1; Cymbeline, ii. 2.
Tarre (set on), King John, iv. 1 ; and elsewhere.
Tartar (Tartarus), Comedy of Errors, iv. 2 ; Twelfth Night, ii.
5 ; Henry V., ii. 2.
Tartars (cruel and tawny), Merry Wives of Windsor, iv. 5 ;
Midsummer Night's Dream, Hi. 2 ; Merchant of Venice, iv. 1 ; All's
Well that Ends Well, iv. 4 ; Romeo and Juliet, i. 4.
Tassel-gentle, Romeo and Juliet, ii. 2. Properly tercel-gentle,
as in Troilus and Cressida, Hi. 2. The male goshawk, which is
gentle and docile.
Taste, things sweet to, prove in digestion sour, Richard II., i. 3.
Taunts, Antony and Cleopatra, i. 3.
Taurus, born under, Twelfth Night, i. 3. See ASTROLOGY.
Taurus, character in Antony and Cleopatra, introduced in Hi.
8. Caesar's lieutenant-general.
Tavern-bills, Cymbeline, v. 4, " A heavy reckoning."
Tawdry lace (necklace, or cheap lace sold at the fair of St. Audrey or Ethelreda), A Winter's Tale, iv. 3 or 4. St. Audrey was said
to have been addicted to the wearing of necklaces in her youth, and
to have died of a swelling of the throat, as a judgment, she thought,
for her vanity.
Tawny coats, I. Henry VL, i. 3. The color worn by servants
of high dignitaries of the Church.
Taxation, excessive, Richard II., ii. 1; Henry VIII., i. 2;
Julius Ccesar, iv. 3 ; Titus Andronicus, iv. 1. See TRIBUTE.
Taxation (satire), As You Like It, i. 2.
Teaching, difficulty of following one's own, Merchant of Venice,
i. 2; L Henry VL, Hi. 1; Hamlet, i. 3.
Tear(s), decked the sea with, The Tempest, i. 2 ; like winter's
drops, The Tempest, v. 1; Silvia's, Two Gentlemen of Verona, ii. 3;
Hi. 1; of joy, Much Ado about Nothing, i. 1; of the deer, As You
Like It, ii. 1; if ever you have wiped a, As You Like It, ii. 7; to
season praise, All's Well that Ends Well, i. 1; the rainbow in,
Airs Well that Ends Well, i. 3; drowned with, Twelfth Night, ii.
1 ; not prone to, A Winter's Tale, ii. 1 ; Arthur's, King John, ii. 1 ;
like a proud river, King John, Hi. 1 ; villainy is not without, King
John, iv. 3 ; of a man, King John, v. 2 ; Henry V., iv. 6 ; Henry
VIII., Hi. 2 ; v. 1 ; Lucrece, I. 1790; will make foul weather despised dig graves with, etc., Richard II., Hi. 3 ; a world of water,
I. Henry IV., Hi. 1 ; for babes, ///. Henry VI., ii. 1 ; with every
word. ///. Henry VI., v. 4 ; millstones for, Richard III., i. 3 ; the
watery morn, Richard III., ii. 2 ; like honey on a lily, Titus Andronicus, Hi. 1 ; of joy, Timon of Athens, i. 2 ; Romeo and Juliet,
Hi. 5 ; a house of, Romeo and Juliet, iv. 1 ; prepare to shed, Julius
Caesar, Hi. 2 ; I forbid my, Hamlet, iv. 7 or ^, end ; women's weapons, King Lear, ii. 4 / of Lear, King Lear, Hi. 7 ; of Cordelia, King
Lear, iv. 3 ; crocodile, II. Henry VI., Hi. 1; Othello, iv. 1; where
be the sacred vials, Antony and Cleopatra, i. 3 ; of Antony, Antony
and Cleopatra, Hi. 2; of despair, Venus and Adonis, I. 956; of
sympathy, Lucrece, lines 1136, 1270 ; of men, Lucrece, I. 1790 ; of
one forsaken, Lover's Complaint, lines 40, 50 ; witchcraft in, Lover's
Complaint, 1. 288; cause illusions, Richard II., ii. 2; Titus and
Andronicus, Hi. 2.
Tearsheet, Doll. See DOLL TEARSHEET.
Te Deum, sung, Henry V., iv. 8 ; Henry VIII., iv. 1.
Tedicmsness, in talk, I. Henry IV., Hi. 1, " I cannot choose/*
etc. ; Measure for Measure, Hi. 1; as tedious as a king, Much Ado
about Nothing, Hi. 5 ; tedious and brief, Midsummer Night's Dream,
v. L
Teen (anxiety, sorrow), The Tempest, i. 2 ; Love's Labour's Lost,
iv. 3 ; Richard III., iv. 1 ; Romeo and Juliet, i. 3.
Teeth, significance of being born with, III. Henry VI., v. 6;
did it from his, Antony and Cleopatra, Hi. 4. Only outwardly, not
from the heart. A great man, I'll warrant ; I know by the picking
on's teeth. Winter's Tale, iv. 3 or 4.
Telamon (Ajax), Antony and Cleopatra, iv. 11 or 13, 12 or 14.
Tell me, where is fancy bred P song, Merchant of Venice,
Hi. 2.
Tellus (the earth), Hamlet, Hi. 2; Pericles, iv. 1.
Temperance, As You Like, It, ii. 3 ; ask God for, Henry VIIL,
i. 1 ; Othello, ii. 3.
Tempest, a, foretold, /. Henry IV., v. 1 ; a, Julius Ccesar, i. 3 ;
Lear contending with the, King Lear, Hi. 1, 2 ; ill-omened, Henry
VIIL, i. 1 ; Macbeth, ii. 3. See STORMS.
Tempest, The, is one of the latest of the plays in date of composition, the evidence going to show that it was written in 1610 or
1611, subsequently to all the others except A Winter's Tale and
Henry VIIL De Quincey, Campbell, Malone, Maginn, and others
believe it to be the very last. The source whence the story came has
not been discovered ; but the plot is said to resemble that of " The
Beautiful Sidea," by Jacob Ayrer, of Nuremberg ; and it is thought
that both were taken from some old tale or play. The fanciful commonwealth described by Gonzalo, ii. 1, is borrowed from a translation, published in 1603, of Montaigne's " Essays."
" * The Tempest ' is a specimen of the purely romantic drama, in
which the interest is not historical, or dependent upon fidelity of
portraiture, or the natural connection of events, but is a birth of the
imagination, and rests only on the coaptation and union of the elements granted to, or assumed by, the poet. It is a species of drama
which owes no allegiance to time or space, and in which, therefore,
errors of chronology and geography no mortal sins in any species
are venial faults, and count for nothing. It addresses itself entirely to the imaginative faculty." COLERIDGE.
Temple Garden, London, scene of I. Henry VI., ii. 4.
Temple Hall, the, /. Henry IV., Hi. 3.
Temple(s), the solemn, The Tempest, iv. 1; of the mind, Cymbeline, ii. 1 ; It, Hi. 3.
Temporary (time-serving), Measure for Measure, v. 1.
Temporizer, a, A Winter's Tale, i. 2, " Or else a hovering," etc. ;
policy of being a, Coriolanus, iv. 6.
Temptation(s), Measure for Measure, ii. 1, 2 ; the struggle with,
Julius Ccesar, ii. 1, "Between the acting," etc.; of evil spirits, Macleth, i. 3 ; trifling with, Othello, iv. 1 ; Troilus cmd Cressida, iv. 4 ;
The Tempest, iv. 1 ; Twelfth Night, Hi. 4.
Temptations, of life, A Winter's Tale, i. 2.
Tenantius, father of Cymbeline, mentioned in i. 1 ; v. 4.
Ten Commandments, the, //. Henry VI., i. 3. A common expression for the finger-nails.
Tender-nested (tenderly behested or governed), King Lear, ii. 4*
, -Tenderness, iu a man, Coriolanus, v. 3; Cymbeline, i. 2. ,<
Tenedos, island of, Troilus and Cressida, prologue.
Tennis, the game of, //. Henry IV., ii. 2 ; Henry V., i. 2,
" When we have matched our rackets," etc. ; the incident is told in
the old chronicles ; Pericles, ii. 1; Henry V1IL, i. 3; Hamlet, ii.l;
Much Ado about Nothing, ii. 3.
Tent (probe), Troilus and Cressida, ii. 2 ; Cymbeline, Hi. 4;
Hamlet, ii. 2 ; Coriolanus, Hi. 2, and elsewhere.
Tercel-gentle. See TASSEL-GENTLE.
Tereus, Titus Andronicus, ii. 4 or 5 ; iv. 1 ; Cymbeline, ii. 2 ;
Lucrece, I. 1134; Passionate Pilgrim, xxi. He dishonoured his
sister-in-law, Philomela, and cut out her tongue; she wrote his
crime in needlework, and was afterward changed into a nightingale.
Termagant, Hamlet, Hi. 2. A supposed god of the Saracens,
introduced into the miracle-plays, a noisy ranter.
Terminations (terms), Much Ado about Nothing, ii. 1, "If
her breath were as terrible as her terminations, there were no living
near her."
Terras Astraea reliquit, Titus Andronicus, iv. 3. Astrsea,
goddess of innocence, left the earth when it became filled with
crime, and was placed among the stars, where she became the constellation Virgo.
Terror, Macbeth, Hi. 3 ; Hamlet, i. 2. See FEAR.
Testament, one, like those of worldlings, As You Like It, ii. 1 ;
of war, Richard II., Hi. 3 ; of love, Henry F., iv. 6; of Lucrece,
Lucrece, 1. 1183. See WILLS.
Tester, testern, or testril, Two Gentlemen of Verona, i. 1 ; Merry Wives of Windsor, i. 3 ; Twelfth Night, ii. 3. An old French
coin varying in value at different times from six to eighteen pence.
Tewksbury, battle of (May 14, 1471), III. Henry VI., v. 4, 5;
Richard III., i. 2-4 ; ii. 1 ; v. 3.
Tewksbury mustard, //. Henry IV., ii. 4* Mustard ground
and made into balls, " the best the world affords."
Thaisa, daughter of Simonides, in Pericles, introduced in ii, 2;
marries Pericles, ii. 5 ; her supposed death, Hi. 1 ; her restoration,
Hi. 2 ; goes to serve Diana, Hi. 4; is restored to Pericles, v. 3.
Thaliard, a lord of Antioch, in Pericles, introduced in i. 1 ; a
tool in the hands of Antiochus.
Thanes, noblemen. On the establishment of the feudal system,
after the conquest, the title baron took the place of thane. It is
applied to the Scottish lords in Macbeth.
Thanks, currish, Two Gentlemen of Verona, iv. 3 ; beggarly, As Yon Like It, ii. 5 ; good turns shuffled off with, Twelfth Night, Hi. 3 ; for hospitality, A Winter's Tale, i. 1, 2 ; the exchequer of the poor, Richard II., ii. 3 ; honourable meed to men of noble
minds, Titus Andronicus, i, 2 ; too dear at a halfpenny, Hamlet, ii.
2 ; to God, //. Henry VL, i, 1; ii, 1. See GRATITUDE.
Tharborough (third borough, a constable), Love's Labour's
Lost, i. 1.
Tharsus, in Cilicia, Asia Minor, scene of a part of Pericles;
famine in, i. 4.
Thasos, now Thasso, an island in the Grecian Archipelago,
Julius Ccesar, v. 3.
That God forbid that made me first your slave, Sonnet
Iviii.
That thou art blamed shall not be thy defect, Sonnet Ixx.
TJiat thou hast her, it is not all my grief, Sonnet xlii.
That time of year thou mayst in me behold, Sonnet Ixxiii.
That you were once unkind befriends me now, Sonnet cxx.
Thaw, a man of continual dissolution and, Merry Wives of
Windsor, iii. 5 ; duller than a great, Much Ado about Nothing, ii. 1.
Theatre(s), the Globe. See O, this wooden ; imagination at the,
Henry V., i., chorus; of the world, As You Like It, ii. 7 ; "This
wide and universal," etc. See also STAGE.
The expense of spirit in a waste of shame, Sonnet cxxix.
The forward violet thus did I chide, Sonnet xcix.
The little love-god, lying once asleep, Sonnet cliv.
Then hate me when thou wilt, Sonnet xc.
Then let not winter's ragged hand deface, Sonnet vi.
Theology, allusions to doctrines of ; the atonement, Measure for
Measure, ii. 2 ; "Why all the souls that were," etc.; original sin,
A Winters Tale, i. 2, " The imposition hereditary ours."
The other two, slight air and purging fire, Sonnet xlv.
The poor fool sat sighing, song, Othello, iv. 3.
Thersites, a " deformed and scurrilous Grecian," character in
Troilus and Cressida, first appearing in ii. 1.
" The character of Thersites, in particular, well deserves a more
careful examination, as the Caliban of demagogic life ; the admirable portrait of intellectual power deserted by all grace, all moral
principle, all not momentary impulse just wise enough to detect
the weak head, and fool enough to provoke the armed fist of his
betters ; one whom malcontent Achilles can inveigle from malcontent Ajax, under the one condition that he shall be called on to do
nothing but abuse and slander, and that he shall be allowed to abuse as much and as purulently as he likes, that is, as he can ; in short, a mule, quarrelsome by the original discord of his nature a slave by tenure of his own baseness made to bray and be brayed at, to despise and be despicable." COLERIDGE.
" From the rest, perhaps the character of Thersites deserves to be
selected (how cold and school-boy a sketch in Homer !) as exhibiting
an appropriate vein of sarcastic humour amid his cowardice, and
a profoundness of truth in his mode of laying open the foibles of
those about him, impossible to be excelled." GODWIN.
Allusion to Thersites, Cymbeline, iv. 2.
Theseus, Duke of Athens, character in the Midsummer Night's
Dream, introduced in the first scene. The festivities are to grace
his marriage with Hippolyta.
He " is Shakespeare's early ideal of a heroic warrior and man of
action. His life is one of splendid achievement and of joy ; his love
is a kind of happy victory, his marriage a triumph. From early
morning, when his hounds, themselves heroic creatures, fill the valley with their ' musical confusion ' until midnight, when the Athenian clowns end their 'very tragical mirth' with a Bergomask
dance, Theseus displays his joyous energy and the graciousness of
power." DOWDEN.
Shakespeare, as usual, does not attempt to follow the classic story
of Theseus, or give a classic setting to the characters whose names
he borrows. Allusion to the perjury of Theseus, his desertion of
Ariadne, Two Gentlemen of Verona, iv. Jj,.
Thessaly, the boar of, Antony and Cleopatra, iv, 11 or 13.
Killed by Meleager.
Thetis, mother of Achilles, Troilus and Cressida, i. 3.
They that have power to hurt and will do none, Sonnet
xciv.
Thief, the Egyptian. See THYAMIS.
Thief (thieves), every man's apparel fits, Measure for Measure,
iv. 2 ; called St. Nicholas's clerks, 1. Henry IV., ii. 1; false to one
another, 1. Henry IV., ii. 2 ; doth fear each bush, ///. Henry VI., v.
6; afraid to keep, Troilus and Cressida, ii. 2 ; the sun, moon, sea,
earth, and all things are, Timon of Athens, iv. 3, " Nor on the beasts,"
etc. ; which is the, King Lear, iv. 6 ; what simple, brags of his own
attaint, Comedy of Errors, Hi. 2.
Thievery, an honourable kind of, Two Gentlemen of Verona,
iv. 1 ; he will steal an egg out of a cloister, All's Well that Ends
Well, iv. 3 ; of injurious time, Troilus and Cressida, iv. 4.
Thin, too, Henry VI1L, v. 3.
Thine eyes I love, and they, as pitying me, Sonnet cxxxii.
Things, ill-got, have bad success, III. Henry VI., ii. 2;
bad begun, Macbeth, Hi. 2.
Thinking, makes good or bad, Hamlet, ii. 2 ; too much, makes
dangerous, Julius Caesar, i. 2.
Thisbe, character in the play acted before the duke in v. 1 of
the Midsummer Night's Dream. The part is taken by Flute. Allusions to, Merchant of Venice, v. 1 ; Romeo and Juliet, ii. 4.
Thomas, a friar in Measure for Measure, introduced in i. 4.
Thorn-bush, in the moon, .Midsummer Night's Dream, v. 1.
Those hours that with gentle work did frame, Sonnet v.
Those lines that I before have writ do lie, Sonnet cxv.
Those lips that love's own hand did make, Sonnet cxlv.
Those parts of thee that the world's eye doth view,
Sonnet Ixix.
Those pretty wrongs that liberty commits, Sonnet xli.
Thou, use of (an assumption of superiority by the speaker),
Twelfth Night, Hi. 2, " If thou thoust him."
Thou art as tyrranous so as thou art, Sonnet cxxxi.
Thou blind fool, love, Sonnet cxxxvii.
Thought, the slave of life, /. Henry IV., v. 4 ; that keeps the
roadway, II. Henry IV., ii. 2 ; sessions of sweet silent, Sonnet xxx. ;
annihilates distance, Sonnet xliv ; quickness of, Henry V., i., chorus;
the quick forge and working house of, Henry V., v., chorus.
Thought(s), Heaven make you better than your, Merry Wives
of Windsor, Hi. 3 ; are no subjects, Measure, for Measure, v. 1 ; a
woman's, As You Like It, iv. 1; in solitude, Richard II., v. 5;
like unbridled children, Troilus and Cressida, Hi. 2 ; murder in,
fantastical, Macbeth, i. 3 ; in repose, Macbeth, ii. 1; our worser,
Heaven made, Antony and Cleopatra, i. 2 ; give no unproportioned,
his act, Hamlet, i. 3 ; our, are ours ; their ends, none of our own,
Hamlet, Hi. 2 ; exciting, Henry VIII., Hi. 2 ; sky-aspiring and ambitious, Richard IL, i. 3; to thick the blood, Winter's Tale, i. 2;
whirled like a potter's wheel, /. Henry VI., i. 4.
Thrasonical (boastful), Love's Labour's Lost, v. 1 ; As You Like
It, v. 2. Thraso was the name of a boastful, swaggering soldier in
Terence's " Eunuchus."
Threats, The, Tempest, i. 2, " If thou more murmurest," etc. ; As
You Like It, v, 1; A Winter's Tale, Hi. 2; I. Henry VL, ii. 4, "I'll
note you," etc. ; Hamlet, i. 4> v-1 > King Lear, i. 4 / Othello, ii. 3,
"He that stirs next," etc.; Antony and Cleopatra, ii. 5, "Hence, horrible villain," etc. ; Richard III., i. 2 ; iv. 4; I. Henry VI., *. 2 ;
III. Henry VI., ii. 1 ; Romeo and Juliet, v. 3.
Three farthings, look where, goes, King John, i. 1. Allusion
to a thin silver coin having the head of Elizabeth on one side and a
rose on the other.
Three Pile, Master, a merchant mentioned in Measure for
Measure, iv. 3.
Threnos, The Phoenix and the Turtle.
Thrift, French, the humour of the age, Merry Wives of Windsor,^ 3 ; called interest is blessing, Merchant of Venice, i. 3 ; the
funeral baked meats do coldly furnish forth the marriage tables,
Hamlet, i . 2.
Throngs, foolishness of, Measure for Measure, ii. 4.
Thrummed hat, a, Merry Wives of Windsor, iv. 2. One made
of weavers' thrums.
Thumb, biting the, an insult, Romeo and Juliet, i. 1 ; pricking
of the, indicates the approach of something evil, Macbeth, iv. 1.
Thumb-ring, an alderman's, I. Henry IV., ii. 4.
Thunder, how great men would use, Measure for Measure, ii. 2 ;
tears the cloudy cheeks of Heaven, Richard II., Hi. 3 ; appeal to,
King Lear, Hi. 2 ; thunder-bearer, darter, or master (Jove), Lear, ii. 4 ;
Cymbeline, v. 4 ; Troilus and Cressida, ii. 3. See STORM and TEMPEST,
Thunderbolt, if I had a, in mine eye, As You Like It, i. 2.
Thunder-stone, the, Othello, v. 2 ; Cymbeline, iv. 2.
Thunder-storms, The Tempest, Hi. 3; v. 1; Julius Ccesar, i.
3; Macbeth, i. 1.
Thurio, character in the Two Gentlemen of Verona, introduced
in ii. 4, " a foolish rival to Valentine," who falls an easy victim to
the scheme of Proteus.
Thus can my love excuse the slow offence, Sonnet Ii.
Thus is his cheek the map of days outworn, Sonnet Ixviii.
Thyamis, an Egyptian robber-chief, who killed, or attempted to
kill, his mistress before he was slain by his enemies, spoken of by
the duke in Twelfth Night, v. 1.
Thy bosom is endeared with all hearts, Sonnet xxxi. Thy gift, thy tables, are written in my brain, Sonnet cxxii.
Thy glass will show thee how thy beauties wear, Sonnet Ixxvii.
Thyreus, character in Antony and Cleopatra, introduced in Hi.
12, a friend of Caesar ; his message and whipping, Hi. 11 or 13.
Tib and Tom, All's Well that Ends Well, ii. 2. Jack and
Jill.
Tiber, the troubled, Julius Caesar, i. 1 ; swum by Cassius and
Caesar, Julius Ccesar, i. 2.
Tickle-apt (dangerous to touch), Coriolanus, iii. 2.
Tide, a, in the affairs of men, Julius Caesar, iv. 3; death supposed to occur at turn of the, Henry V., ii. 3.
Tides, high (times to be observed), King John, Hi. 1 ; governed
by the moon, I. Henry 1 V., i. 2 ; three, without ebb, ominous, //.
Henry IV., iv. 4.
Tiger, a, raging in a storm, Troilus and Cressida, i. 3.
Tiger, the, name of an inn, Comedy of Errors, iii. 1.
Tile, the next that falls, All's Well thatEnds Well, iv. 3. Allusion, perhaps, to the story of a woman who laughed at a prophecy
that she should die before her companions, and was immediately
killed by a falling tile.
Tilley-valley (fudge), Twelfth Night, ii. 3; II. Henry IV.,
ii. 4.
Tilth (land ready to sow), Measure for Measure, iv. 1.
Timandra, a mistress to Alcibiades, character in Timon of Athens, introduced in iv. 3.
Time, goes upright, The Tempest, v. 1 ; sweet benefit of, Two
Gentlemen of Verona, ii. 4> nurse of all good, Two Gentlemen of
Verona, iii. 1 ; master of men, Comedy of Errors, ii. 1; a bankrupt,
Comedy of Errors, iv. 2; cormorant, Love's Labour's Lost, i. 1;
haste of, decides, Love's Labour's Lost, v. 2; hath not so dried,
Much Ado about Nothing, iv. 1 ; slowness of, Midsummer Night's
Dream, i. 1; travels in divers places, As You Like It, iii. 2 ; the
old, As You Like It, iv. 1 ; use the present, All's Well that Ends
Well, v. 3 ; Richard III., iv. 1; Hamlet, iv. 7; the whirligig of,
Twelfth Night, v. 1 ; wasted, Twelfth Night, iii. 1 ; Richard II., v. 5;
must have a stop, I. Henry IV., v. 4; hath a wallet wherein he
puts alms for oblivion, Troilus and Cressida, iii 3; like a fashionable host, Troilus and Cressida, iii. 3 ; old common arbitrator
past and to come, Troilus and Cressida, iv. 5 ; eyes and ears for the,
Coriolanus, ii. 1 ; and the hour, Macbeth, i. 3 ; the last syllable of,
Macbeth^ v. 5 ; the, out of joint, Hamlet, i. 5 ; modifies love, Hamlet,
iv. 7 or 4; shall unfold what plaited cunning hides, King Lear,
i. 1; men are as the, King Lear, v. 3; king of men, Pericles, ii. 3 ;
waste not, Venus and Adonis, 1. 129 ; ravages of, Sonnets, v., ix.,
xii., xv.. xvi.j lx., Ixiv.j Ixv., c. ; defeated by verse, Sonnet, xix. ;
wasted, Sonnet, xxx. ; thievish progress of, Sonnet, Ixvii. ; changes
of, Sonnet, cxv. ; love not the fool of, Sonnet, cxvi. ; defied, Sonnet,
cxxiii. ; misshapen, Lucrece, 1. 925 ; office and glory of, Lucrece, I.
936 ; slow to watchers, Lucrece, I. 1573. See LIFE.
Time, as Chorus, enters and speaks in A Winter's Tale, iv. 1,
explaining that sixteen years have passed since the last act, during
which time Perdita has grown up as the shepherd's daughter and
Florizel has become a man. This speech is judged not to be by
Shakespeare, and has been attributed to Chapman.
Timeless (untimely), Richard III., i. 2, and elsewhere.
Times, wild, II. Henry IV., i. 1; evil, Macbeth, iv. 3.
Time-serving, King John, Hi. 1; King Lear, ii. 4; Measure
for Measure, v. 1 ; Twelfth Night, ii. 3.
Timidity. See COWARDICE.
Timon, a noble of Athens, introduced in i. 1, where his generosity is exhibited and praised; his extravagance in liberality,
ii. 1, 2 ; confidence in his friends, ii. 2 ; they fail him, iii. 1-4,'
his last banquet, iii. 6 ; he leaves Athens, iv. 1 ; in the cave, iv. 3 ;
his death and epitaph, v. 3, 4> Excessive and immoderate in everything, Timon passes from his lavish liberality and belief in the virtue of all mankind to excessive distrust and hatred, forsakes the
haunts of men, and hurls revilings and curses at all with little discrimination.
" But Timon can only rage and then die. His rage implies the
elements of a possible nobleness in him ; he cannot acclimatize himself, as Alcibiades can, to the harsh and polluted air of the world ;
yet the rage also proceeds from a weakness of nature." DOWDEN.
" Insanity arising from pride is the key to the whole character ;
pride indulged manifesting itself indirectly in insane prodigality ;
pride mortified, directly in insane hatred." MAGINN.
Allusion to " Critic Timon," Love's Labour's Lost, iv. 3.
Timon of Athens, a play first published in the folio of 1623,
and supposed to have been written within the period from 1602 to
1608. The sources whence the material was drawn were Plutarch's
" Life of Marcus Antonius," and Lucian's dialogue " Timon, or the
Man-Hater," and perhaps an old play that has been found in
manuscript, and is supposed to date from 1600 or earlier, though it
is very doubtful whether Shakespeare had ever seen it. The critics
are generally agreed that a large portion of the play is from the
hand of some other writer than Shakespeare, who was either a colabourer with him, wrote a play that Shakespeare took up and altered,
or filled out a partly finished and abandoned work of his. The parts not his are supposed to be the greater part of i. 1 after Apemantus enters, and the remainder of the act; the passage in ii. 2, in which the fool appears ; the greater part of Act in., though Mr. White attributes the latter part of the first scene to Shakespeare ;
the latter part of the speech of the steward in iv. 2 ; the third scene
in Act v., and perhaps the second. The time of the drama is that
of the Peloponnesian war, B. c. 431-404.
Tinct (tincture, the grand elixir of the alchemists), All's Well
that Ends Well, v. 3.
Tinkers, song of, A Winter's Tale, iv. 2 or 3.
Tire (to feed ravenously), ///. Henry VI., i. 1; Cymbeline, Hi.
4 ; Venus and Adonis, 1. 56 ; Timon of Athens, iii. 6.
Tired with all these, for restful death I cry, Sonnet Ixvi.
Tires, different kinds of, Merry Wives of Windsor, Hi. 3.
J Tis better to be vile than vile esteemed, Sonnet cxxi.
Titan (the sun), I. Henry IV., ii. 4; Cymbeline, Hi. 4; Romeo
and Juliet, ii. 3; Venus and Adonis, I. 177.
Titania, queen of the fairies, introduced in ii. 1, Midsummer Night's Dream, the same character as Queen Mab. The name
Titania is adopted from Ovid, who uses it for Diana. See FAIRIES.
Tithe-tilth, Measure for Measure, iv. 1, end.
Titinius, a friend of Brutus in Julius Ccesar, appears in iv. 2 ;
dies on the sword of Cassius, v. 3.
Title(s), of the king, the, I. Henry IV., iv. 2, end ; bought too
dear, a, 1. Henry IV., v. 3 ; Titus Andronicus, i. 2 ; ii. 5 ; Troilus
and Cressida, v. 11 ; Cymbeline,, Hi. 4 ; Romeo and' Juliet, ii. 3 ;
I. Henry VI., iv. 7 ; like a giant's robe upon a dwarfish thief, Macbeth, v. 2.
Title-leaf, a brow like that of a tragedy, 11. Henry IV., i. 1.
Titus, servant of one of the creditors of Timon of Athens, introduced in Hi. 4.
Titus Andronicus, character in the play of that name, a noble
Roman, and general of an army sent against the Goths. He first
appears in Act i., scene 1 or 2, having returned with prisoners and
the bodies of his slain sons, and recommends Saturninus as emperor; pleads for his sons and gives his hand for them, Hi. 1; his
ravings, Hi. 2; iv. 3 ; his letters to the gods, iv. 3, 4; kills Tamora's sons, v. 2 ; kills Lavinia and Tamora, v. 3 ; is killed by Saturninus, v. 3.
Titus Andronicus, a tragedy supposed to have been printed as
early as 1594, though no edition earlier than one of 1600 is known to be now in existence. It is known to have been very popular on the stage. Many critics held the opinion that it was not Shakespeare's, basing the opinion mainly on the repulsive and inartistic brutality of the plot ; some think that he may have been the author
of some passages, or have touched up the whole play. Coleridge rejects it on the evidence of measure, though he thinks it not improbable that some passages were written by Shakespeare. Others, again, believe the play to be mainly his own, and suppose it to be his first tragedy, written when his powers were undeveloped in that
direction, and that he may possibly have had one or more co-labourers who introduced the Latin quotations. Its date is fixed between
1585 and 1590 by an allusion to it in Ben Jonson's " Bartholomew
Fair." The incidents are taken from an old mediaeval story.
" The incidents and revolutions of fortune are horrible in the
highest degree ; and in this respect the play as much surpasses Marlowe's well-known pieces of violence and rage as it is superior to
them in tragic energy and moral earnestness. The most fearful
crimes are rapidly accumulated with steadily advancing enormity.
When we think we have reached the summit of these most unnatural
cruelties and vices, the next scene suddenly opens to our view a still
higher ascent. The characters are sketches done with the coarsest
touches and darkest colouring. . . . That, nevertheless, this drama
is rich in isolated beauties, profound thoughts, and striking peculiarities Shakespearean imagery which like lightning flashes over and
illuminates the whole piece, and that single scenes are even deeply
affecting and highly poetical is generally admitted and requires no
proof." ULEICI.
To, used as an augmentative of a verb, Merry Wives of Windsor,
iv. 4. To pinch, to bepinch, or cover with pinches. Spenser and
Milton use it with all prefixed.
Toad, the jewel in the head of the, As You Like It, ii. 1. This
stone was supposed to possess medicinal virtue ; changed eyes with
the lark, Romeo and Juliet, Hi. 5 ; used by witches, Macbeth, iv. 1 ;
paddock, Macbeth, i. 1 ; called poisonous, As You Like It, ii t 1 ;
Richard III., i. 2, 3.
Toasts and butter, /. Henry IV., iv. 2. Cockneys; called
eaters of buttered toasts.
Tod, a (twenty-eight pounds of wool), A Winter's Tale, iv. 2 or 3.
Tokens, the Lord's, plague-spots so called, Love's Labour's Lost,
v. 2; tokened pestilence, Antony and Cleopatra, Hi. 10; death-tokens, Troilus and Cressida, ii. 3.
Toledo, archbishopric of, desired by Wolsey, Henry VIII., ii. 1.
The richest see in Europe.
Toll, AW a Well that Ends Well, v. 3. Pay toll for, set up to
be bought ; the bee, tolling from every flower, II. Henry IV., iv. 4.
Tom, poor, or Tom o' Bedlam, King Lear, i. 2 ; Hi. 4.
Tomb, if a man do not erect his own, Much Ado about Nothing,
v. 2; fame registered on the, Move's Labour's Lost,i.l; epitaphs
on, Much Ado about Nothing, iv.l; v. 1 ; Henry V., i. 2. See GRAVE.
To me, fair friend, you never can be old, Sonnet civ.
To-morrow creeps in this petty pace from day to day, Macbeth,
v. 5 ; is St. Valentine's day, song, Hamlet, iv. 5 or 2.
Tomyris, Scythian, I. Henry VI., ii. 3.
Tongs and bones, for music, Midsummer Night's Dream, iv. 1.
Tongue(s), drowned in sack, The Tempest, Hi. 2 ; a man that
cannot win a woman with, Two Gentlemen of Verona, Hi. 1 ; far
from the heart, Measure for Measure, i. 5 ; the slanderer's, Measure
for Measure, Hi. 2 ; losing the, a penalty, Love's Labour's Lost, i.
1; swiftness of, Much Ado about Nothing, i. 1; Hi. 2; weights
upon the, As You Like It, i. 2 ; an ungoverned, All's Well that Ends
Well, ii. 4, " Many a man's tongue shakes out his master's undoing;" an officious, All's Well that Ends Well, iv. 1; stopping a
woman's, A Winter's Tale, ii. 3 ; fellows of infinite, Henry V., v. 2 ;
charm (silence) thy, II. Henry VL, iv. 1; engine of thoughts, Titus
Andronicus, Hi. 1 ; blisters on the, for falsehood, A Winter's Tale,
ii. 2 ; Timon of Athens, v. 1; in trees, As You Like It, ii. 1; of
dying men, enforce attention, Richard II,, ii. 1 ; of the bringer of
ill news, //. Henry I V., i. 1 ; speaking is for beggars, Troilus and
Cressida, Hi. 3 ; a swift, Comedy of Errors, i. 1 ; be not thy tongue
thy own shame's orator, Comedy of Errors, Hi. 2. See WORDS.
Tongues (languages), I would I had bestowed the time in the,
Twelfth Night, i. 3.
Tool(s), The Tempest, ii. 1, " They take suggestion as a cat laps
milk," etc. ; Lepidus a, Julius Caesar, iv. 1.
Toothache, the, Much Ado about Nothing, Hi. 2 ; v. 1. It
was supposed to be caused by a worm that gnawed a hole in the
tooth ; he that sleeps feels not, Cymbeline v. 4.
Topas, Sir, a curate, Twelfth Night, iv. 2.
Topless (supreme), Troilus and Cressida, i. 3.
Torches, virtues like, Measure for Measure, i. 1.
Torfin. See CAITHNESS.
Torments, by magic art, The Tempest, iv. 1.
Tortive (twisted), Troilus and Cressida, i. 3.
Tortoise, a, Romeo and Juliet, v. 1 ; Caliban a, The Te^ *st, i. 2.
Tortures, of a tyrant, A Winter's Tale, in. 2; described by
Autolycus, iv. 3 or 4> near end ; death by, Cymbeline, iv. 4.
Toryne, taken by Cassar, Antony and Cleopatra, Hi. 7.
To shallow rivers, song by Christopher Marlowe, Merry Wives
of Windsor, in. 1.
Touch, play the, Richard III., iv. 2 ; to test as by touchstone;
of hearts, Timon of Athens, iv. 3 ; of the king, for disease, Macbeth,
iv. 3 ; one touch of nature makes the whole world kin, Troilus and
Cressida, Hi. 3.
Touchstone, the clown in As You Like It, introduced in i. 2.
" Touchstone is the daintiest fool of the comedies, and when we
compare him with the clowns of the ' Comedy of Errors ' or the
' Two Gentlemen of Verona,' we perceive how Shakespeare's humour
has grown in refinement." DOWDEN.
" He is a genuine old English clown in the Shakespearean form, a
fool with the jingling cap and bells, one who is and wishes to be a
fool ; the same personification of caprice and ridicule, and with the
same keen perception of the faults and failings of mankind, as
Jaques ; but a fool with his own knowledge and consent, and not
merely passive but active also. He speaks, acts, and directs his
whole life in accordance with the capricious folly and foolish capriciousness which he considers to be the principle of human existence." ULRICI.
Tournament, a, Pericles, ii. 2.
Tours, II. Henry VI., i. 1.
Touse (to pull, tear), Measure for Measure, v. 1.
Toward (at hand, coming), Romeo and Juliet, 1. 5 ; Timon of
Athens, Hi. 6 ; King Lear, iv. 6 ; Antony and Cleopatra, ii. 6.
Tower Hill. See LIMEHOUSE.
Tower of London, the, scene of a part of Richard III. Julius
Caesar's ill-erected (for ill purposes), Richard IL, v. 1. Tradition
says that Cassar built the original part of the tower. It is again
spoken of in Richard III., Hi. 1.
Tower (to soar, a term in falconry), King John, v. 2 ; II. Henry
VI., ii. 1 ; Macbeth, ii. 4.
Towers, cloud-capped, The Tempest, iv. 1, air-braving, 1. Henry
VI., iv. 2.
Towton, in the West Hiding of Yorkshire, battle of (March 29,
1461), III. Henry VI., ii. 3-6.
Toy (whim), Romeo and Juliet, iv. 1 ; I. Henry VI., iv. 1.
Toys (idle rumours), King John, i. 1, and elsewhere.
Tract (course), Henry V1IL, i. 1.
Trade (road or way), Henry VIII., v. 1.
Tradition, respect for, thrown away, Richard II., Hi. 3.
Tragedian, counterfeit the, Richard III., iii. 5.
Train, of a gown, worth of, //. Henry VI., i. 3.
Traitor(s), all, profess loyalty, As You Like It, i. 3 ; plot
against a, All's Well that Ends Well, Hi. 6 ; iv. 1 ; a place in the
world for we are our own, All's Well that Ends Well, iv. 3 ; treatment of one deemed a, Richard II., iii. 1 ; curse on, Richard II.,
iii. 2 ; treatment of, Henry V., ii. 2 ; to his country, a,, Coriolanus,
v. 3 ; Macbeth, iv. 2 ; a toad-spotted, King Lear, v. 3 ; a passing,
III. Henry VI., v. 1; a giant, Henry VIII., i. 2 ; in a worse case
than the betrayed, Cymbeline, iii. 4. See JUDAS.
Traject (ferry), Merchant of Venice, iii. 4.
Trammel (to tie), Macbeth, i. 7.
Trances, Romeo and Juliet, iv. 1, 3 ; v. 3 ; Othello, iv. 1; Pericles, iii. 2.
Tranio, a servant of Lucentio in the Taming of the Shrew,
who assumes his master's name and carries out the part with great
cleverness, introduced in i. 1.
Translation, of Bottom, Midsummer Night's Dream, iii. 1; out
of honesty into English, Merry Wives of Windsor, i. 3.
Transmigration, of souls, allusions to the doctrine of, Merchant of Venice, iv. 1 ; As You Like It, iii. 2, " since Pythagoras's
time ; " Twelfth Night, iv. 2.
Trappings, of woe, Hamlet, i. 2.
Traps, some Cupid kills with, Much Ado about Nothing, iii. 1.
Trash (to check, a hunting-word), The Tempest, i. 2.
Travel, advantages of, Two Gentlemen of Verona, i. 1, 3; melancholy induced by, As You Like It, iv. 1 ; need of, to persons of
rank, King John, i. 1; company in, Richard II., ii. 3 ; all places
that the eye of heaven visits are to the wise man ports and happy
havens, Richard II., i. 3.
Traveller(s), lying, The Tempest, iii. 3 ; Love's Labour's Lost,
i. 1 ; All's Well that Ends Well, ii. 5 ; must be content, As You
Like It, ii. 4; marks of sell their own lands to see other men's,
As You Like It, iv. 1 ; satire on a Faulconbridge, Merchant of
Venice, i. 2 ; Henry VIII., i. 3.
Travers, a retainer of Northumberland in II. Henry IV., introduced in i. 1.
Traverse, Othello, i. 3, and elsewhere. A fencing term, meaning, to take a posture of opposition.
Tray, Blanche and Sweetheart, King Lear, iii. 6.
Tray-trip (an old game, played with cards and dice), Twelfth
Night, ii. 5.
Treachery, Two Gentlemen of Verona, ii. 6 ; Hi. 1 ; of Parolles,
All's Well that Ends Well, iv. 1, 3 ; composed and framed of, Much
Ado about Nothing, v. 1 ; of the dauphin, King John, v. 4 ; see
MELUN ; charge of, 1. Henry IV., iv. 3, " Then to the point," etc. ;
of John of Lancaster, II. Henry IV., iv. 2; of Judas, III. Henry
VI., v. 7 ; in friends, Henry V., ii. 2 ; of the conspirators, Julius
Cc&sar, v. 1; killed with one's own, Hamlet, v. 2 ; of Goneril and
Regan, King Lear, v. 1; proposed to Pompey, Antony and Cleopatra, ii. 7; curses on supposed, Cymbeline, iv. 2, "To write and
read," etc. ; monstrous, /. Henry VI., iv. 2.
Treason, is not inherited, As You Like It, i. 3 ; accusations of,
Richard II., i. 1 ; v. 2; never trusted, I. Henry IV., v. 2 ; pardoned
rebels arrested for, //. Henry IV., iv. 2 ; and murder aggravated,
Henry V., ii. 2 ; accusations of, King Lear, Hi. 7 ; arrest for, King
Lear, v. 3 ; felt most by the traitor, Cymbeline, Hi. 4 ; condemned
to die for, but no traitor, I. Henry VI., ii. 4.
Treasure, hidden, is fretted by rust, Venus and Adonis, I. 767 ;
of Enobarbus, Antony and Cleopatra, iv. 6.
Treaties, King John, v. 2; Henry VIII., i. 1; Antony and
Cleopatra, ii. 6.
Trebonius, one of the conspirators in Julius Caesar, first appears in ii. 1.
Tree(s), shall be books, As You Like It, ii. 2 ; a rotten, As You
Like It, ii. 3; o'ercome with moss, and baleful misletoe, Titus Andronicus, ii. 3 ; that have outlived the eagle, Timon of Athens, iv. 3.
Trencher-friends, Timon of Athens, Hi. 6.
Trencher-knight (parasite), Love's Labour's Lost, v. 2.
Trencher-man, a valiant. Much Ado about Nothing, i. 1.
Trent, the third river of England, to straighten the channel of,
J. Henry IV., Hi. 1.
Tressel, an attendant of Lady Anne in Richard III., i. 2.
Trial(s), Merchant of Venice, iv. 1 ; Measure for Measure, v. 1 ;
Othello, i. 3; Comedy of Errors, i. 1 ; v. 1; of Hermione, A Winter's Tale, Hi. 2; challenge to knightly, Richard II., i. 1, 3; by
combat, II. Henry VI., ii. 3 ; King Lear, v. 3 ; of persistence, Troilus
and Cressida, i. 3; of Queen Katherine, Henry VIII., ii. 4; trial-fire, Merry Wives of Windsor, v. 5.
Tribulation of Tower Hill, Henry VIII., v. 4. See LIMEHOUSE and PURITANS.
Tribunate, advised abolition of the, Coriolanus, in. 1.
Tribunes, hardness of the, Titus Andronicus, Hi. 1 ; granted to
the people, Coriolanus, i. 1 ; abused, Coriolanus, ii. 1 ; fear of, Coriolanus, iv. 6 ; v. 1.
Tribute, to the King of Naples from the Duke of Milan, The
Tempest, i. 2 ; demanded of Britain by the Romans, Cymbeline, ii.
4 ; paid, Cymbeline, Hi. 1 ; v. 5.
Trick(s), fantastic, Measure for Measure, ii. 2 ; FalstafFs, I.
Henry IV., ii. 4; of gentlemen, All's Well that Ends Well, v. 3.
Tricksy spirit, Ariel, The Tempest, v. 1.
Trifle (unsubstantial thing), The Tempest, v. 1.
Trifles, a snapper-up of unconsidered, A Winter's Tale, iv. 2 or
3 ; light as air, Othello, Hi. 3.
Trifling, with serious things, Cymbeline, iv. 2.
Trigon, the fiery, II. Henry IV., ii. 4. A term in astrology.
When the three superior planets met in one of the three signs of the
zodiac, Aries, Leo, or Sagittarius, they formed a fiery trigon, or triangle.
Trinculo, a jester, character in The Tempest, introduced in ii.
2. He conspires with Caliban and Stephano to kill Prospero and
make Stephano king.
Trip and go, a morris-dance, Love's Labour's Lost, iv. 2. " A
proverbial expression for ' I dare not tarry.' "
Triple (third), AW 8 Well that Ends Well, i. 1; Antony and
Cleopatra, i. 1.
Triton, of the minnows, a, Coriolanus, Hi. 1.
Triumph, a Roman, Coriolanus, ii. 1 ; Caesar's, Julius Caesar,
i. 1; honour of gracing a, Antony and Cleopatra, v. 2; an ale-house
guest. Richard II., v. 1.
Triumviry, of lovers, a, Love's Labour's Lost, iv. 3.
Troilus, son of Priam, King of Troy, introduced in the first
scene of Troilus and Cressida ; described, *'.#; iv. 5; his despair,
i. 1; discovers Cressida's falseness, v. 2 ; fights with Diomedes, v. 4.
Coleridge says of his character :
" This [Cressida's vehement passion and shameless inconstancy]
Shakespeare nas contrasted with the profound affection represented in
Troilus and alone worthy the name of love; affection, passionate
indeed, swollen with the confluence of youthful instincts and youthful fancy, and glowing in the radiance of hope newly risen in short,
enlarged by the collective sympathies of nature, but still having a
depth of calmer element in a will stronger than desire, more entire
than choice, and which gives permanence to its own act by converting it into faith and duty. Hence, with excellent judgment, and with an excellence higher than mere judgment can give, at the close of the play, when Cressida has sunk into infamy below retrieval and beneath hope, the same will, which had been the substance and basis
of his love, while the restless pleasures and passionate longings, like
sea-waves, had tossed but on its surface this same moral energy is
represented as snatching him aloof from all neighbourhood with her
dishonour, from all lingering fondness and languishing regrets, while
it rushes with him into other and nobler duties, and deepens the
channel which his heroic brother's death had left empty for its collected flood."
Allusions to Troilus: and Cressid, Merchant of Venice, v. 1;
As You Like It, iv. 1 ; Cressida to this, Twelfth Night, Hi. 1 ; Much
Ado about Nothing, v. 1; in a painting, Lucrece, I. I486.
Troilus, name of a spaniel, Taming of the Shrew, iv. 1.
Troilus and Cressida was first published in a quarto edition in
1609, probably an unauthorized edition. In the folio of 1623 it is
placed between the histories and the tragedies, and paged with
neither of them, perhaps because the editors shared the perplexity
of later critics, and were in doubt as to where it should be classed.'
It is usually placed with the tragedies. Critics have also been puzzled to assign the probable date or period at which the play was
written ; the most plausible opinion is that it was first written at an
early period and afterward rewritten when the poet's powers were in
their full maturity, 1606 or 1607. The sources from which Shakespeare
spere probably drew were Chaucer's "Troilus and Creseide;" the
" History of the Destruction of Troye," translated from the French
of Raoul le Fevre by Caxton ; Chapman's translation of Homer, and
perhaps Lydgate's " Troy Book." The time is that of the Trojan
war. In characterization, in single passages of beauty and wisdom,
and in the working up of the details, this play is classed among the
author's best ; but it is lacking in unity of interest and in apparent
design ; so much so that some critics, notably Schlegel, have held its
design to be a sort of ridicule of hero-worship, an ironical presentment of the story of the siege of Troy, and Charles Lamb says : " Is
it possible that Shakespeare should never have read Homer, in Chapman's version, at least 1 If he had read it, could he mean to travesty it in the parts of those big boobies, Ajax and Achilles ? Ulysses, Nestor, and Agamemnon are true to their parts in the ' Iliad ; ' they are gentlemen, at least. Thersites, though unamusing, is fairly deducible from it. Troilus and Cressida are a fine graft upon it. But
those two big bulks "
Trojan horse, allusion to the, Pericles, i. 4.
Trojan(s), as courtiers and soldiers, Troilus and Cressida, i. 3;
Hector was but a, Love's Labour's Lost, v. 2. Play on the use of
the word for highwaymen as in I. Henry IV., ii. 1.
Troll-my-dames, A Winter's Tale, iv. 2 or 3. A game also
known as pigeon-holes.
Tropically (figuratively), Hamlet, Hi. 2.
Tropics, plants and animals of the, in Arden, As You Like It,
iv. 3.
Trouble. See AFFLICTION, SORROW.
Trowel, laid on with a, As You Like It, i. 2.
Troy, in Asia, scene of Troilus and Cressida; six gates of,
prologue ; high towers of, iv. 5 ; the queen compares the uncrowned
king to the devastated site of Troy, Richard II., v. 1 ; the burning
of, allusion to, II. Henry IV., i. 1; Hamlet, ii. 2 ; Titus Andronicus, Hi. 1; v. 3 ; III. Henry VI., Hi. 2 ; paying tribute to the sea-monster, Merchant of Venice, Hi. 2 ; the siege of, in a painting,
Lucrece, 1. 1367 ; song about, All's Well that Ends Well, i. 3.
Troy, the hope of (Hector), ///. Henry VI., ii. 1.
Troy, the queen of, Titus Andronicus, i. 1 or 2. Hecuba, who
put out the eyes of Polymnestor, King of Thrace, and killed his two
children, in revenge for the death of her son, who was murdered by
Polymnestor.
Troyes in Champagne, scene of Henry V., v. 2, "a royal
palace."
True, 'tis, 'tis pity, Hamlet, ii. 2.
Trumpery, The Tempest, iv. 1; A Winter's Tale, iv. 3.
Trumpet(s), a visitor announced by the, Merchant of Venice,
v. 1; sounding to battle, Richard II., Hi. 3 ; III. Henry VI., ii. 2;
Troilus and Cressida, i. 3; iv. 5; Macbeth, v. 6; Antony and Cleopatra, iv. 8.
Trundle-tail (a curly-tailed dog), King Lear, Hi. 6.
Trunk, a, used in a treacherous stratagem, Cymbeline, i. 6.
Trust, begetting falsehood, The Tempest, i. 2 ; give, to but few,
All's Well that Ends Well, i. 1; A Winter's Tale, i. 2, " I have
trusted thee," etc. ; a simple gentleman, A Winter's Tale, iv. 3 or
4, speech of Autolycus; abuse of, Richard II., i. 1; I. Henry IV.,
v. 5; in innocence, II. Henry VI., iv. 2 ; no use for, Antony and
Cleopatra, v. 2.
Truth, ill-spoken, The Tempest, ii. 1 ; is truth, Measure for
Measure, v. 1 ; to seek, in books, Love's Labour's Lost, i. 1 ; stranger
than fiction, Twelfth Night, Hi. 4, " If this were played," etc. ; swear, out of England, I. Henry IV., ii. 4; tell, and shame the devil, 1.
Henry IV., Hi. 1 ; thought flattery, /. Henry IV., iv. 1; Antony
and Cleopatra, i. 2 ; a quiet breast, Richard II., i. 3 ; told by instruments of darkness, Macbeth, i. 3 ; delight in, Macbeth, iv. 3 ; to
one's self, Hamlet, i. 3 ; determination to find, Hamlet, ii. 2 ; is a
dog that must to kennel, King Lear, i. 4; should be silent, Antony
and Cleopatra, ii. 2 ; with beauty, Sonnet liv.; needs no colour,
Sonnet ci. ; catches nothing but mere simplicity, Troilus and Cressida, iv. 4,' shown in the face, Pericles, v. 1 ; loves open dealing,
Henry VIII., Hi. 1.
Tubal, a Jew and friend of Shylock in the Merchant of Venice,
appears in Hi. 1, where he alternately enrages Shylock with reports
of his daughter's extravagance, and consoles him with the news of
Antonio's misfortunes.
Tuck (sword, rapier), Twelfth Night, Hi. 4.
Tuck, Friar, Two Gentlemen of Verona, iv. 1. . The father confessor of Robin Hood.
Tuition, of God, Much Ado about Nothing, i. 1.
Tullius, Servius, Lucrece, argument.
Tully (Marcus Tullius Cicero), murder of, II. Henry VI., iv. 1 ;
oratory of, Titus Andronicus, iv. 1.
Tunis, in Africa, king of, The Tempest, ii. 1.
Turf, Peter, Taming of the Shrew, induction, 2.
Turk(s), to turn, Much Ado about Nothing, Hi. 4; Hamlet, Hi.
2 ; nose of, Macbeth, iv. 1; a malignant and turbaned, Othello, v. 2 ;
base Phrygian, Merry Wives of Windsor, i. 3 ; stubborn, Merchant
of Venice, iv. 1; defiant, As You Like It, iv. 3; Richard III., Hi.
5; tribute of, II. Henry IV., Hi. 2. To turn Turk was to become a
turn-coat.
Turkey, the, allusions to, Twelfth Night, ii. 5; I. Henry IV.,
ii. 1 ; Henry V., v. 1. The turkey was not known in England till
the time of Henry VIII. (1509 to 1547).
Turlygod, poor, King Lear, ii. 3.
Turn, a friend forever gained by one shrewd, Henry VIIL, v. 2.
Turnbull Street, or Turnmill Street (a disreputable neighbourhood in London), II. Henry I V., Hi. 2.
Turn-coat, courtesy a, Much Ado about Nothing, i. 1.
Turquoise ring, the, Merchant of Venice, Hi. 1. This stone
was supposed to possess magical properties : to fade or brighten according to the wearer's health, and to keep the peace between husband and wife, were among them.
Turtles (turtle-doves), A Winter's Tale, iv. 3 or 4; v. 3 ; Love's
Labour's Lost, iv. 3 ; 1. Henry VI., ii. 2.
Tutelary spirits, good or evil angels, //. Henry IV., i. 2 ; Julius CcBsar, Hi. 2 ; Macbeth, Hi. 1 ; Antony and Cleopatra, ii. 3.
Tutor, to the Earl of Rutland in III. Henry VI., i. 3. He was
a priest, Sir Robert Aspall.
Twelfth Night, or What You Will, a comedy known to have
been acted in 1602. The story bears a similarity to that of several
earlier plays and novels two Italian dramas, " Gl' Inganni " (" The
Cheats"), another entitled "GF Ingannati" ("The Deceived"), a
Spanish play, the " Enganos " (" The Deceits "), " The Twins," by
Bandello, and " The Historie of Apolonius and Silla," by Barnabe
Rich, the last of which it closely resembles in the part of the four
lovers, though Shakespeare has omitted the coarseness of Rich's tale,
added all distinctive touches to the principal characters, and introduced the humourous personages that surround them. The scene is
laid in Illyria, according to Shakespeare's habit of using the unimportant particulars of his originals, but the titles and characters are
English, and of his own time. Twelfth Night is one of the brightest, wittiest, and at the same time sweetest, of the comedies.
" The perfection of English comedy, and the most fascinating
drama in the language. ... It was appreciated at an early period
as one of the author's most popular creations. There is not only
the testimony of Manninghan a student at the Middle Temple,
who saw it performed, and wrote of it in his diary in its favour, but
Leonard Digges, in the verses describing this most attractive of
Shakespeare's acting dramas, expressly alludes to the estimation in
which the part of Malvolio was held by the frequenters of the
theatre." HALLIWELL-PHILLIPPS.
Twiggen-bottle (one covered with basket-work), Othello, i. 3.
Twilight, morning, III. Henry VI., ii. 5.
Twilled (brims of banks), sometimes written lilied, The Tempest,
iv. 1.
Twink, with a, The Tempest, iv. 1.
Twins, the two Dromios and the two Antipholuses in the Comedy of Errors ; Viola and Sebastian in Twelfth Night.
Twire (to sparkle, or gleam out at intervals), Sonnet xxviii.
Two Gentlemen of Verona, The, one of the earliest of the
plays, is supposed to have been written about 1591, or perhaps still
earlier. The story of Proteus and Julia resembles that of Don Felix
and Felismena in " Diana," by George de Montemayor, which Shakespeare
spere may have read in a translation by Bartholomew Yonge, published in 1598, but made some years earlier ; or from a play on the
subject, " Felix and Philomena," 1584. The scenes are laid in Verona, Milan, and a forest on the outskirts of Mantua. Charles
Knight thus presents the varying opinions of critics on this play :
" Theobald tells us, * This is one of Shakespeare's worst plays.' Hanmer thinks Shakespeare ' only enlivened it with some speeches and
lines thrown in here and there.' Upton determines that, ' if any
proof can be drawn from manner and style, this play must be sent
packing, and seek a parent elsewhere.' Johnson, though singularly
favourable in his opinion of this play, says of it, ' There is a strange
mixture of knowledge and ignorance, of care and negligence.' Mrs.
Lenox, who, in the best slip-slop manner, does not hesitate to pass
judgment upon many of the greatest works of Shakespeare, says, ' 'Tis
generally allowed that the plot, conduct, manners, and incidents of
this play are extremely deficient.' On the other hand, Pope gives
the style of this comedy the high praise of being ' natural and unaffected.' Coleridge, the best of critics on Shakespeare, has no remark
on this play beyond calling it ' a sketch.' Hazlitt, in a more elaborate criticism, follows out the same idea. Paul Dupont considers
that this play possesses a powerful charm, which he attributes to the
brilliant and poetical colouring of its style. He thinks, and justly,
that a number of graceful comparisons, and of vivid and picturesque
images, here take the place of the bold and natural conceptions
which are the general characteristics of Shakespeare's genius. In
these elegant generalizations, M. Dupont properly recognizes the
vagueness and indecision of the youthful poet. The remarks of A.
W. Schlegel on this comedy are acute, as usual : It ' paints the irresolution of love, and its infidelity toward friendship, in a pleasant but
in some degree superficial manner ; we might almost say, with the
levity of mind which a passion suddenly entertained and as suddenly
given up presupposes.' "
" The piece treats of the essence and power of love, and especially
of its influence upon judgment and habit generally, and it is not
well to impute to it a more defined idea. The twofold nature of
love is here at the outset exhibited with that equal emphasis and
that perfect impartiality which struck Goethe so powerfully in Shakspere's writings." GERVINUS.
Two loves I have, of comfort and despair, Sonnet cxliv;
Passionate Pilgrim, ii.
Tybalt, Juliet's cousin, introduced in i. 1 of Romeo and Juliet.
Mercutio calls him " prince or king of cats " in ii. 4 and Hi. 1, Tybalt or Tybert being the name of the cat in " Reynard the Fox." He is fiery and quarrelsome, forces a quarrel with Romeo and his friends, slays Mercutio, and is himself slain by Romeo (Hi. 1).
Tyburn, love's, Love's Labour's Lost, iv. 3. The gallows was
sometimes triangular.
Type (a distinguishing mark), III. Henry VI., i. 4.
Typhon, roaring, Troilus and Cressida, i. 3.
Tyranny, in the place or the person, Measure, for Measure, i.
3 ; in the use of power, Measure for Measure, ii. 2 ; accusation of,
A Winter's Tale, ii. 3 ; innocence shall make, tremble tortures of,
A Winter's Tale, Hi. 2 ; murderous, //. Henry VI., Hi. 3.
Tyrant, name of an apparition of a hound, The Tempest, iv. 1.
Tyrant(s), must have foreign alliance, III. Henry VI., Hi. 3;
friends of, Richard III., v. 2,3 ; defeated, Julius Ccesar, i. 3 ; Hi. 1;
wills of, made the scope of justice, Timon of Athens, v. 5 ; rule of a,
Coriolanus, ii. 1; Macbeth, iv. 3 ; service to a, Macbeth, v. 4; death
to a, Macbeth, v. 7 ; fears and unscrupulousness of, Pericles, i. 2.
Tyre, a city in ancient Phoenicia, scene of a part of Pericles.
Tyrrel, Sir James, character in Richard III., first appears in iv.
2 ; murders the princes, iv. 3. He was beheaded in 1502 as a conspirator with the Earl of Suffolk, and was said to have confessed the
murder before his death. Sir Thomas More writes that he was a
" brave, handsome man, who deserved a better master, and would
have merited the esteem of all men, had his virtues been as great as
his valour."
Ubiquity, Twelfth Night, v. 1, " Nor can there be that deity in
my nature of here and everywhere."
Ugliness, Comedy of Errors, iv. 2, " He is deformed," etc. ;
Richard on his own, Richard III., i. 1, 2 ; and beauty, Cymbeline,
i. 6 ; suggestion of, Venus and Adonis, I. 133.
Ugly, let the, be unmarried, Sonnet xi.
Ulysses, general of the Greeks, character in Troilus and Cressida, introduced in i. 3.
" The speech of Ulysses in Hi. 3, when taken by itself, is purely
an exquisite specimen of didactic morality; but when combined
with the explanation given by Ulysses, before the entrance of Achilles, of the nature of his design, it becomes an attribute of a real
man, and starts into life. When we compare the plausible and
seemingly affectionate manner in which Ulysses addresses himself
to Achilles, with the key which he here furnishes to his meaning,
and especially with the epithet ' derision,' we have a perfect elucidation of his character, and must allow that it is impossible to exhibit the crafty and smooth-tongued politician in a more exact or animated style. The advice given by Ulysses is in its nature sound and excellent, and in its form inoffensive and kind ; the name,
therefore, of ' derision ' which he gives to it marks to a wonderful
degree the cold, self-centred subtlety of his character." GODWIN.
Allusions to Ulysses, III. Henry VI., Hi. 2 ; iv. 2 ; Lucrece, 1. 1394.
Umfrevill, Sir John, mentioned in the first scene of II. Henry
IV., as sending news of the battle of Shrewsbury by Travers to
Northumberland.
Unaccommodated (uncivilized, not having the conveniences of
life), King Lear, Hi. 4.
Unaccustomed (unseemly), /. Henry VI., Hi. 1.
UnanePd (without extreme unction), Hamlet, i. 5.
Unbarbed (unshaven), Coriolanus, Hi. 2.
Unbated (without a button on the point), Hamlet, iv. 7 ; v. 2.
Unbolted (gross), King Lear, ii. 2.
Unbraided (undamaged), A Winter's Tale, iv. 3 or 4.
Uncape (to throw off the dogs, so as to begin the hunt), Merry
Wives of Windsor, Hi. 3.
Uncertainty, of the world, King John, v. 7 ; King Lear, iv. 1.
Uncharge (acquit, hold guiltless), Hamlet, iv. 7.
Unclew (undo), Timon of Athens, i. 1.
Unconfirmed (unsophisticated), Much Ado about Nothing, Hi-. 3.
Unction, extreme, death without, Hamlet, i. 5.
Unction, that flattering, Hamlet, Hi. 4; a poisonous, Hamlet,
iv. 7.
Underlings, the fault is not in our stars, but in ourselves if we
are, Julius Ccesar, i. 2.
Under-skinker (under-tapster), /. Henry IV., ii. 4.
Understanding, likened to a tide, The Tempest, v. 1 ; give it
an understanding, but no tongue, Hamlet, i. 2.
Under the greenwood tree, song, As You Like It, ii. 5.
Undertaker (agent, overseer), Twelfth Night, Hi. 4.
Uneath (not easily), //. Henry VI., ii. 4.
Unexpressive (indescribable), she, the, As You Like It, Hi. 2.
Ungained, men prize the, more than it is, Troilus and Cressida,
i. 2, end.
Unguem (nail), Love's Labour's Lost, v. 1.
Unhappy (mischievous), All's Well that Ends Well, iv. 5,
Unhatched practice (unripe plot), Othello, Hi. 4,
Unhoused (unmarried), Othello, i. 2.
Unhouselled (not absolved), Hamlet, i. 5.
Unicorns, The Tempest, in. 3 ; Julius Caesar, ii. 1; Timon of
Athens, iv. 3. They were said to be taken by the hunter's first attracting their attention, and then running behind a tree, which the
animal would charge against, and run its horn into, thus being held
fast and powerless.
Union, an (a costly pearl), Hamlet, v. 2.
Universe, the, filled with murmur and darkness, Henry V., iv.,
chorus.
Unkindness, love increased by, Measure for Measure, Hi. 1,
" This forenamed maid," etc. ; the only deformity, Twelfth Night,
Hi. 4 ; Julius Ccesar, Hi. 2, " The unkindest cut," etc. ; sharp-toothed, King Lear, ii. 4; cannot taint my love, Othello, iv.2; mortal to women, Antony and Cleopatra, i. 2.
Unmannerly, Hamlet, Hi. 2 ; King Lear, i. 1; better be, than
troublesome, Merry Wives of Windsor, i. 1, end. A common expression.
Unplausive (unapplauding), Troilus and Cressida, Hi. 3.
Unquestionable spirit, an, As You Like It, Hi. 2. A dislike
to being questioned.
Unrespective (unthinking, inconsiderate), Richard 111., iv. 2.
Unshunned (unshunnable), Measure for Measure, Hi. 2.
Unsisting (unresisting), Measure for Measure, iv. 2.
Untended (unprobed, neglected), King Lear, i. 4.
Untraded oath, a (one not in common use), Troilus and Cressida, iv. 5.
Up-spring, the swaggering, a dance, Hamlet, i. 4.
Urchins, The Tempest, i. 2 ; Merry Wives of Windsor, iv. 4.
Malignant fairies in the shape of hedgehogs.
Ursula, a gentlewoman attending on Hero in Much Ado about
Nothing, introduced in ii. 1.
Urswick, Christopher, a priest in Richard III., appears only
in iv. 5. He was chaplain to the Countess of Richmond and to
Henry VII., and did much to forward the union of York and Lancaster by the marriage of Henry and the Princess Elizabeth.
Usance (interest), Merchant of Venice, i. 3.
Use, breeds habit, Two Gentlemen of Verona, v. 4 ; can almost
change nature, Hamlet, Hi. 4,' everything for, Romeo and Juliet,
ii. 3, " Nought so vile," etc. ; Venus and Adonis, 1. 165 ; gold put
to, Venus and Adonis, I. 767.
Usurer(s), complaint of being called a, Merchant of Venice, Hi. 1; Coriolanus, i. 1; have fools for servants, Timon of Athens, ii. 2;
the, hangs the cozener, King Lear, iv. 6.
Usuries, the worser of two, Measure for Measure, Hi. 2.
Usurpation, The Tempest, i. 2 ; of a dukedom, As You Like,
It, i. 1 ; in the woods, As You Like It, ii. 1 ; must be boisterously
defended, King John, Hi. 4 ; of Henry, 1. Henry IV., iv. 3, ' Then
to the point," etc.
Usurper(s), The Tempest, i. 2 ; As You Like It,i . 1 ; King John,
ii. 1; favour of an, Richard IL, v. 1; cares of an, II. Henry IV.,
iv. 4; may sway a while, III. Henry VI., Hi. 3 ; Macbeth, Hi. 6;
iv. 3 ; Hamlet, Hi. 4.
Usury. See INTEREST.
Utis, II. Henry IV., ii. 4. Huitas, from the French huit, eight ;
the space of eight days after a festival, or the eighth day, sometimes
applied to the festival itself ; hence, a merry-making, a frolic.
Utter (to sell), Romeo and Juliet, v. 1.
Utterance (uttermost), Macbeth, Hi. 1 ; Cymbeline, Hi. 1.
Vacancy, but for, the air would have gone to gaze on Cleopatra,
Antony and Cleopatra, ii. 2 ; you bend your eye on, Hamlet, Hi. 4.
Vail (to lower, let fall), Measure for Measure, v. 1 ; Merchant
of Venice, i. 1; I. Henry VI., v. 3; his stomach (pride, courage),
II. Henry IV., i. 1.
Vain-glory, 'tis not, for a man and his glass to confer, Troilus
and Cressida, Hi. 3.
Valdes, a pirate, mentioned in Pericles, iv. 1 or 2. Name of an
admiral in the Spanish Armada.
Valentine, St., day of, Midsummer Night's Dream, iv. 1 ; Hamlet, iv. 5.
Valentine, one of the two gentlemen of Verona. He is honest, fair-minded, faithful, and somewhat obtuse.
Valentine, a gentleman attending on the Duke in Twelfth
Night, introduced in the first scene, plays an unimportant part.
Valentine, a kinsman of Titus in Titus Andronicus, addressed
in v. 2. He does not speak.
Valeria, a noble Roman lady, friend of Virgilia, wife of Coriolanus, and a character in the drama, introduced in i. 3. In Plutarch she is said to be the mover of the embassy of women, v. 3.
Valerius, one of the outlaws by whom Silvia is taken, in the
Two Gentlemen of Verona, v. 3.
Valerius Publius, Lucrece, argument.
Valiant, the, taste death but once, Julius Ccesar, ii. 2 ; the
truly, Timon of Athens, Hi. 5.
Validity (value), All's Well that Ends Well, v. 3 ; Twelfth
Wight, i. 1 ; King Lear, i. 1 ; Romeo and Juliet, Hi. 3.
Valour, praised, Much Ado about Nothing, i. 1; decay of,
Much Ado about Nothing, iv. 1, " Manhood is melted," etc. ; cannot carry discretion, Midsummer Nights Dream, v. 1 ; and fear together, Airs Well that Ends Well, i. 1, " So is running," etc. ; esteem of women for, Twelfth Night, Hi. 2, " For Andrew," etc. ; the
better part of should be rewarded, 1. Henry IV., v. 4; in adversaries, I. Henry IV., v. 5 ; compared to Hector's, Agamemnon's,
etc., //. Henry IV., ii. 4> n true, with self-love, ///. Henry VI.,
*v. 2 ; the chief virtue, Coriolanus, ii. 2 ; true, Timon of Athens,
Hi. 5 ; dependent on the cause, King Lear, v. 1 ; when it preys on
reason, Antony and Cleopatra, Hi. 11 or 13 ; that plucks dead lions
by the beard, King John, ii. 1 ; careless, Troilus and Cressida, v. 5 ;
after drinking, The Tempest, iv. 1; II. Henry IV., iv. 3; like a
lion's, III. Henry VI., ii. 1.
Value, is not wholly in the estimate, Troilus and Cressida, ii. 2.
Vanity, Malvolio's, Twelfth Night, ii. 3, " The devil a," etc. ;
ii. 5 ; preys upon itself, Richard II., ii. 1; a sweep of, Timon of
Athens, i. 2 ; the puppet, King Lear, ii. 2 ; of the world, Cymbeline,
Hi. 3 ; Cloten's, Cymbeline, iv. 1.
Vanquished, taunts to the, King John, v. 2.
Vant-brace (armour for the forearm), Troilus and Cressida, i. 3.
Vapians, the, Twelfth Night, ii. 3. See PIGROGBOMITUS.
Variety, of people, Merchant of Venice, i. 1, " Now, by two-.headed Janus," etc. ; infinite, Antony and Cleopatra, ii. 2.
Varnish, the, of a complete man, Loves Labour's Lost, i. 2 ;
on fame, Hamlet, iv. 7.
Varrius, a character in Measure for Measure, introduced in
iv. 5, where he does not speak.
Varrius, a character in Antony and Cleopatra, introduced in ii.
1, a friend of Pompey.
Varro, a servant of Brutus in Julius Ccesar, appears in iv. 3.
Vast (a waste), The Tempest, i. 2 ; A Winter's Tale, i. 1.
Vastidity (vastness), Measure for Measure, Hi. 1.
Vaudemont, a French earl, killed at Agincourt, mentioned,
Henry V., iii. 5 ; iv. 8.
Vaughan, Sir Thomas, character in Richard III., appears in
Hi. 3 ; sent to execution, Hi. 3, 4 ; his ghost, v. 3.
Vaunt (beginning, van) Troilus and Cressida, prologue.
Vaunt-couriers (heralds, precursors), King Lear, in. 2.
Vaux, Sir William, character in 77. Henry VI., first appears in
Hi. 2. He forfeited all his property for adherence to Lancaster.
His son is a character in Henry VIII.
Vaux, Sir Nicholas, character in Henry VIIL, introduced in ii.
1, a son of the Sir William Vaux in II. Henry VI. His father's
forfeited lands were restored to him at the accession of Henry VII.
Vaward (vanward), Midsummer Night's Dream, iv. 1.
Vein, of Ercles, Midsummer Night's Dream, i. 2 ; of King Cambyses, /. Henry IV., ii. 4> the gi vm g Richard III., iv. 2.
Veins, mustering to the heart, Lucrece, I. 44%, See BLOOD, circulation of the ; checks and disasters grow in the veins of actions
highest reared, Troilus and Cressida, i. 3.
Velutus, Sicinius. See SICINIUS VELUTUS.
Velvet, gummed (stiffened with gum), /. Henry IV., ii. 2.
Velvet-guards, /. Henry IV., Hi. 1. Trimmings of velvet,
much affected by the wives of wealthy citizens ; and here applied to
the women themselves.
Vendetta, the, of Capulets and Montagues, Romeo and Juliet.
Veneys (venues, passes in fencing), Merry Wives of Windsor, i.
1 ; Love's Labour's Lost, v. 1.
Vengeance, mercy nobler than, The Tempest, v. 1 ; threatened,
Much Ado about Nothing, iv. 1 ; of Leontes, A Winter's Tale, ii. 3 ;
omens of, King John, Hi. 4; oath of, King John, iv. 3 ; of Heaven,
Richard II., i. 2; sworn, Titus Andronicus, ii. 3; for Caesar's
wounds, Julius Ccesar, v. 1 ; just, Hamlet, i. 5 ; Laertes's vows of,
Hamlet, iv. 4 or 2 ; sure, King Lear, Hi. 7 ; invoked, Othello, Hi. 3,
"Arise, black," etc.; v. 2; Lucrece, lines 1690, 1821.
Venice, Italy, the scene of a part of the Merchant of Venice and
of Othello.
Venice, Duke of, a character in the Merchant of Venice, introduced in iv. 1.
Venice, Duke of, character in Othello, introduced in i. 3.
Venice, senators of, characters in the Merchant of Venice.
Venice, Cupid in, Much Ado about Nothing, i. 1 ; as the traveller speaks of, Love's Labour's Lost, iv. 2 ; law of, to protect its citizens, Merchant of Venice, iv. 1; death at, Richard II., iv.l; women
of, Othello, Hi. 3.
Venison, thanks for, Merry Wives of Windsor, i. 1; see SHALOW; to kill, As You Like It, H. 1.
Vent (impetuosity, as of hounds when they scent the game), Coriolanus, iv. 5.
. Ventages (small apertures), Hamlet, Hi. 2.
Ventidius, one of the false friends in Timon of Athens, introduced in i. 2. He has been released from prison by Timon (ii. 2, end),
but, having grown rich, he refuses a loan to his benefactor, Hi. 3.
Ventidius, character, in Antony and Cleopatra, introduced in
ii. 2.
Ventricle of memory, the, Love's Labour's Lost, iv. 2. Alluding to the old division of the brain into three ventricles, in the
hindermost of which was memory.
Ventures, at sea, anxiety for, Merchant of Venice, i. 1; Hi. 2.
Venturing, Venus and Adonis, 1. 567. See also DARING, OPPORTUNITY.
Venus, doves or pigeons of, The Tempest, iv. 1; Midsummer Night's Dream, i. 1 ; Merchant of Venice, ii. 6 ; love's invisible
soul, Troilus and Cressida, Hi. 1 ; smiles not in a house of tears,
Romeo and Juliet, iv. 1.
Venus (the planet), Midsummer Night's Dream, Hi. 2; II.
Henry 1 V., ii. 4 ; I. Henry VI., i. 2 ; Titus Andronicus, ii. 3.
Venus and Adonis, a poem first printed in 1593, and therefore
one of the earliest of Shakespeare's works. In the dedication he calls
it the first heir of his invention ; whether he meant by that that it
was first of all his writings, or earlier than any of his plays, or than
any that were wholly original, is uncertain. The story as told by
Shakespeare differs materially from Ovid's version, and is said to resemble more one by Henry Constable, published in 1600 in a volume
called " England's Helicon," but not known to have been written
before this one. The subject of the poem is repellent, but it contains descriptive passages of great beauty. See under LUCRECE.
Venus with young Adonis, Passionate Pilgrim, xi.
Veracity, faith in, Coriolanus, iv. 5.
Verb, a noun and a, such abominable words as no Christian ear
can endure to hear, 77. Henry VI., iv. 7.
Verbosity, and argument, Love's Labour's Lost, v. 1 ; Troilus
and Cressida, v. 3 ; of Gratiano, Merchant of Venice, i. 1. See
WORDS.
Vere, Lord Aubrey, III. Henry VI., Hi. 3.
Verges, a character in Much Ado about Nothing, introduced in
Hi. 3, a meek imitator and disciple of Dogberry.
Verily, a lady's, is as potent as a lord's, A Winter's Tale, i. 2.
Vernon, Sir Richard, character in /. Henry IV., appears in iv.
1, and v. 1 and 2. He was a partisan of the Percys, and one of the
leaders at Shrewsbury, for which he was condemned and executed,
July 23, 1403. He and Worcester are ordered to death in v. 5.
Vernon, Sir Richard (?), character in I. Henry VI., first appears
in ii. 4, the scene where the red and white roses are plucked in a
quarrel with Bassett, a Lancastrian. Vernon is an ardent adherent
of York. The quarrel is continued in Hi. 4 and iv. 1.
Verona, Italy, scene of the greater part of Romeo and Juliet, and
parts of the Two Gentlemen of Verona.
Versatility, of the king, Henry V., i. 1.
Verse. See POETRY.
Verses, on trees lame, As You Like It, Hi. 2.
Vesture of decay, this muddy, Merchant of Venice, v. 1; the
essential, of creation, Othello, ii. 1.
Via (away), Merry Wives of Windsor, ii. 2; Love's Labour's
Lost, v. 2 ; Merchant of Venice, ii. 2, and elsewhere.
Vials, the sacred (lachrymatory), Antony and Cleopatra, i. 3.
Vice(s), prevalence of, Measure, for Measure, ii. 1; results of
pardoning, Measure for Measure, ii. 2 ; apparelled like virtue, Comedy of HJrrors, Hi. 2 ; virtue misapplied turns to, Romeo and Juliet,
ii. 3 ; self-accusation of, Macbeth, iv. 3; repeated, Pericles, i. 1;
assume the marks of virtues, Merchant of Venice, Hi. 2 ; fitly bestowed, AW 8 Well that Ends Well, i. 1, " One that goes." etc. ; want
not impudence, A Winter's 1 ale, Hi. 2 ; an old man boasting of his
youthful, II. Henry IV., Hi. 2; of a young man, Hamlet, ii. 1;
through tattered clothes, King Lear, iv. 6 ; gods make instruments
of, King Lear, v. 3 ; with beauty, Sonnet xcv ; result of perseverance in, Antony and Cleopatra, Hi. 11 or 13.
Vice, the old, Twelfth Night, iv. 2. A character in the old
" Moralities," who leaped on the devil's back and beat him with a
sword of lath, but was carried away by him in the end. The moral
is that, though sin may be merry with the devil, it must become his
prey in the end. There are other allusions, as to that reverend vice,,
I. Henry IV., ii. 4, to vice's dagger in II. Henry IV., Hi. 2, the
formal vice in Richard III., Hi. 1, and the vice of kings in Hamlet,
Hi. 4, a " king of shreds and patches." The vice wore motley.
Vice (fist, grasp), //. Henry IV., ii. 1.
Victory, when without loss, Much Ado about Nothing, i. 1 ; exultation and rejoicing in, Xing John, v. 5 ; II. Henry IV., i. 1 ; III.
Henry VI. y v. 3 ; Richard Ill. y i. 1 ; Antony and Cleopatra, iv. 8.
Video et gaudeo (I see and rejoice), Love's Labour's Lost, v. 1.
Vidisne quis venit (Do you not see who comes f), Love's Labour's Lost, v. 1.
Vidomar, Viscount of Lymoges. See AUSTRIA, ARCHDUKE OF.
Vienna, the scene of Measure for Measure.
Vile, the, see vileness in goodness, King Lear, iv. 2; praise of,
Timon of Athens, i. 1.
Viliago (coward), 77. Henry VI., iv. 8.
" Vilia xniretur," etc., a quotation from Ovid placed at the beginning of Venus and Adonis. " The vulgar admire the vile ; to
me golden-haired Apollo presents a full Castalian draught."
Villain(s), when rich, have need of poor, Much Ado about Nothing, Hi. 3 ; faces of, Much Ado about Nothing, v. 1 ; King John, iv. 2 ;
(serf and rascal), As You Like It, i. 1 ; determined to prove a, Richard III., i. 1 ; smiling, damned smile and be a, Hamlet, i. 5 ; glozing their villainy, Othello, ii. 3, " And what's he," etc. ; a plain-dealing, Much Ado about Nothing, i. 3 ; a self-confessed, King Lear, i.
2 ; a, with a smiling cheek, Merchant of Venice, i. 3.
Villainy, out-villained, All's Well that Ends Well, iv. 3; easy
to practise on innocence, King Lear, i. 2, end ; make mocks with
love, Othello, v. 2 ; clothed with old odd ends stolen from Holy
Writ, Richard III. i. 3 ; instruction in, bettered, Merchant of Venice, Hi. 1.
Vincentio, the Duke of Vienna, in Measure for Measure, enters
in the first scene. He is a man of purity, justice, moderation, and
mercifulness, even toward errors to which he is himself under no
temptation a contrast to Angelo but given to masquerading and
mystery, justifying the appellation Lucio gives him, " the fantastical
duke of dark corners."
Vincentio, of Pisa, a character in the Taming of the Shrew, introduced in iv. 5.
Vine, the elm and the, Comedy of Errors, ii. 2 ; every man shall
eat under his own (in the days of Elizabeth), Henry VIII., v. 4.
Vinegia (Venetia), etc., Love's Labour's Lost, iv. 2. " Venice,
he who praises thee not has not seen thee." From Baptista Spagnolus, of Mantua.
Vinewedst (mouldiest), Troilus and Cressida, ii. 1.
Vintner, a, a character in I. Henry IV., appears in ii. 4.
Viola, heroine of Twelfth Night, introduced in the second scene.
She has been shipwrecked, and dresses as a man to protect herself in
the strange country where she is, enters the service of the duke, with whom she falls hopelessly in love, and is made the confidant of his
affection for Olivia and his messenger to her. In the delicacy and
refinement of her character, and her high breeding and gentleness,
she somewhat resembles Perdita.
" Viola is like a heightened portrait of Julia of the * Two Gentlemen of Verona,' enriched with lovely colour, and placed among more
poetical surroundings. She has not the pretty sauciness of Rosalind
in her disguise, but owns a heart as tender, sweet-natured, and
sound-natured as even Rosalind's. The mirth of the play belongs to
other actors than Viola ; her occasional playfulness falls back into
her deep tenderness and is lost in it." DOWDEN.
Viol-de-gamboys (gamba), Twelfth Night, i. 3. A violoncello
with six strings, held between the legs.
Violenta, an unimportant character in All's Well that Ends
Well, appears in Hi. 5.
Violets, Twelfth Night, i. 1; A Winter's Tale, iv. 3 or 4; Midsummer Night's Dream, ii. 2 ; Measure for Measure, ii. 2 ; Richard
IL, v. 2 ; Henry V., iv. 1; to throw a perfume on, is wasteful, King
John, iv. 2 ; Hamlet, v. 1 ; Pericles, iv. 1 ; Sonnet xcix. The violet
was an emblem of the early dead.
Virago(es), Much Ado about Nothing, ii. 1; Twelfth Night,
Hi. 4 ; Taming of the Shrew, i. 1 ; et seq.
Virgilia, wife of Coriolanus, a character in the drama, introduced in i. 3. Her gentle, fond, sensitive disposition is strongly
contrasted with the character of Volumnia, her husband's mother.
Coriolanus calls her " My gracious silence."
Virginalling (playing the virginals), A Winter's Tale, i. 2.
Virginity, All's Well that Ends Well, i. 1.
Virginius, did he do well, Titus Andronicus, v. 3.
Virgins, knights of Diana, All's Well that Ends Well, i. 3.
Vir sapit, etc. (the man is wise who speaks little), Love's Labour's Lost, iv. 2.
Virtue, of necessity, Two Gentlemen of Verona, iv. 1; to be
shown forth, Measure for Measure, i. 1 ; some fall by, Measure for
Measure, ii. 1; a bait to vice, Measure for Measure, ii. 2; looks
bleak, etc., All's Well that Ends Well, i. 1; in the lowly, All's Well
that Ends Well, ii. 3, " From lowest place," etc. ; none like necessity,
Richard II., i. 3 ; inheritance of, 111. Henry VI., ii. 2 ; only felt
by reflection, Troilus and Cressida, Hi. 3 ; perverted, Romeo and
Juliet, ii. 3 ; from lack of means for vice, Timon of Athens, iv. 3;
of Imogen, Cymbeline, i. 4; escapes not calumny, Hamlet, i. 3;
better assumed than wholly wanting, Hamlet, Hi. 4 ; and cunning (wisdom), Pericles, iii. 2 ; influence of, Pericles, iv. 5, 6; in a face,
Lucrece, I. 53.
Virtue(s), are sanctified and holy traitors to their possessors, As
You Like It, ii. 3 ; a world to hide them in, Twelfth Night, i. 3;
with beauty, 1. Henry VI., v. 5 ; written in water, Henry VIII., iv.
2 ; obscured by one defect, Hamlet, i. 4 ; assume a, if you have it
not, Hamlet, iii. 4; lie in the interpretation of the time, Coriolanus,
iv. 7.
Virtuous, Dost thou think there shall be no more cakes and ale,
because thou art, Twelfth Night, ii. 8.
Vision, the baseless fabric of a, The Tempest, iv. 1.
Visions: Katherine's, Henry VIII., iv.2 ; Posthumus's, Cymbeline, v. 4. See DREAMS.
Visor, William, of Woncot, II. Henry IV., v. 1.
Vizaments (advisements, or considerations), Merry Wives of
Windsor, i. 1.
Vizor, a virtuous, over vice, Richard III., ii. 2 ; Macbeth, iii. 2.
Vocation, no sin for a man to labour in his, I. Henry IV., i. 2.
Voices, of age, Comedy of Errors, v. 1, " Not know my," etc. ;
too rude and bold, Merchant of Venice, ii. 2 ; well divulged in (this
may mean well reputed by men's voices, or said to be learned in languages), Twelfth Night, i. 5 ; soft, gentle, and low, King Lear, v. 3 ;
beauty of, Venus and Adonis, I. 428 ; of Marcius, Coriolanus, i. 6 ;
a sweet, Pericles, v. 1, " Who starves the ears she feeds, and makes
them hungry, the more she gives them speech."
Volquessen, King John, ii. 1 or 2. The ancient name of the
province now called the Vexin, which lay on the border-land between
France and Normandy. It had been ceded by King Henry I. of
France to Duke Robert of Normandy ; but the French again took
possession of it during the childhood of William the Conqueror, who
did not attempt to retake it until 1087. In the course of the struggle Mantes was burned, and there William received injuries by a fall
from his horse, of which he died.
Volsces, preparations of, for war, Coriolanus, iii. 1 ; incursion
of, Coriolanus, iv. 5. A people inhabiting the southern part of Latium, finally subdued by the Romans in the Samnite wars, 343 and
326 B. c.
Volscian Senators, characters in Coriolanus.
Voltimand, a courtier in Hamlet, introduced in i. 2.
Volumnia, mother of Coriolanus, introduced in i. 3 ; her pride
in her son's valour, i. 3 ; she disapproves his haste, iii. 2 ; her anger, iv. % ; her suit to her son, v. 3 ; worth a city-full, v. 4> She has
her son's haughty pride of class, hateful contempt for the people,
thirst for honour, and, one might say, martial courage. By her
suit to her son, v. 3, she is said to have " saved Rome and lost her
son ; " but she did not know that she was saving Rome at such a
cost. Her speech to him, beginning " Speak to me, son," is taken
very literally from the translation of Plutarch.
" The haughty temper of Volumnia, her admiration of the valour
and high bearing of her son, and her proud but unselfish love for
him, are finely contrasted with the modest sweetness, the conjugal
tenderness, and the fond solicitude of his wife Virgilia. . . . But the
triumph of Volumnia's character, the full display of all her grandeur
of soul, her patriotism, her strong affections, and her sublime eloquence, are reserved for her last scene, in which she pleads for the
safety of Rome, and wins from her angry son that peace which all
the swords of Italy and her confederate arms could not have purchased." MRS. JAMESON.
" The poet gradually wins us to an admiration of the hero by the
most skilful management. First, through his mother. What a
glorious picture of an antique matron, from whom her son equally
derived his pride and his heroism, is presented in the exquisite scene
[i. 3} where Volumnia and Virgilia talk of him they love according
to their several natures! Who but Shakespeare could have seized
upon the spirit of a Roman woman of the highest courage and mental power, bursting out in words such as these " [beginning, " His
bloody brow ! "] KNIGHT.
Volumnius, a friend of Brutus and Cassius in Julius Ccesar,
first appears in v. 3.
Voluptuousness, in troubled times, Antony and Cleopatra, i. 4.
Votress, the imperial [Elizabeth], passed on, in maiden meditation, fancy-free, Midsummer Night's Dream, ii. 1.
Vows, lovers', Two Gentlemen of Verona, ii. 2 ; unheedful, Two
Gentlemen of Verona, ii. 6 ; of men, Measure, for Measure, i. 5 ;
broken, Love's Labour's Lost, iv. 3; v. 2; Hermits, Midsummer Night's Dream, i. 1; true, AW 8 Well that Ends Well, iv. 2; Hermione's, A Winter's Tale, Hi. 2 ; obligation of wrongful, King John,
Hi. 1; I. Henry IV., i. 3 ; Hi. 2 ; binding nature of, Henry V., iv.
7 ; sinf ul, not to be kept, ///. Henry VL, v. 1 ; broken, Troilus and
Cressida, v. 2; peevish, Troilus and Cressida, v. 3 ; careless, Hamlet, i. 3 ; false, Antony and Cleopatra, i. 3 ; men's, Cymbeline, Hi. 4*
Vox, you must allow, Twelfth Night, v. 1. Allow one to
speak.
Vulcan, a rare carpenter, Much Ado about Nothing, i. 1 ; black
as, Twelfth Night, v. 1 ; as like as, and his wife, Troilus and Cressida, i. 3 ; imagination as fold as his stithy, Hamlet, Hi. % ; badge
of, Titus Andronicus, ii. 1.
Vulture, the, Merry Wives of Windsor, i. 3; 12. Henry VI., iv.
3; Titus Andronicus, v. 2; King Lear, ii. 4.
Index A to C
Index D to F
Index G to J
Index K to M
Index N to P
Index Q to S
Index W to Z
Shakespeare's plays in order of date written
First performance and first published dates
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