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I—PARENTAGE AND BIRTH
Distribution of the name of Shakespeare 1
The poet’s ancestry 2
The poet’s father 4
His settlement at Stratford 5
The poet’s mother 6
1564, April The poet’s birth and baptism 8
Alleged birthplace 8
II—CHILDHOOD, EDUCATION, AND MARRIAGE
The father in municipal office 10
Brothers and sisters 11
The father’s financial difficulties 12
1571–7 Shakespeare’s education 13
His classical equipment 15
Shakespeare’s knowledge of the Bible 16
1575 Queen Elizabeth at Kenilworth 17
1577 Withdrawal from school 18
1582, Dec. The poet’s marriage 18
Richard Hathaway of Shottery 19
Anne Hathaway 19
Anne Hathaway’s cottage 19
The bond against impediments 20
1583, May Birth of the poet’s daughter Susanna 22
Formal betrothal probably dispensed with 23
III—THE FAREWELL TO STRATFORD
Early married life 25
Poaching at Charlecote 27
Unwarranted doubts of the tradition 28
Justice Shallow 29
1585 The flight from Stratford 29
IV—ON THE LONDON STAGE
1586 The journey to London 31
Richard Field, Shakespeare townsman 32
Theatrical employment 32
A playhouse servitor 32
The acting companies 34
The Lord Chamberlain’s company 35
Shakespeare, a member of the Lord Chamberlain’s company 36
The London theatres 36
Place of residence in London 38
Actors’ provincial tours 39
Shakespeare’s alleged travels 40
In Scotland 41
In Italy 42
Shakespeare’s rôles 43
His alleged scorn of an actor’s calling 45
V—EARLY DRAMATIC WORK
The period of his dramatic work, 1591–1611 46
His borrowed plots 47
The revision of plays 47
Chronology of the plays 48
Metrical tests 49
1591 Love’s Labour’s Lost 50
1591 Two Gentlemen of Verona 52
1592 Comedy of Errors 53
1592 Romeo and Juliet 55
1592, March Henry VI 56
1592, Sept. Greene’s attack on Shakespeare 57
Chettle’s apology 58
Divided authorship of Henry VI 59
Shakespeare’s coadjutors 60
Shakespeare’s assimilative power 61
Lyly’s influence in comedy 61
Marlowe’s influence in tragedy 63
1593 Richard III 63
1593 Richard II 64
Shakespeare’s acknowledgments to Marlowe 64
1593 Titus Andronicus 65
1594, August The Merchant of Venice 66
Shylock and Roderigo Lopez 68
1594 King John 69
1594, Dec. Comedy of Errors in Gray’s Inn Hall 70
Early plays doubtfully assigned to Shakespeare 71
Arden of Feversham (1592) 71
Edward III 72
Mucedorus 72
Faire Em (1592) 73
VI—THE FIRST APPEAL TO THE READING PUBLIC
1593, April Publication of Venus and Adonis 74
1594, May Publication of Lucrece 76
Enthusiastic reception of the poems 78
Shakespeare and Spenser 79
Patrons at Court 81
VII—THE SONNETS AND THEIR LITERARY HISTORY
The vogue of the Elizabethan sonnet 83
Shakespeare’s first experiments 84
1594 Majority of his Shakespeare’s composed 85
Their literary value 87
Circulation in manuscript 88
Their piratical publication in 1609 89
A Lover’s Complaint 91
Thomas Thorpe and ‘Mr. W. H.’ 91
The form of Shakespeare’s sonnets 95
Their want of continuity 96
The two ‘groups’ 96
Main topics of the first ‘group’ 98
Main topics of the second ‘group’ 99
The order of the sonnets in the edition of 1640 100
Lack of genuine sentiment in Elizabethan sonnets 100
Their dependence on French and Italian models 101
Sonnetteers’ admissions of insincerity 105
Contemporary censure of sonnetteers’ false sentiment 106
Shakespeare’s scornful allusions to sonnets in his plays 108
VIII—THE BORROWED CONCEITS OF THE SONNETS
Slender autobiographical element in Shakespeare’s sonnets 109
The imitative element 109
Shakespeare’s claims of immortality for his sonnets a borrowed conceit 113
Conceits in sonnets addressed to a woman 117
The praise of ‘blackness’ 118
The sonnets of vituperation 120
Gabriel Harvey’s Amorous Odious sonnet 121
Jodelle’s Contr’ Amours 122
IX—THE PATRONAGE OF THE EARL OF SOUTHAMPTON
Biographic fact in the ‘dedicatory’ sonnets 125
The Earl of Southampton the poet’s sole patron 126
Rivals in Southampton’s favour 130
Shakespeare’s fear of another poet 132
Barnabe Barnes probably the chief rival 133
Other theories as to the chief rival’s identity 134
Sonnets of friendship 136
Extravagances of literary compliment 138
Patrons habitually addressed in affectionate terms 139
Direct references to Southampton in the sonnets of friendship 142
His youthfulness 143
The evidence of portraits 144
Sonnet cvii. the last of the series 147
Allusions to Queen Elizabeth’s death 147
Allusions to Southampton’s release from prison 149
X—THE SUPPOSED STORY OF INTRIGUE IN THE SONNETS
Sonnets of melancholy and self-reproach 151
The youth’s relations with the poet’s mistress 153
Willobie his Avisa (1594) 155
Summary of conclusions respecting the sonnets 158
XI—THE DEVELOPMENT OF DRAMATIC POWER
1594–95 Midsummer Night’s Dream 161
1595 All’s Well that Ends Well 162
1595 The Taming of The Shrew 163
Stratford allusions in the Induction 164
Wincot 165
1597 Henry IV 167
Falstaff 199
1597 The Merry Wives of Windsor 171
1598 Henry V 173
Essex and the rebellion of 1601 174
Shakespeare’s popularity and influence 176
Shakespeare’s friendship with Ben Jonson 176
The Mermaid meetings 177
1598 Meres’s eulogy 178
Value of his name to publishers 179
1599 The Passionate Pilgrim 182
1601 The Phœnix and the Turtle 183
XII—THE PRACTICAL AFFAIRS OF LIFE
Shakespeare’s practical temperament 185
His father’s difficulties 186
His wife’s debt 187
1596–9 The coat of arms 188
1597, May 4. The purchase of New Place 193
1598 Fellow-townsmen appear to Shakespeare for aid 195
Shakespeare’s financial position before 1599 196
Shakespeare’s financial position after 1599 200
His later income 202
Incomes of fellow actors 203
1601–1610 Shakespeare’s formation of his estate at Stratford 204
1605 The Stratford tithes 205
1600–1609 Recovery of small debts 206
XIII—MATURITY OF GENIUS
Literary work in 1599 207
1599 Much Ado about Nothing 208
1599 As You Like It 209
1600 Twelfth Night 209
1601 Julius Cæsar 211
The strife between adult actors and boy actors 213
Shakespeare’s references to the struggle 216
1601 Ben Jonson’s Poetaster 217
Shakespeare’s alleged partisanship in the theatrical warfare 219
1602 Hamlet 221
The problem of its publication 222
The First Quarto, 1603 222
The Second Quarto, 1604 223
The Folio version, 1623 223
Popularity of Hamlet 224
1603 Troilus and Cressida 225
Treatment of the theme 227
1603, March 26 Queen Elizabeth’s death 229
James I’s patronage 230
XIV—THE HIGHEST THEMES OF TRAGEDY
1604, Nov. Othello 235
1604, Dec. Measure for Measure 237
1606 Macbeth 239
1607 King Lear 241
1608 Timon of Athens 242
1608 Pericles 243
1608 Antony and Cleopatra 245
1609 Coriolanus 247
XV—THE LATEST PLAYS
The placid temper of the latest plays 248
1610 Cymbeline 249
1611 A Winter’s Tale 251
1611 The Tempest 252
Fanciful interpretations of The Tempest 256
Unfinished plays 258
The lost play of Cardenio 258
The Two Noble Kinsmen 259
Henry VIII 261
The burning of the Globe Theatre 262
XVI—THE CLOSE OF LIFE
Plays at Court in 1613 264
Actor-friends 264
1611 Final settlement at Stratford 266
Domestic affairs 266
1613, March Purchase of a house in Blackfriars 267
1614, Oct. Attempt to enclose the Stratford common fields 269
1616, April 23rd. Shakespeare’s death 272
1616, April 25th. Shakespeare’s burial 272
The will 273
Shakespeare’s bequest to his wife 273
Shakespeare’s heiress 275
Legacies to friends 276
The tomb in Stratford Church 276
Shakespeare’s personal character 277
XVII—SURVIVORS AND DESCENDANTS
Mrs. Judith Quiney, (1585–1662) 280
Mrs. Susanna Hall (1583–1649) 281
The last descendant 282
Shakespeare’s brothers, Edmund, Richard, and Gilbert 283
XVIII—AUTOGRAPHS, PORTRAITS, AND MEMORIALS
Spelling of the poet’s name 284
Autograph signatures 284
Shakespeare’s portraits 286
The Stratford bust 286
The ‘Stratford portrait’ 287
Droeshout’s engraving 287
The ‘Droeshout’ painting 288
Later portraits 291
The Chandos portrait 292
The ‘Jansen’ portrait 294
The ‘Felton’ portrait 294
The ‘Soest’ portrait 294
Miniatures 295
The Garrick Club bust 295
Alleged death-mask 296
Memorials in sculpture 297
Memorials at Stratford 297
XIX—BIBLIOGRAPHY
Quartos of the poems in the poet’s lifetime 299
Posthumous quartos of the poems 300
The ‘Poems’ of 1640 300
Quartos of the plays in the poet’s lifetime 300
Posthumous quartos of the plays 300
1623 The First Folio 303
The publishing syndicate 303
The prefatory matter 306
The value of the text 307
The order of the plays 307
The typography 308
Unique copies 308
The Sheldon copy 309
Estimated number of extant copies 310
Reprints of the First Folio 311
1632 The Second Folio 312
1663–4 The Third Folio 312
1685 The Fourth Folio 313
Eighteenth-century editions 313
Nicholas Rowe (1674–1718) 314
Alexander Pope (1688–1744) 315
Lewis Theobald (1688–1744) 317
Sir Thomas Hanmer (1677–1746) 317
Bishop Warburton (1698–1779) 318
Dr. Johnson (1709–1783) 319
Edward Capell (1713–1781) 319
George Steevens (1736–1800) 320
Edmund Malone (1741–1812) 322
Variorum editions 322
Nineteenth-century editors 323
Alexander Dyce (1798–1869) 323
Howard Staunton (1810–1874) 324
Nikolaus Delius (1813–1888) 324
The Cambridge edition (1863–6) 324
Other nineteenth-century editions 324
XX—POSTHUMOUS REPUTATION
Views of Shakespeare’s contemporaries 326
Ben Jonson tribute 327
English opinion between 1660 and 1702 329
Dryden’s view 330
Restoration adaptations 331
English opinion from 1702 onwards 332
Stratford festivals 334
Shakespeare on the English stage 334
The first appearance of actresses in Shakespearean parts 334
David Garrick (1717–1779) 336
John Philip Kemble (1757–1823) 337
Mrs. Sarah Siddons (1755–1831) 337
Edmund Kean (1787–1833) 338
William Charles Macready (1793–1873) 339
Recent revivals 339
Shakespeare in English music and art 340
Boydell’s Shakespeare Gallery 341
Shakespeare in America 341
Translations 342
Shakespeare in Germany 342
German translations 343
Modern German critics 345
Shakespeare on the German stage 345
Shakespeare in France 347
Voltaire’s strictures 348
French critics’ gradual emancipation from Voltairean influence 349
Shakespeare on the French stage 350
Shakespeare in Italy 352
In Holland 354
In Russia 353
In Poland 353
In Hungary 353
In other countries 354
XXI—GENERAL ESTIMATES
General estimate 355
Shakespeare’s defects 355
Character of Shakespeare’s achievement 356
Its universal recognition 357
APPENDIX
I—THE SOURCES OF BIOGRAPHICAL KNOWLEDGE
Contemporary records abundant 361
A Life of William Shakespeare with portraits and facsimiles

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