Passages of this drama illustrated in the present work.

• Lucrece, beautiful picture of, ii. 36, 37.
• See Rape of Lucrece.
• Lucy (Sir Thomas), biographical notice of, i. 402.
• His deer stolen by Shakspeare, 403.
• Whom he reprimands and exposes, 404.
• Is libelled by Shakspeare, 404-407.
• Prosecutes him, 407, 408.
• Ridiculous portrait of Sir Thomas, 409.
• Luders (Mr.), notice of his essay on the character of Henry V., ii. 381.
• Luigi da Porta, the Giuletta of, the source of Shakspeare's Romeo and Juliet, ii. 360-362.
• Lunacy (latent), philosophical and medical remarks on, ii. 406, 407.
• Application of them to the character of Hamlet, 407, 408.
• Lupton (Thomas), a dramatic writer in the time of Elizabeth, notice of, ii. 237.
• Luring of Hawks, i. 266, 267. note.
• M
• Mab, queen of the fairies, exquisite picture of, ii. 341, 342.
• Macbeth, date of, ii. 469.
• Analysis of the character of Macbeth, 469-471.
• Remarks on the management of the fable, 471.
• Its striking affinity to the tragedy of Æschylus, 472-474.
• Critical remarks on the supernatural machinery of this play, 474.
• Account of the popular superstitions concerning witchcraft, current in Shakspeare's time, 475-486.
• Instances of his admirable adaptation of them to dramatic representation in Macbeth, 487, 488.

Passages of this drama, illustrated in the present work.

• Machin (Lewis), "The Dumb Knight" of, illustrated, ii. 31. note.
• Madmen, in Shakspeare's plays, remarks on, i. 587.
• Characteristic madness of Edgar, in the play of Lear, 588.
• Affecting madness of Ophelia in Hamlet, 589-591.
• Contrast between the madness of Lear and Ophelia, ii. 396.
• The madness of Edgar and Lear considered, 462-464.
• Madrigals, collections of, in the time of Shakspeare, i. 730-733.
• Magic, state of the art of, in the time of Queen Elizabeth, ii. 509, 510.
• Notice of eminent magicians at that time, 511-514.
• Different classes of magicians, 515.
• Prospero, one of the higher class, ibid.
• Description of his dress and spells, 515-517.
• Mode of conjuring up the spirits of the dead, 518-520.
• Different orders of spirits under magical power, 521-526.
• Maid Marian, origin of, i. 161.
• One of Robin Hood's associates in the May-games, ibid. 162.
• Malone (Mr.), opinion of, on the authenticity of John Shakspeare's will, i. 15.
• On the probability of William Shakspeare's being placed with an attorney, 43-45.
• His conjecture as to the person to whom Shakspeare's sonnets were addressed, ii. 61.
• Refuted, 62-73.
• Strictures on his inadequate defence of Shakspeare's sonnets, against Mr. Steevens's censure, 74, 75.
• Conjecture of, as to the amount of Shakspeare's income, 225.
• Ascribes Pericles to him, 265.
• His opinion on the date of Love's Labour's Lost, 289.
• On the spuriousness of Henry VI. Part I., 293.
• His able discrimination of genuine from the spurious passages, 295.
• On the probable date of Romeo and Juliet, 357, 358.
• Of the Taming of the Shrew, 364.
• Of Richard III. 370.
• Of Henry IV. Parts I. and II., 379.
• Of Hamlet, 391.
• Of King John, 419.
• Of All's Well That Ends Well, 422, 423.
• On the date of Troilus and Cressida, 438.
• Of Henry VIII. 442-445.
• Of Timon of Athens, 446, 447.
• Of Measure for Measure, 452.
• Of King Lear, 457-459.
• Of The Tempest, 500-503.
• Of Othello, 527, 528.
• Of Twelfth Night, 535.
• Strictures on his splenetic censure of Ben Jonson, 578. note.
• Remarks of, on the epitaphs ascribed to Shakspeare, 607. and note.
• Character and expression of the poet's bust injured through his interference, 621.
• His illustrations of Shakspeare cited, passim.
• Malory (Sir Thomas), account of his translation of the romance of "La Morte D'Arthur," i. 524.
• Mandrake, fable concerning, i. 374.
• Manners of the metropolis during the age of Shakspeare, ii. 149.
• Influence of Elizabeth and James I. upon them, 153, 154.
• Credulity and superstition, 154.
• Love of strange sights, 155.
• Passion for travelling, 156.
• Love of Gaming, 157.
• Duelling and quarrelling, 158, 159.
• Lying and gossipping, 159, 160.
• Complimentary language, 160-162.
• Manning of hawks, i. 266, 267. note.
• Manningtree, celebrated for its fairs and stage plays, i. 251.
• Mansions of country squires and gentlemen, in Shakspeare's age, description of, i. 72-74.
• Mantuanus, Eclogues of, probably one of Shakspeare's school books, i. 27. note.
• Quoted and praised by him, ibid.
• Translations of them noticed, 28. note.
• Marbeck (John), a minor poet of the age of Shakspeare, i. 692.
• Marlow (Christopher), character of, as a poet, i. 635, 636.
• And as a dramatic writer, with specimens, ii. 245-248.
• His wretched death, 249, and note.
• His "Passionate Shepherd," cited by Shakspeare, i. 578.
• Marston (John), biographical notice of, i. 636.
• Character of his satires, 637.
• Estimate of his merits as a dramatic poet, ii. 567, 568.
• His "Scourge of Villanie," cited and illustrated, ii. 160.
• Mark's Day (St.), supposed influence of, on life and death, i. 323.
• Markham (Gervase), a miscellaneous writer in the time of Shakspeare, biographical account of, i. 505.
• List of his works, 506, 507. notes.
• Their great popularity, 506, 507.
• Notice of his "Gentleman's Academie, or Book of St. Alban's," i. 70. note. 257. note.
• Dedication to, 70.
• His difference between churles and gentlemen, 71, 72. note.
• His edition seen by Shakspeare, 71. note.
• Directions of, for an ordinary feast, 80. note.
• His explanation of terms in hawking, 267-269. note.
• On different sorts of hounds, 283, 284.
• Description of the qualifications of an angler, 294-296.
• Notice of his "Discource of Horsemanshippe," 299. note.
• Precepts for learning to ride, 299, 300.
• List of his poems, 692, 693.
• His address to the Earl of Southampton, ii. 17. note.
• Marriage, ceremony of, in Shakspeare's time, i. 223.
• Procession, ibid. 224.
• Rosemary strewed before the bride, 224.
• Ceremonies in the church, 225.
• Drinking out of the bride cup, ibid. 226.
• Blessing the bridal bed, ib.
• Description of a rustic marriage, 227-229.
• How celebrated in the North of England in the 18th century, 229. note.
• Martial, epigram of, happily translated, i. 690. note.
• Martinmas, or the festival of St. Martin, i. 190.
• Winter provision then laid in, ibid.
• Poetical description of, 191-193.
• Universally observed throughout Europe, 191.
• Allusion to this day, by Shakspeare, 193.
• Martin Mar-Prelate, notice of, i. 457.
• Mascall's (Leonard), "Booke of Fishing," notice of, i. 291, and note.
• Masks generally used in the age of Shakspeare, ii. 95.
• Masques, splendid, in the age of Shakspeare, account of, ii. 187-190.
• Allusions to them by Shakspeare, 191-193.
• Unrivalled excellence of Ben Jonson's masques, 578.
• Massinger (Philip), merits of, as a dramatic poet, considered, ii. 561, 562.
• Illustrations of several of his plays, viz.
• City Madam, i. 75.
• ——, Act ii. scene 1., i. 180.
• Guardian, i. 262, 263.
• Virgin Martyr, i. 310.
• Master of the Revels, office of, when instituted, ii. 202.
• The superintendance of the stage and of actors, committed to them, 203.
• Players sometimes termed children of the revels, 204.
• Maxwell (James), a minor poet of the age of Shakspeare, i. 693.
• May-Day, anciently observed throughout the kingdom, i. 152.
• A relic of the Roman Floralia, ibid.
• Poetical description of, in Henry VIII.'s time, 153.
• Cornish mode of celebrating, ibid.
• How celebrated in the age of Shakspeare, 154, 155.
• Allusions to it by the poet, 155, 156.
• Verses on, by Herrick, 156, 157.
• Morris-dances, the invariable accompaniment of May-day, 157, 158.
• Robin Hood and his associates, when introduced, 159-163.
• Music accompanying May-games, 164, 165.
• Introduction of the hobby-horse and dragon, 156.
• Description of the May-games, as celebrated in Shakspeare's time, 167-171.
• Opposition made to them by the Puritans, and their consequent decline, 171-173.
• Revived by King James's "Book of Sports," 173, 174.
• Their gradual disuse, 174, and note.
• Maying, custom of going a Maying, i. 155.
• Verses on, 156, 157.
• Mayne's "City Match," illustration of, i. 388.
• Maypole, ceremony of setting up described, i. 154.
• Measure for Measure, probable date of, ii. 452.
• Its primary source, 453.
• Analysis of its characters, 454-456.

Passages of this drama illustrated in the present work.

• Menæchmi of Plautus, the basis of Shakspeare's Comedy of Errors, ii. 286-288.
• Merchant of Venice, date of, ii. 385.
• Probable source of its fable, 385, 386.
• Analysis of it, 387, 388.
• And of its characters, 388-390.
• Particularly that of Shylock, 388, 389.

Illustrations of this drama.

• Meres (Francis), critical notice of his "Comparative Discourse of our English Poets, with the Greeke, Latine, and Italian Poets," i. 468.
• His censure of the popularity of "La Morte D'Arthur," 525.
• Encomium on Shakspeare's Venus and Adonis, ii. 29.
• And on several of his dramas, 287.
• Merry Pin, explanation of the term, i. 131. note.
• Merry Wives of Windsor, tradition respecting the origin of, ii. 435, 436.
• Analysis of its characters, 436, 437.

Passages of this drama illustrated in the present work.

• Metrical Romances, origin of, i. 522, 523.
• Michael (St.) and All Angels, festival of, i. 334.
• Superstitious doctrine of the ministry of angels, 334-340.
• Michaelmas-geese, 340, 341.
• Middleton (Christopher), a minor poet of the age of Shakspeare, i. 693.
• Middleton (Thomas), a minor poet of the age of Shakspeare, i. 693.
• Wrote several pieces for the stage, in conjunction with other dramatic poets, ii. 565.
• Estimate of his merits as a dramatist, 565, 566.
• Illustrations of his "Fair Quarrel," i. 224.
• And "No Wit, No Help like a Woman's," i. 226.
• Midsummer-Eve, superstitious observances on, i. 328.
• Midsummer-Eve fire, of Pagan origin, ibid. 329.
• Fern-seed only visible on that eve, 329.
• Spirits visible of persons, who are to die in the following year, 330, 331.
• Recent observance of Midsummer-Eve in Cornwall, 331.
• Visionary appearance of future husbands and wives supposed to take place on this Eve, 332, 333.
• Plays and masques performed then, 333, 334.
• Midsummer-Night's Dream, composed for Midsummer-Eve, i. 333, 334.
• Its probable date, ii. 298, 299.
• One of Shakspeare's earlier pieces, 299.
• Critical remarks on some of its characters, 300-302.
• And on the fairy mythology of this play, 302. 337-355.
• (See also the article "Fairies," in this Index.)

Passages of this drama illustrated in this work.

• Milan Bells for hawks, notice of, i. 268, 269.
• Milk Maids, procession of, on May-day, i. 155. note [155:A].
• Milton's "Comus," illustration of, i. 131.
• Illustrations of "Paradise Lost," i. 339, 381.
• Proof that he imitated Shakspeare's Pericles, ii. 279, 280. note [279:C].
• Exquisite passage from his "Paradise Lost," on the ministry of angels, 401.
• Ben Jonson the favourite model studied by Milton, 578, 579.
• Whether he and Shakspeare were acquainted with each other, 672.
• Ministry of Angels, superstitious notions concerning, i. 334-339.
• Remarks of Bishop Horsley on, 339, 340.
• Minstrels better paid than clergymen, i. 93.
• Their condition in the age of Elizabeth, 557.
• Their costume described, 558, 559.
• Dissolute morals of, 559, 560.
• Allusions to them by Shakspeare, 560, 561.
• Their profession annihilated by act of parliament, 561.
• Allusions to their poetry by Shakspeare, 574-593.
• Miranda, remarks on the character of, ii. 506.
• "Mirrour for Magistrates," a collection of poetical legends, planned by Sackville, i. 708.
• Account of its various editions, 709, 710.
• Its character, 710.
• Influence on our national poetry, ibid.
• Monkies, kept as the companions of the domestic fool, ii. 145, 146.
• Monsters, supposed existence of, i. 384-389.
• Montgomery (Alexander), notice of the poems of, i. 693, and note.
• Monument of Shakspeare, in Stratford church, described, ii. 618.
• Remarks on the bust erected on it, 619-622.
• Moon, supposed influence of, i. 382-384.
• Exquisite picture of moonlight scenery, ii. 390.
• Morality of Shakspeare's dramas, ii. 552.
• Morgan (Mr.), vindicates Shakspeare from the calumnies of Voltaire, ii. 553, 554.
• Morley's (Thomas), Collection of Madrigals, quotations from, illustrative of May-games, i. 165, 166.
• Account of his "Collections," 731-733.
• Morris-dance, origin of, i. 157.
• Dress of the Morris-dancers, 158.
• Morris dances performed at Easter, i. 147. note.
• And especially at May-day, 158, 159.
• Music by which these dances were accompanied, 164, 165.
• Morris-dances introduced also at Whitsuntide, 175.
• "Morte D'Arthur," a celebrated romance, account of, i. 524.
• Its popularity censured by Ascham and Meres, 524, 525.
• Notice of its principal editions, 526, 527.
• Specimen of its style, 528.
• Furnished Spenser with many incidents, 528, 529.
• Allusions to it by Shakspeare, 562.
• Moseley (Mr.), discovers John Shakspeare's will, i. 9.
• Moryson (Fynes), critical notice of his "Itinerary," i. 479.
• His character of "Amadis of Gaul," 546.
• Much Ado about Nothing, date of, ii. 430.
• Strictures on its general character, and on the conduct of its fable, ibid. 431.
• Original of the character of Dogberry in this play, 589.

Passages of this drama illustrated in the present work.

• Mufflers, an article of female dress in the age of Shakspeare, ii. 95.
• Mulberry-tree, when planted by Shakspeare, ii. 599, 600.
• Cut down, ii. 584. note.
• Mulcaster (Richard), notice of the grammatical labours of, i. 455.
• Muncaster (Richard), a minor poet of the age of Shakspeare, i. 693.
• Munday (Anthony), notice of his Versions of "Palmerin of England," i. 547.
• "Palmerin d'Oliva," and "Historie of Palmendo," 548.
• List of his poems, 693, 694.
• Murdered persons, blood of, supposed to flow on the touch or approach of the murderer, i. 372, 373.
• Murray (David), a minor poet of the age of Shakspeare, i. 694, and note.
• Music of the Morris-dance and May-games, i. 164, 165.
• Description of the music of the fairies, ii. 342, and note.
• Shakspeare passionately fond of music, 390.
• "Myrrour of Knighthood," a popular romance, alluded to by Shakspeare, i. 570.
• Mythology of the ancients, a favourite study in the time of Elizabeth and James I., i. 419.
• Critical account of the fairy mythology of Shakspeare, ii. 302-337.
• N
• Name of Shakspeare, orthography of, ascertained, i. 17-20.
• Nash (Thomas), "Quarternio" of, cited, i. 260-262.
• His quarrel with Harvey, 458.
• His books, why scarce, ibid.
• Character of him, 459. 486.
• Nashe's "Choosing of Valentines" cited, i. 251.
• Natural History, works on, translated in the time of Shakspeare, i. 485.
• Needlework, admirable, of the ladies, in the age of Shakspeare, ii. 146. and note, 153.
• Newcastle, Easter amusements at, i. 149.
• Newspapers, origin of, i. 506.
• Newton (Thomas), a minor poet of the age of Shakspeare, i. 694.
• Newton's "History of the Saracens," notice of, i. 476.
• New-Year's Day, ceremonies observed on, i. 123.
• Presents usually made then, 124.
• Account of those made to Queen Elizabeth, 125, 126.
• Nicholson (Samuel), a minor poet in the time of Shakspeare, i. 694.
• Niccols (Richard), critical notice of the poetical works of, i. 637, 638.
• Additions to the "Mirrour for Magistrates," 709, 710.
• Nightmare, poetical description of, i. 348, note.
• Supposed influence of St. Withold, against it, 347-349.
• Nixon (Anthony), a minor poet of the age of Shakspeare, i. 694.
• Noises, sudden and fearful, supposed to be forerunners of death, i. 361.
• Norden (John), notice of the topographical works of, i. 480, 481.
• And of his poetical productions, 694.
• Novels (Italian), account of, translated in Shakspeare's time, i. 538-544.
• List of those most esteemed in the 15th and 16th centuries, 544, note.
• Nutcrack Night, i. 341.
• O
• Oberon, the fairy king of Shakspeare, derivation of his name, ii. 337, note.
• Analysis of his character, 337-340.
• Ockland's ΕΙΡΗΝΑΡΧΙΑ sive Elizabetha, a school-book in Shakspeare's time, account of, i. 26.
• Omens, prevalence of, in Shakspeare's time, i. 349-351.
• Warnings of danger or death, 349-354.
• Dreams, 354.
• Demoniacal voices, 355.
• Corpse-candles, and tomb-fires, 358.
• Fiery and meteorous exhalations, 360.
• Sudden noises, 361, 362.
• Ophelia, remarks on the affecting madness of, i. 589-591.
• And also on Hamlet's passion for her, ii. 394-396.
• Ordinaries, account of, in the age of Shakspeare, ii. 134, 135.
• Oriental romances, account of, i. 531-538.
• Allusions to them by Shakspeare, 568, 569.
• Orthography of Shakspeare's name, i. 17-20.
• Instances of want of uniformity in, 19. note.
• Othello, probable date of, ii. 527, 528.
• General remarks on this drama, 529.
• Vindication of it from the extraordinary criticism of Mr. Steevens, 529, 530.
• On the execution of the character of Othello, 530.
• Iago, 531.
• And Desdemona, ibid.

Passages of this tragedy illustrated in the present work.

• Overbury (Sir Thomas), the first writer of "Characters," i. 509.
• Character of his productions, ibid.
• Especially his poem on the choice of a wife, 510.
• Imitation of it, ibid.
• Notice of editions of it, 694, and note [694:D].
• Mrs. Turner executed for his murder, ii. 96.
• Owls, superstitious notions concerning, i. 393, 394.
• P
• Pageants, splendid, in the age of Shakspeare, account of, ii. 187-190.
• Allusions to them by the poet, 191-193.
• Paint, used by the ladies in Shakspeare's time, ii. 95.
• Palaces of Queen Elizabeth, account of the furniture of, ii. 111, 112.
• "Palmerin d'Oliva," romance of, translated by Munday, i. 548.
• Alluded to by Shakspeare, 571.
• "Palmerin of England," a popular romance, critical notice of, i. 547.
• Palmistry, allusions to by Shakspeare, i. 363.
• Pancake Bell, account of, i. 143. note.
• Pancakes, the invariable accompaniment of Shrove-Tuesday, i. 141, 142.
• "Paradyse of Daynty Devises," account of the different editions of, i. 711, 712.
• And of the different contributors to this collection of poems, 713-715.
• Paris, fashions of, imported into England, in the age of Shakspeare, ii. 94.
• Park (Mr.), remarks of, on the style of our elder poetry, i. 719, 720.
• Parish Tops, notice of, i. 312.
• Parker (Archbishop), a collector of curious books, i. 433.
• Parkes (William), a minor poet of the age of Shakspeare, i. 695.
• Parnassus—"The Great Assizes holden in Parnassus," &c. cited, i. 19. note.
• Parrot (Henry), a minor poet of the age of Shakspeare, i. 695.
• Partridge (John), a minor poet of the age of Shakspeare, i. 695.
• Pasche Eggs, given at Easter, i. 148.
• Pasquinade of Shakspeare, on Sir Thomas Lucy, i. 405, 406.
• Passing Bell, supposed benefit of tolling, i. 232, 233, 234.
• Passions, exquisite delineations of, in Shakspeare's dramas, ii. 546-549.
• "Passionate Pilgrim," a collection of Shakspeare's minor pieces, when first printed, ii. 41.
• Probable date of its composition, 42.
• An edition of this work published by Jaggard, without the poet's knowledge or consent, 43-45.
• Shakspeare vindicated from the charge of imposing on the public, in this edition, 45-48.
• Critical remarks on the Passionate Pilgrim, 49.
• Pastoral romances, account of, i. 548-552.
• Paul's (St.) Day, supposed influence of, on the weather, i. 323. and note.
• Paul's Walk, a fashionable lounge in St. Paul's Cathedral, during the age of Shakspeare, ii. 182-185.
• Pavin or Pavan, a fashionable dance in the time of Shakspeare, account of, ii. 173, 174.
• Payne (Christopher), "Christmas Carrolles" of, i. 695.
• Paynter's (William), "Pallace of Pleasure," a popular collection of romances, i. 541.
• Probable cause of its being discontinued, ibid. 542.
• Constantly referred to by Shakspeare, 542.
• Peacham (Henry), a minor poet in the time of Shakspeare, i. 695.
• Peacham's description of country-schoolmasters, i. 97, 98.
• Instruction on the best mode of keeping books, and on the best scite for a library, 436, 437.
• And on the choice of style, 447, 448.
• Peacock Pies, anciently eaten at Christmas, i. 200.
• Pearson (Alison), executed for supposed intercourse with fairies, ii. 318, 319.
• Peasantry, or Boors, character of, in the age of Elizabeth, i. 120-122.
• Peele (George), a minor poet of the age of Shakspeare, i. 695, 696.
• Character of his dramatic productions, ii. 239, 240.
• Peend (Thomas de la), a minor poet in the age of Shakspeare, i. 696.
• Peg Tankard, origin of, i. 131. note.
• Explanation of terms borrowed from it, ibid.
• Percy (Bishop), notice of his "Friar of Orders Grey," i. 579, 580.
• Ascribes Pericles to Shakspeare, ii. 265.
• Percy (William), a minor poet of the age of Shakspeare, i. 696.
• Perdita, remarks on the character of, in the Winter's Tale, ii. 499, 500.
• Peri, or benevolent fairies of the Persians, notice of, ii. 302.
• Periapts, a sort of spell, supposed influence of, i. 364.
• Pericles, the first of Shakspeare's plays, ii. 262.
• Proofs, that the greater part, if not the whole of it, was his composition, 262, 263. 265, 266.
• Its omission in the first edition of his works, accounted for, 264.
• Its inequalities considered, 265-267.
• In what parts his genius may be traced, 268.
• Examination of the minor characters, 270, 271.
• Of the personage of Pericles, 272, 273.
• Admirable scene of his recognition of Marina, 274.
• And of his wife Thaisa, 275.
• Character of Marina, examined, 276-279.
• Strict justice of the moral, 279.
• This play imitated by Milton, ibid. note.
• Dryden's testimony to the genuineness and priority of Pericles, 281.
• Internal evidences to the same effect, 282.
• This play probably written in the year 1590, 282, 283.
• Objections to its priority considered and refuted, 285, 286.
• Probability of Mr. Steevens's conjecture that the hero of this drama was originally named Pyrocles, after the hero of Sidney's Arcadia, 283, 284.