Protestantism and the Renaissance,
Puritanism and the drama, 90.
Purple Island, Fletcher's, 192, 212.
Puttenham's Arte of English Poesie,
245.
Pyrrhus, 146.
QUINEY, JUDITH, Shakespeare's
youngest daughter, 276.
Ralegh, Sir Walter, Bibliography, 116;
his versatility, 123; his home, 123;
at Oxford, 124; studies law in Lon-
don, 124; in France, 125; in the
Netherlands, 125; goes to West
Indies, 125; in Ireland, 126; plans
expedition to North America, 127;
story of his cloak, 127; detained by
Queen Elizabeth, 128; his relations
with Virginia, 128-130; planted the
potato in Ireland, 130; introduces
tobacco-smoking, 130; serves against
Spanish Armada, 133; his desire of
gain, 133; his intellectual interests,
134; friendship with Spenser, 134;
his poetry, 135; meetings at the
'Mermaid,' 136; goes to Guiana,
137; hardships, 318; his Discovery
of Guiana, 139, 140; returns home,
141; joins in expeditions to Cadiz
and the Azores, 141; his mar-
riage, 141; his unpopularity at
Court, 142; charged with treason,
143; sentenced to death and res-
pited, 144; imprisoned in Tower,
144; his scientific curiosity, 145;
his History of the World, 145; cen-
sure of Henry VIII., 146; his criti-
cism of current events, 147; his
moral purpose, 147; hopes of free-
dom, 148; released, 149; return to
Guiana, 150; failure of the expedi-
tion, 150; his disgrace and execu-
tion, 150; his apostrophe on death,
151; the contemporary estimate,
152; his character, 152; his failure
and success, 153; the true founder of
Virginia, 153; cf. also 6–14, 15, 107,
156, 177, 180, 182, 226, 258, 283.
Ralegh, Sir Walter, Works:
Discovery of Guiana, 116.
History of the World, 15, 259, 283.
Raphael, 278 n.
Rawley, Dr. William, Bacon's chap-
lain, 228 n., 229 n.
Red Cross, Knight of the, 199.
Reliquia Wottonianæ, 245 n.
Renaissance, The, 1-15 passim; in
Europe, 3; its unity, 3; its results in
England, 3; the quest for knowl-
edge, 4; width of outlook, 4; versa-
tility, 5; the mental energy, 5; great
Englishmen of the epoch, 6; its
causes, 7; intellectual revelation, 8;
discovery of ancient Greek litera-
ture, 8; Italian influence, 9; the
physical revelation, 9; maritime dis-
coveries, 9; discovery of solar system,
10; expansion of thought, 10; inven-
tion of printing, 11; the Renais-
sance and the Church of Rome, 11;
the Protestant compromise, 12; liter-
ary influence of the Bible, 13; the
English products of the Renais-
sance, 14-15; Shakespeare the
climax, 16; in England, 17–18.
Renaissance in Italy, by Symonds, 1.
Renaissance, The, by Pater, 1.
Return from Parnassus, 155, 192.
Reynolds, Samuel Harvey, his edition
of Bacon's Essays, 214.
Rich, Lady. See sub Devereux,
Penelope.
- Lord, 106.
Richard III., History of, 60.
Rinaldo, 179.
Roanoke, 128.
Robertson, Mr. J. M., his Montaigne
and Shakespeare, 285.
Rome, the Church of, and the Renais-
sance, 12.
Ronsard, Pierre, 71, 79, 308, 318;
Amours, 310 n.
Roper, Margaret, 54, 55, 57.
William, More's son-in-law, his
Life of Sir Thomas More, 17; ac-
count of More's death, 55.
'SALOMON'S HOUSE,' 253.
St. Bartholomew's Day, 72.
St. Thomé, 150.
Sanazzaro, 98, 168.
Scaliger, Julius Cæsar, influence of his
Poetice on Sidney, 92.
Scott, Sir Walter, his Kenilworth,
127 n.
Scudamore, Sir, 203.
Seebohm, Mr. Frederic, his Oxford
Reformers, 17.
Seneca, 58, 292.
Sententiae Pueriles, 292, 295.
Shakespeare, John, father of William,
257; probably at Kenilworth, 76.
William], volunteer, 297.
William, Bibliography, 256; par-
entage, birth, and baptism, 257;
education, 257; compared with that
of his contemporaries, 258; his self-
training, 258; his youth, 259; his
marriage, 259; visits London, 259;
his genius, 260; association with
London and the theatre, 260; a
theatre call-boy, 261; the period of
probation, 261; his use of law
terms, 262; comparison with con-
temporaries, 262; his early plays,
Love's Labour's Lost and Romeo and
Juliet, 265; has the Earl of South-
ampton as patron, 265; as actor,
266; acts before Queen Elizabeth at
Greenwich Palace, 267; his gallant
reference to the Queen in A Mid-
summer Night's Dream, 268; wins
James I.'s favour, 268; his plays per-
formed at Whitehall, 268; the favour
of the crowd, 269; praised by Ben
Jonson, 269; his success, 269; com-
pared with Ben Jonson, 270; univer-
sality of appeal, 270; the progressive
quality of his work, 271; his prac-
tical handling of affairs, 271; his
literary loans on Holinshed and
Plutarch, 272; returns to Stratford,
272; purchases New Place, 273;
his income, similar to that of his
actor contemporaries, 273; invests in
real estate at Stratford, 273; his re-
tirement from play-writing, 275;
occasional visits to London, 275;
purchases house in Blackfriars, 275;
takes part in local affairs, 275; his
death, 275; his will, 276; his burial,
276; inscription on grave, 276; his
monument, 277; his elegists-Basse,
Jonson, Milton, 278-281; oral tra-
dition, 281; his autograph, 282; ab-
sence of documentary material re-
lating to his life, 283; foreign influ-
ences, 285 seq.; bibliography, 285;
his universal repute, 286; in Ger-
many, 286; in France, 286; opinions
of Victor Hugo and the elder Dumas,
286; his patriotism, 286; his assim-
ilative power, 289; his learning, 290;
the two views, 290; his instantaneous
power of perception, 291; early in-
struction in Latin, 292; apparent
ignorance of Greek, 293; parallel-
isms with the Greek tragedians acci-
dental, 293; knowledge of French
and Italian, 294; Latin and French
quotations, 295; Lily and Ovid fre-
quently used, 295; his lack of schol-
arship, 296; no traveller abroad,
297; his views of travel, 298; imag-
inative affinity with Italy, 299;
geographical blunders, 299; internal
evidences of foreign influence, 300;
references to Greek mythology and
history, 300-1; his Troilus and Cres-
sida, 301; to Roman History, 301;
his Lucrece, 301; Julius Cæsar, 302;
Antony and Cleopatra, 302; use of
Italian history and literature, 303;
use of the Italian novel, 304; means
of access to the Italian novel, 304;
Othello and Merchant of Venice,
305; his method of alteration, 306;
influence of Petrarch, 306; knowl-
edge of Italian art, 307; French
influences, 308-9; influence of Rabe-
lais and Montaigne, 310; alertness in
acquiring foreign knowledge, 310;
wide geographical outlook, 311;
geographical errors, 312; influence
of the foreign spirit, 313; his uni-
versality, 314; historic sensibility,
314; his fidelity to 'atmosphere,'
315; width of historic outlook, 316;
his relation to his era, 317; his faith
in human perfection, 318; his for-
eign contemporaries, 318; his re-
semblances to Montaigne, 318;
foreign influences, 320; cf. 1, 3, 6, 7,
14, 15, 61, 114, 117, 156, 158, 164,
194, 215.
Shakespeare, William, Plays quoted:
All's Well, 304; Antony and Cleo-
patra, 302, 311, 312; Comedy of
Errors, The, 267, 296, 303, 304, 311;
Coriolanus, 302, 311; Cymbeline,
271, 285, 304, 311, 315; Hamlet, 1,
293, 312, 315; Henry V., 295;
Julius Cæsar, 270, 302, 311, 313,
314; King Lear, 114; acted at Court,
268; 271, 315; Love's Labour's Lost,
85, 267; acted at Court, 268; 295,
304, 312, 317; Lucrece, 301; Mac-
beth, 315; Measure for Measure,
304, 306, 312; Merchant of Venice,
The, 305; Merry Wives of Windsor,
The, acted at Court, 268; 295, 315;
Midsummer Night's Dream, A, 76,
268, 271, 311; Much Ado About
Nothing, 303, 304, 311; Othello,
271, 305, 306, 311, 314; Pericles,
311; Romeo and Juliet, 303, 314;
Sonnets, 293, 309; Taming of the
Shrew, The, 300; Tempest, The,
271, 295, 299, 310, 320; Timon of
Athens, 311; Titus Andronicus, 311;
Troilus and Cressida, 301, 311;
Twelfth Night, 304, 305, 311; The
Two Gentlemen of Verona, 299, 304;
Winter's Tale, The, 307, 312.
Shakespeare and Classical Antiquity,
by M. Paul Stapfer, 285.
Shakespearean Studies, by Mr. Chur-
ton Collins, 285.
Shakespeare's Library, edited by J. P.
Collier and W. C. Hazlitt, 285.
Plutarch, edited by Prof. Skeat,
Shakspere's Centurie of Prayse, 256.
Shelley, Defence of Poetry, 92, 243 and
n.; his praise of Sidney, 115, 213.
Shoreditch, theatre in, 266.
Shrewsbury, school at, 67.
Shylock, 291.
Sidney, Sir Henry, father of Sir Philip
Sidney, 65; Lord Deputy of Ireland,
77.
Sir Philip, Bibliography, 63; his
ancestry, 63; his intellectual ambi-
tions, 64; born at Penshurst, 65;
baptism, 66; his uncle, the Earl of
Leicester, 67; lives at Ludlow Cas-
tle, 67; at Shrewsbury School, 67;
meets Fulke Greville there, 67, 68;
his seriousness, 68; at Christ Church,
Oxford, 68; gains Lord Burghley's
favour, 69; his foreign travel, 70, 71;
in Paris at time of the St. Bar-
tholomew massacre, 72; at Frank-
fort meets the printer Wechel and
Languet, 72; at Vienna, 73; in
Venice, 73; meets Tintoretto and
Paolo Veronese, 73; his studious-
ness, 73, 74; his Protestant zeal, 74;
diplomatic employment in Vienna,
74; meets Stephens at Heidelberg,
75; returns home, 75; at Kenilworth
1576, 76; visits Chartley Castle, 77;
meets Penelope Devereux, 77;
writes his Astrophel and Stella, 77;
his political ambitions, 82; goes as
foreign envoy to Heidelberg and
Prague, 82; at Vienna, 83; visits
Prince of Orange at Antwerp, 83;
wrote a masque, 85; friendship
with Spenser, 86; the Shepheards
Calender dedicated to Sidney, 86;
member of the 'Areopagus,' 86;
intercourse with Bruno, 88; his in-
terest in the drama, 89; godfather
to Richard Tarleton, 90; his reply
to Gosson's School of Abuse, the
Apologie for Poetrie, 91; criticism of
the Apologie, 91-95; quarrels with
courtiers and with Queen Eliza-
beth, 95; criticises Queen's plan of
marrying the King of France, 96;
in retirement writes Arcadia, 96;
reconciled to the Queen, 103;
steward to Bishop of Winchester,
104; enters Parliament for Kent,
104; knighted, 104; Joint-Master of
the Ordnance, 105; marriage with
Frances Walsingham, 105; resides
at Barn Elms, 106; interest in the
New World, 106; grant of American
lands, 107; his hostility to Spain,
108; goes to Low Countries, 109;
Governor of Flushing, 109; attack
on Zutphen, 110; account of his
death at Arnheim, 111; buried in
St. Paul's Cathedral, 112; national
mourning, 112; his career, 112;
literary work, 113; influence of his
Arcadia, 114; the 'Marcellus' of
England, 115; Shelley's praise, 115;
cf. also 5, 6, 15, 121, 156, 166, 175,
184.
Sidney, Sir Philip, Works:
Apologie for Poetrie, edited by Prof.
A. S. Cook, 63; its freedom from
pedantry, 92; its view of poetry,
92; confusion between poetry and
prose, 93; misunderstandings
about English poetry, 94; its en-
lightened conclusions, 94; cf. 166.
Arcadia, edited by J. H. Friswell,
63; foreign models, 97; criticism
of Gabriel Harvey, 97; pastoral
and chivalry mingled, 99; the
story, 99-100; its complex in-
trigue, 100; incoherence of plot,
100; the introduction of verse,
102; the verse and its metres,
102; the prose style, 103.
Astrophel and Stella, edited by A.
W. Pollard, 63; its Petrarchan
vein and Platonic idealism, 80; its
metre, 81; its publication, 81; its
influence, 81.
Lady of the May, 85.
Skeat, Prof., his Shakespeare's Plu-
tarch, 285.
Smith, Captain John, 131–133.
-Lucy Toulmin, 256.
William, 274.
Smitterfield, 257.
Socrates, More compared with, 58;
Shakespeare compared with, 277.
Sophocles, his Electra, 293.
Southampton, Henry Wriothesley,
Earl of, 164, 265.
Southwark, 274.
Spain, Renaissance in, 3.
Sparrow, Francis, 140.
Spedding, James, his Bacon's Life and
Letters, 214; his edition of Bacon's
Works, 214.
Spenser, Edmund, Bibliography, 155;
his career, 156; his views of poetry,
156; his poetic zeal and worldly
struggles, 157; his birth, 158; birth-
place, 158; compared with Shake-
speare's career, 158; his youth, 159;
at Merchant Taylors' School, 159;
at Pembroke Hall, Cambridge, 160;
his college friends, 160; relations
with Gabriel Harvey, 161; translates
poems by Du Bellay and Clement
Marot, 161; his degree, 162; his
love for Cambridge, 162; in Lanca-
shire, 162; his love-affairs, 162;
settlement in London, 163; in the
service of the Earl of Leicester, 163;
secretarial work, 164; visited Ire-
land, France, Spain, Italy, Rome,
164; meets Sir Philip Sidney, 165;
attempts classical metres in poetry,
165; his experiments, 166; writes
The English Poet, 166; contem-
plates Faerie Queene, 167; his Shep-
heards Calender, 167; neglected by
his patron, 172; writes Virgil's Gnat,
172; secretary to the Lord Deputy of
Ireland, 173; migrates to Ireland,
173; early friends in Ireland, 174;
meets Lodowick Bryskett, 174;
continues Faerie Queene, 175; his
Astrophel, 175; removes to the south
of Ireland, 176; made clerk of the
Council of Munster, 176; resides at
Kilcolman, 176; quarrels with his
neighbours, 176; meets Sir Walter
Ralegh, 177; his eulogy of Ralegh,
177; revisits London and publishes
Faerie Queene (bks. i.-iii.), 178;
granted a pension, 180; return to
Ireland, 181; his despair of his
fortunes, 181; his Colin Clouts come
home againe, 182; his Ruines of Time,
182; his Complaints, 182; Muiopot-
mos, 182; his marriage, 183; his
Amoretti, 184; his Epithalamion,
185; continues his Faerie Queene
(bks. iv.-vi.), 186; political difficul-
ties, 187; visits Queen's palace at
Greenwich, 187; guest of Earl of
Essex, 187; his Prothalamion, 187;
his tract, A View of the Present State
of Ireland, 188; Sheriff of Cork, 190;
his house at Kilcolman burnt by
Irish rebels, 191; he flees to Cork,
191; sent to London, 192; dies in
poverty at Westminster, 192; buried
in Westminster Abbey, 192; the
Poets' Corner, 193; his tomb, 194;
the inscription, 194; his greatness,
195; his Faerie Queene, 195-213; his
sensitiveness to beauty, 210; his
influence, 212; variety of his excel-
lences, 213; cf. 6, 15, 79, 86, 134,
214, 258, 262, 263, 279, 283, 308.
Spenser, Edmund, Works:
Amoretti, 82; indebtedness to for-
eign poets, 183–184.
Astrophel, 175.
Colin Clouts come home againe, 178,
182.
Complaints, 182.
English Poet, The, 166.
Epithalamion, 185; its lyrical pow-
Faerie Queene, 167; books i.-iii.
published, 178; its reception, 179;
its advance on The Shepheards
Calender, 179; indebtedness to
earlier models, 179; its purpose,
179; books iv.-vi., 186; its ampli-
tude of scale, 195; its assimilative
power, 196; its moral teaching,
197; its indebtedness to Plato,
198; the Knights of the Virtues,
199; its affinity with chivalric
romance, 200; Macaulay's charge
of tediousness, 200; the Queen
and Prince Arthur, 200; its want
of homogeneity, 201; its allegorical
intention, 202; comparison with
Bunyan's allegory, 202; influence
of the age, 203; his references to
contemporaries, 203-204; his refer-
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