Page 21.—The letters E. R. Young readers may need to be informed that these letters stand for Elizabeth Regina (Latin for Queen). See cut on next page.

Page 37.—The elder Robert of Stratford. Sidney Lee says: "Robert, the father of the prelates Robert and John, was a well-to-do inhabitant of Stratford, who appears to have set his sons an example in local works of benevolence. He it is to whom has been attributed the foundation, in 1296, of the chapel of the guild, and of the hospital or almshouses attached to it."

Page 59.—Old House on High Street. This house, the finest example of Elizabethan architecture in Stratford, and one of the best in England, was built in 1596 by Thomas Rogers, whose daughter, Katherine, married Robert Harvard, a butcher in the parish of St. Saviour in London, and became the mother of John Harvard, the early benefactor of Harvard College from whom it took its name. The house of Thomas Rogers was nearly opposite New Place, the residence of Shakespeare in his later years; and Mr. Rogers and his daughter doubtless knew the dramatist as a famous neighbor of theirs, and may have seen him on the stage. The cut on page 59 gives no adequate idea of the elaborate carving on the front; but this is well shown in the full-page heliotype in Mr. Henry F. Waters's Genealogical Gleanings in England, where these facts concerning the parentage of John Harvard first appeared. On the front of the house, under the second-story window, is the inscription,

TR1596AR

The "AR" doubtless stands for Alice Rogers, the second wife of Thomas. This proves that the second marriage occurred before 1596. Mr. Waters found no record of the burial of the first wife, Margaret, but that of Alice was on the 17th of August, 1608, and that of her husband on the 20th of February, 1610–11. The Globe Theatre, of which Shakespeare was a shareholder, stood in the parish of St. Saviour. Robert Harvard died in 1625, and was buried in St. Saviour's Church. His widow appears to have been married twice (to John Elletson and Richard Yearwood) before her death in 1635; but the date of the Elletson marriage (Jan. 19, 1625) given by Mr. Waters cannot be correct if that of Robert Harvard's death (Aug. 24, 1625) is right.

Page 89.—Adonai or Elohim. Hebrew names for Jehovah, or God.

Page 112.—Shrewd turns. That is, evil turns (chances or happenings). Cf. Henry VIII. v. 3. 176:—

that is, he returns good for evil. Compare As You Like It, v. 4. 178:—

and Chaucer, Tale of MelibÆus: "The prophete saith: Flee shrewdnesse, and do goodnesse," etc.

Page 162.—A sergeant at-arms his mace. In Old English his was often put in this way after proper names, which had no genitive (or possessive) inflection. In the 16th century it came to be used frequently in place of the possessive ending -s. It was occasionally used in the 17th and 18th centuries, when some grammarians adopted the false theory that the possessive ending was a contraction of his. The construction occurs now and then in Shakespeare; as in Twelfth Night, iii. 3. 26: "the count his galleys," etc.

Page 191.—An age of music. Such was the Elizabethan age. Shakespeare himself had a hearty love of music, and evidently a good knowledge of the science, as the many allusions to it in his works abundantly prove. No less than thirty-two of the plays contain interesting references to music and musical matters in the text; and there are also over three hundred stage-directions of a musical nature scattered through thirty-six of the plays. Mr. Edward W. Naylor, in his Shakespeare and Music (London, 1896), says: "We find that in the 16th and 17th centuries a practical acquaintance with music was a regular part of the education of the sovereign, gentlemen of rank, and the higher middle class.... There is plenty of evidence that the lower classes were as enthusiastic about music as the higher. A large number of passages in contemporary authors show clearly that singing in parts (especially of 'catches') was a common amusement with blacksmiths, colliers, cloth-workers, cobblers, tinkers, watchmen, country-parsons, and soldiers.... If ever a country deserved to be called musical, that country was England in the 16th and 17th centuries. King and courtier, peasant and ploughman, each could 'take his part,' with each music was a part of his daily life.... In this respect, at any rate, the 'good old days' were indeed better than those we now see. Even a public-house song in Elizabeth's day was a canon in three parts, a thing which could only be managed 'first time through' nowadays by the very first rank of professional singers."

Page 204.—Sweet hearts. This must not be supposed to be a misprint for Sweethearts, which was originally two words and often used as a tender or affectionate address. Sweetheart occurs in Shakespeare only in The Winters Tale, iv. 4. 664: "take your sweetheart's hat," etc.