THE YALE SHAKESPEARE THE WINTER'S TAL% Edited bv Frederick S. Pierce Yale Umvlrsity Press Class P^.ZHd"] Book.- > n Z id Copight)]?. CfiEXRIGHT DEPOSm THE YALE SHAKESPEARE Edited by Wilbur L. Cross Tucker Brooke WiLLARD HiGLEY DuRHAM Published under the Direction OF the Department of English, Yale University, ON THE Fund Given to the Yale University Press in 1917 BY THE Members of the KiNGSLEY Trust Association To Commemorate the Seventy-Fifth Anniversary of the Founding of the Society The Yale Shakespeare The Winters Tale EDITED BY FREDERICK E. PIERCE NEW HAVEN • YALE UNIVERSITY PRESS LONDON • HUMPHREY MILFORD OXFORD UNIVERSITY PRESS • MCMXVIII ^ ^>^\^ ^-^^y.^ Copyright, 1918 By Yale University Press First published, January, 1918 ■■■" $6,*J. FEB -5 1918 ©CLA481621 /u^ . [ TABLE OF CONTENTS The Text Notes Appendix A. Appendix B. Appendix C. Appendix D. Sources of the Play The History of the Play The Text of the Present Edi- tion .... Suggestions for Collateral Reading Index of Words Glossed . Page 1 121 128 131 134 135 136 The facsimile opposite reproduces the first page of *The Winter's Tale' from the earliest printed edition, the Shakespeare Folio of 1623. This play is there the fourteenth in order among the thirty-six in the volume and stands at the end of the division of ^Comedies.' The facsimile has been made from the Elizabethan Club copy of the Folio and is about one-third the size of the original. Z77 The Winters Tale. oASius Ti^rimm, Scosna Trima, Enter CttmiBo and jirchidamw. jirch. P you (liall chance(C(*w/Jo, Paulina; For this affliction has a taste as sweet 76 As any cordial comfort. Still, methinks, There is an air comes from her: what fine chisel Could ever yet cut breath.^ Let no man mock me, For I will kiss her. Paul. Good my lord, forbear. 80 The ruddiness upon her lip is wet: You'll mar it if you kiss it ; stain your own With oily painting. Shall I draw the curtain? Leon. No, not these twenty years. Per. So long could I 84 Stand by, a looker-on. Paul. Either forbear. Quit presently the chapel, or resolve you For more amazement. If you can behold it, I'll make the statue move indeed, descend, 88 And take you by the hand ; but then you'll think, — 67 Cf.n. 77 cor^idil: restorative 86 resolve you: prepare yourselves 1 1 8 The Winter's Tale, V. Hi Which I protest against, — I am assisted By wicked powers. Leon. What you can make her do, I am content to look on: what to speak, 92 I am content to hear; for 'tis as easy To make her speak as move. Paul. It is requir'd You do awake your faith. Then, all stdnd still; Or those that think it is unlawful business 96 I am about, let them depart. Leon. Proceed: No foot shall stir. Paul. Music, awake her: strike! [Music] *Tis time; descend; be stone no more: approach; Strike all that look upon with marvel. Come; I'll fill your grave up: stir; nay, come away; lOl Bequeath to death your numbness, for from him Dear life redeems you. You perceive she stirs: [Hermione comes down.] Start not; her actions shall be holy as 104 You hear my spell is lawful: do not shun her Until you see her die again, for then You kill her double. Nay, present your hand: When she was young you wOo'd her ; now in age 108 Is she become the suitor ! Leon. [Embracing her.] O ! she 's warm. If this be magic, let it be an art Lawful as eating. Pol. She embraces him. Cam. She hangs about his neck: 112 If she pertain to life let her speak too. Pol. Ay ; and make 't manifest where she has liv'd, Or how stol'n from the dead. 100 upon: on 107 double: doubly, twice The Winter's Tale, V. in 1 19 Paul. That she is living, Were it but told you, should be hooted at lie Like an old tale; but it appears she lives, Though yet she speak not. Mark a little while. Please you to interpose, fair madam: kneel And pray your mother's blessing. Turn, good lady ; 120 Our Perdita is found. [Presenting Perdita, who kneels to Hermione.'] Her. You gods, look down. And from your sacred vials pour your graces Upon my daughter's head ! Tell me, mine own. Where hast thou been preserv'd? where liv'd? how found 124 Thy father's court? for thou shalt hear that I, Knowing by Paulina that the oracle Gave hope thou wast in being, have preserv'd Myself to see the issue. Paul. There 's time enough for that ; 128 Lest they desire upon this push to trouble Your joys with like relation. Go together. You precious winners all: your exultation Partake to every one. I, an old turtle, 132 Will wing me to some wither'd bough, and there My mate, that 's never to be found again. Lament till I am lost. Leon. O! peace, Paulina. Thou shouldst a husband take by my consent, 136 As I by thine a wife: this is a match. And made between 's by vows. Thou hast found mine; But how, is to be question'd; for I saw her, 129 ^-ash.: impulse 130 TQ\z.\.ion'. relating of their adventures 132 Partake to: j/iare zwV/t 137 maXch: bargain 120 The Winter's Tale, V. Hi As I thought dead, and have in vain said many 140 A prayer upon her grave. I'll not seek far, — For him, I partly know his mind, — to find thee An honourable husband. Come, Camillo, And take her by the hand; whose worth and honesty 144 Is richly noted, and here justified By us, a pair of kings. Let 's from this place. What! look upon my brother: both your pardons. That e'er I put between your holy looks 148 My ill suspicion. This' your son-in-law. And son unto the king, — whom heavens directing, Is troth-plight to your daughter. Good Paulina, Lead us from hence, where we may leisurely 152 Each one demand and answer to his part Perform'd in this wide gap of time since first We were dissever'd: hastily lead away. Exeunt. 145 richly noted: thoroughly known justified: vouched for 149 This': this is FINIS. NOTES • Dramatis Personce. This play is one of seven for which, under the caption 'The Names of the Actors/ the First Folio lists the Dramatis Personse. The words put in brackets are there omitted. I. i. 9, 10. entertainment . . . loves. 'Our loving welcome shall atone for our inadequate entertainment.' I. i. 34, 35. from . . . winds. 'From the opposite corners of the heavens/ where the winds of the north, east, south, and west were supposed to have their homes. I. ii. 1. the watery star. The moon, as cause of the tides, was considered the queen of the waters. I. ii. 6, 7. like . . . place. 'As a cipher, though worthless in itself, may, in a significant position change thousands into tens of thousands, so my grate- ful farewell, though wholly inadequate, increases all previous expressions of gratitude.' I. ii. 12. that may blow. This is usually inter- preted as a wish. 'May there blow no nipping winds.' I. ii. 41. gest. The gests of a royal journey (from the old French giste, a bed or lodging) were the houses at which the monarch stopped overnight on his way. I. ii. 48. unsphere the stars with oaths. 'Shake the stars from their positions in the heavens by the violence of your oaths.' According to the ancient Ptolemaic theory of astronomy the earth was the center of the universe, and the stars were located in concentric hollow spheres revolving around it. I. ii. 53. pay your fees. It was formerly a custom in prisons for a jailer to exact fees from his prisoners. I. ii. 74. the imposition, etc. 'Setting aside our hereditary taint of original sin.' I. ii. 92. one good deed, etc. 'The failure to praise one good deed prevents the existence of a thousand that would have been inspired by it.' 122 The Winter's Tale I. ii. 120. brows. It was a common saying in Shakespeare's time that an unfaithful wife put horns on her husband's head, or brows. The unsavory joke appears repeatedly. I, ii. 126. virginalling. Playing as on the keys of the virginal, an old-time instrument resembling a piano. The word is here, as often, used punningly. I. ii. 139-144. Affection . . . dost. A possible interpretation of this much disputed passage is: 'Love, thy intense passion masters the inmost hearts of women. Thou dost make possible on their part sins not believed to be possible. Thou dost make absent lovers communicate with each other through dreams (how can this be?). Thou dost cause the dreaming woman to make love to the unreal dream- image of her absent paramour, and to embrace nothingness. Then it is very believable that thou mayst bring her to the arms of a lover bodily present ; and thou dost.' For another interpretation cf. C. D. Stewart, Some Textual Difficulties in Shakespeare (Yale University Press), pp. 96-109. I. ii. 202. predominant. Leontes accepts the theory of astrology that certain stars under the right con- ditions exercise a powerful influence over human conduct. I. ii. 273-275. If . . . thought. 'If thou wilt confess the truth — and to do otherwise thou must be one who impudently denies his possession of eyes or ears or thought — then say that my wife is a loose woman.' I. ii. 280. clouded. Shakespeare's language is so figurative that a sharp line cannot always be drawn between metaphors and obsolete meanings. In the present case, which is typical of hundreds, he prob- ably thought of the accusation dimming Hermione's fair reputation as a cloud dims the moon. I. ii. 307. medal. Medallions with the portrait of The Winter's Tale 123 a friend or sweetheart were frequently worn around the neck in Shakespeare's day. Leontes' jealous delirium pictures Hermione with her arms around Poli^enes' neck and her living face on his bosom where the medallion with her portrait might hang. I. ii. 458-460. 'May good speed in escaping help me, and bring comfort to the gracious queen, who is part of the subject of his thoughts but in no way the intentional cause of his ill-founded suspicion.' The passage is blind, and may have been garbled in printing. II. i. S. d. The Folio stage direction reads : 'Enter Hermione, Mamillius, Ladies: Leontes, Antigonus, Lords.' Editors have agreed in placing the entrance of Leontes after line 31. In the Folio text of The Winter's Tale stage directions repeatedly mention actors who were probably to be ready when thus mentioned, but who evidently did not appear before the audience until later. In the present edition such stage directions are adapted according to the judg- ment of later editors. II. i. 40. partake no venom. The belief was for- merly common that a spider in one's drink made the beverage poisonous if the insect was seen, but not if the insect was unobserved. 'In the cup of my family life,' says Leontes, 'there has been the spider of adultery; but it did not poison my mind with jealous suffering as long as I did not perceive it.' II. i. 133, 134. ril . . . wife. 'I'll consider human beings on a level with horses in morality.' II. i. 142. land-damn. Nothing but guesses can be given for the meaning of land-damn. It may mean to bury alive under the ground (land), to exile from the land, or it may be equivalent to landan, the word for a rural punishment in Gloucestershire for slanderers and adulterers, 'by rustics traversing from house to house along the country side, blowing trum- pets and beating drums or pans and kettles.' 124 The Winter's Tale II. i. 152. While saying this Leontes probably pulls Antigonus' beard or offers him some other minor physical violence. II. i. 175-178. Which . . . deed. 'Which was as gross as was ever found by a suspicion (conjecture) that lacked sight [of their crime] only, lacked nought for proof (approbation), except actually seeing them in sin — with all other circumstances pointing (made up) to the deed — all these, etc' II. i. 182. Delphos. The famous oracle of Apollo was at Delphi (or Delphos). Its location was on the mainland, but it is spoken of at the beginning of Act Third as being on an 'isle,' probably because it has been confused with the island of Delos. The play bristles with inaccuracies in history and geogra- phy, which the author did not consider out of keeping with its romantic atmosphere, and most of which he merely took over from the novel that served him as his source. In the main the story seems located in the Middle Ages, whereas the oracle belongs to a much earlier pagan period. II. iii. 38. humour. It was formerly the general belief that there were four liquids (humours) in the body and that diseases were due to a disproportionate amount of some one of them. II. iii. 75. dame Partlet. Dame Pertelote (Part- let) was a curtain-lecturing hen in Chaucer's Nun's Priest's Tale. III. ii. 60-62. More . . . acknowledge. 'I must not at all acknowledge that I am guilty (mistress) of anything more than [that] which is counted against me as a fault [namely, my innocent hospitality toward Polixenes].' III. ii. 82. 'My life is exposed to the deadly aim (level) of your jealous imaginings.' III. ii. 168. Unclasp'd. The meaning 'revealed,' like so many Shakespearean meanings, was probably more metaphorical than literal even in the author's The Winter's Tale 125 day. In King Henry IV, Part / (I. iii. 188) Worces- ter begins his revelation to Hotspur: 'And now I will unclasp a secret book.' III. iii. 47, 48. Which . . . thine. 'Which may, if fortune is willing, by their great value inspire people to educate (breed) thee, and still remain thy property.' III. iii. 59. ten. Most modern editors put sixteen or nineteen in the place of ten, on the ground that so early an age does not harmonize with all the offences mentioned. But the author was representing an ignorant and excited man who did not choose his words with the calm precision of a Shakespearean commentator. III. iii. 100. flap-dragoned. A flap-dragon was a raisin or some other substance floating in a glass of brandy, from which some gallant, wishing to show his dexterity, would snatch it with his mouth. The sea gulped down the ship with the easy dexterity with which a toper would gulp down the flap-dragon. IV. iii. 4. winter's pale. 'Pale' with Shakespeare had two frequent and widely different meanings, (1) paleness, and (2) an enclosed space, either one of which here would make sense. Consequently we could interpret the line: 'The red blood of youth and spring reigns in the pale face of winter'; or, 'The red blood reigns in those fields which recently were the enclosed park of winter.' IV. iii. 23. It was a common belief that kites stole small linen articles to use in building their nests. My trade, says Autolycus, is in stealing sheets. Look out for lesser linen when the kites are building, but for sheets when I come by. IV. iii. 25. littered under Mercury. Born under the influence of the planet Mercury, he naturally imi- tated the god Mercury, who was the ancient deity of thieves. IV. iii. 47. puritan. The puritans were hostile to 126 The Winter's Tale the stage and consequently attacked repeatedly by Shakespeare and his fellow dramatists. Their habit of singing psalms was only one of their many traits ridiculed. IV. iv. 13. swoon. The original text reads sworn, and the emendation swoon, though now generally adopted, is not very well in harmony with Perdita's healthful life and courageous character. If Shakes- peare wrote sworn, Perdita probably meant that Florizel had come with the vowed purpose of showing in his plain clothes the opposite of her rich ones, as printed letters in a looking-glass are shown reading backwards. IV. iv. 27-30. Jupiter became a bull to win the love of Europa; Neptune, a ram when in love with Theophane; and Apollo as a humble shepherd kept the flocks of King Admetus. IV. iv. 76. Grace and remembrance. These were symbolized by rue and rosemary respectively. The significance of flowers as emblems of human moods was often mentioned by the Elizabethans, and plays an important part in the mad speeches of Ophelia {Hamlet, IV. v.). IV. iv. 87, 88. There . . . nature. Their varie- gated colors are partly the result of the gardener's art in cross-breeding, and not wholly produced by nature. IV. iv. 104. Lavender, savory, and certain varie- ties of marjoram were flowers recently imported into England from southern Europe. It is probably as natives of a warmer climate that Perdita calls them 'hot' and a few lines later speaks of them as 'flowers of middle summer.' IV. iv. 116. Proserpina. While Proserpina was gathering flowers in the meadows of Sicily, Dis, or Pluto, the god of the underworld, rose through the earth in his chariot, seized her, and carried her away to be his queen. The Winter's Tale 127 IV. iv. 134. Whitsun pastorals. A pastoral is a play of country life; and a Whitsun play would be one given at Whitsuntide, the seventh Sunday after Easter, although we have no evidence elsewhere that plays given then were pastorals. IV. iv. 195, 196. Dildos, fadings, 'jump her and thump her' were all catch words from the anything but 'delicate' refrains of certain popular songs and ballads. IV. iv. 252. tawdry lace. This necklace or neck- tie of silk derived its name from Saint Audrey (Ethelreda), who believed a tumor which came in her throat to be a divine judgment on her for her vanity earlier in wearing beautiful necklaces. IV. iv. 412. altering rheums. Morbid disarrange- ment of the four humours (see note on II. iii. 38), a condition producing rheumatism, catarrh, and the dis- eases characteristic of old age. IV. iv. 611. pomander. A little ball of perfumes worn in the pocket or about the neck as a preventive against the plague. V. i. 141-143. 'But that the infirmity which comes with age has somewhat stolen from him (seized) the traveling ability which he wishes for.' V. i. 207. Probably, 'the odds are as great against me in my princely role of Florizel as they were in my humble role of Doricles.' V. ii. 61. Conduits were often in the shape of human figures. V. ii. 109. Julio Romano. This Italian painter was born in 1492, the year of America's discovery; and the worship of Apollo's oracle ceased among Mediterranean kings about a thousand years before that. Both Shakespeare and his audience had a sublime indifference to such anachronisms in a well- told story. V. iii. 67. 'Though her eye be fixed, yet it seems to have motion in it.' (Edwards.) APPENDIX A Sources of the Play The Winter's Tale is an excellent example of a novel turned into a play. That practice was common in Elizabethan times as in recent years; but with this difference, that the drama in Shakespeare's time was usually an improvement on the novel and in our own day is usually a popularized degradation of the original. The novel — or novelette, for it can be read in an hour — from which Shakespeare drew most of the plot of his Winter's Tale was Pandosto: the Triumph of Time (or The Historie of Dorastus and Fawnia), which first appeared in 1588 and was a 'best-seller' for years before Shakespeare dramatized it. At least fourteen editions of it are known to have been issued. Its author was Robert Greene, a bril- liant and unfortunate author, who died near the beginning of Shakespeare's career, and died bitterly jealous of that transforming genius which was al- ready giving hints of the masterpieces it could make from other men's crude materials. In Greene's novel Pandosto, king of Bohemia, with his wife Bellaria entertains as his guest his old friend Egistus, king of Sicilia. Pandosto, like Leontes, becomes jealous, but more slowly and with more reason, for Bellaria, though pure, is imprudent. Franion, his cup-bearer, promises murder and es- capes, as does Camillo. Bellaria, like Hermione, is accused, cleared by the oracle, and actually — not apparently — dies on learning the death of her son Garinter. Her little daughter Fawnia is abandoned on the coast of Sicilia, brought up by a shepherd, and loved by Prince Dorastus of that country. Capnio, a faithful old servant of Dorastus, aids the young The Winter's Tale 129 lovers in their flight, as does Camillo, and brings the shepherd and 'fardel' aboard Dorastus' ship as does Shakespeare's Autolycus. The reception of the lovers at the court of Pandosto and the discovery of Fawnia's identity run closely parallel to the same events in the play, save that Pandosto, before learning Fawnia's parentage, conceives an incestuous love for his own daughter. After Fawnia's marriage Pandosto, grown melancholy with brooding over his sins against those whom he loved best, kills himself. Shakespeare in recasting Greene's material omitted as too tragic and brutal the incestuous passion and violent death of Pandosto, and threw out as imperti- nent several paragraphs dealing with the life of the old shepherd. He created the characters of Anti- gonus, Paulina, and Autolycus, and combined the parts of Franion and Capnio in that of Camillo. He created the statue scene which ends the play, and the scene between Perdita and Polixenes (IV. iv.), for which there were no hints in the prose tale. By interchanging throughout the parts of Bohemia and Sicily he probably meant to veil the extent of his debt to a book that was still popular, although he may have believed that the suddenness of Leontes' jealousy would seem truer to life in a hot-blooded Sicilian than in a native of Central Europe. As is almost inevitable when changing a novel into a play, the action is made more rapid. For example, in the second scene of Act First events which in Greene's novel covered several weeks are made to happen in a single hour. The greatest change, however, and the greatest improvement, is in the conception of character, which throughout is more noble and subtle in Shakespeare than in his forerunner. The closeness of Shakespeare at times to his origi- nal can be shown by comparing Hermione's defence (III. ii. 23-117) with the corresponding speech of Bellaria : 130 The Winter's Tale 'If the deuine powers bee priuy to humane actions (as no doubt they are) I hope my patience shall make fortune blushe, and my vnspotted life shall staine spightfuUy discredit. For although lying Report hath sought to appeach mine honor, and Suspition hath intended to soyle my credit with infamie: yet where Vertue keepeth the Forte, Report and suspition may assayle, but neuer sack: how I haue led my life before Egistus comming, I appeale Pandosto to the Gods & to thy conscience. What hath passed betwixt him and me, the Gods onely know, and I hope will presently reueale: that I loued Egistus I can not denie: that I honored him I shame not to confesse: to the one I was forced by his vertues, to the other for his dignities. But as touching lasciuious lust, I say Egistus is honest, and hope my selfe to be found without spot: for Franion, I can neither accuse him nor excuse him, for I was not priuie to his departure, and that this is true which I haue heere rehearsed, I refer re my selfe to the deuine Oracle.' [ed. Grosart, 4. 260.] Vague likenesses between The Winter's Tale and certain other books have been pointed out ; but none are close enough to prove borrowing on Shakespeare's part. APPENDIX B The History op the Play The Winter's Tale was first 'allowed of,' or offi- cially approved for performance, by Sir George Buck, who assumed office as Master of the Revels in 1610; consequently, although Buck did license plays before taking office, we may reasonably assume that it was not written previous to that year. Yet it was already on the stage by May 15, 1611, for a Dr. Simon Forman saw it acted on that date and has left a written record of the fact with an analysis of the plot. The dance of twelve satyrs in IV. iv. was probably suggested by a similar dance of satyrs in Ben Jonson's Masque of Oheron, first acted on the opening day of January, 1611. It seems practically certain, there- fore, that the play was finished and first staged in the spring of 1611. It was for several years following a favorite at court, and in 1613 was acted with several other Shakespearean dramas before the Prince Pala- tine and his bride. No Quarto editions of it exist; apparently it first appeared in print in the Folio of 1623. After Shakespeare's death the play, despite its beauty, was unpopular and almost unnoticed for over a century, more so than many of the author's other works. Certain fantastic qualities in it — the sea- coast of Bohemia, a country which for centuries had no seacoast, and the sixteen-year interval between the third and fourth acts — jarred on the new age, an age which was more fastidious in such matters than the imaginative Elizabethans had been. In 1741, however. The Winter's Tale — 'not acted 100 years,' according to the historian Genest — was revived at Goodman's Fields, and the following year at the more famous theatre of Covent Garden. Soon afterward several adaptations of parts of it were 132 The Winter's Tale made, the most notable being that of the great actor David Garrick (1717-1779), which was played at Drury Lane theatre in 1756. The play in Garrick's adaptation begins with what was Shakespeare's fourth act. The events of sixteen years earlier are rehearsed for the benefit of the audience in a conversation between Camillo and a gentleman. Then the repent- ant Leontes comes to Bohemia, takes part with Polixenes and Perdita in the conversation at the shepherd's feast, and assumes the part which Shake- speare gave Camillo of comforting the lovers. Florizel and Perdita do not take ship ; and the closing statue scene is in Bohemia. Garrick's version was popular for more than a generation. The prosaic ingenuity with which he dovetailed together parts of Shakespeare's great work is well illustrated in the following passage: Perd. One of these is true, I think aflEliction may subdue the cheek. But not take in the mind. Leon. Yea, say you so.^* There shall not at your father's house, these sev'n years. Be born another such. Flor. O reverend. Sir! As you would wish a child of your own youth To meet his happiness in love, speak for me; Remember since you ow'd no more to time Than I do now ; and with thought of like affections. Step forth my advocate. Leon. You touch me deep. Deep, to the quick, sweet prince ; alas ! alas ! I lost a daughter, that 'twixt heaven and earth Might thus have stood begetting wonder, as Yon lovely maiden does — of that no more; — I'll to the king your father, — this our compact. Your honour not o'erthrown by your desires, I am friend to them and you. [Ea;it Leontes and Cleomenes. The Winter's Tale 133 The history of the play during the nineteenth cen- tury begins with its revival by John Philip Kemble (1757-1823). In 1802 he presented it with splendid decorations and stage properties, the famous Mrs. Siddons, who was Kerable's sister, taking the part of Hermione. The comedy was revived again in 1856 by Charles Kean (1811-1868) at the Princess's theatre, where Ellen Terry, then a little girl, made her first appearance on the stage as Mamillius. Helen Faucit (1817-1898) about the middle of the century, and Mary Anderson (1859 ) toward its close, gave brilliant interpretations of the leading female roles. In 1910 in New York The Winter's Tale was admirably produced under the direction of Mr. Louis Calvert 'with such a stage and accessories as, according to the latest researches, Shakespeare had at his own command.' The most important presenta- tion since then has been the one given by Mr. Gran- ville Barker. APPENDIX C The Text of the Present Edition The text of the present volume is, by permission of the Oxford University Press, that of the Oxford Shakespeare, edited by the late W. J. Craig, except for the following deviations: 1. The stage directions and the list of dramatis personce are those of the First Folio, any alterations and additions being enclosed in square brackets. The Folio numbering of scenes in the fourth act has been followed. 2. A few minor changes in punctuation (such as good now, for good now in V. i. 19) and in spelling (such as primroses for prime-roses in IV. iv. 122) have been made. 3. The following alterations, all reversions to the readings of the First Folio, have been made in the text, the reading of the Folio and the present text preceding the colon, and that of Craig following it: I. ii. 70 nor dreamed: no nor dreamed 1. 11.149 Leon. What cheer?: Pol. What cheer? I. ii. 264 free of. But: free of: but II. ill. 161 this: thy II. ill. 177 it: its II. ill. 189 does: doth III. 11. 177 What flaying? boiling: What flaying? or what boiling III. 11. 244 To: Unto III. ill. 59 ten: sixteen IV. iv. 594 our: her APPENDIX D Suggestions for Collateral Reading William Hazlitt in Characters of Shakespeare's Plays (1817). (Everyman's Library edition, pp. 213-219.) Mrs. Anna Jameson in Characteristics of Women, Moral, Poetical and Historical (1833). Mary Cowden Clarke: 'Hermione; The Russian Princess' in The Girlhood of Shakespeare's Heroines (1850-1852). (Everyman's Library edition, vol. iii.) A. C. Swinburne in A Study of Shakespeare (1880). Helena Faucit, Lady Martin: On Some of Shake- speare's Female Characters, Letter no. ix. 'Hermione' (1890). Andrew Lang: The Comedies of Shakespeare. With illustrations by E. A. Abbey, and comment by Andrew Lang. XII. The Winter's Tale. Harper's Magazine, April, 1894, vol. Ixxxviii, pp. 710-720. Barrett Wendell in William Shakespeare (1894). H. H. Furness : A New Variorum Edition of Shake- speare. Vol. xi. The Winter's Tale (1898). L. A. Sherman in What is Shakespeare? (1902). Brander Matthews in Shakespeare as a Playwright (1913). INDEX OF WORDS GLOSSED (Figures in full-faced type refer to page-numbers) aboard him: 97 (IV. iv. 874) abus'd: 28 (II. i. 140) access: 111 (V. ii. 124) action: 27 (II. i. 120) address yourself: 67 (IV. iv. 53) adheres: 58 (IV. i. 28) admirable conceited: 73 (IV. admiration: 108 (V. ii. 12) adventure (n.): 104 (V. i. 156); (vb.) 4 (I. ii. 38) afar off: 26 (II. i. 103) affection: 122 (I. ii. 139) affection of: 109 (V. ii. 40) affect'st: 82 (IV. iv. 433) affront: 101 (V. i. 75) against: 74 (IV. iv. 237) aired, been: 58 (IV. ii. 5) a-life: 75 (IV. iv. 263) allowing: 11 (I. ii. 185) amazedly: 105 (V. i. 187) an: 93 (IV. iv. 739) ancientry: 54 (III. iii. 62) angle: 60 (IV. ii. 51) anon: 76 (IV. iv. 276) another: 72 (IV. iv. 176) ape: 111 (V. ii. 112) ape-bearer: 64 (IV. iii. 102) apparent: 10 (I. ii. 177); 14 (I. ii. 270) appear: 88 (IV. iv. 602) appoint: 16 (I. ii. 326) appointed: 88 (IV. iv. 605) approbation: 124 (II. i. 176) approved: 59 (IV. ii. 31) aqua-vitae: 96 (IV. iv. argument: 58 (IV. i. l as: 72 (IV. iv. 185) aspect: 26 (II. i. 106) at friend: 103 (V. i. 140) attach: 105 (V. i. 182) attorneyed: 2 (I. i. 30) aunts: 61 (IV. iii. 11) avoid: 21 (I. ii. 462) barne: 54 (III. iii. 70) basilisk: 19 (I. ii. 388) bawcock: 8 (I. ii. 122) bearing-cloth: 56 (III. iii. 119) becomes: 105 (V. i. 187) bed-swerver: 26 (II. i. 92) bench'd: 16 (I. ii. 314) bend: 104 (V. i. 165) bents: 10 (I. ii. 179) beseech: 1 (I. i. 11) beshrew: 31 (II. ii. 30) bespice: 16 (I. ii. 316) between's: 3 (I. ii. 18) beyond account: 41 (II. iii. 197) bide: 13 (I. ii. 242) blank: 33 (II. iii. 5) blench: 17 (I. ii. 333) blocks: 12 (I. ii. 225) blusters: 52 (III. iii. 4) bodkin: 55 (III. iii. 87) Bohemia: 1 (I. i. 7) boiled brains: 54 (III. iii. 63) bolted: 79 (IV. iv. 377) boot: 43 (III. ii. 26) borrow: 4 (I. ii. 39) bosom: 87 (IV. iv. 576) bourn: 8 (I. ii. 135) bowget: 61 (IV. iii. 20) The Winter's Tale 137 branch: 2 (I. i. 27) brave: 73 (IV. iv. 202) break-neck: 18 (I. ii. 363) breed: 125 (III. iii. 47) bring him up to liking: 86 (IV. iv. 546) bug: 46 (III. ii. 93) bugle-bracelet: 74 (IV. iv. burdens: 73 (IV. iv. 195) by and by: 85 (IV. iv. 519) caddisses: 73 (IV. iv. 208) callat: 37 (II. iii. 90) came home: 12 (I. ii. 214) cap-a-pe: 94 (IV. iv. 764) caparison: 61 (IV. iii. 27) carbonadoed: 75 (IV. iv. 267) carriage: 42 (III. i. 17) case: 97 (IV. iv. 849) cases: 108 (V. ii. 14) censure: 24 (II. i. 36) centre: 26 (II. i. 101) chamber-councils: 13 (I. ii. 237) chang'd: 6 (I. ii. 68) changeling: 56 (III. iii. 122) character: 53 (III. iii. 46); 109 (V. ii. 39) charge: 4 (I. ii. 26); 75 (IV. iv. 260) chase: 54 (III. iii. 5Q) child: 54 (III. iii. 71) childness: 10 (I. ii. 170) choughs: 89 (IV. iv. 632) churl: 82 (IV. iv. 445) clamour: 75 (IV. iv. 250) clap: 7 (I. ii. 104) clear them o': 21 (I. ii. 439) clerk-like: 19 (I. ii. 392) climate: 104 (V. i. 170) clipping: 109 (V. ii. 59) clouded: 14 (I. ii. 280) clown: 54 (III. iii. 79) cock: 62 (IV. iii. 36) codpiece: 89 (IV. iv. 625) co-heirs: 28 (II. i. 147) collop: 9 (I. ii. 138) colour: 87 (IV. iv. 568) colouring: 31 (II. ii. 20) comforting your evils: 35 (II. iii. 5Q) commend: 40 (II. iii. 181) commission: 4 (I. ii. 40) commit: 35 (II. iii. 49) conunodity: 46 (III. ii. 94) compassed: 64 (IV. iii. 103) compters: 62 (IV. iii. 38) conceit: 12 (I. ii. 224) ; 48 (III. ii. 145) concerns more than avails: 45 (III. ii. 87) conjecture: 124 (II. i. 175) considered: 96 (IV. iv. 829) content: 114 (V. iii. 11) continue: 20 (I. ii. 430) contrary: 18 (I. ii. 372) cop'st: 82 (IV. iv. 437) cordial: 117 (V. iii. 77) cozened: 75 (IV. iv. 253) crack: 16 (I. ii. 322) crown imperial: 70 (IV. iv. 126) curious: 85 (IV. iv. 527) curst: 56 (III. iii. 135) custom: 111 (V. ii. Ill) Cyprus: 74 (IV. iv. 221) Cytherea's: 70 (IV. iv. 122) dam: 9 (I. ii. 138) dame Partlet: 36 (II. iii. 75) dead: 82 (IV. iv. 447) dear: 39 (II. iii. 149) Delphos: 124 (II. i. 182) denied: 112 (V. ii. 145) Deucalion: 82 (IV. iv. 444) dibble: 69 (IV. iv. 100) die: 61 (IV. iii. 27) difference: 66 (IV. iv. 17) dildos: 127 (IV. iv. 195) Dis: 126 (IV. iv. 118) disease: 90 (IV. iv. 651) 138 The Winter's Tale discontenting: 86 (IV. iv. disco ver'd: 24 (II. i. 49) discovery: 21 (I. ii. 441) disliken: 91 (IV. iv. 669) dismantle: 91 (IV. iv. 669) dispute: 81 (IV. iv. 413) dole: 10 (I. ii. 163) double: 118 (V. iii. 107) doxy: 60 (IV. iii. i2) drab: 61 (IV. iii. 27) each: 34 (II. iii. 35) each your doing: 71 (IV. iv. 143) earnest: 90 (IV. iv. 662) encounter: 44 (III. ii. 50) encounters: 2 (I. i. 29) enfoldings: 94 (IV. iv. 759) equal with wondering: 58 (IV. i. 25) estate: 81 (IV. iv. 413) eternity: 111 (V. ii. 109) event: 42 (III. i. 11) excrement: 93 (IV. iv. 736) execution: 14 (I. ii. 260) expedition: 123 (I. ii. 458) extremes: 65 (IV. iv. 6) eye-glass: 14 (I. ii. 268) fact: 45 (III. ii. 86) fadings: 127 (IV. iv. 195) fail: 40 (II. iii. 169); 99 (V. i. 27) faith: 66 (IV. iv. 35) falling: 18 (I. ii. 372) fancy: 84 (IV. iv. 495) far: 82 (IV. iv. 444) fardel: 93 (IV. iv. 729) fashion: 46 (III. ii. 105) favour: 109 (V. ii. 54) featly: 72 (IV. iv. 176) federary: 26 (II. i. 89) feeding: 72 (IV. iv. 169) feeling: 58 (IV. ii. 8) fellows: 39 (II. iii. 142) fertile: 8 (I. ii. 114) fetch ofP: 17 (I. ii. 334) fixure: 127 (V. iii. 67) flap-dragoned: 125 (III. iii. 100) flatness: 47 (III. ii. 123) flaunts: 66 (IV. iv. 23) flax-wench: 14 (I. ii. 277) flower-de-luce: 70 (IV. iv. 127) fond: 82 (IV. iv. 439) fools: 27 (II. i. 117) for: 53 (III. iii. 31) for you: 23 (II. i. 22) forc'd: 67 (IV. iv. 41) forced baseness: 36 (II. iii. 78) forceful instigation: 29 (II. i. 162) forfend: 86 (IV. iv. 543) fork'd one: 11 (I. ii. 186) forward of her breeding: 88 (IV. iv. 593) fram'd: 101 (V. i. 91) franklins: 113 (V. ii. 181) fraught: 85 (IV. iv. 537) free: 7 (I. ii. 113) ; 30 (II. i. 193) ; 32 (II. ii. 44) freedom: 1 (I. i. 12) fresh: 82 (IV. iv. 435) front: 65 (IV. iv. 3) furnish'd: 88 (IV. iv. 601) gainsay: 44 (III. ii. 57) gallimaufry: 78 (IV. iv. 337) geld: 89 (IV. iv. 625) gentle: 19 (I. ii. 394) gentry: 19 (I. ii. 393) germane: 95 (IV. iv. 805) gest: 4 (I. ii. 41) gillyvors: 68 (IV. iv. 82) give you out: 71 (IV. iv. 149) glass: 15 (I. ii. 306) glib: 28 (II. i. 148) glisters: 49 (III. ii. 171) go about: 74 (IV. iv. 219) The Winter's Tale 139 go to: 92 (IV. iv. 710) good deed: 4 (I. ii. 42) good masters: 114 (V. ii. 19T) good now: 98 (V. i. 19) gorge: 24 (II. i. 43) gossips: 35 (II. iii. 41) got: 37 (II. iii. 104) grace to boot: 6 (I. ii. 80) graceful: 105 (V. i. 171) gracious: 42 (III. i. 22); 59 (IV. ii. 30) grafted: 13 (I. ii. 246) grange: 77 (IV, iv. 309) grieving: 57 (IV. i. 18) guilty to: 86 (IV. iv. 551) gust: 12 (I. ii. 219) habited: 86 (IV. iv. 559) habits: 42 (III. i. 4) hammer'd of: 32 (II. ii. 49) hand: 36 (II. iii. 63) handed: 78 (IV. iv. 360) hand-fast: 95 (IV. iv. 798) having: 93 (IV. iv. 743) heaping friendships: 59 (IV. ii. 22) heat: 7 (I. ii. 96) heavina:s: 34 (II. iii. 35) hefts: 24 (II. i. 44) hent: 65 (IV. iii. 134) here with me: 12 (I. ii. 217) hobby-horse: 14 (I. ii. 276) honest: 25 (II. i. 67) honesty: 15 (I. ii. 288) hopeful: 44 (III. ii. 41) boxes: 13 (I. ii. 244) humour: 124 (II. iii. 38) 1' fecks: 8 (I. ii. 121) ignorant: 19 (I. ii. 397) immodest: 46 (III. ii. 103) impawn'd: 21 (I. ii. 436) importance: 108 (V. ii. 20) imposition: 121 (I. ii, 74) incense: 100 (V. i. 61) incertain: 99 (V. i. 29) incertainties : 49 (III. ii. 170) incidency: 19 (I. ii. 403) injury of tongues: 17 (I. ii. 338^ inkles: 73 (IV. iv. 208) innocence: 110 (V. ii. 71) insinuate: 94 (IV. iv. 763) intelligence: 59 (IV. ii. 41) intelligencing: 36 (II. iii. 68) inteUigent: 18 (I. ii. 378) intention: 122 (I. ii, 139) interpretation should abuse: 79 (IV. iv. 365) is put forth: 3 (I. ii. 14) issue: 11 (I. ii. 188) it: 40 (II. iii. 177) jar: 5 (I. ii. 43) jewel: 108 (V. ii. 37) Julio Romano: 127 (V. ii. 109) justified: 120 (V. iii. 145) justify: 110 (V. ii. 72) keep: 52 (III. iii. 12) kiln-hole: 75 (IV. iv, 247) knacks: 79 (IV. iv, 361) knock: 61 (IV. iii. 28) lace: 49 (III. ii. 174) Lady Margery: 39 (II. iii. 159) land-damn: 123 (II. i. 142) land-service: 55 (III. iii. 96) large: 71 (IV. iv. 147) lawns: 73 (IV. iv. 209) lays it on: 62 (IV. iii. 43) let: 4 (I. ii. 41) level: 33 (II, iii. 6) like (adj.): 31 (II. ii. 27) like (vb.) : 93 (IV. iv. 739) limber: 5 (I. ii, 47) list: 58 (IV. i, 26) lively: 115 (V. iii. 19) 140 The Winter's Tale looks: 79 (IV. iv. 370) loss: 40 (II. iii. 191) lozel: 37 (II. iii. 108) lunes: 31 (II. ii. 30) make me not sighted: 19 (I. ii. 388) maliciously: 16 (I. ii. 321) mankind: 36 (II. iii. 67) marble: 110 (V. ii. 100) mark o' the land: 65 (IV. iv. 8) marry: 57 (III. iii. 140) marted: 79 (IV. iv, 364) marvel: 105 (V. i. 188) match: 119 (V. iii. 137) material: 12 (I. ii. 216) mean: 69 (IV. iv. 89) meaner form: 16 (I. ii. 313) means: 62 (IV. iii. 46) measure (n.): 94 (IV. iv. 760) measure (vb.): 27 (II. i. 113) meddler: 77 (IV. iv. 331) meet: 32 (II. ii. 46) men of hair: 78 (IV. iv. 335) Mercury: 125 (IV. iii. 35) mere: 47 (III. ii. 143) messes: 12 (I. ii. 237) minded: 51 (III. ii. 326) mingle faith: 83 (IV. iv. 473) minister: 32 (II. ii. 50) missingly: 59 (IV. ii. 34) moe: 3 (I. ii. 8) moiety: 33 (II. iii. 8) mort o' the deer: 8 (I. ii. 119) most worst: 49 (III. ii. 180) motion: 64 (IV. iii. 104) nayward: 25 (II. i. 63) neat: 8 (I. ii. 126) neat-herds: 78 (IV. iv. 334) neb: 10 (I. ii. 183) negative: 122 (I. ii. 274) next: 56 (III. iii. 129) no more but abide: 64 (IV. iii. 99) note: 2 (I. i. 40); 3 (I. ii. 2); 60 (IV. ii. 47); 62 (IV. iii. 50) notes: 108 (V. ii. 12) nothing: 115 (V. iii. 28) o'er-dy'd blacks: 8 (I. ii. 133) o'erween: 58 (IV. ii. 9) of: 49 (III. ii. 187) of force: 82 (IV. iv. 436) of limit: 46 (III. ii. 107) offer: 95 (IV. iv. 808) offic'd with: 10 (I. ii. 172) offices: 104 (V. i. 149) on: 33 (II. iii. 15) on foot: 1 (I. i. 3) one self -born: 57 (IV. i. 8) or ... or: 20 (I. ii. 428) out: 25 (II. i. 71) out of circumstance: 101 (V. i. 90) overture: 29 (II. I. 171) owe: 44 (III. ii. 39) pantler: 67 (IV. iv. 5Q) part: 3 (I. ii. 10) partake to: 119 (V. iii. 132) particular: 71 (IV. iv. 144) parts: 19 (I. ii. 400) pash: 8 (I. ii. 129) passage: 46 (III. ii. 91) passing: 76 (IV. iv. 292) pattern: 44 (III. ii. 37) peer: 60 (IV. iii. 1) peering: 65 (IV. iv. 3) pennyworth: 90 (IV. iv. 653) perdition: 80 (IV. iv. 391) perfect: 52 (III. iii. 1) personal: 2 (I. i. 30) pettitoes: 89 (IV. iv. 621) The Winter's Tale 141 physics the subject: 2 (I. i. 43) picture: 89 (IV. iv. 617); 114 (V. ii. 196) piece (n.): 115 (V. iii. 38) piece (vb.): HI (V. ii. 121) piece up in himself: 116 (V. iii. 56) pin and web: 15 (I. ii. 391) pinch'd: 24 (II. i. 50) place: 25 (II. i. 82) places: 21 (I. ii. 448) plackets: 75 (IV. iv. 245) please you: 27 (II. i. 130) plucking: 83 (IV. iv. 478) point you forth: 87 (IV. iv. 574) points: 73 (IV. iv. 206) poking-sticks : 74 (IV. iv. 228) pomander: 127 (IV. iv. 611) post: 29 (II. i. 181) posterns: 21 (I. ii. 438) practice: 49 (III. ii. 168) prank'd up: 65 (IV. iv. 10) predominant: 11 (I. ii. 202). pregnant by circumstance : 108 (V. ii. 34) preposterous: 113 (V. ii. 167) present: 14 (I. ii. 281) presently: 32 (II. ii. 47) pretence: 43 (III. ii. 18) prig: 64 (IV. iii. 109) principal: 26 (II. i. 91) profess'd: 21 (I. ii. 456) professors else: 102 (V. i. 108) prognostication: 96 (IV. iv. 821) proper: 39 (II. iii. 139) publish'd: 26 (II. i. 97) pugging: 60 (IV. iii. 7) purchased: 61 (IV. iii. 27) purgation: 43 (III. ii. 7) push: 119 (V. iii. 129) put us to 't: 3 (I. ii. 16) puts forth: 13 (I. ii. 254) puts to: 14 (I. ii. 277) putter-on: 28 (II. i. 140) qualified: 27 (II. i. 112) qualify: 86 (IV. iv. 545) question: 16 (I. ii. 324); 60 (IV. ii. 54) quick: 70 (IV. iv. 132) quoifs: 74 (IV. iv. 226) race: 62 (IV. iii. 51) raisins o' the sun: 62 (IV. iii. 52) rash: 16 (I. ii. 319) reason: 81 (IV. iv. 419) receiv'd: 57 (IV. i. 11) regard: 19 (I. ii. 390) relation: 119 (V. iii. 130) relish: 29 (II. i. 166) relished: 112 (V. ii. 137) remember: 51 (III. ii. 231) removed: 111 (V. ii. 120) removedness: 59 (IV. ii. 40) repair: 99 (V. i. 31) replenish'd: 25 (II. i. 78) require: 40 (II. iii. 189) resolve you: 117 (V. iii. 86) respecting: 99 (V. i. 35) review: 91 (IV. iv. 683) rheums: 127 (IV. iv. 412) ribands: 73 (IV. iv. 205) richly noted: 120 (V. iii. 145) rift: 100 (V. i. QQ) ripe moving to 't: 16 (I. ii. 332) rounding: 12 (I. ii. 217) sad: 77 (IV. iv. 318) saffron: 62 (IV. iii. 48) saltiers: 78 (IV. iv. 336) sap: 87 (IV. iv. 578) savour: 68 (IV. iv. 75) scape: 54 (III. iii. 72) scour: 23 (II. i. 34) sealing: 17 (I. ii. 337) 142 The Winter's Tale second: 34 (II. iii. 27) seeming: 68 (IV. iv. 75) senseless: 89 (IV. iv. 625) servant: 101 (V. i. 84) severals: 12 (I. ii. 226) shall 's: 10 (I. ii. 178) she: 79 (IV. iv. 361) shoots: 8 (I. ii. 129) shore: 97 (IV. iv. 875) 'shrew: 14 (I. ii. 281) shrewdly: 102 (V. i. 102) Sicilia: 2 (I. i. 23) silly cheat: 61 (IV. iii. 28) since: 106 (V. i. 219) singular: 71 (IV. iv. 144) singularities: 114 (V. iii. 13) sitting: 87 (IV. iv. 574) skill: 71 (IV. iv. 152) sleeve-hand: 73 (IV. iv. 212) slippery: 14 (I. ii. 273) smock: 73 (IV. iv. 211) smutch'd: 8 (I. ii. 122) sneaping: 121 (I. ii. 13) soaking: 12 (I. ii. 224) solely: 34 (II. iii. 17) something: 9 (I. ii. 148) sooth: 71 (IV. iv. 160) sord: 71 (IV. iv. 157) so that: 22 (II. i. 9) sovereignly: 16 (I. ii. 323) sped: 19 (I. ii. 389) speed: 48 (III. ii. 146) spices: 49 (III. ii. 185) sprightly: 67 (IV. iv. 53) springe: 62 (IV. iii. 36) squar'd: 53 (III. iii. 40) squar'd me: 100 (V. i. 52) squash: 10 (I. ii. 161) squier: 78 (IV. iv. 350) squire's: 56 (III. iii. 119) starr'd most unluckily: 46 (III. ii. 100) state: 82 (IV. iv. 439) stay: 3 (I. ii. 9) still: 50 (III. ii. 213) stir: 50 (III. ii. 210) stomachers: 74 (IV. iv. 226) strain'd: 44 (III. ii. 51) straited: 79 (IV. iv. 366) strangely: 40 (II. iii. 181) stretch-mouthed: 73 (IV. iv. 196) strike: 11 (I. ii. 201) stufle'd sufficiency: 29 (II. i. 184) success: 19 (I. ii. 394) suddenly: 41 (II. iii. 199) superstitiously: 53 (III. iii. 39) swear his thought over: 20 (I. ii. 424) sweet: 74 (IV. iv. 222) swounded: 110 (V. ii. 101) table-book: 89 (IV. iv. 612) tabor: 72 (IV. iv. 183) take: 44 (III. ii. 38) take eggs for money: 10 (I. ii. 162) take in: 87 (IV. iv. 590) taken: 12 (I. ii. 222) tall: 113 (V. ii. 185) tame things: 7 (I. ii. 92) tardied: 48 (III. ii. 163) tawdry lace: 75 (IV. iv. 252) tell: 72 (IV. iv. 185) tender: 96 (IV. iv. 830) that: 2 (I. i. 32) thereabouts: 18 (I. ii. 378) thereto: 19 (I. ii. 391) thick my blood: 10 (I. ii. 171) this': 120 (V. iii. 149) thorough: 49 (III. ii. 172) three-man song-men: 62 (IV. iii. 45) three-pile: 61 (IV. iii. 14) thrifts: 16 (I. ii. 311) thriving: 32 (II. ii. 45) throughly: 26 (II. i. 98) The Winter's Tale 143 thwack: 4 (I. ii. 37) tincture: 50 (III. ii. 206) to: 91 (IV. iv. 682) toaze: 94 (IV. iv. 763) tods: 61 (IV. iii. 33) toys: 53 (III. iii. 38) tremor cordis: 7 (I. ii. Ill) trick: 24 (II. i. 50) trol-mv-dames : 63 (IV. iii. 93) " trunk: 21 (I. ii. 435) tug: 84 (IV. iv. 510) turtles: 71 (IV. iv. 154) unbraided: 73 (IV. iv. 204) uncertain: 21 (I. ii. 441) unclasp'd: 49 (III. ii. 168) uncurrent: 44 (III. ii. 50) unfurnish: 103 (V. i. 123) unintelligent of: 1 (I. i. 15) unrolled: 65 (IV. iii. 131) unsphere: 121 (I. ii. 48) unthrifty to: 111 (V. ii. 126) upon: 118 (V. iii. 100) utter: 77 (IV. iv. vast: 2 (I. i. 33) very sooth: 3 (I. ii. 17) vice: 20 (I. ii. 416) viUain: 9 (I. ii. 137) virginalling: 8 (I. ii. 126) vision: 14 (I. ii. 270) visitation: 1 (I. i. 7) vulgars: 26 (II. i. 93) wanton: 23 (II. i. 18) ward: 4 (I. ii. 33) warden: 62 (IV. iii. 49) watery star: 3 (I. ii. 1) way: 107 (V. i. 233) wearing: 65 (IV. iv. 9) weather-bitten: 109 (V. ii. 61) weeds: 65 (IV. iv. 1) welkin: 9 (I. ii. 137) well to live: 56 (III. iii. 125) wenches: 77 (IV. iv. 320) what: 96 (IV. iv. 825) what lady she: 5 (I. ii. 44) which: 2 (I. i. 26) Whitsun pastorals: 127 (IV. iv. 134) whoo-bub: 89 (IV. iv. 631) wild: 29 (II. i. 181) wink: 16 (I. ii. 317) winter's pale: 125 (IV. iii. 4) wit: 32 (II. ii. 52) with: 102 (V. i. 113) with a custom: 66 (IV. iv. 12) with the manner: 94 (IV. iv. 754) withal: 92 (IV. iv. 699) without-door form: 25 (II. i. 68) woman-tir'd: 36 (II. iii. 74) wombs: 84 (IV. iv. 503) work about the square: 73 (IV. iv. 212) worship: 16 (I. ii. 314) worth: 106 (V. i. 214) wotting: 45 (III. ii. 77) wrought: 116 (V. iii. 58) yellow: 37 (II. iii. 106) yest: 55 (III. iii. 95)