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Which crown'd him Poet first, then Poets' King.
For, though his line of life went soone about,
The Workes of William Shakespeare, containing all his Comedies, Histories, and Tragedies : Truely set forth, according to their first ORIGINALL.
Paccuvius, Accius, him of Cordova dead,
Thames, That so did take Eliza and our James ! But stay, I see thee in the Hemisphere Advanc'd, and made a Constellation there ! Shine forth, thou Starre of Poets, and with rage Or influence, chide or cheere the drooping Staye ; Which, since thy flight fro hence, hath mourn'd
like night, And despaires day, but for thy Volumes light.
The Names of the Principall Actors in all these Playes.
William Ecclestone. Henry Condell.
Joseph Taylor. William Slye.
Robert Benfield. Richard Cowly.
Robert Goughe. John Lowine.
Richard Robinson. Samuell Crosse.
John Shancke. Alexander Cooke. John Rice.
A Catalogue of the severall Comedies, Histories, and
Upon the Lines and Life of the Famous
Scenicke Poet, Master WILLIAM SHAKESPEARE. Those hands which you so clapt, go now and
wring, You Britaines brave; for done are Shakespeare's
dayes : His dayes are done, that made the dainty Playes Which make the Globe of heav'n and earth to
ring. Dry'de is that veine, dry'd is the Thespian Spring, Turn'd all to teares, and Phæbus clouds his rayes : That corps, that coffin, now besticke those bayes,
The Life and Death of King John.
TRAGEDIES. The Tragedy of Coriolanus. Titus Andronicus. Romeo and Juliet. Timon of Athens. The Life and Death of Julius Cæsar. The Tragedy of Macbeth. The Tragedy of Hamlet. King Lear. Othello, the Moore of Venice. Anthony and Cleopater. Cymbeline King of Britaine.
ADDITIONAL COMMENDATORY POEMS
PREFIXED TO THE FOLIO EDITION OF 1632.
and his Workes.
Them in their lively colours, just extent.
While the Plebeian Impe, from lofty throne,
This, and much more which cannot bee express'd But by himselfe, his tongue, and his own brest, Was Shakespeare's freehold ; which his cunning
braine Improv'd by favour of the nine-fold traine, The buskind Muse, the Commicke Queene, the
grand And lowder tone of Clio ; nimble hand, And nimbler foote of the melodious paire, The silver-voyced Lady; the most faire Calliope, whose speaking silence daunts, And she whose prayse the heavenly body chants. These jointly woo'd him, envying one another, (Obey'd by all as Spouse, but lov'd as brother), And wrought a curious robe of sable grave, Fresh greene, and pleasant yellow, red most brave, And constant blew, rich purple, guiltlesse white, The lowly Russet, and the Scarlet bright; Branch'd and embroidred like the painted Spring, Each leafe match'd with a flower, and each string Of golden wire, each line of silke ; there run Italian workes whose thred the Sisters spun ;
An Epitaph on the admirable Dramaticke Poet,
W. Shakespeare.be What neede myShakespeare for his honour'd bones The labour of an Age in piled stones, Or that his hallow'd Reliques should be hid Under a star-ypointing Pyramid ? Dear Sonne of Memory, great Heire of Fame, What needst thou such dull witness of thy Name ? Thou in our wonder and astonishment Hast built thyselfe a lasting Monument: For whilst, to th’shame of slow-endevouring Art, Thy easie numbers flow, and that each hearto Hath from the leaves of thy unvalued a Booke Those Delphicke Lines with deep Impression tooke; Then thou, our fancy of herself bereaving, Dost make us Marble with too much conceiving; And, so Sepulcher'd, in such pompe dost lie, That Kings for such a Tombe would wish to die.
On Worthy Master Shakespeare and his Poems. A VIND reflecting ages past, whose cleere And equall surface can make things appeare Distant a Thousand yeares, and represent
* Troilus and Cressida although not found in this list, is yet inserted in the collection. From this circumstance, and becanse the play has only one leaf paged, the figures of which, 79 and 80, do not correspond, any more than the signatures, with the preceding and following pages, Farmer inferred that the insertion of Troilus and Cressida was an after-thought of Herning and Condell. Its omission from the Catalogue may be accounted for by the supposition that the folio was printed off
before the player editors had purchased the right of publishing it from Bonian and Whalley, who brought out the quarto impression in 1609.
b These famous lines are Milton's.
c The folio reads part, an obvious misprint for “heart," the word found in the edition of Milton's Minor Poems, 1645.
d- unvalued-) Inestimable,
And there did sing, or seeme to sing, the choyce
Now, when they could no longer him enjoy,
In a lesse volume, but more strongly bound, Shakespeare shall breathe and speak, with Laurell
crown'd Which never fades. Fed with Ambrosian meate In a well-lyned vesture, rich and neate.” So with this robe they cloath him, bid him
weare it, For time shall never staine, nor envy teare it. The friendly admirer of his Endowments,
I. M. S.*
* The author of this magnificent tribute to the genius of Shakespeare is unknown. By some writers it has been ascribed to Milton ; by others to Jasper Mayne; Mr. Boaden conjectured it was from the pen of George Chapman; and the Rev. Joseph
Hunter suggests the probability that the writer was Rickard James, author of a poem called fler Lancastrense, and that the initials I. M. S. represented IaMeS.
ADDENDA AND CORRIGENDA.
VOL. I. INTRODUCTION TO “The Two GENTLEMEN OF VERONA."
P. 1. "- a work very popular in Spain towards the end of the seventeenth century." Read : “sixteenth century."
I would now read, hests, with Mr. Sidney Walker, instead of behests.
Ibid. “ Arm'd in arguments ;-Read: “Armed in arguments ; &c.”
Ibid. note (e). It meant I now suspect, deeply in love, applied to a love-sick person.
In this sense it occurs in the excellent old comedy of "Roister Doister,” Act I. Sc. 2.
P. 91. • Above this world : adding thereto, morever.” Read : “ moreover."
COMEDY OF ERRORS.
P. 120, note (a). See also note (b) Vol. III. p. 62.
P. 121, note (f). But to carry out this metaphor, serious hours, should be several hours. The integrity of the allusion is destroyed by serious. I suspect, however, the corruption lies in the word common.
P. 124, note (b). So also in Ben Jonson, "Sejanus,” Act V. Sc. 4:
“ Cut down, Drusus, that upright elm; wither'd his vine," P. 129. “Sing, syren," -- Read : “Sing, siren.”
P. 136. “With his mace.” It ought to have been mentioned that the sergeants carried a staff or small mace in their hands. See “ The Example,” by Shirley, Act III. Sc. 1.
LOVE's Labour's Lost.
At Christmas I no more desire a rose,
But like of each thing that in season grows." “Shows" here is a manifest misprint. I would read :-.
- a snow on May's new-fangled wreath." P. 53, note (a). Add, after “very small game" :
:-But Steevens was evidently unconscious of its being a proverbial expression. It occurs in Whetstone's “Promos and Cassandra,” Part I. Act III. Sc. 6:
" A holie hood makes not a Frier devoute
He will playe at small game, or he sitte out.” Ibid. note (b).
“ Mr. Collier's old annotator proposes garrality;"-Read : Mr. Collier's annotator proposes garrality, which he borrowed no doubt from Theobald, who in 1729, suggested it to Warburton. See Nichols's Nlustrations, Vol. II. p. 317.
P. 64, note (b). Add :-Belly-doublet is in fact nonsense. The doublets were made some without stuffing-thin bellied-and some bombasted out:-“ Certain I never was any kind of apparel ever invented, that could more disproportion the body of man, than these doublets with great bellies hanging down, and stuffed," &c. &c.STUBBES.
Ibid. note (c). Add :-Mr. Collier's annotator reads, “By my pain of observation,” a reading first suggested by Theobald in 1729. Nichols's Illustrations, Vol. II. p. 320.
P. 67. ;“ This senior junior (4) giant-dvarf.” Dele (4). P. 80.
“- prisons up,”—Read : with the old editions : poisons up, and, in corroboration, see Act V. Sc. 2 :
" If this, or more than this, I would deny,
To platter up these powers of mine with rest,
The sudden hand of death close up mine eye :" And, stronger still, the following from King John, Act IV. Sc. 3:
" Put but a little water in a spoon,
And it shall be, as all the ocean,
Enough to stifle such a villain up.”
The tongae that's able to rock Heaven asleep,
and Mr. Dyce says nothing can be more evident than that Skakespeare so wrote,” &c. Read : and Mr. Dyce says, “ Nothing can be more evident than that Shakespeare wrote," &c. P. 84, note (e). In this note, strike out the clause,
Hence the equivoque, which was sometimes in allusion to snuff for the nose, and sometimes to the snuff of a candle.” P. 65. “And shape his service wholly to my behests;
And make him proud to make me proud that
THE TAMING OF THE SHREW. P. 227, note (d). Another instance may be added from Taylor, the Water Poet's, “Anagrams and Sonnets," fol. 1630 :
“ He that's a mizer all the yeere beside
Will revell now, and for no cost will spare,
Let's eate and drinke, and cast away all care." P. 228, note (a). Add :—By “Brach Merriman,—the poor cur is emboss'd,” &c. is meant, Couple Merriman with a female hound,--the poor cur is, &c. So in the next line, and couple Clowder with the deep-mouth'd brach."
P. 229, note (a). “ Sinclo to this line. Sinclo," &c. Read : “Sinklo to this line. Sinklo," &c.
P. 233. l-vis, it is not half way to her heart. Dele the hyphen.
P. 239. “My mind presumes, for his own good, and yours.” Mr. Collier's annotator, adopting a suggestion of Theobald's, (see Nichols's Illustrations; Vol. II. p. 334,) reads, " -- for his own good, and ours."
P. 246. “ In cypress chests my arras, counterpoints," &c. -Read : " arras counterpoints,” &c. P. 264, “ Whot! up and down, carv'd like an apple
Read : “What up and down, carv'd like an apple tart!"
P. 266, note (c). I am now partly of opinion that
expect” here means, attend, pay attention, and that the passage should be pointed thus, _“I cannot tell. Expect! they are busied," &c. The word occurs with this sense apparently in Jonson's Masque of “Time Vindicated.”
“ Hark! it is Love begins to Time. Expect. [Music].”
jests ! ”
P. 272, note (a). Perhaps, after all, the old text is right, but the two words have been inadvertently made into one:
therefore, sir, as surance," i.e. as proof.
P. 273. “ We three are married, but you two are sped.”
Of sped, in this place, the commentators can make no sense. It perhaps means promised. See “A Proper Sonet, Intituled, Vlaid will you Marrie," in "the Gorgeous Gallery of Gallant Inventions,” part ii. p. 48 :--
“Why then you will not wed me ?
No sure, Sir, I have sped me.” The lover then goes on in answer to say,
“ It is a woman's honestie
To keep her promise faithfully."
would wish you, I would request you, I would entreat you not to fear,”'&'c. Read : “Ladies, or fair ladies, I would, wish you, or I would request you, or, I would entreat you, not to fear,” &c.
P. 359. For “Exit," after "thou art translated :"Read : Exeunt Snout and Quince.
P. 363, note (a). “ The critical remedy applied, afforded." Dele applied.
Subsequent consideration induces me to believe that the emendation of Mr. Collier's annotator, mentioned in the above note, is uncalled for.
P. 365, note (b). “O me! what means my love ? ” I should now adhere to the old text,
“0, me! what news my love ? " Mr. Collier's attempt to substantiate his annotator's reading means by reference to a passage in Nash and Marlowe's “Dido, Queen of Carthage," where he proposes the puerile change of " newly clad” for “meanly clad,” is a signal failure. The passage in the original stands thus:
Achates, thou shalt be so meanly clad,
And wanton mermaids court thee with sweet songs."
For, by thy gracious, golden, glittering gleams." For gleams, I would now read with the second folio, "streams.
MERCHANT OF VENICE. P. 417, note (f). Add: which the said corrector borrowed from Theobald. (See Nichols's Illustrations, Vol. II.
P. 293, note (a). I now think the original text is possibly correct, and that the thought running through the passage and which sufficiently explains it, is, that there is peculiar hardship in Arthur suffering, not only for the sins of the grandmother, (which might be regarded as the common lot—" the canon of the law,") but by the instrumentality of the person whose sins were thus punished; the grandmother being the agent inflicting retribution on her grandson for her own guilt.
“ I have but this to say, -
And all for her; a plague upon her.” P. 302, note (a). I am not at present so satisfied of the propriety of Mr. Dyce's ingenious emendation uptrimmed as I was formerly. In old times it was a custom for the bride at her wedding to wear her hair unbraided, and hanging loose over her shoulders. May not Constance by
' - a new untrimmed bride,” refer to this custom? Peacham in describing the marriage of the princess Elizabeth with the Palsgrave says that “the bride came into the chapell with a coronet of pearle on her head, and her haire dischevelled and hanging down over her shoulders.” Compare, too, “ Tancred and Gismunda,” Act V. Sc. 1.:
“ So let thy tresses flaring in the wind
Untrimmed hang about thy bared neck." P. 303, note (b). Against the thing thou swear'st,” query, “swearest by" ?
318, note (a). “Whose confidential parley.”. Rather whose secret dispatch. There is an instance of private used substantively in Ben Jonson's " Every Man in his Humour,” Act IV. Sc. 5. “I will tell you, sir, by the way of private, and under seal.”
P. 319. “ Thou’rt damn'd as black_” It should have been remarked that Shakespeare had here probably in his mind the old religious plays of Coventry, some of which in his boyhood he might have seen, wherein the damned souls had their faces blackened.
In Sharp's Dissertation on these performances, the writer speaking of “White and Black Souls," observes :“Of these characters the number was uniformly three of each, but sometimes they are denominated 'savyd' and
dampnyd Sowles,' instead of white and black.” And in the same work we meet with, “ Ităm payd to iij whyte sollys “ Itm payd to iij blake sollys “ Itñ for makyng and mendynge of the blakke soules
hose p'd for blakyng the sollys fassys.”
Ibid. note (c). Add the following example from Florio's “ Worlde of Wordes." “Ruffare, to rifle, to skamble."
P. 321, note (c). Johnson is right. Florio after explaining Foragio to mean fodder, &c., says it had anciently the sense of Fuora, which is out, abroad, forth, dc.
A MIDSUMMER Night's DREAM. P. 358. In some of the early copies of this edition, a part of Bottom's speech runs, · Ladies, fair ladies, I
P. 419, note (a). “ For intermission," after all may mean, for fear of interruption. So in “King Lear," Act II. Sc. 4:
“ Delivered letters spite of intermission."
“ A woollen bagpipe.” Mr. Collier's annotator reads, "bollen bagpipe," and Mr. Dyce adopts the change: for “What writer,” he says,
ever used such an expression as a woollen bagpipe! Might we not with almost equal propriety talk of a woollen lute, or a roollen fiddle ?” But see Massinger's play of “The Maid of Honour," Act IV. Sc. 4:
" Walks she on woollen feet?”
P. 508. For “Edward Mortimer," Read: “ Edmund Mortimer."
P. 511. After, “spent with crying-bring in," insert (d).
P. 525. For or prisoner's ransom,” Read : “Of, prisoner's ransom.
P. 531, note (b). Add: perhaps correctly; see “A Woman is a Weathercock," Act I, Sc. 2:-“But did that little old dried neat's tongue, that eel-ekin
get him?" P. 534. “ The likeness of a fat old man.” We should read as in the quarto, “the likeness of an old fat man.”
P. 540, note (e). Add: It meant to mix or mingle: thus, in Greene's “Quip for an Upstart Courtier:"_“You card your beer (if you see your guests beginning to get drunk), half small half strong." Again, in Hackluyt's Voyages, Vol. II. p. 489 :—“They drinke milke, or warme blood, and for the most part card them both together."
P. 631, note (1). For “ Asunctus,” read “ Asunetus."