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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 Stage; 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.
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,
HISTORIES. The Life and Death of King John. The Life and Death of Richard the Second. The First Part of King Henry the Fourth. The Second Part of K. Henry the Fourth. The Life of King Henry the Fift. The First Part of King Henry the Sixt. The Second Part of King Hen. the Sixt. The Third Part of King Henry the Sixt. The Life and Death of Richard the Third, The Life of King Henry the Eight.
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. To out-run hasty Time, retrive the fates, Rowle backe the heavens, blow ope the iron gates Of Death and Lethe, where (confused) lye Great heapes of ruinous mortalitie. In that deepe duskie dungeon to discerne A royal Ghost from Churles ; By art to learne The Physiognomie of shades, and give Them suddaine birth, wondring how oft they live; What story coldly tells, what Poets faine At second hand, and picture without braine, Senselesse and soullesse showes. To give a Stage (Ample and true with life) voice, action, age, As Plato's yeare and new Scene of the world Them unto us, or us to them had hurld: To raise our auncient Soveraignes from their herse, Make Kings his subjects; by exchanging verse Enlive their pale trunkes, that the present age Joyes in their joy, and trembles at their rage : Yet so to temper passion, that our eares Take pleasure in their paine: And eyes in teares Both weepe and smile : fearefull at plots so sad, Then, laughing at our feare ; abus’d, and glad To be abus'd; affected with that truth Which we perceive is false ; pleas'd in that ruth At which we start; and by elaborate play Tortur'd and tickled ; by a crablike way Time past made pastime, and in ugly sort Disgorging up his ravaine for our sport
While the Plebeian Impe, from lofty throne, Creates and rules a world, and workes upon Mankind by secret engines; Now to move A chilling pitty, then a rigorous love : To strike up and stroake down, both joy and ire; To steere th' affections; and by heavenly fire Mould us anew. Stolne from ourselves
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. What neede my Shakespeare 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 heart 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 because 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 wag 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.
I would now read, hests, with Mr. Sidney Walker, instead
of behests. INTRODUCTION TO “THE TWO GENTLEMEN OF VERONA.” | Ibid. “ Arm'd in arguments ;-Read: “Armed in argu
ments ; &c.” P. 1. "- a work very popular in Spain towards the end
Ibid. note (e). It meant I now suspect, deeply in love, of the seventeenth century."* Read : " sixteenth century."
applied to a love-sick person. In this sense it occurs in
the excellent old comedy of “Roister Doister,” Act I. LOVE's LABOUR'S Lost.
Sc. 2. P. 52. “Why should I joy in any abortive birth ?
P. 91. " Above this world : adding thereto, morever.”
Read : “moreover.”
COMEDY OF ERRORS. “Shows" here is a manifest misprint. I would read :
P. 120, note (a). See also note (b) Vol. III. p. 62. “ – a snow on May's new-fangled wreath."
P. 121, note (f). But to carry out this metaphor, serious P. 53, note (a). Add, after “very small game" :-But
| hours, should be several hours. The integrity of the Steerens was evidently unconscious of its being a pro allusion is destroyed by serious. I suspect, however, the verbial expression. It occurs in Whetstone's “ Promos
corruption lies in the word common. and Cassandra," Part I. Act III, Sc. 6:
P. 124, note (b). So also in Ben Jonson, “Sejanus,” Act “A holie hood makes not a Frier devoute
V. Sc. 4:-
« Cut down, Ibid. note (b). “Mr. Collier's old annotator proposes
Drusus, that upright elm; wither'd his vine." garrulity ;'- Read : Mr. Collier's annotator proposes gar
P. 129. “Sing, syren," --Read: “Sing, siren.” rality, which he borrowed no doubt from Theobald, who in 1729, suggested it to Warburton. See Nichols's Nlustra
P. 136. “With his mace,” It ought to have been mentions, Vol. II. p. 317.
tioned that the sergeants carried a staff or small mace in P. 64, note (b). Add :-Belly-doublet is in fact nonsense.
their hands. See “ The Example," by Shirley, Act III. The doublets were made some without stuffing-thin
Sc. 1. bellied-and some bombasted out:-“ Certain I am, there never was any kind of apparel ever invented, that could
THE TAMING OF THE Surew. more disproportion the body of man, than these doublets
P. 227, note (d). Another instance may be added from with great bellies hanging down, and stuffed," &c. &c.
Taylor, the Water Poet's, “Anagrams and Sonnets," fol. SICBBES.
1630 :Ibid. note (c). Add:-Mr. Collier's annotator reads,
“He that's a mizer all the yeere beside “By my pain of observation," a reading first suggested
Will revell now, and for no cost will spare, by Theobald in 1729. Nichols's Illustrations, Vol. II. p. 320.
A poxe hang sorrow, let the world go slide, P. 67. ;“ This senior-junior (4) giant-dvarf." Dele (4).
Let's eate and drinke, and cast away all care." P. 80. “_ prisons up,”-Read: with the old editions :
P. 228, note (a). Add :-By “Brach Merriman,-the poisors up, and, in corroboration, see Act V. Sc. 2:4
poor cur is emboss'd," &c. is meant, Couple Merriman " If this, or more than this, I would deny,
with a female hound, the poor cur is. &c. So in the next To platter up these powers of mine with rest,
line, “ and couple Clowder with the deep-mouth'd brach." The sudden hand of death close up mine eye :".
P. 229, note (a). “ Sinclo to this line. Sinclo," &c. And, stronger still, the following from King John, Act Read : “Sinklo to this line. Sinklo,” &c. IV. Sc. 3;
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 Ibid. “Makes heaven drowsy with the harmony."
Theobald's, (see Nichols's Illustrations, Vol. II. p. 334,) A consonant idea occurs in Shirley's “Love Tricks,” reads, “ -- for his own good, and ours.” Act IV. Sc. 2:
P. 246. “ In cypress chests my arras, counterpoints," &c. “ Those eyes that grace the day, now shine on him,
-Read : “arras counterpoints," &c. He her Endymion, she his silver moon,
P. 264. "What ! up and down, carv'd like an apple The tongue that's able to rock Heaven asleep,
tart?" Read :“What up and down, carv'd like an apple And make the music of the spheres stand still." P. 83, note (c). "- and Mr. Dyce says nothing can be
P. 266, note (c). I am now partly of opinion that more evident than that Skakespeare so wrote,” &c. Read :
“expect” here means, attend, pay attention, and that the and Mr. Dyce says, “ Nothing can be more evident than
passage should be pointed thus,-“I cannot tell. Exthat Shakespeare wrote," &c.
pect! they are busied,” &c. The word occurs with this P. 84, note (e). In this note, strike out the clause,
sense apparently in Jonson's Masque of “Time Vindi
cated." “ Hence the equivoque, which was sometimes in allusion to 8auf for the nose, and sometimes to the snuff of a candle.”
“Hark! it is Love begins to Time. Expect. [Music].” P. 85. “ And shape his service wholly to my behests; P. 272, note (a). Perhaps, after all, the old text is right,
And make him proud to make me proud that but the two words have been inadvertently made into one: jests !”
“therefore, sir, as surance,” i.e. as proof,
P. 273. " We three are married, but you tro are sped.” | would wish you, I would request you, I would entreat you
Of sped, in this place, the commentators can make no not to fear,"&c. Read : “Ladies, or fair ladies, I would, sense." It perhaps means promised. See“ A Proper Sonet, | wish you, or I would request you, or, I would entreat you, Intituled, İlaid will you Marrie," in “the Gorgeous Gallery not to fear," &c. of Gallant Inventions,” part ii. p. 48:-
P. 359. For “ Exit,” after “thou art translated : "“ Why then you will not wed me ?
Read : Exeunt Snout and Quince.
P. 363, note (a). “ The critical remedy applied, afforded." The lover then goes on in answer to say,
Dele applied. “ It is a woman's honestie
Subsequent consideration induces me to believe that the To keep her promise faithfully."
emendation of Mr. Collier's annotator, mentioned in the
above note, is uncalled for. KING Joun.
P. 365, note (b). “O me! what means my love ?” I
should now adhere to the old text, P. 293, note (a). I now think the original text is possibly
“0, me! what news my love ?” correct, and that the thought running through the passage Mr. Collier's attempt to substantiate his annotator's read. and which sufficiently explains it, is, that there is peculiar ing means by reference to a passage in Nash and Marlowe's hardship in Arthur suffering, not only for the sins of the “Dido, Queen of Carthage,” where he proposes the puerile grandmother, (which might be regarded as the common change of “neuly clad " for “meanly clad,” is a signal lot-" the canon of the law,") but by the instrumentality failure. The passage in the original stands thus:of the person whose sins were thus punished; the grand
“ Achates, thou shalt be so meanly clad, mother being the agent inflicting retribution on her
As sea-born nymphs shall swarm about thy ships, grandson for her own guilt.
And wanton mermaids court thee with sweet songs." “I have but this to say,
And meanly is an obvious misprint for “mienly," i.e. That he's not only plagued for her sin,
shapely. But God hath made her sin and her the plague
P. 377. “ For, by thy gracious, golden, glittering gleams." On this reinoved issue : plagued for her And with (or by] her plague-her sin : his injury For gleams, I would now read with the second folio, Her injury-the beadle to her sin.
"streams." All [is] punished in the person of this child,
MERCHANT OF VENICE.
P. 417, note (f). Add: which the said corrector borP. 302, note (a). I am not at present so satisfied of the
rowed from Theobald. (See Nichols's Illustrations, Vol. II. propriety of Mr. Dyce's ingenious emendation uptrimmed
p. 308.) as I was formerly. In old times it was a custom for the
P. 419, note (a). “For intermission," after all may bride at her wedding to wear her hair unbraided, and
mean, for fear of interruption. So in “King Lear," Act hanging loose over her shoulders. May not Constance by
II. Sc. 4:" -- a new untrimmed bride," refer to this custom ? acham in describing the marriage of the princess Eliza
“ Delivered letters spite of intermission." beth with the Palsgrave says that “the bride came into the
P. 421. “How true a gentleman you send relief." chapell with a coronet of pearle on her head, and her haire See note (d), p. 342, Vol. I. dischevelled and hanging down over her shoulders.” Com
P. 425. “A woollen bagpipe.” pare, too, “ Tancred and Gismunda," Act V. Sc. 1.:
Mr. Collier's annotator reads, “bollen bagpipe," and Mr. “ So let thy tresses flaring in the wind
Dyce adopts the change : for “What writer," he says, Untrimmed hang about thy bared neck."
“ever used such an expression as a woollen bagpipe! P. 303, note (b). “Against the thing thou swear'st," Might we not with almost equal propriety talk of a query, "swearest by” ?
woollen lute, or a woollen fiddle?” But see Massinger's P. 318, note (a). “Whose confidential parley.” Rather play of “The Maid of Honour," Act IV. Sc. 4:whose secret dispatch. There is an instance of private
"Walks she on woollen feet ?” used substantively in Ben Jonson's “Every Man in his Humour," Act Iỹ. Sc. 5. “I will tell you, sir, by the
RICHARD THE SECOND. way of private, and under seal.”
P. 479. “Great Duke of Lancaster, come to thee," P. 319. “ Thou'rt damn'd as black_” It should have been remarked that Shakespeare had here probably in his mind | read :
“I come to thee." the old religious plays of Coventry, some of which in his boyhood he might have seen, wherein the damned souls
HENRY THE FOURTH. Part I. had their faces blackened. In Sharp's Dissertation on these performances, the
P. 508. For “Edward Mortimer," Read : “ Edmund writer speaking of “White and Black Souls," observes : Mortimer." “Of these characters the number was uniformly three of P. 511. After, “spent with crying-bring in," insert
h. but sometimes they are denominated 'savyd' and (d). * dampnyd Sowles,' instead of white and black." And in P. 525. For “Or prisoner's ransom,” Read : “Of, the same work we meet with,
prisoner's ransom." “ Itřn payd to iij whyte sollys
P. 531, note (b). Add: perhaps correctly; see “A “ Itm payd to iij blake sollys
Woman is a Weathercock," Act I, Sc. 2:“ Itñ for makyng and mendynge of the blakke soules
“But did that little old dried neat's tongue, that eel-skin hose “ p'd for blakyng the sollys fassys."
P. 534. “ The likeness of a fot old man.” We should Ibid. note (c). Add the following example from Florio's
read as in the quarto, “the likeness of an old fat man." “ Worlde of Wordes.” “Ruffare, to rifle, to skamble."
P. 540, note (e). Add: It meant to mix or mingle: P. 321, note (c). Johnson is right. Florio after explain
thus, in Greene's “Quip for an Upstart Courtier:"_“You ing Foragio to mean fodder, &c., says it had anciently the card your beer (if you see your guests beginning to get sense of Fuora, which is out, abroad, forth, d'c.
drunk), half small half strong." Again. in Hack) A MIDSUMMER Night's DREAM.
Voyages, Vol. II. p. 489 :—"They drinke milke, or warme
blood, and for the most part card them both together." P. 358. In some of the early copies of this edition, a part of Bottom's speech runs, “ Ladies, fair ladies, I
P. 631, note (1). For “ Asunctus,” read “Asunetus."