Evenings 
 
 WITH 
 
 Shakspeare 
 
 RIFFTT^^" 
 
ENGLISH LIBRARY 
 
 ■ UNIVERSITY OF CALIFORNIA. 
 
 . s5 
 
jeveninge witb Sbahepcre. 
 
EVENINGS WITH SHAKSPERE, 
 
 H If^anbbooU to tbc Stut>i^ of bis laouhs 
 
 SUGGESTIONS FOR THE CONSIDERATION OF OTHER 
 ELIZABETHAN LITERATURE 
 
 CONTAINING SPECIAL HELP FOR SHAKSPERE SOCIETIES. 
 
 L. iM. GRIFFITHS, 
 
 IJunoruiy Suictaiy uf ihc Clifton Shakspcrc Society. 
 
 ruin bim to am: cause of policvi, 
 
 ■Cbc Oovt'ian fcuot of it be will unloose. 
 
 or THE 
 
 L'N/VERSITY 
 
 or 
 
 BRISTOL : 
 J. W. ARROWSMITH, ii QUAY STREET. 
 
 LONDON: 
 SIMl'KIN, MARSHALL, HAMILTON, KENT & COMPANY LIMITED. 
 
 18S9. 
 
'^^GL. 
 
 ilB. 
 
 I'D. 
 
 Tin- rif^hls vj tnnmlation ami rcprodiution arc reserved. 
 

 5 OcDlcatc 
 THIS VOLUME 
 
 TO 
 
 THE LADY-MEMBERS 
 
 (PAST AND PKLSLNT) 
 OF THE 
 
 CLIETON SHAKSlTHiE SOCIETY 
 
 WIIOSIC 
 
 READY CO-OPEKATION 
 
 HAS GIVEN ME 
 
 GREAT ENCOURAGEMENT 
 
 IN MUCH ARDUOUS 
 
 SECRETARLU. WORK. 
 
PREFACE 
 
 IF this were a book about Shakspere of the kind with which we 
 are too famihar, it would need some sort of prefatory apology. 
 The world has had enough, perhaps too much, of instruction as to 
 what it is to think about Shakspere. There will, therefore, in these 
 pages be found no dogmatisms about Shakspere's "sweetest 
 comedy" or his "weakest history "or his "gloomiest tragedy." 
 Not even have I attempted to direct the reader to the "most 
 wonderful passage" or to the poet's "greatest creation." I may 
 have my opinions thereon, but it can be of no conceivable use that 
 I should impertinently put them before other people to whom 
 different parts of the author's work would appeal with as much 
 force as other parts do to me. Persons possessed of ordinary 
 intelligence should be left to form their own opinions on these and 
 kindred points. I by no means assert that none of the analysis of 
 Shakspere's work has any value. That would be equivalent to 
 denying the existence of a critical insight keener than one's own ; 
 but it is nearly always the case that the Shaksperian commentator 
 
Vin PREFACE. 
 
 gives a mere exposition of his own views, and with a fog of words 
 makes a clear view of the dramatist's meaning almost impossible. 
 So much has been written to " explain " Shakspere that, with ' The 
 Stranger in the Dress Circle,' we might well ask, " Does he then so 
 greatly need interpretation?" {The Universal Review, May, i88g.) 
 
 I have tried to make the following pages a help to the enquirer 
 who wishes to get an intelligent grasp of Shakspere and his 
 surroundings, and who is unwilling to think by deputy. A traveller 
 is grateful for a guide-book which will point out the situations of the 
 most interesting objects and supply something of their history, 
 -without presuming to tell him what he is to think of them. In like 
 manner I have endeavoured to act on behalf of the Shakspere- 
 student, to whom it is of more importance to give close attention to 
 the plays themselves than to other people's opinions about them. I 
 have striven to indicate the lines upon which the work should be 
 undertaken if it is desired to produce satisfactory and lasting 
 results. 
 
 With this in view, nothing can be better than a study of the life 
 which surrounded Shakspere, and which is strongly reflected in his 
 own plays and in those of his contemporaries. Whilst his characters, 
 differing from those of almost any other writer, are types for all 
 ages, )'et their actions are so often modified by the circumstances of 
 the Elizabethan period, that in the absence of a familiarity with the 
 customs, the use of words, and the tone of thought then prevalent, 
 no true judgement can be formed. Having this knowledge and an 
 acquaintance with the materials with which Shakspere worked, the 
 
PREFACR. IX 
 
 student is in a far better position to appreciate the worth of the 
 dramatist than if he should attempt to do so by assimilating ready- 
 made opinions. But in any case, application and study of the work 
 in detail will be necessary to see its true beauty. Without these, it 
 is unreasonable to expect results in this field of labour more than 
 in any other. An appreciation of Shakspere's worth is not to be 
 gained by a listless skimming of his pages to pass an idle hour, or 
 by the gratification of the aesthetic sense in a performance in which 
 a stronger appeal is made to the eye than to the intellect. 
 
 It is too much the fashion to try to see in Shakspere one who set 
 himself to teach his fellow-man. Shakspere wrote his plays for his 
 theatre-audiences, and the enrichment of the coffers of the pro- 
 prietors was certainly not a point of which he was regardless. 
 Probably in not one of his plays is there any predetermined didactic 
 purpose. His wise and genial sayings issued forth from his large soul 
 and mighty mind because his heart was overflowing with all that 
 was good and noble. From many a passage in his works, and from 
 the general tendency of the whole, it is clear that, through a 
 complete acquaintance with his Bible, he had gained an insight into 
 the love of God differing only in degree from that vouchsafed to 
 those of whom we commonly speak as inspired, and that by this, 
 coupled with his marvellous knowledge of human nature, he was 
 enabled to "justify the ways of God to men," and to lead the 
 sinful and the sorrowing into ways of pardon and into paths of 
 comfort. 
 
 The student is frequently led astray by dogmatic heresies 
 
X PREFACE. 
 
 concerning the influences by which Shakspere was moved. It is 
 irritating to be told that the poet founded various portions of a 
 play upon definite works which, not altogether dissimilar in subject, 
 are nevertheless but instances of other writers' variations in the 
 treatment of not improbable incidents. Upon investigation, it w^ill 
 be found that often these emphatic utterances of commentators have 
 no better authority than the deceptions of their own imaginations. 
 In all these cases, I have cited the principal instances in which the 
 subject-matter of the plays had been written about by others, 
 although often the topics handed down for generations had become 
 common literary property. The reader who seeks out these will be 
 pleased to find that Shakspere, notwithstanding the ingenious 
 attribution of his plots to other sources, was not wholly without the 
 power of originality of treatment. The study will lead to many 
 unfrequented b3'ways of literature, and will dispel the fancy that 
 Shakspere was such a poor being that he could not write Twelfth 
 Ni^^ht without first consulting ApoUonius and Silla ; or that, familiar 
 as he must have been with the misanthropical doings of the 
 traditional Timon, he could not be trusted to give his own, or put a 
 patch on somebody else's, unscholarly version of them, but must 
 have had Lucian immediately before him as a model. 
 
 It has been my aim to so set forth all the information on these 
 and other points that it may be as useful to the solitary student as 
 to those who prefer to work in combination ; but to the latter, 
 knowing from personal experience the pleasure, interest, and profit 
 to be obtained by a conjoint systematic study of the Elizabethan 
 
Drama, I have tried to give such hints about a Shakspere-society as 
 may lead those who are desirous of forming such to set about it 
 with as Httle difficulty as possible. 
 
 In the Reading-Tables and elsewhere there are so many figures 
 that it is almost too much to hope that, either in computation or in 
 printing, they are given without mistake ; and I shall be grateful to 
 those who will point out to me any errors they may discover. The 
 names given in Chapter IX. of owners of the Quartos is of course 
 singularly incomplete, and I am sorry that I could not make it 
 otherwise. They are British with scarcely an exception. To the 
 American Shaksperians, to whom we in the old country are under 
 the greatest obligation for their enthusiastic and excellent work, I 
 owe many apologies for the imperfect lists, which, if they could be 
 made complete, might usefully be arranged in groups according to 
 ownership. 
 
 In Chapter XII. I have tried to put into some sort of order the 
 information at present known about the acting companies of 
 Shakspere's time. The record of their movements is in an almost 
 hopeless tangle. Something towards unravelling this has been done, 
 more particularly by Collier, Halliwell-Phillipps, and Fleay, but 
 much remains. The path along which one has to go in search of 
 helps in the work is full of pitfalls, " and that craves wary walking." 
 Dogmatic statements based only on probability arc often made with 
 as much assurance as if they were matters of fact, with the result 
 that the enquirer is led widely astray. In work of this kind, where 
 so much is yet incomplete, authorities should be quoted and 
 
Xii PREl-ACE. 
 
 references given for nearly every statement made. I should here 
 like to modify one to which I referred with approval at p. 194. As 
 a company described as the Queen's players was at Stratford-on- 
 Avon in 1569 and in 1596, it will be more reasonable to consider 
 that the actors playing there in 1587 were the Interluders (see 
 p. 339) and not Elizabeth's special company of which James 
 Burbage may have been a member, and which, established in 
 1583, had probably come to an end in 1594. It is of interest 
 also to note that the youths licensed as performers in 1615 (see 
 p. 232) were to travel " staying only fourteen days in a place, and 
 not playing during church hours," and that when in 1618 they 
 arrived at Exeter the Mayor would not allow them to play, as 
 their manager had illegally added men to the Company. The 
 Mayor however was not an enthusiast about dramatic perform- 
 ances ; he considered that "those who spend their money on 
 plays are ordinarily very poor people " {Calendar of State Papers. 
 Domestic. 1611-1618, p. 549). 
 
 Metrical tests applied critically to Shakspere's plays have such 
 an exasperating effect on many people, that I am almost afraid to say 
 much about them. But the characteristics of the verse vary so 
 much in different plays that their striking peculiarities cannot be 
 ignored, although perhaps in some quarters too much has been 
 made of them. I throw myself on the mercy of my readers for 
 venturing to suggest another such test; and I beseech a tender 
 consideration of Chapter XIII., in which I have explained it. 
 
 Distance from the P>ritish Museum has made it difficult to 
 
PREFACE. Xlll 
 
 prepare some of the details of this book ; but I have been fortunate 
 in having had free access to the excellent collections of books in the 
 Bristol Museum and Library and in the library of the Clifton 
 Shakspere Society. 
 
 The Reading-Tables, which formed the starting-point of the 
 book, I owe to the industry of my wife, who, with a zeal commend- 
 able in its pertinacity, prepared them with the greatest accuracy. 
 Miss Florence Herapath supplied me with the arrangement whereby 
 the divided verse-lines of the non-Shaksperian plays can be gathered 
 from their Reading-Tables, and in doing so brought to bear much 
 metrical acumen on the problems, to the puzzling nature of which I 
 have called attention at page 5. Miss Janet Smith, with most 
 painstaking counting, which I fear must have often proved very 
 wearisome, provided me with the table printed on page 353, 
 without which the application of the test there given would have 
 been impossible. The amount of labour involved in it can be 
 appreciated only by those who have done similar work. To these 
 ladies I am deeply indebted for the encouragement thereby given 
 me, and to many other friends who have rendered me smaller but 
 important services. 
 
 I should be ungrateful if I did not here express my most sincere 
 thanks to my publisher and his staff for the great care they have 
 bestowed on presenting my matter in a st}le of attractiveness which 
 is, beyond all question, of the highest character. 
 
 Of the many shortcomings of the book I am perhaps more 
 conscious than any who may set themselves to criticise it ; but it 
 
XIV PREFACE. 
 
 must be remembered that the task I have set myself is a suggestive 
 rather than a teaching one. 
 
 FeeHng that one ought to offer to others that which from long 
 experience has been found useful, and in the belief that 
 
 " Never anything can be amiss 
 When simpleness and duty tender it," 
 
 I send forth the book with the hope that it will prove helpful to all 
 students of the writer whom his own countrymen delight to honour 
 as one who has led them to high places of delight and instruction, 
 and whom all " corners of the world " acknowledge as the finest 
 representative of an age which abounded with literary giants. 
 
 9 Gordon Road, 
 
 Clifton, Bristol, 
 November y li 
 
CONTENTS. 
 
 PAGE. 
 
 CHAPTER I. 
 
 THE METHOD OF THE WORK 
 
 CHAPTER II. 
 THE EXTENT OF THE WORK I4 
 
 CHAPTER III. 
 ORGANISATION 21 
 
 CHAPTER IV. 
 THE READINGS 30 
 
 CHAPTER V. 
 THE CRITICISM 36 
 
 CHAPTER VI. 
 THE LIBRARY 44 
 
 CHAPTER VII. 
 SOME MINOR MATTERS 53 
 
 CHAPTER VIII. 
 THE PUBLICATIONS 55 
 
 CHAPTER IX. 
 
 reading-tables: suggestions for discussion: lists of early 
 
 EpiTioNs: history of the plays 57 
 
Xvi CONTENTS. 
 
 PAGE. 
 
 CHAPTER X. 
 THE ELIZABETHAN DRAMATISTS ^^^ 
 
 CHAPTER XI. 
 THE EDITIONS OF SHAKSPERE's WORKS 254 
 
 CHAPTER Xn. 
 THE ACTORS OF SHAKSPERE's TIME 3^0 
 
 CHAPTER Xni. 
 METRICAL TESTS ' • • 34° 
 
 CHAPTER XIV. 
 A NATIONAL REQUIREMENT 355 
 
 CHAPTER XV. 
 CHRONICLE OF EVENTS CONNECTED WITH SHAKSPERE-WORK . . . 358 
 
EVENINGS WITH SHAKSPERE. 
 
 CHAPTER I. 
 ^be /IDetbo^ ot tbe Mori?. 
 
 Vouchsafe to read the purpose of my coming." 
 
 Love's Labour's Lost, II. i. 109. 
 
 THIS book is issued with a double purpose. At first, it was 
 mainly intended to be a help in the reading-arrangements 
 of the many Societies which exist for reading Shakspere's plays, 
 by the distribution of the parts among the members. 
 
 The Reading-Tables, which form so large a part of the book, 
 have been found indispensable in such a Society for many years, 
 and it seemed likely that they would be useful in similar Societies. 
 Prefixed to each play in Charles Knight's ' Cabinet ' edition, and 
 in Hunter's 'Annotated' Shakespeare, there is a list of the appear- 
 ances of most of the persons represented, but no account is taken of 
 many of the minor characters. 
 
 Recently a book entitled Shakespeare Indexes has been published, 
 
 2 
 
EVENINGS WITH SIIAKSPERE. 
 
 which gives a Hst of the scenes in which all the dramatis personce 
 speak. ^ As a help in the work of a Shakspere Reading Society 
 this was a distinct gain, but it has the great and obvious disadvantage 
 that the times of the speakers' appearances cannot be seen at a 
 glance and the parts cannot be easily distributed so as to ensure 
 that in any one scene a reader shall not have to take more than one 
 part. This point is of prime importance in securing the success of 
 the readings, and must be always kept in view. 
 
 But as there should be a Shakspere-Society, not only in every 
 town, but in every set of people that can get together at least a 
 dozen men and w^omen with any literary desires, I have, out of an 
 experience of many years as secretary, added some suggestions on 
 the way of w^orking such a society. 
 
 It is most desirable that persons busy with a daily occupation 
 should have some outside intellectual diversion in which they can 
 engage in a methodical manner. For this purpose nothing can be 
 better than a Shakspere-Society with its endless ramifications of 
 beauty, enjoyment, and interest. To people of leisure such a 
 society offers boundless facilities for a zest and satisfaction in life 
 which it would be difficult to obtain in any other way. 
 
 There will, of course, to the last days be scoffers who will throw 
 ridicule on the idea of any good literary work being done by co- 
 operation. But, without stopping to discuss this question, it will be 
 sufficient to say that this is not quite the point involved in the 
 existence of a Shakspere-Society. Beyond the pleasure of the 
 meeting for the reading, experience has shown over and over again 
 
 1 The book contains a second list, in which all the characters of the plays are 
 given alphabetically, with a statement of the exact places in the plays where they can 
 be found. This list, rather fuller than a similar one in Knight's Pictorial Shakspre, will 
 be very useful. 
 
E VENING S 117 Til SUA KSPERE . 
 
 how much is to be gained by the stimulus of others' exertions, and 
 how association keeps up systematic study. 
 
 The Hterary criticism of which a society of ordinarily well- 
 informed men and women is capable may not add anything to the 
 knowledge of experts, but, at least, it will be a delight and an 
 illumination to many to whom the wealth of the Elizabethan drama 
 has not yet afforded much beyond the riches of Shakspere himself, 
 or to whom, perhaps, his work is known only by a superficial 
 acquaintance with the more frequently acted plays or, possibly, by 
 a perfect familiarity with most of the well-quoted passages. 
 
 It is greatly to be feared that much of the nineteenth century 
 admiration of Shakspere is akin to the prevailing sham of the 
 present day. Many who talk of him as the greatest of poets, and 
 who would be shocked if there were not a beautifully-bound edition 
 of his works on the drawing-room table, would be puzzled to give 
 the characteristics, or even the names, of the companions of the 
 King in Love's Labour's Lost, or to write an intelligent outline of 
 The Two Gentlemen of Verona, or they might be unable to say where 
 ParoUes is to be found, and, perhaps, as some one has said, would 
 have to confess that they had never read Cynibeline. Books of 
 " Extracts" or " Beauties" are, no doubt, greatly the cause of this 
 deep ignorance, which is specially blameworthy as it is combined 
 with so much pretence of knowledge. If there had been none of 
 these books the world would have been the better, as it must then 
 have gone to the text itself to find the gems. Ordinary intelligence 
 and simple application are the only requirements for a fair grasp of 
 the spirit and details of all Shakspcre's plays. Technical criticism 
 will, in addition, bring out a multitude of side questions of intense 
 interest. 
 
 2* 
 
EVENINGS WITH SHAKSPERE. 
 
 The Reading-Tables explain themselves,^ At first they were pre- 
 pared giving the mere appearances of the speakers, but afterwards 
 it was decided to find out the number of lines in each part, in order 
 that the grouping so often necessary might be arranged as equally 
 as possible. It will be seen that this can sometimes be done exactly, 
 and often when it cannot be so done the approximation is very 
 close. 
 
 The tables of the Shakspere-plays are prepared from the 'Globe' 
 edition. The various Lords, Messengers, and the like are not in 
 every case differentiated. In many instances to do so would be to 
 introduce confusion without any counterbalancing gain. Boys, 
 Pages, Prologues, Epilogues, Choruses, Fairies are classed with the 
 female characters. Most of the discrepancies between the totals of 
 the scenes in the Tables and those in the * Globe ' are accounted 
 for by the following : — 
 
 (a) Where a line of verse is divided between two or more 
 
 speakers each speaker is in these Tables credited with a 
 full line. 
 
 (b) Where two or more persons speak together the same words, 
 
 each of these speakers is in these Tables credited with the 
 words. 
 
 In the other instances the counting of the ' Globe ' is wrong.^ 
 The tables of the other plays are compiled from the books men- 
 tioned in Chapter II., in which are given the reasons for their 
 
 1 A few of them were printed in ShukcspeariiUia, 18S4-5. 
 
 * Counting the lines in a play is apparently a simple matter. Yet it seems difliciilt 
 to be correct. Impressed with the inaccuracies in Mr. Fleay's tables [Shakespeare 
 Manual, p. 135) Miss Rochfort Smith and Mr. Furnivall issued a re-numbering of the 
 scene-lines (New Shakspere Society's Transactions, iSSo — 5, Part II.) Even in that 
 there are many slight mistakes. 
 
EVENINGS WITH SIIAKSPERE. 
 
 inclusion.' In all the editions that I have seen of the dramatists 
 of Shakspere's time it is a matter of the greatest difficulty often 
 to say what is prose and what is verse, and particularly so in 
 instances where portions of speeches may go to make up one verse- 
 line. No two persons would agree in the scansion of many of 
 these, as it is frequently a question of individual judgement or 
 caprice. But in many passages that admit of no doubt great in- 
 justice is done to playwrights by editors who print lines which as 
 they stand are atrocious verse, but which would make excellent 
 prose. It is most unscholarlike to print, for instance, A New Way 
 to Fay Old Debts as verse throughout. Other cases will readily 
 occur to the student, who was certainly justified in expecting that 
 recent editors of Elizabethan plays would have attended to this 
 and have made clear, in the way that has been done with Shak- 
 spere's plays, those instances where two or more speakers make up 
 a line of verse between them." 
 
 1 In British Dramatists the length of a prose-Hne is sufficiently near that in the 
 ' Globe ' Shakespeare to enable a comparison of the length of the plays to be made. 
 
 - Many of the later Elizabethan dramatists are excessively fond of this metrical 
 device. The reader may be pardoned for feeling irritated at meeting with passages 
 printed thus, and such are of frequent occurrence. 
 
 " Arh. Is it ? and, when I was return'd, thou knowst 
 Thou didst pursue it, till thou wound'st me in 
 To such a strange and unbelieved affection, 
 As good men cannot think on. 
 
 Gob. This I grant ; 
 I think I was the cause. 
 
 Arb. Wert thou? Nay, more. 
 I think thou meant'st it. 
 Gob. Sir, I hate a lie. 
 As I love Heaven and honesty, I did ; 
 It was my meaning. 
 
 Arb. Be thine own sad judge." 
 
 A King and No King (ed. Darley, Vol. I., p. 76, col. i. ; British 
 Dramatists, p. 288, col. 2 ; ' Mermaid Series," Beaumont and Fletcher, Vol. II., p. 97). 
 
EVENINGS WEFH SHAKSPERE. 
 
 The topics suggested for discussion cover only a very small 
 portion of the ground, but they may be useful in indicating some 
 lines upon which papers may be written. They are put in a 
 dogmatic form on purpose to elicit discussion.' The statements 
 are compiled in great measure, and often word for word, from 
 books to which I have had access. Acknowledgement of the 
 sources in each instance is not made, as it would prove wearisome 
 and irritating. If there are any persons who seek further infor- 
 mation on some of the points, I shall be glad to refer them to the 
 books to which I have been indebted. It is almost needless to add 
 that the statements contained in the "Suggestions" are not to be 
 taken as representing my views. 
 
 The lists of extant Shakspere-editions have been obtained 
 from the ' Cambridge ' Shakespeare. I have kept the exact spell- 
 ing of the names of printer and publisher. These supply further 
 instances of the different ways in which in Shakspere's time 
 the name of a person was often spelled. Much information in 
 reference to the early editions can be obtained from books that 
 should be familiar to the Shakspere-student, such as the Vari- 
 orum of 1821, Mr. Halliwell - Phillipps's Outlines of the Life of 
 Shakespeare,- Mr. Fleay's works containing many useful tables, 
 the Rev. H. P. Stokes's book on the Chronological Order of 
 the Plays, and Mr. Furnivall's Introduction to the * Leopold ' 
 Shakspere. Particulars of the early editions of the i)lays by other 
 writers have been gathered from various sources. It nuist be 
 borne in mind that my lists do not give any editions later than the 
 
 ^ Unconscious testimony was rendered to the success of the intention I had when 
 such questions were issued on a card to our members, for one of them innocently said 
 to me, " There are several things here I shouldn't agree with." 
 
 '^ The edition from which my quotations are made is the Sixth. ibSG. 
 
EVENINGS WITH SIIAKSPKRE. 
 
 date of the first Folio, except in those few instances where the 
 earHest known edition is later than that year. Some writers have 
 sought to fix the time of composition of many early plays by 
 historical, meteorological, commercial, and such like allusions con- 
 tained in them. As these are often — perhaps nearly always — mis- 
 leading, I have not inserted them. They can be found in the pages 
 of many imaginative commentators, who often also have fanciful 
 theories about the sources of Shakspere's plots — theories which in- 
 volve the assumption that he could easily read works in languages 
 other than his own.^ It is more reasonable to suppose that he 
 learned the stories from his everyday companions, many of whom 
 were scholars, and that the adaptation is one branch of his mar- 
 vellous genius. These views are frequently not matters for dog- 
 matic statements, but are open questions, and I have put some of 
 them amongst the " Suggestions for Discussion." 
 
 In some instances, editions earlier than those known must either 
 exist undiscovered or have been lost. Amongst the plays mentioned 
 by Meres in 1598 are The Two Gentlemen of Verona and The Comedy 
 of Errors. The earliest known editions of these are in the 1623 
 Folio. As frequent reference will be made to Meres, the full 
 quotation of his mention of the WTiters whose plays are con- 
 sidered in this book is here given from the Allusion-Books issued 
 by the New Shakspere Society: — 
 
 " . . . . our Satyrifts, Ha 11^ the Author of PigmaUons 
 
 1 For instance, it is stated by more than one Shakspere-scholar that Shakspere 
 founded Timon of Athens on Lucian's Dialogues, no Enghsh translation of which was in 
 existence; and a recent medical writer, overlooking the fact that the incident of Juliet 
 and the narcotic is taken direct from Arthur Brooke's poem, cites the names of learned 
 writers to whom he considers Shakspere was probably indebted, but of whom it may be 
 safely said Shakspere had never heard. 
 
EVENINGS WITH SHAKSPERE. 
 
 Image^ and certain Satyres^ Rankins^ and fuch others, are very pro- 
 fitable. 
 
 " . . . . the Englifh tongue is mightily enriched, and 
 gorgeouHie inuefted in rare ornaments and refplendent abiliments 
 by fir Philip Sidney^ Spencer^ Daniel.^ Drayton^ JVarner^ Shake- 
 fpeare^ Marlow and Chapman. 
 
 " . , . . the fweete wittie foule of Quid Hues in melli- 
 fluous & hony-tongued Shakefpeare^ witnes his Venus and Adonis.^ 
 his Lucrece.) his fugred Sonnets among his priuate friends, &c. 
 
 "As Plautus and Seneca are accounted the beft for Comedy 
 and Tragedy among the Latines : fo Shakefpeare among y^ Englifh 
 is the moft excellent in both kinds for the ftage ; for Comedy, 
 witnes his Gct/emc of Verona.^ his Errors^ his Loue labors loji^y his 
 Loue labours wonne., his Midfununers night dreame., & his Merchant 
 of Venice : for Tragedy his Richard the 2. Richard the 3. Henry 
 the 4. King lohn., Titus Andronicus and his Ro?neo and luliet. 
 
 " . . . . the Mufes would fpeak with Shakefpeares fine 
 filed phrafe, if they would fpeake Englifh. 
 
 •' As Miifctus^ who wrote the loue of Hero and Leander., 
 had two excellent fchollers, Thamarus h Hercules : fo hath he in 
 England two excellent Poets, imitators of him in the fame argu- 
 ment and fubiect, Chrijhpher Marlozv, and George Chapman." 
 
 [Quotations arc then given from Ovid and Horace about the per- 
 manence of their works, and Meres speaks similarly of] " fir 
 
 Philip Sidneys^ Spencers, Daniels, Draytons, Shakefpeares, and 
 
 J Vomers workes. 
 
 " As Italy had Dante, Boccace, Petrarch, TaJJo, Celiano and 
 
 Ariojlo : fo England had Mathciu Roydon, Thomas Atchelow, 
 
 Thomas IVatfon, Ihomas Kid, Robert Greene &, George Peek. 
 
 [Among the chief l}ric poets are named] "• Spencer, (who excelleth 
 in all kinds), Daniel, Drayton, Shakefpeare, Bretton. 
 
EVENINGS WITH SHAKSPERE. 
 
 . . . . " thefe are our beft forTragedie, the Lord BuckhurJ}^ 
 Do£lor Leg of Cambridge, Do6lor Edes of Oxforde, maifter 
 Edward Ferris^ the Authour of the Mirrour for Magijirates^ 
 Marlow^ Peele^ Watfon^ Kid^ Shakefpcare^ Drayton^ Chapnan^ 
 Decker^ and Beniamin lohnfon. 
 
 " the beft for Comedy amongft vs bee, Edward Earle 
 of Oxforde, Do6lor Gager of Oxforde, Maifter Rowley once a 
 rare Scholler of learned Pembrooke Hall in Cambridge, Maifter 
 Edwardes one of her Maiefties Chappell, eloquent and wittie lohn 
 Lilly^ Lodge^ Gafcoyne^ Greene, Shakefpeare^ Thomas Najh^ Thomas 
 Heywood^ Anthony Mundye our beft plotter. Chapman^ Porter^ 
 Wilfon^ Hathway^ and Henry Chettle. 
 
 " these are the moft paflionate among vs to bewaile 
 and bemoane the perplexities of Loue, Henrie Hotuard Earle of 
 Surrey, fir Thomas Wyat the elder, fir Francis Brian^ fir Philip 
 Sidney^ fir I falter Rawley^ fir Edward Dyer^ Spencer^ Daniel^ 
 Drayton^ Shakefpeare^ Whetjhne, Gafcoyne^ Samuell Page fometimes 
 fellowe of Corpus Chrijli Colledge in Oxford, Churchyard^ Bretton.'' 
 
 [Reference is made to the ways in which Peele, Greene, and 
 Marlowe met their deaths. Of the latter it is said] " our tragicall 
 poet Marlow for his Epicurifme and Atheifme had a tragicall 
 death ; you may read of this Marlow more at large in the Theatre 
 of Gods iudgments^ in the 25. chapter entreating of Epicures and 
 Atheifts." 
 
 " Palladis Tamia. Wits Treasvry^ being the second part of 
 Wits Cojtimonwealth. By Francis Meres Maifter of Artes 
 of both Vniuerfities. 1598." 
 
 Meres gives the names of a large number of writers in addition 
 to those mentioned above. From the length of the list, in which 
 are many forgotten names, it must be concluded that he was a 
 general, rather than a discriminating, admirer. 
 
 3 
 
lO EVENINGS WITH SHAKSPERE. 
 
 The chapter called " Notes on Editions of Shakspere's Works" 
 contains summaries which I have not seen elsewhere, and which I 
 trust may be found useful. Speaking for themselves they do not 
 need any detailed explanation. I have added a table giving a list 
 of many plays that have been issued separately, with notes or 
 introduction. I have not ventured to appraise their literary worth. 
 Some are nearly valueless, and others are almost indispensable. 
 The list is given merely to save the enquirer much laborious 
 searching. 
 
 The names of the companies acting the plays are those given 
 on the title-pages of the editions. I shall be grateful for direct 
 evidence of the performance of the plays about which I have made 
 no statement. From the books already mentioned, and from 
 Warton's History of English Poetry, I have in a separate chapter 
 drawn up some information in reference to the companies who acted 
 these plays and to the events which led to their formation. 
 
 I have left columns for the entry of the names of the present 
 owners of the early editions of which so few copies exist. Many of 
 those that I have given are from Bohn's edition of Lowndes' 
 Bibliographer's Manual.^ If a complete list could be given it would 
 be of interest to the student. Many of the copies are in an imper- 
 fect state. I should have liked to have indicated this, but as the 
 amount of imperfection varies considerably, no typographical device 
 could convey a fair impression of its extent. 
 
 Immediately following I have endeavoured to reproduce the 
 
 1 To this and the British Museum Catalogue of Early printed books, and to 
 Hazlitt's Handbook to Early English Literature, I have been indebted for much information 
 in reference to the early editions of nearly all the non-Shaksperian plays. Lowndes 
 sometimes gives the date of an edition but no particulars about it. Of such I should 
 be specially glad to get detailed information. 
 
EVENINGS WITH SHAKSPERE. II 
 
 documentary evidence of the history — Hterary and otherwise — both 
 of the play and its subject down to 1623, in such a way that the 
 student may see at a glance all that is known of it.' In noting 
 dates taken from records it must be remembered that before 1752, 
 the official new year, synchronous with the renewal of Nature in the 
 spring, began on the 25th of March. ^ In order to avoid confusion, 
 I have, except where specially mentioned, given all dates according 
 to the popular reckoning. Thus, Danter's entry of Tikis Andronicus, 
 dated February 6th, 1593 in the Stationers' Registers, is quoted by 
 me as 1594. 
 
 The entries in Henslowe's Diary^ are quoted direct from the 
 Shakespeare Society's edition in 1845. The entries in the Sta- 
 tioners' Registers are taken from the Transcript, which the world 
 owes to the painstaking labour of Mr. Arber.* I have endeavoured 
 
 1 Many of the references to the early plays are, to put it mildly, under great 
 suspicion. I have given them, adding a vi^ord of caution about their reception, because 
 thereby the student may be introduced to that remarkable phase of Shakspere-investi- 
 gation which is associated with the names of Collier, Cunningham, and others. 
 
 2 This is a survival of the Hebrew sacred year. A trace of it, combined with a 
 reminiscence of the Old Style, is still to be found in the arrangements of the Chancellor 
 of the Exchequer's financial year, which begins on the 5th of April. 
 
 ' Illiterate but useful Henslowe, at various times in many occupations, was also a 
 theatrical manager. In this capacity he kept a record of his transactions from 1591 to 
 1609. The original MS. is in Dulwich College. A clerical friend of mine says that 
 " after the Bible and the Prayer-book, Henslowe's Diary is the most interesting book in 
 the EngHsh language." 
 
 * Judging from the facsimiles in Mr. Halliwell-Phillipps's Outlines, I cannot dis- 
 cover the reasons for the varieties of type in the Transcript entries. I have, however, 
 literally adopted them. 
 
 Mr. Arber's Transcript would have been still more interesting and useful if the 
 entries had been accompanied by notes after the manner of Collier in the volumes of 
 the Registers (1557-1587), which he edited for the Shakespeare Society in 1848-9. Mr. 
 Arber, in a praiseworthy desire to be clear, has been led into some mistakes, e.g., in 
 the entry of an interlude called Edward Longc Shankcs, on August 14, 1600, (III. 169) 
 he inserts [///. surnamed] after "Edward," and in the entry of March 2, 1618 (III. 621) 
 
 3* 
 
12 EVENINGS WITH SHAKSPERE. 
 
 to give literally all the entries between 1584 — the date of Campaspe 
 — and 1623 — the date of the first Shakspere-Folio — which refer to 
 the plays comprehended in the scheme of study or to works appa- 
 rently similar in subject.^ It will be noted that there are instances 
 where editions are in existence, but of which there are no entries 
 in the Registers. On the other hand, plaj'S were entered in the 
 Registers and the books were either never published or have been 
 lost. Entry in the Registers secured the copyright of the work. 
 But as there were other authorities by which permission to print 
 books could be granted, they are not a complete record of all litera- 
 ture. They also seem to have been imperfectly kept. This will be 
 seen in many instances which occur in these pages, where the first 
 entry is a transfer of rights from one publisher to another. Arber 
 {Transcript, II. 24 and III. 18-19) calls attention to the fact "that the 
 Registers — most precious as they are to posterity — are practically in 
 their original intention the Subsidiary Cash Books of a London 
 guild; that they were never intended as a record of the entire 
 authorized literature; and that had they been so intended there 
 were causes in operation — as the patents for whole classes of works 
 as well as for single books; the books printed in other parts of 
 Great Britain especially at the Universities and at Edinburgh, &c. 
 
 1 An examination of the entries and of the history of the plays after this date is of 
 great interest. I stopped at 1623, as it is such a noteworthy date in connection with 
 Shakspere-work. 
 
 he reads ••Doctor. Faustus 2 parte [sj " where the [s] should not have been added, as 
 the reference is to the sequel to Faustus originally entered to Burby on November 16, 
 1593- 
 
 Mr. Arber's volumes also stand in need of a copious index. Although indexes were 
 not the only literary things which Collier seems to have manufactured, yet the care and 
 detail with which he prepared these in the books which he edited have laid students 
 under a perpetual obligation to him. 
 
EVENINGS WITH SIIAKSPERE. I3 
 
 — which would have precluded the possibility of their ever becoming 
 such a National Index of Printed Literature." 
 
 Feeling it would be convenient to have a Chronicle of Events 
 connected with the writers and the plays that are to come within 
 the consideration of a Shakspere-Society, I have put into that form 
 those which seem to be of the greatest interest. In such a record 
 it is difficult to know what to leave out. The dates of some of 
 these events cannot be exactly ascertained. Those about which 
 there may be a little doubt are printed in Italic. 
 
CHAPTER II. 
 Ubc Extent of tbe Morft. 
 
 " When we mean to build, 
 We first survey the plot, then draw the model." 
 
 2 Henry IV., I. iii. 4] 
 
 IF the attention is closely limited to the works of Shakspere 
 alone, much of interest will be evoked but the view of the 
 man and of his times will after all be but circumscribed. 
 
 To the members of a Shakspere- Society, a systematic considera- 
 tion of Shakspere not only in his works but in his personal and 
 literary environment will reveal matters of interest which are never 
 presented to the ordinary reader. 
 
 Many of us are too prone to look upon Shakspere as a writer of 
 single plays. Whilst it is an incontrovertible fact that the cr|ator 
 of Hamlet or the author of Othello would, if he had done nothing 
 else, have had an enduring fame, yet it must be conceded that we 
 shall get a truer view of him if we look at his work as a whole and 
 take note of the influences which were around him. Devotees of 
 Shakspere should be glad to survey him in conjunction with his 
 contemporaries, as it will bring out his powers into greater pro- 
 
EVENINGS WITH SHAKSPERE. 1 5 
 
 minence. It will, however, be a gain to most people to discover 
 that, although there has been only one sun in the English system of 
 the dramatic universe, there are — or perhaps one should say were — 
 many stars, some of them being of the first magnitude. And 
 Shakspere was so intimately connected with the play-writers of his 
 time that a study of his work which leaves out that of his contem- 
 poraries must fall short of its best possible results. Joint author- 
 ship, appropriation of subjects, disagreements, quarrels, estrange- 
 ments, were even then of such frequent occurrence amongst men of 
 genius that a closer inspection showing that the greatest of them 
 were very human will not be without its benefits, and certainly not 
 without its interest. 
 
 These great writers seem to have been thrown together so much 
 in their ordinary vocation as playwrights that to obtain a right 
 appreciation of them, we must study them as a body as well as 
 individually. 
 
 So to bring into view the set in which Shakspere mixed, plays 
 by his contemporaries must be included in the scheme of work. It 
 is, of course, only possible to make a selection of these. There 
 would not be enough time in a society to deal with any considerable 
 number of plays by each of the Elizabethan dramatists, and some, 
 probably most, members of societies would be unwilling to incur 
 the expense of buying separate editions of an author for the study 
 of only one or two of his plays. 
 
 The difficulty can be got over by the use of two cheap books : 
 
 (i) British Dramatists. Edited by John S. Keltic.' 
 
 (2) The 'Tauchnitz' volume of Doubtful Plays of Shakespeare.'^ 
 
 1 Published by Nimmo of Edinburgh, at 5/-, 
 
 * PubUshed in paper covers at 1/6, in cloth at 2/-. 
 
l6 EVENINGS WITH SHAKSPERE. 
 
 These books and the ' Globe ' Shakespeare will be the text-books 
 of each member of the Society. 
 
 British Dramatists contains twenty-one pla}-s of the time between 
 1584 and 1639 ; but in the course of study for a Shakspere-Society 
 the plays by Ford and Shirley are omitted. ^ The 'Tauchnitz' book 
 has six plays which if at all connected with Shakspere, are so prob- 
 ably only to a very slight extent. The Two Noble Kinsmen, which 
 is included in the scheme, can be obtained, edited with notes by 
 Professor Skeat, in the Pitt Press Series, or the text only can be got 
 in the last number of Cassell's serial issue of the ' Leopold' Shakspere, 
 from which its Reading-Table here has been prepared. In many of 
 these plays, as in several of Shakspere's, there is much in the 
 phraseology to be lamented, from a nineteenth century point of 
 view. But as vice is held up to reprobation and the general lesson 
 of the play is a healthy one, these passages can always be eliminated 
 without destroying the current of the story. It is a matter of 
 common knowledge that in those times there was in all ranks of life 
 an almost incredible freedom of expression. Fresh instances of 
 this have just come to light in the details of the Hatfield House 
 MSS. that have recently been made public. In reference to this 
 it must be borne in mind that " morality is not outraged, or even 
 in question : it is only a matter of fashion." ^ It is more than 
 doubtful if the Elizabethan dramatists worded the title-pages of 
 their plays, but it is not improbable that the publishers, knowing 
 the views which the writers entertained of the topics they treated, 
 
 1 An enthusiastic Society might be able to set apart extra evenings for these, or 
 they could, with some plays not included in the book, be taken as a summer course. An 
 inventive and laborious set of workers could find some way of indirectly introducing at 
 the critical meetings something about the early plays to be found in Dodslcy and about 
 such writers as John Heywood, Kyd, Lodge, Nash, Chapman, Dekker, and Middleton. 
 
 » Mr. J. W. Mills in The Academy, May 5, 1888, p. 312. 
 
EVENINGS WITH SHAKSPERE. 
 
 17 
 
 endeavoured by lengthy titles to give the author's summary of the 
 moral of the subject-matter of the play. 
 
 The session should consist of eight months in each year. One 
 play should be taken in each of these months.^ In England, 
 October to May inclusive will be found the most convenient time. 
 
 It will be advisable to consider the plays in some definite order, 
 and not leave their selection to hap-hazard chance. After trying 
 more than one plan, we have settled down to the chronological 
 order as being the most helpful. This, it is almost needless to say, 
 can not be definitely ascertained, but a tolerably close approxi- 
 mation is possible. A society wishing for the sequence of its 
 Shakspere-work to follow a great authority, can take Professor 
 Dowden as a guide, and adopt the order which he gives in his 
 Shakspere Primer." The other plays taken also in chronological 
 order, are to be worked in with the Shakspere ones. In each 
 session five months are to be given to undoubted works of Shak- 
 spere, and three to others. This will be found a desirable proportion. 
 The Poems and Sonnets must have two evenings devoted to their 
 critical consideration, as they will not be read in parts. It will be 
 most convenient to take them near the middle of the course. 
 
 Members can join at any time and the list can be repeated over 
 and over again, as at the end of a course the personnel of the Society 
 will so have changed that the oldest inhabitant will always be joined 
 in a reconsideration of a play by companions of ever-varying modes 
 of thought. 
 
 1 This plan is put forth in defiance of a saying, I think, by Goethe, to the effect 
 that "no one who did not wish to make shipwreck of his intellect should study more 
 than one play of Shakspere in a twelvemonth." 
 
 - Published by Macmillan and Co. This is a book which everybody, whether 
 belonging to a Shakspere-Society or not, should have. 
 
 4 
 
EVENINGS WITH SHAKSPERE. 
 
 The following list will make a comprehensive course, extending 
 over eight years : — 
 
 1st Session. 
 Titus Andronicus 
 Campaspe 
 
 1 Henry VI. 
 
 2 Henry VI. 
 Faustus 
 
 3 Henry VI. 
 
 The Comedy of Errors 
 Friar Bacon 
 
 ^rd Session. 
 Romeo and Juliet 
 Edward III. 
 John 
 
 The Taming of the Shrew 
 Every Man in his Humour 
 The Merchant of Venice . 
 Much Ado about Nothing 
 Thomas, Lord Cromwell 
 
 ^th Session. 
 As You Like It 
 The London Prodigal 
 Twelfth Night 
 Julius Cesar 
 A Yorkshire Tragedy 
 Hamlet 
 The Silent Woman 
 
 2nd Session. 
 The Two Gentlemen of 
 
 Verona 
 Edward II. 
 Love's Labour's Lost 
 Richard II. 
 King David 
 
 A Midsummer-Night's Dream 
 Richard III. 
 Locrine 
 
 ^th Session. 
 
 1 Henry IV. 
 Antonio and Mellida 
 
 2 Henry IV. 
 
 The Merry Wives OF Windsor 
 Antonio's Revenge 
 Henry V. 
 
 Poems and Sonnets 
 A Woman Killed with Kind- 
 ness 
 
 6th Session. 
 All's Well that Ends Well 
 The Alchemist 
 Othello 
 
 Measure for Measure 
 Philaster 
 Lear 
 
 Timon of Athens 
 A King and No King 
 
EVEXIXGS WITH SllAKSPERE. 19 
 
 yth Session. 8ih Session. 
 
 Macbeth Cymbeline 
 The Knight of the Burning The Duke of Milan 
 
 Pestle The Winter's Tale 
 
 Pericles The Tempest 
 
 Antony and Cleopatra The Birth of Merlin 
 
 The Duchess of Malfi Henry VIII. 
 
 Troilus and Cressida The Two Noble Kinsmen 
 
 CoRioLANUs A New Way to Pay Old 
 The Virgin-Martyr Debts 
 
 Loves Labour's Lost is usually placed earlier than in the fore- 
 going list, but looking to the fact that the play, as we have it, is the 
 1598 edition, "presented before her Highnes this last Christmas. 
 Newly corrected and augmented;" and considering that almost 
 certainly that was the first appearance of the revised play, it ought 
 rather — although containing much of Shakspere's early work — to be 
 placed even later than I have given it. It is difficult to know 
 where to put The Taming of the Shrew. The external evidence, such 
 as it is, and which I have set forth opposite its reading-table, might 
 justify a later position, but altogether it is best perhaps to take it 
 before so many of the plays which are obviously more mature in 
 workmanship. The position of The Merry Wives of Windsor is 
 another difficulty. There is no entry or edition of it before 1602, 
 and. the edition pubHshed in that year is a mere sketch compared 
 with the play in the 1623 Folio. I have later on called attention to 
 it in reference to the other Falstaff-plays, and as it cannot be very 
 much, if at all, out of its order I have, in the course, placed it 
 between 2 Henry IV. and Henry V., and thereby have avoided the 
 shock of reviving Falstaff in his dissoluteness after the touching 
 
 4* 
 
^O EVENINGS WITH SHAKSPERE. 
 
 record of his death. The chronological position of many of the 
 other plays is entirely matter of conjecture, and will form an in- 
 teresting exercise for the individual student or for the members of a 
 society. Timon of Athens, Pericles, and Troihis and Cressida are the 
 most perplexing of them. Each is in itself so unequal that it is 
 impossible to resist the conclusion that it is either the work of 
 Shakspere and somebody else, or that it was written at vastly 
 distant periods of Shakspere's life. In either case the order each 
 play is to take in a list is, with the present evidence, an insoluble 
 problem. 
 
 On account of the length of Hamlet it will be well to give two 
 evenings to its reading. A similar time should be devoted to its 
 critical consideration. 
 
CHAPTER III. 
 ©roanisation. 
 
 'We have strict statutes and most biting laws." 
 
 Measure for Measure, I. iii. 19 
 
 AS the development of a Shakspere - Society will probably 
 always be gradual, the best way of showing the mode of 
 working one will be to trace the growth of the Society of which I 
 have been Secretary from its beginning, and then to quote our rules 
 and add some comments showing their desirability and their course 
 of evolution. 
 
 In 1876 the idea was suggested that it would be a pleasant way 
 of spending some evenings if a few people could meet regularly at 
 one another's houses to read Shakspere's plays in parts. A small 
 meeting of ladies and gentlemen to form a Society with this purpose 
 was held at my house on March nth of that year, and on March 
 25th The Two Gentlemen of Verona was read from a cast drawn up 
 by the Secretary and one of the principal promoters. It was in- 
 tended to have the readings twice a month, and this was done for 
 four months. But it had very soon become apparent that much 
 greater interest would be introduced if opportunities were afforded 
 for talking over the excellencies and obscurities of many passages. 
 
22 EVENINGS WITH SHAKSPERE. 
 
 The Society had been formed as a Reading Party, and systematic 
 Shaksperian criticism was a novelty to the members.^ It was diffi- 
 cult to see how a satisfactory plan for such could be worked. As a 
 tentative proceeding, it was decided to devote every fifth meeting to 
 a consideration of the four plays that had just been read. This did 
 not prove satisfactory." Eventually it was agreed to have reading 
 and critical meetings alternately. The admirable plan of taking a 
 play each month has been followed since then, and it is difficult to 
 see how a better arrangement could be made. Some members of a 
 Shakspere-Society will care for the readings only and some for the 
 criticism only, and so each will get a meeting once a month ; whilst 
 for those who care for both forms of occupation, the more frequent 
 opportunities of joining with like-minded people in congenial work 
 will be gladly seized. 
 
 In Shakspere's plays the dramatis personce vary so much in 
 number-" that it will be well to have members enough for the 
 frequent occasions when there are many characters in the same 
 scene. Our number of seven ladies and eighteen gentlemen has 
 been found very convenient, and in this book all the arrangements 
 of preparing the cast when there are more characters than members 
 have been made for this number.^ And as the social character of 
 
 1 To a member of a learned profession who belonged to a Shakspere Readmg 
 Party, I suggested not long ago that they should follow some such lines as ours. 
 Amazed, he said to me, "What! criticise Shakspere!" Much misconception arises 
 from the too frequent limitation of the word "criticism" to its adverse meaning. The 
 process should be understood to be merely one of intelligent consideration. The word 
 has got almost as much distorted as the Elizabethan " censure." 
 
 * See Chapter V. 
 
 " The men's characters range from 13 to 58, and the women's from 2 to 10. 
 
 * If it is desirable to modify the numbers, the grouping arrangements will be facili- 
 tated by taking the set of groups given in Chapter IX. as a point of departure. 
 
EVEXIXGS WITH SHAKSPERE. 23 
 
 the work is always to be kept in view, it will be well not to exceed 
 the number, which well suits the capacity of most drawing-rooms. 
 
 We have been great sticklers for rule. The stability of a society 
 will largely depend upon the strictness with which its laws are kept. 
 Our rules have been modified and developed from time to time. 
 Now they are as follows : — 
 
 1. The Society shall be called "The Clifton Shakspere Society." 
 The local form of title ^ will be better than any high-sounding 
 
 name borrowed from histrionic association or derived from a fanciful 
 nomenclature. 
 
 2. The object of the Society shall be the study of the works of 
 
 Shakspere by reading and criticism. The plays shall be read 
 
 by allotment of the parts to the members. 
 As additional light is thrown upon Shakspere's works by the 
 study of the contemporary drama, the words of this rule may stand, 
 unless a literalist wishes for an exact definition of the extent of the 
 work. The mode of allotting is stated in Rule 10, and will be 
 considered in detail in Chapter I\'. 
 
 3. The Society shall consist of not more than twenty-five 
 
 Members (seven ladies and eighteen gentlemen) and seven 
 Associates (two ladies and five gentlemen), from whom shall 
 be elected an Annual President, a Secretary, and an Assistant- 
 Secretary. When the Society has its complement of Members 
 
 1 Even this simple style may cause some misapprehension. At one of my visits to 
 Stratford, I was with a lady who often makes somewhat long pauses in her speech. She 
 was going to tell one of the librarians there something about our Society, but when she 
 had got as far as "We have a Clifton Shakspere," an expression came over his face 
 which seemed to denote a fear that a nineteenth-century rival to his hero had been 
 found on the banks of another Avon, and that soon, perhaps, his occupation would be 
 gone. He was, however, re-assured when she finished the sentence. It was only a 
 momentary trouble, but it was a real one. 
 
24 EJ'ENINGS WITH SHAKSPERE. 
 
 there may be elected seven Associates (two ladies and five 
 gentlemen), who may attend the meetings, succeed to vacant 
 Memberships without further election, and who may be re- 
 quested to fill up vacancies in the cast. Any Member may 
 after resignation be elected a Vice-President, provided the 
 number of Vice-Presidents at any one time shall not exceed 
 six. 
 For reasons stated above, I strongly recommend this number 
 of members. 
 
 The introduction of Associates was one of the happiest thoughts 
 ever conceived in the mind of a member of a Shakspere-Society. 
 They form a class we have had for }'ears. They should be always 
 at their posts, and then they would prove the greatest comfort to a 
 secretary perplexed by the inability of his members to come to the 
 readings. The clause in the rule sufficiently defines their usefulness. 
 They have no parts allotted in the original cast. 
 
 This rule could be improved by making provision for the ad- 
 mission of those who wish to join such a Society without having 
 upon them the responsibility of taking part in the readings, which, 
 according to Rule I., have to be undertaken by the members. The 
 honour of Vice-President will be conferred upon those only who 
 have rendered signal service to the Societ}-. 
 
 It \\'\\\ introduce an element of freshness to have a new President 
 every year ; but it will be best to re-elect the Secretary if he is in- 
 terested in the work and will give enough time to it. An Assistant- 
 Secretary is a luxury that young societies will not need, and is one 
 that we have only recently obtained. His share in the work will be 
 mentioned under Rule ii. 
 
 4. Any person wishing to join the Societ}' shall be proposed and 
 
EVEXIXGS WITH SHAKSPERE. 25 
 
 seconded at one meeting, and balloted for at the next. One 
 adverse vote in ten to exclude. 
 
 Information of a vacancy should be given in the notice convening 
 the meeting, so that all may have the same opportunity of proposing 
 fresh names. In a small society the good sense of the members 
 shown in bringing forward only fit persons will render the exercise 
 of the adverse vote rarely necessary. Our provision for exclusion 
 gives, perhaps, too much power to a single vote. 
 
 5. Each Member and Associate shall pay an entrance fee of 2/6, 
 and an annual subscription of 3/6. 
 
 The annual subscription here named is ridiculously small for a 
 literary society. A new society should fix its yearly contribution at 
 not less than 5/-. Half-a-guinea should be the subscription for most 
 societies. Our subscription remains at its original amount, which 
 in our early da}-s as a mere reading-party was ample. With en- 
 larged aims more is wanted. 
 
 6. On the proposal of any Member or Associate, seconded by 
 another, and unanimously adopted at a subsequent meeting, 
 any lady or gentleman may be invited to become a corre- 
 sponding member of the society and to send from time to 
 time communications to be read at the critical meetings. 
 Corresponding members shall pay no entrance-fee or sub- 
 scription, and shall be entitled to all the privileges of ordinary 
 members. The number of corresponding members at any 
 one time shall not exceed ten, four of whom are to be 
 resident outside the British Isles. 
 
 Corresponding members will only be thought of in a well-estab- 
 lished society, with a thoroughly systematic course of criticism. 
 
 5 
 
26 EVENINGS WITH SHAKSPERE. 
 
 Referring to this rule the editor of Shakespeariana^ said, " This is a 
 vakiable feature of Chib-work, and indicates a way to bring in a 
 breath of fresh air from the outer world, for which the ordinary, 
 insulated Club would be the better." This is well put, as probably 
 n every case a corresponding member will be one who is far in 
 advance of most of the members in knowledge of special points, 
 and who will be able to throw a flood of light on a technical question 
 which would involve immense research on the part of one who had 
 not made a particular study of it. Our corresponding members are 
 a great strength to us. A meeting rarely passes without a com- 
 munication from one or other of them. The number should be 
 kept small, and should be limited to those who are known to have 
 done good Shakspere-work. 
 
 7. The Society shall meet at 7.30 p.m. on. the second and the 
 fourth Saturday in each month, from October to May inclu- 
 sive. An extra meeting shall be held on the first Saturday in 
 October, at which the Secretary shall present a Report of the 
 Society's work during the previous twelve months, the retiring 
 President deliver an address, and the officers be elected. 
 It will rarely be possible to get a society together to begin work 
 at half-past seven. We are summoned for that hour, but some 
 little time is taken up by tea and by final arrangements about the 
 readings. This, probably, will always be necessary. 
 
 The extra meeting is required for transaction of yearly business, 
 which would encroach too much on the work of a reading or a 
 critical evening. 
 
 It is convenient that the Secretary should every year bring to- 
 gether in a report the record of the Society's work. 
 1 Vol. III. p. 572. 188G. 
 
EVENIXGS WITH SHAKSPERE. 27 
 
 The Presidential address gives the opportunity of a wider survey 
 than is often possible at an ordinary meeting. 
 
 Every session a card having the names of the plays and the 
 dates on which they are to be taken should be sent to the members. 
 We print upon it the list of the critical departments (see Chapter V.) 
 and the names of Vice-Presidents, Past-Presidents, and Corre- 
 sponding Members. 
 
 8. The first meeting of the month shall be devoted to the reading 
 
 of the play, and the second meeting to criticism of it. At 
 
 the critical meetings each Member and Associate is at liberty 
 
 to introduce a visitor. 
 
 It has been sometimes thought that the order of the work might 
 
 be reversed, and that the reading would be more attractive if the 
 
 criticism had come first. But the advantages altogether are in 
 
 favour of the order in the rule. 
 
 Visitors at the critical meetings should be encouraged to add to 
 the discussions by pen or speech. 
 
 g. At the last meeting in each session the work for the next 
 
 session shall be arranged. 
 It will be found convenient to have time in the recess for thinking 
 over the way in which the plays shall be considered, and for pre- 
 paring the list of subjects for discussion. (See Chapter V.) 
 
 10. The Secretary, twelve days before the evening for reading, 
 shall send to each member a form for selecting the cast of 
 the parts in the play to be read. The cast of the parts shall 
 be made by the Secretary from the returns forwarded by the 
 members. 
 Directions for preparmg the cast will be found in Chapter IV, 
 
 5* 
 
EVENINGS WITH SIIAKSPERE. 
 
 II. The Assistant-Secretary shall, at least five days before the 
 evening for reading, give to each person belonging to the 
 Society notice of the meeting, with a copy of the final cast, 
 and the same length of notice of the critical meetings. 
 
 In those societies that need, and have the good fortune to 
 possess, an Assistant- Secretary the best arrangement will be for the 
 Secretary to do the work of preparing the cast and to send a copy 
 of the final cast to the Assistant-Secretary, who by means of one of 
 the various copying processes will prepare the required number and 
 send them out. The exact form of the notices for the reading and 
 critical evenings will be sent to him by the Secretary, with whom it 
 will be found less confusing to leave the arrangements, and who, 
 keeping the minute-book, will know what matter it will be necessary 
 to insert in the notices. It adds much to the interest of the work 
 for each member to get a copy of the final cast, rather than a bare 
 mention of the part to be read. It is not much extra trouble to 
 print enough for the Vice-Presidents, Associates, and Corresponding 
 Members. 
 
 12. Members with parts allotted are expected to make a special 
 effort to attend the reading, on account of the inconvenience 
 of re-arranging the cast ; but in case there should be a positive 
 inability to be present, it is requested that notice to that effect 
 be sent to the Secretary not later than the Wednesday next 
 before the reading. 
 
 Observations on this rule will be more conveniently placed in 
 Chapter IV. 
 
 13. The Society shall subscribe annually to "The New Shaksperc 
 Society." 
 
EVENINGS WITH SIIAKSPERE. 2^ 
 
 This will not be necessary in those unfortunate cases where 
 critical work is not done. 
 
 14. The Library-Fund, formed and maintained by donations 
 from Members and others, shall be managed by a Committee 
 consisting of one lady and two gentlemen, with the President 
 and the Secretary as members ex officio. From this fund no 
 book shall be purchased for the Society without the approval 
 of three members of the Committee. 
 
 15. The books and publications belonging to the Society shall be 
 kept at the Secretary's house. Each Member and Associate 
 shall be provided with a catalogue of the Library, and shall 
 be able to obtain any book required, recording the loan in a 
 register kept for the purpose. 
 
 A consideration of these rules will be found in Chapter VL 
 
 16. Notice of a proposed alteration of, or addition to, the rules 
 shall be given at one meeting and voted upon at the next. 
 For such change a majority of two-thirds of those present 
 shall be necessary. 
 
 It would be wise to add here a clause, requiring that the proposed 
 alteration shall be stated in the circular convening the meeting. It 
 is important that the whole Society should be informed of any con- 
 templated change. 
 
 These rules will probably be fountl ample. Whatever code is 
 adopted, it must be rigidly kept. It is better to have a few rules 
 and permit no departure from them than to have a long array of 
 paper-laws which are constantly being allowed to be trifled with or 
 broken. 
 
CHAPTER IV. 
 XTbe iReaMnas. 
 
 It is not enough to speak, but to speak true." 
 
 A Midsummer-Night's Dream, V. 
 
 I^HE mode of allotting the parts should be carried out so as 
 not to throw an invidious task upon one person or any small 
 number of persons. The plan which we have (Rule lo, p. 27) is 
 perfect in theory, and only requires co-operation to make it a com- 
 plete success in practice. A printed form containing a list of all the 
 members is sent to each of them, with a request to return it^ to the 
 Secretary filled up in the way he or she would like the play to be 
 read. If the dramatis persona: are so many as to require arrange- 
 ment in groups, these are stated," and any other information is 
 added that is necessary for the purpose." 
 
 1 This can be done anonymously, if wished. 
 
 - Or, if tlie society is constituted with the numbers given in Rule j (p. 2j), the 
 members could be referred to this book for the groups. 
 
 " If this book is not used it will be necessary to give the designations of the 
 characters not definitely mentioned in the list at the beginning of the play and to point 
 out that some women's parts will be left out in the reading. For instance, in 2 Henry IV. 
 we omit Doll Tearsheet, giving in II. iv. some of her sayings to the Hostess, and so pre- 
 serving the continuity of the scene. 
 
EVENINGS WITH SIIAKSPERE. 31 
 
 From the papers returned the Secretary compiles the final cast 
 according to the votes given. The returns must be quite inde- 
 pendent, as agreement between two or more members would violate 
 the principle upon which the cast is made. A plan, not invidious in 
 its mode and not involving trouble, has been suggested by which the 
 parts would be distributed by lottery. This might bring out latent 
 talent, but it would usually be so grotesque in its results that a 
 society wishing to retain its reputation for sanity would do well not 
 to adopt it. A society, not able to attain to the mode of allotment 
 by intelligent vote, could read through a play by the speeches being 
 taken in turn as the members happen to sit. 
 
 After the parts are allotted, the next thing is to get the people to 
 the meeting to read. In every society there will most likely always 
 be some members whom it will be impossible to make realise the 
 responsibility to others which the mere act of membership involves. 
 It should be a point of honour that the attendance at the readings 
 should be as regular as possible. Only the most important matters 
 should keep members from a reading. Not only does an absence 
 throw upon the Secretary the work — often a troublesome one — of 
 re-arranging the cast,^ but it frequently gives to over-burdened 
 readers other parts which they may have to take up at very short 
 notice, or, sad to say, perhaps without any notice at all. A small 
 money-fine never to be remitted for any excuse whatever would be 
 the best way of bringing home to many persons the fact that their 
 presence was important. I should recommend an}- society beginning 
 w^ork to have such a fine. When the society has been once estab- 
 lished it will be difficult to introduce it. In some societies a certain 
 number of consecutive failures to attend is considered equivalent to 
 
 1 The point mentioned on p. 2 must always be kept in view. 
 
32 EVENINGS WITH SHAKSPERE. 
 
 a resignation. Also, as it is more pleasing to the society generally 
 to hear the parts well distributed, the attendance of all members is 
 desirable in order to avoid the concentration of a vast number of 
 parts upon one reader. Holofernes, who said, " I will play three 
 myself," would find in a modern Shakspere-Society that his powers 
 would be subject to a severer strain than that. He would have to 
 admit that such a limitation would be a " simple coming-in for one 
 man " who on a single evening " plays many parts." 
 
 Although the ' Globe ' edition is the society's standard of refer- 
 ence for the Shakspere-plays, it will not be desirable to insist that 
 it shall be the only book used for the reading. Not many people 
 who are over forty can read such type easily, especially at night, 
 and most persons will prefer to choose their own text. But in order 
 to prevent confusion, members should always compare their own 
 editions with it, as editors do not all follow the same early authorities, 
 and sometimes there is much discrepancy between modern copies.* 
 
 All ' Bowdlerised ' editions must be avoided. They leave pas- 
 sages in which should be out and omit parts which ought to stay in. 
 Even the Clarendon Press series, which at present docs not include 
 half the number of plays, is faulty in this respect, and must occa- 
 sionally prove very embarrassing tO teachers, for whom they are 
 especially intended. Any necessary expurgation must be done by 
 members themselves. When it comes in the middle of a speech, it 
 should be left to the individual reader. When it affects the cues, it 
 should be an arrangement between the persons concerned ; but 
 sometimes it will be better for the Secretary to arrange it for them. 
 At times it occurs that a reader's part, not itself requiring mutilation, 
 
 1 Similar comparison should be made with the editions of the other plays read by 
 the society. 
 
EVENINGS WITH SHAKSPERE. 33 
 
 is, through an omission of this kind, brought on much sooner than 
 it otherwise would be. Notice of this should always be given to the 
 reader, or an awkward pause may take place and some confusion 
 ensue/ 
 
 Nothing should be left out of any play for the purpose of shorten- 
 ing it. If it is too long for the evening's reading, it will be best to 
 carry on part for reading at the beginning of the critical evening ; 
 but this must be done as rarely as possible. In our earlier days we 
 cut out much of the long plays, but such practice is one to be care- 
 fully avoided. Long ago one of our members tersely put it, " Parts 
 to be left out must be on account of breadth and not of length." It 
 may be convenient to have a five-minutes' interval about half-way 
 through the reading. 
 
 Opinions will vary much as to the mode of society-reading, that 
 is, whether the elocution should be dramatic or commonplace. Most 
 persons, probably, will prefer the former in moderation. • Passages 
 should be " well spoken, with good accent," " not too tame," " with 
 discretion as the tutor." It comes somewhat as a shock to see in 
 the text a speaker chidden for violence of manner whose words have 
 been rendered by the reader in the mildest manner possible. In 
 fact, Hamlet's advice to the player, leaving out the directions as to 
 action, may be taken as applicable to members of dramatic reading- 
 societies. In some societies it is the custom for all the readers in a 
 scene to stand whilst it is being read. 
 
 1 I have all the plays marked so that they can be read aloud by a society of ladies 
 and gentlemen. I shall be happy to give them to any publisher who would print them, 
 and thereby confer a boon not only on Shakspere-Societies, but upon individuals wishing 
 to read the plays aloud. A most admirable and useful volume might be compiled, con- 
 sisting of all the plays comprehended in this scheme of study, arranged in the order 
 given, and treated in the manner I have named. 
 
 6 
 
34 EVENINGS WITH SIIAKSPERE. 
 
 The songs may be sung, but on no account must the reahsm be 
 interfered with by allowing songs which are obviously solos to be 
 rendered as part-songs. From the frequency with which this has 
 been done it is clear that although many of the composers who have 
 set the songs to music may have been great musicians, they were 
 certainly not students of Shakspere. In singing in society there 
 should be no break in the text by having to go to a piano and finding 
 out music. If the singing involve this, it should be done without 
 accompaniment or the song should be read. If the song comes in 
 the part of one who cannot or will not sing, there should be no 
 . difficulty in transferring it. 
 
 It is not fair to the society generally that members should from 
 their own choice, or through the default of others, read parts at 
 sight. There may be some omission to be made which requires a 
 little looking at beforehand. Again, although nearly all Shakspere's 
 verse-lines have rhythm as well as sense, it is necessary to be familiar 
 with their metrical form, and this it is not always easy to see at a 
 glance. Every part should be carefully gone over before the reading. 
 A misplaced accent will destroy the music of a line, and a disregard 
 of the proper pronunciation of some parts of speech may at times 
 be truly horrifying. It may make some persons shiver to hear an 
 Oberon say 
 
 "The imperial votaress pass'd on," 
 
 or a Gratiano declare that he gave the ring to 
 
 "a little scrubb'd boy," 
 
 or a Juliet with a reiterated lamentation that her 
 
 " Romeo is banish'd." 
 Members by being well on the alert to take up their parts at the 
 proper moment can adil much to the pleasure of a reading. It is a 
 
EVENINGS WITH SHAKSPERE. 35 
 
 tantalising disillusion to find that there is in the party a Bottom, 
 who every now and then, from some cause or other, practically says, 
 " When, my cue comes, call me." 
 
 The Reading-evenings, if carefully managed in reference to many 
 of the foregoing particulars, will prove pleasant and popular. But 
 in order that they should be so, it will be necessary that the Secretary 
 should be loyally supported by the members, who must render him 
 every assistance by regular attendance and a promptness in taking 
 up parts required. 
 
CHAPTER V. 
 TLbc Criticism. 
 
 " I am nothing, if not critical." 
 
 Othello II. i. 120. 
 
 ALL Shakspere Reading-Societies should make provision for 
 something more than elocutionary consideration of the plays 
 they read. To get a satisfactory plan for this was with us, at first, 
 a great difficulty. 
 
 Some of the members who were with us in our early days, when 
 we began our critical work by setting apart every fifth meeting for 
 a retrospect of four plays, often recall with astonishment our mode 
 of procedure then. Novices in the art, we essayed little beyond 
 comment on the unusual words, and, as a result, the whole evening 
 was spent upon the earlier portion of the first of the four plays and 
 the other three were not touched. Much the same sort of thing 
 was repeated with the next series of four. When, in May, 1877, it 
 was proposed to make every fourth meeting a critical one, a lady- 
 member, who has been one of our greatest reformers, boldly pro- 
 posed an entire departure from the original plan of a mere reading- 
 party, and succeeded in getting the time of the society equally 
 divided between reading and criticism. The plan we followed for 
 
EVENINGS WITH SHAKSPERE. ^J 
 
 some time was that described in the sixth by-law (p. 43), and it was 
 not till April, 1878, that our first paper on a play was read. Since 
 that time we have almost always had one or more papers at each 
 critical meeting. An arrangement which for a time was very popular 
 was the division of the critical work into sections, which were al- 
 lotted to members who brought forward reports in connection there- 
 with. The following is a list of them : — 
 
 ^Esthetic Criticism. 
 
 Anachronisms. 
 
 Animals. 
 
 Arts and Sciences. 
 
 Biblical and Religious Allusions. 
 
 Classical and Mythical Allusions. 
 
 Coins, Weights, and Measures. 
 
 Demonology and Witchcraft. 
 
 Dress and Social Customs. 
 
 Early Dramatic Representations. 
 
 Fine Art. 
 
 Geography. 
 
 Grammar. 
 
 Historical References. 
 
 Law and Heraldry. 
 
 Meats and Drinks. 
 
 Medicine and Surgery. 
 
 Metre and Authorship. 
 
 Music and Ballads. 
 
 Oaths and Exclamations. 
 
 Personal Histories. 
 
 Plants. 
 
3^ EVENINGS WITH SIIAKSPERE. 
 
 Play-craft. 
 Puns and Jests. 
 Rare Words and Phrases. 
 Satire and Irony. 
 Similes and Metaphors. 
 Sources and History. 
 Sports and Pastimes. 
 Trade and Commerce. 
 Tradition and Folk-lore. 
 Various Readings. 
 But since we have had a good supply of papers of a more general 
 character this plan has, I think unfortunately, fallen much into 
 disuse. To the most busy, the most nervous, or the most recent 
 critics, it offers a convenient opportunity for taking some share in 
 that which to many is the most interesting part of the society's 
 work. Rarely should a critical meeting pass without half-a-dozen 
 short departmental reports. They need not attempt to be ex- 
 haustive. It would often be most useful to get a two or three 
 minutes' paper on one point within the survey of a critical depart- 
 ment. 
 
 It will be a distinct gain if a society can get systematic consider- 
 ation of Shakspere's marvellous characterisation. This may be done 
 by getting one or more members with inclination and ability for this 
 particular work to promise to bring at each meeting a critical analysis 
 of one or more of the characters ; or, better still, by getting several 
 people to write very short papers on the same character or characters. 
 This latter plan has the advantage of getting the characters looked 
 at simultaneously from several points of view. Many persons are 
 too much inclined to take recorded opinions as hnal, rather than 
 
EVENINGS WITH SHAKSPERE. 39 
 
 enquire closely for themselves whether such opinions are justified. 
 Some most utter nonsense has been written about Shakspere's 
 characters. There is still plenty of room for analysis of these, if 
 people will give up writing about them as mere abstractions of 
 various virtues and vices and will look upon them as flesh-and-blood 
 beings whose analogues may be met with in every-day life. They 
 are to be paralleled amongst our own friends and acquaintances, 
 who, if the external conditions were alike, would act in much the 
 same style as the people in the plays. If this is not so, we should 
 have to say that Shakspere's creations are not true to life. 
 
 The " Suggestions for Discussion," to be found later on, will 
 serve to prompt many with ideas that may not have occurred to 
 them. It is not meant thereby to lay down any limit to the subjects 
 to be brought forward. Many members will, of course, prefer to 
 work out a line of thought that may be quite independent of them. 
 The aim should be to get at each meeting one general paper dealing 
 with the play as a whole and some smaller papers or departmental 
 reports upon minor questions or on side-issues. Discussion on 
 papers is more likely to be general if their titles can be announced 
 beforehand. 
 
 Beyond the multitudinous points of intense interest to be found 
 by a close study of the text itself, there arc many others which 
 should engage the attention of members of a society. A consider- 
 ation of so-called sources of the plot of a play will always be in- 
 teresting. Although in many cases it will be merely a view of the 
 treatment of the same subject by other writers, the comparison will 
 be of value. In some instances, such as the Chronicles, Plutarch's 
 Lives, and older plaj-s, from which Shakspere derived not only facts 
 but expressions, the connection is undoubted. Many of the historical 
 
40 
 
 EVENINGS WITH SHAKSPERE. 
 
 plays should also be compared with the verse-histories of Drayton 
 and Daniel. 
 
 A comparison of the textual values of the Quartos and the 1623 
 Folio, with an examination of the emendations of various editors, 
 will show to what an extent the generally-received modern text 
 deviates from the early copies. 
 
 Many a play that is commonly accepted as the production of a 
 single playwright was either the conjoint work of two or more 
 writers, or the completion by a second writer of another's unfinished 
 drama, or the copy altered to suit the requirements of a theatrical 
 manager, dependent upon the changing taste of a fickle public. 
 Familiarity with the individual styles of the writers of the period, 
 including a knowledge of their metrical peculiarities, will enable a 
 critic to assign, perhaps with an approach to accuracy, the different 
 parts of such plays. In cases where the question of Shakspere's 
 authorship is involved, the attempt to do this must not be made 
 with a preconceived determination to allot him all the best parts of 
 a play in which there is reason to believe work of a second writer 
 exists in conjunction with his. The nineteenth century has had 
 painful experience in finding that poets who occupy the front rank 
 can at times write much that is unpleasing and inharmonious ; and 
 in investigating the alleged composite authorship of any play in 
 which it is supposed that Shakspere was only partly concerned, it 
 may remove some difficulties if we admit that he may sometimes 
 have nodded or that occasionally he may have put pen to paper 
 when he was dyspeptic. 
 
 Theatrical companies did not generally receive plays indiscrimi- 
 nately from writers, but kept to their own set. Much, therefore, may 
 be learned from an investigation of the records which show by which 
 
EVENINGS Wiril SIIAKSPERE. 4I 
 
 companies certain plays were first acted. The later stage-history of 
 the play should be followed, and at each critical meeting there should 
 be a paper on this subject, showing the mangling the plays have 
 undergone at the hands of many from whom better things might 
 have been expected, and also lamenting the outrages which have 
 been inflicted upon the text in its preparation for the stage. 
 
 The ordinary reader of Shakspere, delighted with the language 
 or with the story, or with both, does not see in the plays any veiled 
 allusions to contemporary persons or events. But there can be 
 very little doubt that such references exist. When we take into 
 consideration the fondness of his age for far-fetched conceits or 
 obscure allusion, it is impossible to believe that Shakspere would not 
 find some opportunity of introducing into the plays his views of the 
 great social and political movements of the period. Through the 
 lapse of time it becomes increasingly difficult to fix many of these 
 references. An allusion quite patent to an Elizabethan audience 
 may be completely lost upon us, without in the least interfering with 
 the charm w^hich is upon the surface of the play. Some investiga- 
 tion into these matters has been made, but its result for the most 
 part hes unheeded in the pages of discarded magazines or neglected 
 books. ^ A search into the State Papers might often bring out the 
 connection of a passage in the plays with some contemporary 
 episode. 
 
 The reading of Mr. P. A. Daniel's Time- Analysis will always 
 afford interest. It would be an admirable thing if somebody would 
 on the same lines do the time-analysis of other plays as they come 
 before the society. 
 
 1 Much of interest in reference to such points will be found in Richard Simpson's 
 books and articles. 
 
42 EVEXI\GS WITH SHAKSPERE. 
 
 The introduction of non-Shaksperian plaj-s into the work of the 
 society will afford various opportunities of dealing with the relation 
 of Shakspere to his fellow-dramatists, and of those to one another. 
 The theory that the playwrights often pilloried one another in their 
 plays is one worth working out in connection with plays by many of 
 the writers whose work is here comprehended. 
 
 At the critical evenings on these writers, there should always be 
 a paper dealing with the writers generally and giving an outline of 
 their work, besides that coming immediately before the meeting. 
 Some consideration in detail should also be given to the dedications 
 with which their plays are so frequently introduced. It is easy to 
 adduce from the plays various illustrations of life and manners in 
 that age of energy, and these will be of perennial interest. 
 
 There should be some by-laws for the conduct of the critical 
 meetings. On paper ours look needlessly harsh. They are intended 
 more to be kept in reserve than for common use, and are as follows : 
 
 1. Papers, and discussions thereon, shall take precedence of 
 other discussion, and unless the President, or the Chairman 
 for the time being, shall decide otherwise, the meetings shall 
 close at 10.15 P-'^^- 
 
 2. All speakers shall address the Chair. 
 
 3. The President, or the Chairman for the time being, shall 
 decide at what period any person to whom questions may 
 have been put shall reply. 
 
 4. As far as practicable, the discussion on one point shall be 
 closed before raising another. 
 
 5. When two or more papers are read on the same evening, each 
 paper shall, so far as time will allow, be discussed before 
 another is read, unless the Chairman decide otherwise. 
 
EVEXLXGS WITH SIIAKSPERE. 43 
 
 6. When time permits after the disposal of the papers and dis- 
 cussions thereon, or in the absence of any paper, the criticism 
 of the play shall be conducted in the following manner: — 
 Taking scene by scene, the reader of each part, if present, 
 shall be asked to bring before the society any difficulty or 
 interesting point met with in the reading of that particular 
 part. At the close of the discussion which may arise from 
 this, any other person may call attention to points in that 
 particular part not introduced by its reader. If the reader of 
 the part should be absent, or should not start any point for 
 discussion, the part may be then dealt with by the society 
 generally. 
 Most of these are formal. The second, which to some persons 
 will seem peculiarly terrifying, is intended to prevent the conver- 
 sation on the papers getting broken up among a few groups. 
 
 It may be wise occasionally to have a written criticism of the 
 elocutionary powers of the members. It may do good to some 
 indifferent but self-contented readers to have their faults pointed 
 out with an unsparing hand. It will be better that a comnmni- 
 cation of this kind should be anonymous. It should come not 
 oftener than once a session. 
 
 7'" 
 
CHAPTER VI 
 
 " In such indexes, although small pricks 
 To their subsequent volumes, there is seen 
 The baby figure of the giant mass 
 Of things to come at large." 
 
 Troihis and Crcssida, I. iii. 343-6. 
 
 IF the society is to do any critical work, it must have some 
 books of reference. Whether its hbrary is to be large or 
 small will depend upon many circumstances. 
 
 In a society altogether wealthy, there would be no difficulty in 
 the provision of funds ; but if, as will almost certainly be the case, 
 the purses of the members vary greatly in their contents, a poll-tax 
 for a library-fund would be very unequal in its incidence, and there- 
 fore very unpopular, and it might excite rebellion. The problem is 
 then presented of having to raise sufficient money to enable the 
 society to get the books necessary for its work, and whilst getting 
 contributions from the society generally, to exercise no uncomfortable 
 pressure upon any individuals ; and yet, at the same time, in getting 
 the nucleus of a library, to have the sum provided quickly, for if the 
 appeal is spread over a long period the interest taken in the matter 
 will probably become most languid. 
 
 At first our library had a painfulK- slow development, depending on 
 
EVENINGS WITH SILIKSPERE. 45 
 
 an occasional present, or the purchase of some small book by means 
 of a tiny subscription. When much troubled how to get a more 
 satisfactory library, I was cheered by a suggestion from one of our 
 practical members, who, towards the establishment of a library-fund, 
 offered to give three guineas if four other members would each give 
 a similar sum, and if the rest of the society would contribute some- 
 thing fairly substantial. These conditions were so easily fulfilled 
 that the society quickly found itself the possessor of about ^^40 
 wherewith to buy books. Since then, by occasional helps, the fund 
 for library-purposes has exceeded ;^50. With this amount, aided by 
 gifts of books from members and others, the society has at its 
 command a library which is of fair working usefulness, but of course 
 falls far short of that which a Shakspere-society ought to have. 
 
 It is a matter of great difficulty to say what books a society must 
 possess. All the following will be found useful, and some of them 
 indispensable. A society that had them all would be well off. I have 
 arranged them in classes, as our own catalogue is arranged. There 
 are many in this list that we have not yet been able to get. 
 
 Skottowe's Life of Shakspeare. 
 
 Neil's Shakespere : a Critical Biography. 
 
 Halliwell-Phillipps's Outlines of the Life of Shakespeare. 
 
 Fleay's Life and Work of Shakespeare. 
 
 Books on Stratford by Wheler, Bellew, Walter, and Wise; and 
 
 on New Place by Halliwell [PhillippsJ will be found of 
 
 interest. 
 Books on the Sonnets by Armitage Brown, Henry Brown, and 
 
 Massey may be mentioned here as bearing largely upon 
 
 Shakspere's life. 
 
46 E]'EMXGS WITH SIIAKSPERE. 
 
 The 182 1 Varionun. 
 
 The ' Cambridge ' Shakespeare. 
 
 Reprint of 1623 Folio. ^ 
 
 Facsimile Quartos. - 
 
 Furness's Editions. 
 
 The ' Bankside ' Shakespeare.'-^ 
 
 The ' Leopold ' Shakspere. 
 
 The ' Henry Irving ' Shakespeare. 
 
 Dodsley's Old English Plays (Hazlitt). 
 
 Complete editions of all the authors included in the society's 
 
 work. 
 The series of Pseudo- Shakespearean Plays, edited by Drs. 
 
 Proescholdt and Warnke. 
 
 TUaorhs of ©eneral Sbahspcriaii interest. 
 
 Douce's Illustrations of Shakspcare. 
 
 Drake's Shakespeare and his Times. 
 
 Hunter's New IlUistrations. 
 
 Mrs. Cowden-Clarke's Concordance. 
 
 Cohn's Shakespeare in Germany. 
 
 Watkiss Lloyd's Critical Essays. 
 
 Gervinus's Commentaries; either in its original form or in Miss 
 
 Bunnett's translation. 
 Fleay's Shakespeare Manual and Introduction to Shakespearian Study. 
 Hazlitt's Literature of the Age of Elizabeth. 
 
 1 Either that published by Booth, or that by Chatto and Windus, or both. 
 
 " These can now be got at a moderate price. Forty-three are in the set in course 
 of publication by Quaritch. 
 
 ^ Published by the Shakespeare Society of New York, and consisting of the earliest 
 known version parallel with that of 1623. 
 
EVENINGS WITH SHAKSPERE. 47 
 
 Simpson's School of Shakspcrc. 
 
 Dowden's Shaksp.rc : a Critical Study. 
 
 Hudson's Shakespeare : his Life, Art, and Characters. 
 
 Mrs. Furness's Concordance to the Poems. 
 
 Schmidt's Shakespeare-Lexicon. 
 
 Nares's Glossary. 
 
 Dyce's Glossary. 
 
 Mor{?6 on Separate iplags. 
 There is no need to mention these ; every such book should be got. 
 
 There are many works that are more especially useful in the 
 Critical Departments, under which I have placed them. Many 
 books previously mentioned deal largely with some of the following 
 subjects ; their names are not repeated. The publications of Shak- 
 spere-societies would, in many cases, be almost exclusively of use in 
 connection with some of these departments : 
 
 Sources aiiD Ibistorg. 
 
 Hazlitt's Shakespeare's Library. 
 Skeat's Shakespeare's Plutarch. 
 
 /iRetre aiiD Sutborsblp. 
 
 Walker's Shakespeare's Versification. 
 
 Bathurst's Differences in Shakespeare's Versification. 
 
 ©rannnar. 
 
 Craik's edition of Julius Ccrsar. 
 Ellis's Early English Pronunciation. 
 Abbott's Shakespearian Grammar. 
 
 Sbaftspere'6 iIMag*craft. 
 
 Daniel's Time- Analysis. 
 Stokes's Chronological Order. 
 
4^ EVENINGS WITH SHAKSPERE. 
 
 Bestbctfc Criticism. 
 
 The number of works of this description is legion. 
 
 1F3i6torical TRefcrenccs. 
 
 Courtenay's Commentaries. 
 
 Classical aiiD /nbgtblcal Bllusions. 
 
 Miss Carey's translation of Stapfer's Shakespeare and Classical 
 
 Antiquity. 
 
 Similes aiio /iRctapbors. 
 The literature of these is scattered about in various books. 
 
 Shakspere's use of them should be presented in a methodical 
 
 form . 
 
 2)re68 anJ> Social Customs. 
 Rye's England as Seen by Foreigners. 
 Hall's Society in the Elizabethan Age. 
 Goadby's The England of Shakespeare. 
 
 Iplants aiiD Bnimals. 
 
 Ellacombe's Plant-Lore. 
 Grindon's Shakspere Flora. 
 Harting's Ornithology of Shakespeare. 
 Miss Phipson's Animal Lore. 
 
 ©co^rapbi?. 
 References to Shakspere's knowledge of geography must be 
 sought for in many books of general comment. 
 
 Xaw aiiD IberalDrg. 
 
 Campbell's Shakespeare's Legal Acquirements, and some of 
 Rushton's works. 
 
 /IlbcDiclne anO Surocr^^ 
 
 Huckniirs Medical Knowledge and Mad Folk, 
 
EVENINGS WITH SHAKSPERE. 49 
 
 /Dbusic anJ) JBallaOs. 
 
 Chappcll's Popular Music of the Olden Time. 
 
 Demonologg anJ) Mttcbcratt. 
 
 Fairy Tales, edited by Hazlitt. 
 
 jEarIg Dramatic IRcpreecntations. 
 
 Hone's Aitcient Mysteries. 
 
 Dictionary of Plays by Halliwell [Phillipps] . 
 
 Collier's History of English Dramatic Poetry. 
 
 Schlegel's Dramatic Art. 
 
 Kelly's Notices of Leicester. 
 
 The English Drama and Stage (1543 — 1664). 
 
 Ward's English Dramatic Literature. 
 
 Coins, "lUeigbts, anO /iReasurcs. 
 Information concerning these will be found in most of the 
 copiously annotated editions and in that invaluable book 
 Nares's Glossary. 
 
 Sports anD pastimes. 
 
 Strutt's Sports and Pastimes. 
 
 Ipuns anD Jests. 
 There is room for a book on these. There is a section on 
 Shakspere's Puns in Ellis's Early English Pronunciation. 
 
 Brts aiiD Sciences. 
 There is no definite work on Shakspere's allusions to these. 
 One would be interesting. 
 
 Zlnacbronisms. 
 
 These have been a delight to many a small critic. The 
 
50 EVENINGS WITH SHAKSPERE. 
 
 members of a society not caring to work out the subject 
 for themselves, will readily meet with observations thereon 
 in the pages of many an exhausting commentator. 
 
 IRare MorDs auD ipbrases. 
 
 Dictionary of Archaic Words by Halliwell [Phillipps]. 
 Minsheu's Gtiide into the Tongues. 
 Cotgrave's Dictionary. 
 
 Davtous IReaDtngs. 
 
 The ' Cambridge ' Shakespeare and Ingleby's Still Lion will 
 supply all that is wanted in respect of these. 
 
 JSiblical aiiD IReliglous Bllustons. 
 
 Bishop Wordsworth's Shakspeare's Knowledge and Use of the Bible. 
 
 3fine art. 
 
 /Bbcats aiiD Brinks. 
 
 tIraDe aiiD Commerce. 
 
 The notes of the 182 1 Variorum must be the authority for 
 much of the information in reference to the foregoing. 
 
 UraDitlon anJ) 3folk=lore. 
 Thiselton Dyer's Folk Lore of Shakespeare. 
 
 Satire anD Jrong. 
 
 Shakspere's use of the above, compared with that of other 
 writers, would form an admirable subject for a book. 
 
 OatbB anD Brclamations. 
 
 In addition to the notes in the larger editions, the Glossaries 
 which the society must have will supply all needed in- 
 formation in reference to this very interesting subject. 
 
E VEXING S WITH SIIAKSPERE. 5 1 
 
 Ipersonal Ibistories. 
 
 French's Shakspeareana Genealogica. 
 
 Contemporary literature. 
 
 Most of Arber's and Bullen's Reprints will be helpful ; and 
 many of the works issued by Shakspere and other literary 
 societies and presses should be obtained. 
 
 transactions of Sbak8pere*Societie6. 
 
 All that have been ever issued should find a place in the 
 society's library. As previously mentioned, they would be 
 appropriately classified under many of the headings already 
 given. 
 
 3Bibliograpb», 
 
 There are some lists dealing with Shakspere literature, both 
 ancient and current, that will be useful. Those by Thimm 
 and Cohn should be had. The catalogue of the Birmingham 
 Shakespeare Library will be found of great interest. 
 
 /Ubiscellancous. 
 
 Shakcspcariana should, of course, be taken in. Interesting volumes 
 can be formed by binding together Shakspere magazine 
 articles, of which there is an unlimited supply of good, bad, 
 and indifferent. Members should be reminded from time 
 to time of the desirability of collecting such for the society. 
 We have at present five volumes thus formed, and are 
 constantly on the look-out for more. 
 
 A society possessing the books here mentioned will be well 
 supplied. The aim should be to obtain, not only books that are 
 useful in work, but each society should endeavour to get together 
 
 8- 
 
52 EVENINGS Wiril SHAKSPERE. 
 
 such a collection of Shakspere literature that will be representative, 
 if not comprehensive, of the multitudinous phases that this branch 
 of literary investigation has produced. Such a library would have 
 much that would be curious rather than valuable, and would include 
 many of the criticisms of the eighteenth century, and the books 
 which illustrate the history of those peculiar results known as 
 Shakspere crazes and forgeries. 
 
 Of course each member will, in addition to the three text-books 
 of the society, have a Dowden's Shakspere Primer, and the 
 Clarendon Press Edition of the plays. 
 
 The rules for the management of the library should be simple. 
 The books must be kept where the critical meetings are held. All 
 persons belonging to the society must have the opportunity of 
 taking out books, and some provision must be adopted in reference 
 to the purchase of books. ^ 
 
 1 Our Rule 14 (see p. 29) answers well. Members should always be encouraged to 
 add books to the library. 
 
CHAPTER VII. 
 Some /IDinor /IDattcrs. 
 
 " Have a care of your entertainments." 
 
 The Merry Wives of Windsor, IV. v. 77 
 
 IN some societies entertainments of a nature lighter than that of 
 the ordinary meetings are sometimes held. Even a society so 
 serious as the New Shakspere Society had, as long as it could afford 
 it, an annual musical entertainment. These diversions, probably, 
 in all cases contain an element of danger. Introduced often, they 
 would doubtless tend to the demoralisation of the more regular 
 work. Presumably, their object is to increase the attractiveness of 
 a society ; but if the perennial interest and diversified character of 
 an organised study of the Elizabethan drama do not draw, the 
 singing of songs and asking of conundrums will not be likely to 
 create a literary taste. Extraneous devices will fail to goad persons 
 into a love for that which meets with no responsive chord in their 
 natures. It has been said^ that it is common to find in English 
 people an absolute insensibility to Art, litcrar}- and otherwise, and 
 that this is irremediable ; and Dr. Clifford Allbutt, in words ad- 
 dressed primarily to medical students, but really of far wider appli- 
 cability, speaking in reference to advice often given about keeping 
 up literary attainments, said: "To give such advice is like urging 
 
 1 "Elementary Principles in Art." A Lecture. Mucmillan's Magazine, "May, iS6y. 
 The whole is wonderfully bright and fresh, and should be read. 
 
54 EVENINGS WITH SHAKSPERE. 
 
 all men to have a taste for music. Some, perhaps most persons, 
 lack an ear for literature. Take up your Bible, or the collects in 
 the Prayer-book, and read them with a nice attention to the words 
 as well as to the matter. If to the power and melody of those 
 words you find an answering delight in yourself, you have an ear for 
 literature — a sense of style. It is a precious possession, and you 
 may well cherish it. If you have it not, you cannot make it, and 
 you had better take your pleasure in the breeding of fox-terriers."^ 
 If there is a slight taste for the special work of a Shakspere-Society, 
 it will be better to foster it by application in its own particular line 
 than by the administration of stimulating condiments. Appetite 
 will grow by what it feeds on. 
 
 But a Shakspere-Society wall fail if its meetings are cold, formal, 
 and dry. The social element is a prime factor of success. There- 
 fore an occasional off-meeting, not arranged for in the programme of 
 the society, will be useful for affording opportunities for the members 
 getting to know one another better. This could be attained by an 
 outing of some kind in the period between the sessions. If Strat- 
 ford is accessible, nothing better than a day there could be desired. 
 Pleasant gatherings would be afforded by a spontaneous invitation 
 to the society from members who have facilities for giving a half- 
 day's entertainment. An annual dinner might be permitted. Possibly 
 a reading in winter, to which the public would be admitted, or one 
 or two private open-air readings in the sunnner, might be desirable 
 introductions. But trivialities, such as regular musical evenings, 
 members citing their favourite passages or setting and working out 
 Shakspere-puzzles, and the like, should be all sternly discountenanced. 
 
 1 Bntish Medical Journal, 1883. Vol. II. p. 664. 
 
CHAPTER VIII 
 Xlbe publications. 
 
 Heaven doth with us as we with torches do, 
 Not light them for themselves; for if our virtues 
 Did not go forth of us, 'twere all alike 
 As if we had them not." 
 
 Measure for Measure, I. i, 33-6. 
 
 ASHAKSPERE-SOCIETY will not have fulfilled its mission 
 if it does not, by publishing its transactions, show to the 
 world something of what it has done. This applies not only to 
 those societies which exist principally for the purpose of publication, 
 but to every private society that does regular and honest work. To 
 the larger societies I have no suggestion to offer further than to 
 say that I think it would be wise to issue more parallel-texts, and 
 perhaps, as one of our members says, an Etymological Dictionary 
 of Shakspere-words. 
 
 A society will probably have to be at work for some time before 
 it thinks of printing any of its papers. When such a determination 
 has been arrived at, the difficulty will arise as to the best way of 
 
56 EVENIXGS WITH SHAKSPERE. 
 
 doing it. This will, as in the case of the library, be very much a 
 question of money. 
 
 Probably the best form would be a selection of the papers in a 
 yearly volume, published at not more than five shillings. The 
 society might either pubhsh on the chance of finding a buying 
 public, or it may prefer to be cautious and not print till it has a 
 sufficient number of subscribers to assure it from loss. 
 
 In the first case a guarantee-fund must be formed. Members 
 willing to become guarantors would probably be found in most 
 societies that had existed long enough to think of printing, and had 
 worked hard enough to produce good papers. If subscribers are 
 to be obtained before publication, an earnest appeal must be made 
 by members in their own circles and generally to literary people 
 outside. 
 
 Every society should keep before it as a distinct aim the pub- 
 lication of some of its papers. It is a duty which it owes to all 
 Shakspere-students. The riches of Shakspere are not yet exhausted, 
 and will last on well into the coming centuries. An editor would 
 have to be appointed for the publication. He should have absolute 
 power in the selection of the papers to be printed. 
 
CHAPTER IX. 
 
 1Reabino='C:at>le5. 
 
 "Will yon with counters sum 
 The past proportion of his infinite?" 
 
 Troilus and Cressida, II. ii. 28-9. 
 
 SuoGCStions foi* ^Discussion. 
 
 All kind of arguments and question deep." 
 
 A Lover's Complaint, 121. 
 
 Xists of Earlv E^itions. 
 
 In print I found it." 
 
 The Two Gentlemen of Verona, II. i. 175. 
 
 Ibistorv^ of tbe plavs. 
 
 Let us from point to point this story know." 
 
 Airs Well that Ends Well, V. iii. 325. 
 
TITUS ANDRONICUS 
 
 u> 
 
 
 I. 
 
 — 
 
 IL 
 
 in. 
 
 
 IV. 
 
 .. 1 
 
 II 
 
 CHARACTERS. 
 
 
 
 
 
 
 
 
 
 
 II 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1° 
 
 
 I I 
 
 
 2 
 
 3 
 
 4 I 
 
 2 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 ^ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 9 
 
 209 
 
 Saturninus 
 
 105 
 
 
 5 
 
 35 
 
 
 
 
 
 55 
 
 
 63 
 
 Bassianus 
 
 ... 
 
 
 48 .. 
 
 
 I 
 
 14 
 
 
 
 
 
 
 
 
 
 ... 
 
 303 
 
 Marcus 
 
 
 
 74 
 
 
 3 
 
 
 i7 41 
 
 10 
 
 47 
 
 
 19 
 
 
 
 I 
 
 Ci 
 
 6 
 
 Captain ... 
 
 
 
 
 6 
 
 
 
 
 
 
 
 
 
 
 
 
 
 718 
 
 Titus 
 
 
 
 
 13G .. 
 
 
 15 
 
 9 
 
 .. 190 
 
 73 
 
 5S 
 
 
 76 
 
 
 ... I 
 
 32 
 
 29 
 
 196 
 
 Lucius 
 
 
 
 
 30 .. 
 
 
 
 
 .. 46 
 
 
 
 
 
 
 41 
 
 
 79 
 
 52 
 
 Chiron 
 
 
 
 
 I 2C 
 
 3 
 
 
 10 
 
 4 ... 
 
 
 
 13 
 
 
 
 
 4 
 
 
 94 
 
 Demetrius .. 
 
 
 
 
 10 3 
 
 3 
 
 2 
 
 13 
 
 6 ... 
 
 
 
 28 
 
 
 
 
 2 
 
 
 3 
 
 Tribune 
 
 
 
 
 3 
 
 
 
 
 
 
 
 
 
 
 
 
 
 4 
 
 MUTIUS 
 
 
 
 
 4 
 
 
 ,. 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 28 
 
 QUINTUS 
 
 
 
 
 4 
 
 
 
 24 
 
 
 
 
 
 
 ... 
 
 
 
 
 31 
 
 Martius 
 
 
 
 
 2 
 
 
 
 29 
 
 
 
 
 
 
 
 
 
 
 4 
 
 "All" 
 
 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 
 
 2 
 
 355 
 
 Aaron 
 
 
 
 
 S 
 
 
 
 41 
 
 .. 19 
 
 
 
 110 
 
 
 
 86 
 
 
 10 
 
 7 
 
 Messenger .. 
 
 
 
 
 
 
 
 
 
 
 • • 7 
 
 
 
 
 ... 
 
 
 
 
 
 15 
 
 PUBLIUS 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 9 
 
 
 
 G 
 
 
 24 
 
 Clown 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 17 
 
 7 
 
 
 
 
 21 
 
 i^MILIUS 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 s 
 
 6 
 
 
 7 
 
 12 
 
 1ST Goth 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 II 
 
 
 I 
 
 21 
 
 2ND Goth 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 21 
 
 
 
 3 
 
 3RD Goth 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 3 
 
 
 
 257 
 
 Tamora 
 
 CO 
 
 
 
 S5 
 
 
 
 
 
 
 43 
 
 ... 
 
 3i 
 
 2 
 
 58 
 
 Lavinia 
 
 1 'J 
 
 
 2 
 
 4G 
 
 
 
 
 
 
 
 
 
 
 44 
 
 Young Lucius 
 
 
 
 
 
 
 2 
 
 25 
 
 13 
 
 
 
 
 
 4 
 
 19 
 
 Nurse 
 
 f,01 I.] 
 
 - 
 
 
 
 
 
 
 19 
 
 
 
 
 
 
 2547 
 
 
 2S 
 
 306 
 
 57 303 
 
 85 
 
 130 
 
 
 
 1S3 
 
 121 
 
 113 
 
 iCS 2 
 
 oG 
 
 204 
 
 2523 
 
 Actual Number of Lines 
 
 495 13 
 
 5 
 
 2G 
 
 30C 
 
 57 301 
 
 85 
 
 129 
 
 I So 
 
 121 
 
 "3 
 
 165 2 
 
 oG 
 
 204 
 
EVENINGS WITH SIIAKSPERE. 59 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN 
 
 SIXTEEN CHARACTERS SINGLY AND TWO GROUPS. 
 
 MuTius 4 ) Tribune 3 ) 
 
 3RD Goth 3 \ ' Messenger 7 \ ^° 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. Titus Andronicus and some of the so-called doubtful plays were written by Shakspere between 
 
 1584 and 1590. 
 
 2. The savage atrocities of the story are distinct proof that Shakspere did not write Titus Andronicus. 
 
 3. Titus Andronicus was an ironical censure on Marlowe's style. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 Date. Printer. Publisher. Acted by Present 0:uiiers. 
 
 ( Earl of Pembroke's servants 
 
 1600 I. R. Edward White g^^^ °J ^^^''^^'.^ " f^T^''^^^ °f Edinburgh. 
 
 j Earl of Sussex's ,, Lady Ellesmere. 
 
 ( Lord Chamberlain's ,, 
 
 { British Museum. 
 
 .6„ — Eed„ard White The Ki„g. serva„.s l^S^ll;!!^^^,. 
 
 { Duke of Devonshire. 
 
 Upon several occasions, the first of which is April 11, 1592, the acting of "tittus and Vespacia " 
 by "my lord Stranges mene " is recorded by Henslowe {Diaiy,pp. 24 — 30). In the " Tragaedia von 
 Tito Andronico," a German play, acted about 1600 by English players in Germany, and reprinted with 
 a translation in Cohn's Sluxlicspcare in Germany, one of the characters is called Vespasian. It has, there- 
 fore, been thought that Shakspere's play bears some relation to that mentioned by Henslowe. But 
 dealing with events in connection with the destruction of Jerusalem there were some early works in 
 which Titus and Vespasian were principal characters. There are MSS. of such in the British Museum, 
 and one " in Englishe meter," entered in the Stationers' Registers on January 5, 1598, may be the play 
 referred to by Meres, who said that "Doctor Leg hath penned two famous tragedies, y" one of Richard 
 the 3. the other of the destruction of Icrufalcm," although there is reason to believe that Legge's play, 
 not known at present, was written in Latin (see p. 87). 
 
 Dated January 23, 1594, Henslowe has an entry of " titus and ondronicus " as a new play, acted 
 by " the earle of Suse.x his men " (Diary, p. 33). Henslowe's prefix further negatives the theory of the 
 connection between this play and that acted in 1592. 
 
 In the Stationers' Registers is the following record :— 
 1594. February 6. 
 
 John Danter. Entred for his Copye vnder thandes of bothe the wardens a booke intituled a Noble 
 
 Roman History c of Tytus Andkonicus vjd 
 
 John Danter. Entred alsoe vnto him by warraunt from Master Woodcock the ballad thereof. vjd 
 
 There is no other evidence that the reference is to Shakspere's play. In Percy's Reliques of Ancient 
 English Poetry is a ballad called "Titus Andronicus's Complaint." The date of this is unknown. In 
 subject it is very similar to the play. 
 
 Henslowe [Diary, pp. 35, 36) has entries of the performance of " andronicous " by "my Lord 
 Admeralle and my Lorde chamberlen men " at Newington, in June, 1594. 
 
 In 1598 Meres mentions " Titus Andronicus " as one of Shakspere's tragedies. 
 
 In 1600 appeared anonymously the first of the editions mentioned in the table, and described as 
 "The most lamentable Romaine Tragedie of Titus Andronicus." 
 
 The following entry is to be found in the Stationers' Registers :— 
 1602 April 19. 
 
 Thomas pavier Entred for his copies by assignement from Thomas millington these bookes folowinge, 
 Saluo Jure cuiuscunque 
 
 The first and Second parte of Henry the IV ij bookes xijd 
 
 A booke called Titus and Andhonicus vjd 
 
 Entred by warrant vnder master Setons hand. 
 There is no record of an entry to oMillington. It will be seen that a statement was inserted to guard 
 any pre-existent right. 
 
 In 1611, without author's name, was published the second of the known editions as "The most 
 lamentable Tragedie of Titus Andronicus." 
 
 Ben Jonson's reference to "Andronicus" in 1G14 (Induction to Bartholomcio Fair) is too vague for 
 the purpose of fixing date. 
 
 The title of the play in the 1G23 Folio is " The Lamentable Tragedy of Titus Andronicus." 
 
CAMPASPE 
 
 
 
 ^^^ 
 
 
 ^^ 
 
 
 
 ^^ 
 
 
 ^_ 
 
 
 
 ^^ 
 
 
 
 ^^ 
 
 
 m^ 
 
 
 ^^ 
 
 
 
 
 ^•^^ 
 
 
 
 1 
 
 is 
 
 CHARACTERS. 
 
 ProloRiics. 
 
 .. 1 
 
 ■ 1 
 
 ■„. 
 
 IV. 
 
 V. 
 
 Epilogues. 
 
 
 ^ y-: 
 
 3 
 
 I 
 
 2 
 
 3 
 
 
 2 
 
 8y 
 95 
 
 iC 
 3 
 
 '5 
 
 II 
 
 ... 
 
 2 
 
 45 
 37 
 
 3 
 
 36 
 29 
 
 4 
 
 14 
 14 
 70 
 14 
 
 7 
 35 
 9 
 
 ... 
 3 
 
 5 
 
 I 
 
 2 
 
 18 
 40 
 
 3 
 
 34 
 
 4 
 
 14 
 33 
 
 5 
 
 I 
 
 2 
 
 3 
 
 8 
 
 24 
 
 4 
 
 123 
 32 
 
 20 
 iG 
 
 8 
 3 
 
 ... 
 
 20 
 
 
 
 57 
 
 71 
 
 355 
 
 157 
 
 132 
 
 129 
 
 60 
 
 34 
 
 21 
 
 27 
 
 10 
 
 8 
 
 4 
 
 5 
 
 X75 
 
 256 
 
 9 
 
 8 
 
 7 
 
 28 
 
 2 
 
 5 
 
 '3 
 II 
 II 
 
 47 
 25 
 24 
 «34 
 9 
 24 
 20 
 26 
 
 Clytus 
 
 Parmenio 
 
 Alexander 
 
 Heph-estion 
 
 Manes 
 
 PSYLLUS 
 
 Granichus 
 
 Melippus 
 
 Plato 
 
 Aristotle 
 
 Cleanthes 
 
 Anaxarchus 
 
 Crates 
 
 Crisippus 
 
 Diogenes 
 
 Apelles 
 
 Crysus 
 
 SOLINUS 
 
 "POPULUS" 
 
 Sylvius 
 
 MiLO 
 
 Perim 
 
 Trico 
 
 Milectus 
 
 Phrygius 
 
 "liLACKFRIARS Prologue" 
 
 "Court Prologue" 
 
 TiMOCLEA 
 
 Campasie 
 
 Page 
 
 Lais 
 
 "Blackfriars Hi'ilogue" 
 
 "Court KpiLfGUE " 
 
 47 
 
 ... 
 25 
 
 32 
 23 
 28 
 
 5 
 
 24 
 10 
 
 50 
 51 
 33 
 ... 
 
 45 
 II 
 
 34 
 21 
 27 
 10 
 
 8 
 
 4 
 
 5 
 
 11 
 
 17 
 24 
 20 
 
 27 
 
 2 
 G 
 
 89 
 
 iG 
 II 
 7 
 
 56 
 
 8 
 7 
 
 8 
 5 
 
 2 
 
 30 
 ... 
 
 28 
 2 
 
 5 
 
 ■3 
 
 ... 
 26 
 
 
 I(JI2 
 
 ... A. i„,,l NiiiMl.cr of Lines ... 
 
 47 
 
 47 
 
 25 
 25 
 
 122 
 122 
 
 13- 
 i:f 
 
 1 70 
 
 b« 
 
 204 
 20.1 
 
 26 
 2f) 
 
 82 
 
 82 
 
 65 
 65 
 
 166 
 
 if.f 
 
 97 «05 
 
 97 >"5 
 
 58 
 
 5« 
 
 45 
 45 
 
 47 
 
 «3 
 
 13 
 
 So 
 
 So 
 
 22 
 
 54 
 54 
 
 202 20 26 
 
 2„: 20 2G 
 
 
EVENINGS WITH SIIAKSPERE. 6 1 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN AND SEVEN LADIES. 
 
 Men's Parts. 
 
 THIRTEEN CHARACTERS SINGLY AND FIVE GROUPS. 
 
 MiLECTUs II ) -^ Crates 4) 
 
 Pekim 5) Phrvgiusii"! Trico 13 \ ' 
 
 Crisippus 5 |-iS 
 Cleanthesio) o MiLO 2 J Anaxarchus 8 I 
 
 SoLiNUS S \ Crysus 9 \ ' 
 
 Ladies' Parts. 
 Omit Lais. 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. Lyly's work is marred by the way in which he used his superficial learning to curry favour with 
 
 Queen and Court. 
 
 2. Dramatic literature is indebted to Lyly for the introduction of vivacious prose-dialogue. 
 
 3. In Midas Lyly replied to the attack made upon him in the early draft of Love's Labour's Lost. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 Date. Printer. Publisher. Acted by Present Oi.'ners. 
 
 „, „ , ( Her Majesty's Children \ British INIuseum. 
 
 15S4 Thomas Cadman | -^.j^^ Children of Paul's | Bodleian Library. 
 
 ^, „ , \ Her Majesty's Children 
 
 15S4 Thomas Cadman j ^j^^ children of Paul's 
 
 1591 Thomas Orwin William Broome j ?h1 Sren'o? Paul's British Museum. 
 
 In the first mentioned of these editions the play is called " Campaspe," and it is said to have been 
 "Played beefore the Queenes Maiestie on newyeares day at night." In the other edition of the same 
 year it is called "A moste excellent Comedie of Alexander, Campaspe, and Diogenes," and the title- 
 page mentions its performance before the Queen "on twelfe day at night." Fairholt (Tlie Dramatic 
 Works of John Lilly. 1858. Vol. I. pp. xxvi. xxvii. 2S4) thinks that the edition with the longer title was 
 the earlier of these editions. It is not a matter of much importance. As the year 1584 began in 
 March, the "twelfe day," if his view is correct, must have been January 6, 1583-4. and the " newyeares 
 day " January i, 1584-5. It seems, however, more reasonable to consider the " newyeares day " to have 
 been the 25th of March, 1584, and the "twelfe day" to have been January 6, 1584-5- Against this 
 view it may be stated that in the official accounts of the Treasurer of the Chamber, quoted by Mr. 
 Halliwell-Phillipps (Outlines, II. 166) New year's day is undoubtedly the ist of January. Anyway, it is 
 unlikely that two editions would be published referring to performances on days so near to one another 
 as the ist and 6th of the same month. The 1591 title is merely "Campaspe," and refers also to a 
 twelfth-day performance. Fairholt seems to think that the two short titles would be consecutive, but 
 he states that the head-line in all these editions is "Alexander and Campaspe." Neither edition gave 
 the author's name. 
 
 In the Stationers' Registers are the following entries :— 
 
 1565. July 22—1566. July 22. ■ r 1 ,1 
 
 purfoote Recevyd of Thomas purfoote for his lyccnse for prynting of a ballett 
 
 intituled an history of Alexander camvasi-es and ajtelles and of the 
 ffaythfull fryndeshippe hctwene them iiij*^ 
 
 1597. April 12. Entred for her copies in full courte holden this Day. iiij bookes: called 
 
 "jone brome CMivAsrE, To enioy Duringe her widowe or that she 
 
 widowe. shalbe a free Stationers wife of this companye The which copies 
 
 were Thomas Cadmans ij* 
 
 1601. August 23. Entred for his copies in full Court holden this Day these copies folowingc 
 
 George potter. whiche belonged to mystres Brome Lately Deceased vj^ 
 
 viz .... Campaspe 
 
 There is no entry either to Cadman or to Master Broome. 
 
I HENRY VI. 
 
 Total 
 Numter 
 
 of 
 LiBes. 
 
 CHARACTERS. 
 
 L 
 
 IL 
 
 in. 
 
 IV. 
 
 V. 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 I 
 
 2 
 
 7 
 2 
 
 3 
 20 
 
 4 
 
 18 
 
 16 
 II 
 4 
 
 5 
 
 II 
 2 
 
 7(3 
 
 59 
 96 
 43 
 7 
 45 
 133 
 49 
 59 
 29 
 
 3 
 10 
 
 I 
 
 5 
 
 21 
 
 c 
 
 18 
 
 15 
 
 40C 
 
 2 
 
 I 
 
 4 
 
 4 
 
 44 
 
 8 
 
 6 
 
 I 
 
 184 
 
 174 
 
 64 
 
 72 
 
 29 
 
 4 
 88 
 
 4 
 2 
 
 10 
 
 I 
 2 
 8 
 
 25 
 27 
 
 77 
 
 47 
 
 I 
 
 5 
 
 24 
 
 254 
 
 4 
 
 45 
 
 179 
 
 33 
 
 Bedi-ord 
 
 til.OUCESTER 
 
 llXETER 
 
 Winchester 
 
 1ST Messenger ... 
 2ND Messenger ... 
 3RD Messenger ... 
 
 Charles 
 
 ALEN90N 
 
 Reignier 
 
 Bastard 
 
 1ST Warder 
 
 1ST Serving-man ... 
 2ND Warder 
 
 WOODVILE 
 
 Mayor 
 
 Officer 
 
 Master Gunner ... 
 
 Salisbury 
 
 Talbot 
 
 Gargrave 
 
 Glansdale 
 
 Sergeant 
 
 1ST Sentinel 
 
 Burgundy 
 
 Soldier 
 
 Captain 
 
 46 
 
 24 
 22 
 
 15 
 18 
 
 7 
 45 
 
 4S 
 18 
 21 
 13 
 
 42 
 19 
 
 3 
 
 4 
 
 5 
 II 
 
 
 
 
 6 
 
 10 
 
 
 
 
 51 
 15 
 32 
 
 ... 
 5 
 
 10 
 
 9 
 
 5 
 26 
 
 2 
 
 ID 
 
 I 
 
 41 
 
 207 
 201 
 
 14 
 
 5 
 I 
 6 
 5 
 
 12 
 7 
 
 I 
 
 36 
 
 14 
 
 I 
 
 
 iS 
 6 
 II 
 
 4 
 
 
 22 
 2 
 4 
 
 12 
 8 
 4 
 4 
 
 9 
 
 'g 
 
 
 "• 
 
 
 6 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 3 
 
 
 
 
 
 
 
 
 4 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 18 
 
 15 
 
 67 
 
 2 
 
 I 
 
 32 
 
 
 20 
 
 4 
 4 
 6 
 
 5 
 
 28 
 12 
 
 33 
 
 I 
 
 45 
 II 
 
 37 
 27 
 II 
 4 
 
 135 
 134 
 
 37 
 
 ::: 
 
 ss 
 
 4 
 
 _ 
 
 129 
 129 
 
 ... 
 56 
 
 9 
 3 
 3 
 
 12 
 
 ... 
 
 12 
 ... 
 
 33 
 
 29 
 
 
 
 24 
 
 ^i 
 
 31 
 3 
 
 
 2 
 
 ... 
 
 10 
 103 
 
 ... 
 
 47 
 15 
 
 ::: 
 60 
 
 8 
 ... 
 
 9 
 
 5 
 4 
 10 
 
 
 27 
 
 2 
 
 
 
 Plantagenet 
 
 
 
 
 
 
 
 
 
 Suffolk 
 
 
 
 
 
 
 
 
 
 
 17 
 
 
 
 
 
 
 Somerset 
 
 
 
 
 
 
 
 
 
 
 Warwick 
 
 Vernon 
 
 Lawyer 
 
 Mortimer 
 
 1ST Gaoler 
 
 2ND Serving-man ... 
 3RD Serving-.man ... 
 
 "All" 
 
 Watch 
 
 Fastolfe 
 
 Basset 
 
 General 
 
 Lucy 
 
 John Talbot 
 
 Legate 
 
 Scout 
 
 Shepherd 
 
 Joan 
 
 J3oy 
 
 Countess 
 
 King 
 
 Margaret 
 
 177 
 177 
 
 50 
 
 15" 
 i5o 
 
 £■ 
 
 4 
 
 7 
 
 39 
 39 
 
 31 
 31 
 
 12 
 
 85 
 82 
 
 ::: 
 60 
 
 Oo 
 
 45 
 85 
 
 82 
 
 " 
 
 
 
 ;.. 
 
 
 
 
 
 
 2 
 
 4 
 
 30 
 
 1 
 
 57 
 
 I 
 
 10 
 
 4 
 15 
 
 27 
 
 20 
 
 27 
 
 ''!. 
 
 ... 
 
 30 
 16 
 
 I 
 
 5 
 5 
 
 21 
 21 
 
 34 
 
 33 
 
 200 
 195 
 
 24 
 40 
 
 175 
 175 
 
 35 
 
 1 08 
 108 
 
 14 
 
 45 
 
 •13 
 
 O3 
 
 194 
 194 
 
 
 
 
 
 
 '1^ 
 
 56 
 
 53 
 53 
 
 4f. 
 40 
 
 55 
 55 
 
 57 
 57 
 
 
 2^97 
 2678 
 
 Actual No. of Lines 
 
 9f. 
 96 
 
 62 
 62 
 
EVENINGS WITH SIIAKSPERE. 
 
 63 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 SEVEN CHARACTERS SINGLY AND ELEVEN GROUPS. 
 
 Bedford 76 "j 
 Gargrave 2 'i o^ 
 Legate i (" 
 
 1ST Warder 3 J 
 
 Somerset 64 ] 
 
 Master Gunner iS -84 
 Watch 2 J 
 
 John Talbot 47^ 
 Bastard 29 1 o. 
 
 2ND Messenger 7 }" - 
 2ND Servant 2 J 
 
 Woodvile 5 ") 
 Vernon 29 ', g^ 
 Burgundy 44 f" " 
 1ST Gaoler 4 J 
 
 Exeter 59^1 
 
 Warwick 72"] 
 
 Scout 
 
 Fastolfe 81 
 
 Shepherd 24 [ „ 
 
 istMessenger 43 f" ^ 
 1ST Servant ioJ 
 
 Lucy 
 
 Glansdale 
 
 Porter 
 
 1ST Sentinel 4 i 
 
 Officer 
 
 771 
 
 -S3 
 
 Mayor 21"] 
 Reignier 59 -84 
 Lawyer 4 J 
 
 Basset 25 1 
 
 ALEN90N 49 -84 
 
 3RD Servant id J 
 
 General 27 ) 
 
 Soldier 8 ; 
 
 2ND Warder i (" 
 
 3RD Messenger 45 J 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. The extraordinary popularity of i Henry VI. upon its first production is a true measure of 
 
 Shakspere's early genius. 
 
 2. The display of book-learning in i Henry VI. is not uncharacteristic of a beginner, and is to be 
 
 found in some of Shakspere's undoubted plays. 
 
 3. The travesty of the noble character of Joan of Arc is proof that Shakspere did not write i Henry VI. 
 
 THE EARLIEST KNOWN EDITION IS THE 1623 FOLIO. 
 
 Under date of J^Iarch 3, 1592, Henslowe has an entry of " henery the vj " acted by "my lord 
 Stranges mene " {Diary, p. 22). 
 
 In 1599 I Henry VI. is referred to in the epilogue of Henry V. 
 
 In the Stationers' Registers there is the record of an assignment on April 19, 1602, from Thomas 
 Millington to Thomas Pavier of "The first and Second parte of Hesey the VJt ij bookes" (seep. 59) ; these 
 are the plays now known as the second and third parts, Millington was the publisher of The Contention 
 and The True Tragedy (see pp. 65, 69). 
 
 In the entry of the 1623 Folio in the Registers this play is described as " The thirde parte of Henry 
 ye SixT." In the Folio itself it is called " The first Part of Henry the Sixt." 
 
 The subject of many of the historical plays was treated in verse by Daniel, who in his " Poems on 
 the Civil Wars," reprinted in Chalmers's English Poets, briefly reviews the history of England from the 
 Conquest to the death of Edward III., and then dwells with great detail upon the time from the 
 accession of Richard II. down to the return of Warwick from his mission to the Lady Bona. In the 
 Registers on October 11, 1594, this entry was made :— 
 
 Symon waterson Entred for his copie vnder the wardens handes, a booke intituled, The discention hetu'ixt 
 the houses of Yorke and Lancaster in verse penned by Samuell Danyell, \'ppon 
 Condicon that before yt be printed he shall procure sufficient aucthority for the 
 printinge of yt vjd 
 
2 HENRY VI. 
 
 
 1 
 
 CHARACTERS. 
 
 I. 
 
 II. 
 
 III. 
 
 IV. 
 
 V. 
 
 
 I 
 
 2 
 
 3 
 
 4 
 
 ' 
 
 2 
 
 3 
 
 4 
 
 ' 
 
 2 
 
 % 
 
 2 
 
 28 
 64 
 
 I 
 
 5 
 2 
 
 ... 
 
 127 
 
 3 
 
 15 
 
 14 
 3 
 
 ... 
 
 I 
 58 
 
 04 
 7 
 
 18 
 
 2 
 5 
 
 i'e 
 
 i6 
 90 
 
 27 
 
 3 
 
 16 
 4 
 
 4 
 17 
 
 6' 
 
 II 
 
 7 
 
 5 
 
 14 
 
 5 
 
 6 
 
 2 
 
 4 
 
 2 
 5 
 
 79 
 9 
 3 
 
 41 
 
 8 
 
 4 
 10 
 
 31 
 27 
 
 9 
 
 31 
 
 3 
 3 
 8 
 
 '3 
 
 10 
 
 48 
 
 42 
 
 ... 
 
 32 
 
 14 
 
 8 
 
 90 
 16 
 3 
 
 21 
 9 
 
 10 
 3 
 
 9 
 
 2 
 
 I 
 
 12 
 13 
 
 ... 
 :: 
 
 ... 
 5 
 
 6 
 
 42 
 
 II 
 
 3 
 
 B 
 6 
 12 
 
 ;;; 
 ::: 
 
 
 29S 
 
 ^;^ 
 306 
 104 
 
 t6 
 132 
 3fco 
 
 74 
 
 32 
 10 
 
 6 
 
 29 
 
 24 
 4 
 
 24 
 3 
 2 
 3 
 2 
 2 
 2 
 2 
 
 2 
 4 
 
 ^ 
 
 5 
 2 
 
 n 
 C4 
 7 
 
 I 
 I 
 
 18 
 21 
 276 
 42 
 21 
 3 
 
 :i 
 7 
 
 48 
 
 5 
 I 
 56 
 51 
 I 
 24 
 45 
 
 317 
 
 119 
 
 9 
 
 4 
 
 8 
 
 Suffolk 
 
 King 
 
 "All" 
 
 Gloucester 
 
 Cardinal 
 
 Salisbury 
 
 Warwick 
 
 York 
 
 Buckingham 
 
 Somerset 
 
 1ST Messenger 
 
 Hume 
 
 1ST Petitioner 
 
 2ND Petitioner 
 
 Peter 
 
 Horner 
 
 Bolingbroke 
 
 Townsman 
 
 Simfcox 
 
 Mayor 
 
 Beadle 
 
 1ST Neighbour 
 
 2ND Neighbour 
 
 3RD Neighbour 
 
 1ST Prentice 
 
 2ND Prentice 
 
 Servingman 
 
 Herald 
 
 Sheriff 
 
 Stanley 
 
 Post 
 
 1ST Murderer 
 
 2ND Murderer 
 
 Vaux 
 
 Captain 
 
 1ST Gentleman 
 
 Master 
 
 Mate 
 
 2ND Gentleman 
 
 Whitmore 
 
 Bevis 
 
 Holland 
 
 Cade 
 
 Dick 
 
 Smith 
 
 Clerk 
 
 Michael 
 
 Stafford 
 
 William Stafford 
 
 Say 
 
 2ND Messenger 
 
 Scales 
 
 1ST Citizen 
 
 Soldier 
 
 Clifford 
 
 Iden 
 
 Edward 
 
 Richard 
 
 Young Clifford 
 
 Queen 
 
 Duchess 
 
 SiMRIT 
 
 Ioukdain 
 
 Wife to Simpcox 
 
 20 
 26 
 
 61 
 31 
 29 
 15 
 55 
 7 
 6 
 
 9 
 
 25 
 
 I 
 
 51 
 
 46 
 10 
 
 I 
 
 22 
 3 
 2 
 
 7 
 
 5 
 10 
 
 6 
 16 
 II 
 
 57 
 7 
 
 4 
 24 
 
 4 
 9 
 4 
 
 13 
 36 
 
 75 
 24 
 
 12 
 
 4 
 24 
 3 
 2 
 
 10 
 
 9 
 17 
 
 58 
 
 2 
 27 
 
 14 
 
 '5' 
 
 12 
 
 13 
 11 
 
 3 
 2 
 
 2 
 2 
 2 
 
 12 
 
 40 
 
 2 
 2 
 4 
 7 
 
 62 
 43 
 
 69 
 30 
 
 94 
 
 4 
 7 
 
 6 
 
 G8 
 
 "8 
 
 5 
 
 12 
 2 
 
 3 
 I 
 
 
 3'79 
 3.G. 
 
 Actual Number of Lines 
 
 260 
 259 
 
 .0. 
 '1 
 
 226 
 
 22C 
 
 84 
 84 
 
 2U 
 
 84 
 82 
 
 1 08 
 
 : 
 
 383 
 
 '1 
 
 
 33 
 33 
 
 150 
 M7 
 
 200 
 
 200 
 
 20 
 
 20 
 
 60 
 
 Co 
 
 13 
 
 13 
 
 18 
 
 145 
 145 
 
 72 
 
 72 
 
 49 
 
 1 
 
 90 
 
 90 
 
 216 
 
 90 
 
 90 
 
 34 
 
EVENINGS WITH SIIAKSPERE. 
 
 65 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 74 1 
 
 Edward 
 
 Captain 
 
 Clerk 
 
 1ST Petitioner 10 
 
 2ND Neighbour 
 Buckingham 
 Master 
 
 Herald 2 1-So 
 
 Soldier 
 3RD Neighbour 
 
 Stafford 
 
 2ND Gentleman 
 
 Peter 
 
 Mayor 
 
 eight characters singly and ten groups. 
 Richard 24' 
 
 64 I 
 3 l-So 
 
 WlIITMORE 
 
 Horner 
 
 Bevis 
 
 Servingman 
 
 -84 
 
 Clifford 56 ] 
 
 Scales 8 
 
 Wm. Stafford 7 |-So 
 1ST Murderer 5 | 
 Townsman 4 J 
 
 6 ] Stanley 
 
 I Vaux 
 
 '-"=■ Iden 
 
 Michael 
 
 Young Clifford 45 
 
 Holland 
 2ND Messenger 
 1ST Neighbour 
 Post 
 
 Somerset 25"! 
 
 Mate 
 Hume 
 Smith 
 Beadle 
 
 32 
 
 ■75 
 
 -80 
 
 [ST Messenger 26 
 
 2ND Petitioner 6 
 
 Say 48 
 
 SiMPCOX 24 
 
 80 2ND Murderer 2 
 Sheriff 4 
 
 2ND Prentice 2 
 Bolingbroke 24^ 
 1ST Gentleman 7 | 
 Dick 42 [-80 
 
 1ST Citizen 5 
 
 1ST Prentice 2 J 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. The Contention was a garbled and spurious version of Shakspere's 2 Henry VI. 
 
 2. The striking excellence of many passages in 2 Henry VI. and its obvious connection with the other 
 
 historical plays prove Shakspere to be the only possible author. 
 
 3. The misrepresentation of the motive of Cade's insurrection is not at all in Shakspere's manner. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 Date. P> inter. Publisher. Acted by Present Oivners. 
 
 1594 Thomas Creed Thomas Millington Bodleian Library. 
 
 1600 Valentine Simmes Thomas Millington 
 
 ( Bodleian Library. 
 Trinity College, C 
 Duke of Devonshire 
 
 -{ Trinity College, Cambridge. 
 
 : 
 
 In the Bodleian there is (with a manuscript title) an edition said to have been printed by W. W. for 
 Thomas Millington in 1600. 
 
 These editions are of the play known as The Contention, which was thus entered in the Stationers' 
 Registers ; 
 
 1594. March 12. 
 Thomas mylling' 
 ton 
 
 Entred for his copie vnder the handes of bothe the wardens a booke intituled, the 
 firste parte of the Contention of the twoo famous houses of Yohk and Lancaster with the 
 deathe of the good Duke Humfrf.y and the banishement and Deathe of the Duke of 
 Suffolk and the tragieall ende of the pronki Cardinall of wisciiestf.r ivith the notable 
 rebellion of Jack Cade and the Duke of roRues ffirste clayme vnto the Croume vjd 
 
 The 1594 edition was published anonymously, with the title worded in the same way as the entry. 
 The 1600 edition, also without author's name, had the same title. 
 
 On April 19, 1602, Millington transferred the copyrights of " The first and Second parte of Henry 
 the VJ'" to Pavier (For copy of the entry see p. 59), The play now known as 2 Henry VI. was then 
 described as the first part. In the Folio it is called " The second Part of Henry the Sixt, with the death 
 of the Good Duke Hvmfrey." 
 
 The connections of The Contention and The True Tragedy (see p. 69) with 2 and 3 Henry VI. are 
 amongst the most vexed questions of Shaksperian criticism. The two plays described as " The Whole 
 Contention betweene the two Famous Houses, Lancaster and Yorke. With the Tragieall ends of the 
 good Duke Humfrcy, Richard Duke of Yorke, and King Henrie the sixt. Diuided into two Parts: And 
 newly corrected and enlarged " and said to be "written by William Shake-speare, Gent." were, with Pericles, 
 published in one volume in 1619 by T. P. Copies of this edition are in the British Museum, Trinity 
 College at Cambridge, and the Duke of Devonshire's library. The 1623 Folio is the eariiest known 
 copy of the plays as we now have them (see pp. 63, G9). They are not named in the list of plays in the 
 entry of that book in the Stationers' Registers. As the publishers of the Folio entered those plays only 
 which "are not formerly entered to other men," it looks as if they considered Shakspere to have been 
 the author of both the early forms. These are easily accessible to the student as they are reprinted in 
 Hazlitt's Shakespeare's Library. 
 
 10 
 
FAUSTUS 
 
 S3 
 
 
 
 I. 
 
 IL 
 
 
 in. 
 
 
 IV. 
 
 V. 
 
 
 
 as 
 
 1" 
 
 CHARACTERS. 
 
 U 
 
 
 
 
 
 
 
 I 
 
 u 
 
 
 U 
 
 
 
 3 
 
 -J 
 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 1 
 
 2 
 
 3 
 
 4 
 
 ^ 
 
 - 
 
 3 ' 4 
 
 
 G77 
 
 Faustus 
 
 
 109 
 
 
 74 
 
 
 109 
 
 72 
 
 
 48 
 
 
 
 42 
 
 37 
 
 21 
 
 56 
 
 
 109 
 
 
 
 
 59 
 
 Wagner 
 
 
 I 
 
 20 
 
 
 28 
 
 
 
 
 
 ... 
 
 
 
 2 
 
 
 8 
 
 
 
 
 
 
 11 
 
 Evil Angel 
 
 
 4 
 
 
 
 
 3 
 
 4 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 22 
 
 Valdes 
 
 
 22 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 16 
 
 Cornelius 
 
 
 16 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 43 
 
 1ST Scholar 
 
 
 
 13 
 
 
 
 
 
 
 
 
 
 
 
 
 
 13 
 
 
 12 
 
 5 
 
 
 
 32 
 
 2ND Scholar 
 
 
 
 II 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 2 
 
 
 ID 
 
 9 
 
 
 
 1C9 
 
 MEPHISTOnilLIS . 
 
 
 
 
 30 
 
 
 69 
 
 iS 
 
 
 27 
 
 
 
 
 
 15 
 
 
 ID 
 
 
 
 
 
 
 3r, 
 
 Clown 
 
 
 
 
 
 
 3G 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ^5 
 
 Lucifer 
 
 
 
 
 
 
 
 
 25 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 7 
 
 "Wrath" 
 
 
 
 
 
 
 
 
 7 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 15 
 
 "Gluttony" 
 
 
 
 
 
 
 
 
 15 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 2 
 
 "Lechery" 
 
 
 
 
 
 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 15 
 
 Pope 
 
 
 
 
 
 
 
 
 
 
 15 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 15 
 
 Friar 
 
 
 
 
 
 
 
 
 
 
 15 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 3 
 
 Cardinal 
 
 
 
 
 
 
 
 
 
 
 3 
 
 
 
 
 
 
 
 
 
 
 
 
 
 23 
 
 Robin 
 
 
 
 
 
 
 
 
 
 
 
 
 23 
 
 
 
 
 
 
 
 
 
 
 
 II 
 
 Ralph 
 
 
 
 
 
 
 
 
 
 
 
 
 II 
 
 
 
 
 
 
 
 
 
 
 53 
 
 Emperor 
 
 
 
 
 
 
 
 
 
 
 
 
 
 53 
 
 
 
 
 
 
 
 
 
 16 
 
 Knight 
 
 
 
 
 
 
 ... 
 ... 
 
 
 
 
 
 
 
 16 
 
 
 
 
 
 
 
 
 
 45 
 
 Horse-courser ... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 II 
 
 Duke 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 II 
 
 
 
 
 
 
 
 16 
 
 3RD Scholar 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 3 
 
 
 8 
 
 5 
 
 
 
 28 
 
 Old Man 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 19 
 
 9 
 
 
 
 
 
 65 
 
 "Chorus" 
 
 28 
 
 
 
 
 
 
 
 II 
 
 
 17 
 
 
 
 
 
 
 
 
 
 9 
 
 
 10 
 
 Good Angel 
 
 
 4 
 
 
 
 
 ... 
 
 3 
 
 3 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 8 
 
 "Pride" 
 
 
 
 
 
 
 
 
 8 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 6 
 
 "COVETOUSNESS " 
 
 
 
 
 
 
 
 
 6 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 8 
 
 "Envy" 
 
 
 
 
 
 
 
 
 8 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 6 
 
 "Sloth" 
 
 
 
 
 
 
 
 
 G 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 12 
 
 Duchess 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 12 
 44 
 
 Ill 
 
 9 
 
 
 "... 
 
 
 
 14G5 
 
 
 28 
 
 15O 
 
 44 
 
 10.} 
 
 G4 
 
 184 
 
 174 
 
 II 
 
 loS 
 
 17 
 
 34 
 
 III 
 
 99 
 
 139 
 
 19 
 
 9 
 
 
 1457 
 
 Actual No. of Lines 
 
 28 
 
 1 50 
 
 44 
 
 10.1 
 
 C, 
 
 1 82 
 
 174 
 
 II 
 
 IDS 
 
 17 
 
 34 
 
 III 
 
 99 
 
 44 
 
 III 
 
 9 
 
 133 
 
 19 
 
 9 
 
 
 For tlic division of Acts and Scenes, sec Dr. Warner's edition. 
 
EVENINGS WITH SIIAKSPERE. 6y 
 
 SCHEME rOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 TWELVE CHARACTERS SINGLY AND SIX GROUTS. 
 
 Pope 15!^^- Cardinal 3I Ralph ^^l2fi Knight ^^1 tO Friar ^^^oC 3^1^ Scholar i6"| 
 
 DuKEiiJ^ Cornelius 16/^^ "Gluttony" 15/ "Lechh;ry"2/ EvilAngelii/ "Wrath" 7/ ^ 
 Four of "The Seven Deadly Sins" are to be given to the ladies with many apologies, 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. Marlowe took the plot of Fnnstiis from Spies' Histoiia. brought from Germany by one of the EnKlish actors. 
 
 2. Of the additions to Faustiis by Dckkcr, iJird, and Rowley, those by Dekker are indistinguishable from Marlowe's own writing. 
 
 3. Fatistus is a dramatic failure. 
 LIST OF EARLIEST KNOWN EDITIONS. 
 
 Date. 
 
 rrintcr. 
 
 Publisher. 
 
 Aelccl bv 
 
 Present Owners. 
 
 1604 
 
 V. S. 
 
 Thomas Bushell 
 
 Earl of Nottingham's servants 
 
 Bodleian Library. 
 
 1609 
 
 G. E. 
 
 John Wright 
 
 
 Hamburg Town Library 
 
 
 G. E. 
 
 John Wright 
 
 
 
 1616 
 
 
 lohn Wright 
 
 
 British Museum. 
 
 1620 
 
 
 lohn Wright 
 
 
 British Museum. 
 
 In the Stationers' Registers is the following entry :— 
 15S9. February 28. 
 
 Eic Jones Allowed vnto him for his Copie, A ballad of the life and dcathe of Doctor ffaustus the great 
 
 Cunngerer. Allowed vnder the hand of the Bishop of London, and master warden Denhams 
 hand beinge to the Copie vjd 
 
 The relation of this ballad to Marlowe's play is uncertain. Prof. Ward thinks it was founded on the play (Introduction to Doctor Fatistus 
 in Clarendon Press Series). Dr. Wagner thinks it was not (Introduction to Doctor Fatistus. Longmans). Both these editions should be 
 studied. The reasoning is largely based on the supposition that the ballad which Prof. Ward prints in full and which Dr. Wagner largely 
 quotes is the one entered in 1589. It is taken from the Roxburghe collection in the British Museum. It should be noted that Richard 
 Jones, to whom the ballad was entered, printed Marlowe's Tamburlaine in 1590. 
 
 In 1592 (see British Museum Catalogue) was printed the book of whicli there is an entry in the Stationers' Registers in 1596 (see below). 
 
 Marlowe died in May, 1593. 
 
 In the Registers is also this record: — 
 1593. November 16. 
 
 Cutbert. Burbye. Entred for his copie vnder thandes of bothe the wardens. The scconde Reporte of Doctour Joiix 
 FFAVSTvs. with the eiide of Wagxers life ■ vjd 
 
 Prof. Ward says that this is an English version " of the Wagncrbuch — an imitation or continuation professing to give an account of the 
 doings of Doctor Faustus's famulus Wagner." Marlowe's play, as we have it, has nothing about the death of Wagner. 
 
 Hcnslowe has many entries of the acting of Faustus, the earliest of which, by " my Lord Admeralle and my Lord chamberlcn men " 
 at Newington, is September 30, 1594 (Diary, p. 42). 
 
 The following entry is in the Stationers' Registers: — 
 1596. April 5. 
 
 Edward white. Entred for his copie (he havinge thintercst of abell JeiFes thereto) The history of the Damtiahle Life and 
 Desevued Death of Doctor John faustvs vji 
 
 Copies of this and the book entered in 1593 are in the Bodleian. They are reprinted in Thoms's Early Prose Romances. 
 
 Henslowe records (i) that he " Pd unto Thomas Dickers, the 20 of Desembr 1597, for adycyons to Fostus twentie shellinges" (Diary, 
 p. 71) ; (2) that in " The Enventary tacken of all the properties for my Lord Admeralles men, the 10 of Marche 1598 " was " j dragon in 
 fostes" (Diary, p. 273). 
 
 In 1600 S. Rowland in The Knave of Clubs alludes to "Allen playing Faustus." 
 
 The first of the known editions was thus entered in the Stationers' Registers: — 
 1601. January 7. 
 
 Thomas Busshell Entred for his copye vnder the handes of master Doctor Barlowe, and the Wardens a booke 
 called the plaie of Doctor favstus vjd 
 
 Henslowe notes that he " Lent unto the companye, the 22 of novmbr 1602, to paye unto Wm Birdc and Samwell Rowley, for ther 
 adicyones in Docter Fostes, the some of iiijli " (Diary, p. 228). 
 
 In 1604 was published the first of the known editiolis as " The Tragicall History of Dr. Faustus " and " written by Ch. Marl." The 
 authorship of the 1609 edition was described in the same way. Its title was worded as in the 1610 entry. 
 
 On October 16, 1609, the copyright of the English Wagner-book was assigned by Mistress Burby to Master Welby. 
 
 In the Stationers' Registers the transfer of Bushell's edition is thus noted: — 
 iGio. September 13. 
 
 John Wrighte. Assigned ouer to him from Thomas Busshell and with Consent of master Adames warden vnder 
 his hand, these 2 Copyes followinge xijd 
 
 The tragicall history of the horrible life and Death of Doctor ffavstvs, written by C. M : 
 Lowndes and Cunningham mention the 1611 edition, but say nothing about its ownership. 
 
 On March 2, 1G18, Master Welby transferred to Master Snodham the rights he had acquired from Mistress Burby. (For the entries 
 of both transfers see p. 93). 
 
 John Wright, in 1620, obtained an interest also in the book entered to White in 1596. The following is the entry : — 
 1620. December 13. 
 
 Master Pauier Assigned ouer vnto them by Edward White and by consent of both the wardens all the state the 
 and John Wright, said Edward white hath in theis twelue copies followinge vjs 
 
 The history of Doctor ffaustus 
 The 1616 and 1G20 editions have much the same title as the 1609 copy. The 1620 title-page contains the words " with new additions.' 
 
 10* 
 
3 HENRY VI 
 
 
 1 
 
 is 
 
 ■go 
 
 CHARACTERS. 
 
 L 
 
 n. 
 
 in. 
 
 IV. 
 
 V. 
 
 
 ^ 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 I 
 
 2 
 
 3 
 
 ^ 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 8 
 
 22 
 
 10 
 
 1 
 3 
 
 22 
 
 ... 
 
 2 
 
 3 
 
 I 
 
 65 
 65 
 
 I 
 
 34 
 
 28 
 I 
 19 
 
 I 
 22 
 
 5 
 
 "3 
 "3 
 
 a 
 
 33 
 4 
 
 I 
 12 
 
 50 
 50 
 
 3 
 
 16 
 
 4 
 
 4 
 
 24 
 
 24 
 
 4 
 
 6 
 
 "2 
 
 8 
 4 
 
 50 
 12 
 
 82 
 
 5 
 
 23 
 12 
 
 7 
 
 I 
 I 
 
 33 
 13 
 
 90 
 90 
 
 6 
 
 44 
 49 
 
 ... 
 
 93 
 93 
 
 7 
 
 30 
 9 
 
 6 
 
 I 
 
 46 
 46 
 
 
 436 
 173 
 429 
 15 
 390 
 
 3 
 362 
 30 
 140 
 II 
 17 
 37 
 
 3 
 
 105 
 22 
 27 
 18 
 14 
 2 
 66 
 35 
 29 
 33 
 20 
 3 
 8 
 7 
 9 
 7 
 2 
 3 
 5 
 
 14 
 3 
 I 
 5 
 
 279 
 46 
 24 
 73 
 9 
 
 Warwick 
 
 York 
 
 Edward 
 
 Montague 
 
 Richard 
 
 Norfolk 
 
 King Henry 
 Northumberland 
 
 Clifford 
 
 Westmoreland .. 
 
 Exeter 
 
 1ST Messenger .. 
 SirJohnMortimer 
 
 Tutor 
 
 George 
 
 A Son 
 
 A Father 
 
 1ST Keeper 
 
 2ND Keeper 
 
 Nobleman 
 
 King Lewis 
 
 Oxford 
 
 Post 
 
 Somerset 
 
 Hastings 
 
 "All" 
 
 1ST Watchman ... 
 2ND Watchman ... 
 3RD Watchman ... 
 
 Rivers 
 
 Huntsman 
 
 Lieutenant 
 
 Mayor 
 
 Montgomery 
 
 Soldier 
 
 2ND Messenger ... 
 Somerville 
 
 Queen Margaret 
 
 Prince 
 
 Rutland 
 
 Lady Grey 
 
 Bona 
 
 45 
 37 
 5 
 5 
 6 
 3 
 75 
 13 
 iS 
 II 
 12 
 
 42 
 4 
 
 276 
 
 37 
 9 
 3 
 
 21 
 
 4 
 
 75 
 
 ill 
 
 26 
 
 3 
 
 24 
 
 53 
 52 
 
 99 
 
 15 
 13 
 
 53 
 
 80 
 40 
 
 C5 
 
 24 
 
 5 
 38 
 20 
 
 23 
 2 
 46 
 
 6 
 
 7 
 
 22 
 8 
 
 '77 
 '77 
 
 15 
 13 
 
 n 
 
 56 
 56 
 
 6 
 7 
 
 13 
 '3 
 
 78 
 3 
 
 22 
 27 
 
 6 
 
 3 
 
 139 
 '39 
 
 31 
 23 
 23 
 
 30 
 3 
 
 no 
 no 
 
 69 
 "' 
 
 18 
 14 
 
 lOI 
 
 57 
 93 
 
 8 
 2 
 
 36 
 
 196 
 '95 
 
 91 
 
 66 
 19 
 
 4 
 
 73 
 6 
 
 9 
 
 26.S 
 265 
 
 63 
 
 5 
 22 
 
 24 
 
 18 
 8 
 
 8 
 
 149 
 149 
 
 I 
 I 
 
 30 
 
 30 
 
 28 
 II 
 
 2 
 
 8 
 
 7 
 9 
 
 66 
 64 
 
 7 
 
 35 
 35 
 
 8 
 18 
 
 2 
 2 
 
 30 
 
 29 
 
 22 
 46 
 
 9 
 
 2 
 7 
 13 
 
 3 
 
 102 
 102 
 
 43 
 
 12 
 
 10 
 
 5 
 
 14 
 3 
 
 88 
 
 
 2fl6 
 
 AcliialNo. of Lints 
 
 l8n 
 
 180 
 
 =0,1 
 
EVENINGS WITH SIIAKSPERE. 
 
 69 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 
 eight characters 
 
 ; singly and ten groups. 
 
 
 
 Somerset 33 1 
 Norfolk 3 -38 
 Huntsman 2 J 
 
 Exeter ly') 
 Hastings 20 -38 
 Mortimer iJ 
 
 Northumberland 30 "I 
 2ND Messenger i '|-3S 
 2ND Watchman 7 J 
 
 Westmoreland 
 
 Somerville 
 
 Son 
 
 22 J 
 
 
 Oxford 35 „ 
 Tutor 3 ^^ 
 
 Nobleman 2 
 1ST Messenger 37 
 
 ;39 
 
 
 Montague 15^ 
 Mayor 5 [-38 
 1ST Keeper 18 J 
 
 Rivers 7'^ 
 Soldier 3 -39 
 Post 29 J 
 
 Montgomery 14'! 
 2ND Keeper 14 -37 
 3RD Watchman 9 J 
 
 Lieutenant 3] 
 Father 27 > 38 
 1ST Watchman 8 J 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. The True Tragedy was a surreptitious and tinkered version of Shakspere's 3 Henry VI. 
 
 2. Shakspere's wonderful power of differentiating his characters comes out very strongly in 3 Ilcnry VI. 
 
 3. The treatment of the character of Margaret of Anjou in 2 and 3 Ilcnry VI. is conclusive evidence 
 
 against the Shaksperian authorship. 
 
 
 
 LIST OF EARLIEST KNOWN : 
 
 EDITIO^ 
 
 Date. 
 
 rnntcr. 
 
 Vublhhcr. Acted by 
 
 
 1595 
 
 P. S. 
 
 Thomas Millington Earl of Pembroke's 
 
 5 servants 
 
 1600 
 
 W. W. Thomas Millington Earl of Pembroke's servants 
 
 Vrcscnt Orcncrs. 
 Bodleian Library. 
 
 (British Museum. 
 Bodleian Library. 
 Duke of Devonshire. 
 Mr. Halliwell-Phillipps. 
 
 These editions are of the play known as The True Tragedy. They were both published anonymously 
 and had the title worded alike : "The true Tragedie of Richard Duke of Yorke, and the death of good 
 King Henrie the Sixt, with the whole contention betweene the two Houses Lancaster and Yorke as it was 
 sundrie times acted by the Right Honourable the Earle of Pcmbrooke his scruants." It was prmted in 
 1619 with two other plays in one volume. The full title of this and other matters connected with this 
 play are given at p. 65. 
 
 In the Stationers' Registers the only entry of The True Tragedy is the transfer of the copyright in 
 1602, where the play is called the " Second parte of Henry the VJt" (see p. 59). I" the entry of the 
 1623 Folio, which is the earliest authority of the play as we now have it, the play named " the Thirde 
 Parte of Henry the Sixt" is that now known as the first part (see p. 63). The known existence of 
 Millington's editions, and of the copy of 1619 which had Shakspere's name on the title-page, was to the 
 Folio publishers evidence of the Shaksperian authorship and therefore for the reason there given this 
 play was not then mentioned. In the Folio itself the title of the play is "The third part of Henry the 
 Sixt, with the death of the Duke of Yorke." 
 
 The student should carefully examine the Introduction to The Contention and The True Tragedy, edited 
 by Mr. Halhwell [Phillipps] for the Shakespeare Society in 1843, and Mr. Fleay's article, " Who Wrote 
 Henry VI.?" in Macnnllan's Magazine, November, 1875. and also Miss Jane Lee's comparison of these 
 plays with 2 and 3 Henry VI. (New Shakspere Society's Transactions, 1875-6, Part II.) 
 
THE COMEDY OF ERRORS. 
 
 
 
 I 
 
 
 H. 
 
 in. 
 
 
 IV. 
 
 
 V. 
 
 
 II 
 
 CHARACTERS. 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 I 
 
 ■~ 
 
 ■ 
 
 - 
 
 I 
 
 2 
 
 I 
 
 2 
 
 3 
 
 4 
 
 
 143 
 
 /TZgeon 
 
 no 
 
 
 
 
 
 
 
 
 
 
 33 
 
 
 91 
 
 Duke 
 
 4S 
 
 
 
 
 
 
 
 
 
 
 43 
 
 
 I 
 
 Gaoler 
 
 I 
 
 
 
 ... 
 
 ... 
 
 
 
 
 
 
 
 
 15 
 
 1ST Merchant 
 
 
 15 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 279 
 
 Antipiiolus of S. 
 
 
 55 
 
 
 84 
 
 
 86 
 
 
 
 27 
 
 5 
 
 22 
 
 
 24S 
 
 Dromio of S 
 
 
 2 
 
 
 67 
 
 14 
 
 62 
 
 16 
 
 25 
 
 44 
 
 7 
 
 II 
 
 
 161 
 
 Dromio of E 
 
 
 33 
 
 32 
 
 
 30 
 
 
 I 
 
 
 
 44 
 
 21 
 
 
 212 
 
 Antipholus of E. 
 
 
 
 
 
 47 
 
 
 48 
 
 
 
 44 
 
 73 
 
 
 26 
 
 Balthazar 
 
 
 
 
 
 26 
 
 
 
 
 
 
 
 
 77 
 
 AXGELO 
 
 
 
 
 
 ^ 
 
 10 
 
 34 
 
 
 
 
 31 
 
 
 34 
 
 2ND Merchant 
 
 
 
 
 
 
 
 II 
 
 
 
 
 23 
 
 
 13 
 
 Officer 
 
 
 
 
 ... 
 
 
 
 3 
 
 
 
 10 
 
 
 
 12 
 
 Pinch 
 
 
 
 
 
 ... 
 
 
 
 
 
 12 
 
 
 
 15 
 
 Servant 
 
 
 
 
 
 
 
 
 
 
 
 15 
 
 
 2C0 
 
 Adriana 
 
 
 
 55 
 
 C3 
 
 2 
 
 
 
 34 
 
 
 31 
 
 75 
 
 
 9G 
 
 LUCIANA 
 
 
 
 30 
 
 8 
 
 
 36 
 
 
 10 
 
 
 5 
 
 7 
 
 
 8 
 
 Luce 
 
 
 
 ... 
 
 
 8 
 
 
 
 
 
 
 
 
 35 
 
 Courtezan 
 
 
 
 
 
 
 
 
 
 26 
 
 6 
 
 3 
 
 
 73 
 
 Abbess 
 
 
 ... 
 
 
 
 ... 
 
 
 
 
 
 
 73 
 
 
 1799 
 
 
 1 50 
 
 105 
 
 X17 
 
 222 
 
 129 
 
 194 
 
 "3 
 
 C.9 
 
 97 
 
 164 
 
 430 
 
 
 .778 
 
 Actual Number of Lines 
 
 159 
 
 105 
 
 ::G 
 
 221 
 
 1-3 
 
 190 
 
 113 
 
 66 
 
 97 
 
 162 
 
 42G 
 
 
EVENINGS WITH SHAKSPERE. J I 
 
 In Scheme for arranging the parts with seven ladies omit Courtezan. 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. The brevity of The Comedy of Errors is accounted for by the fact that the play as we have it is only 
 
 an abridged acting edition. 
 
 2. The description of The Comedy of Errors as a mere farce is, considering the tragic background of the 
 
 play, singularly inappropriate. 
 
 3. The portraiture of Adriana represents a phase in Shakspcrc's home-life. 
 
 THE EARLIEST KNOWN EDITION IS THE 1623 FOLIO. 
 In the Stationers' Registers is this entry : — 
 
 1594. June 10. 
 
 Thomas Creede Entred for his Copie vnder thande of Master Cawood a booke entituled Memxehmi 
 
 beinge A pleasant and fine Conceyted Comedye taken out of the moste excellent nittie Poett. 
 
 Pl.^utus chosen purposely from out the reste as leaste harmefull and yet moste delightfull vjdC 
 
 In the reprint of a contemporary record it is stated that at Gray's Inn on December 28, 1594, 
 ". . . a Comedy of Errors like to Plautus his Menechmus was played by the players . . ." 
 
 In 1595 the book entered in the previous year was issued. The printer states that the author, W.W., 
 "having diverse of this Poettes Comedies Englished, for the use and delight of his private friends" had 
 reluctantly allowed this one to be published. It is reprinted in Hazlitt's Shakespeare's Library. 
 
 In 159S Meres, referring to Shakspere as a writer of comedy, commends him for "his Errors." 
 
 Manningham on February 2, 1602, in a note on the performance of Tn'clfth Night, likens it to "the 
 Commedy of Errores," as if this were a well-known play. The passage from his Diary is given in full 
 in connection with Tivelfth Night. 
 
 There is a record that in 1G04, "on Inosents Night The Plaie of Errors," by "Shaxberd," was 
 performed at Whitehall "by his Mat's Plaiers." The genuineness of this has been questioned. A 
 judicial summing-up in favour of the accuracy of the fact is given by Mr. Halliwell-Phillipps {Outlines, 
 Vol. II., pp. 161-7). The entry of this and several other plays is printed in Extracts from the Accounts of 
 the Revels at Court, which Peter Cunningham edited for the Shakespeare Society in 1842, and is in 
 manuscript among the Malone Papers in the Bodleian. Reprinted from the Stratford-upon-Avon Herald 
 may be found in Shakespcariana, May, 1888, some notes by E. H. Hathaway, dealing with the alleged 
 forgeries of Cunningham, but making no mention of the corroborative Malone MS. 
 
 There is no reason for connecting with this play either The Historic of Error, acted in 1577 by the 
 Children of Paul's, or a play called, perhaps by a misprint, The Historic of Ferrar, that was performed at 
 Windsor in 1583. 
 
FRIAR BACON 
 
 1° 
 
 CHARACTERS. 
 
 L 
 
 H. 
 
 HL 
 
 IV. 
 
 V. 
 
 
 I 2 
 
 _ 1 
 
 3 
 
 I 2 
 
 
 3 
 
 4 
 
 I 
 
 2 
 
 I 
 
 2 
 
 
 3 4 
 
 5 
 
 I 
 
 2 
 
 
 159 
 
 Lacy 
 
 2; 
 
 ... 
 
 18 
 
 
 
 50 
 
 
 30 
 
 
 
 
 
 G ... 
 
 32 
 
 
 
 
 49 
 
 Warren 
 
 11 
 
 
 
 ... I 
 
 
 
 ... 
 
 22 
 
 
 
 
 
 ... 
 
 
 6 
 
 
 
 
 33 
 
 Ermsby 
 
 6 
 
 
 
 
 ... I 
 
 2 
 
 
 7 
 
 
 
 
 
 
 
 
 8 
 
 
 
 
 136 
 
 Ralph 
 
 .5^ 
 
 
 
 
 ... 2 
 
 6 
 
 
 32 
 
 
 
 
 
 
 
 20 ... 
 
 
 
 
 
 248 
 
 Prince Edward 
 
 8. 
 
 
 
 
 2 
 
 4 
 
 28 
 
 
 81 
 
 16 
 
 
 
 
 
 9 ... 
 
 
 
 5 
 
 
 344 
 
 Bacon 
 
 
 75 
 
 
 
 ••• 3 
 
 6 
 
 25 
 
 
 
 57 
 
 
 
 72 
 
 
 •• 54 
 
 
 
 25 
 
 
 242 
 
 Miles 
 
 
 42 
 
 
 .. 
 
 ... 2 
 
 3 
 
 
 
 30 
 
 
 23 
 
 
 
 72 
 
 
 
 
 52 
 
 
 
 43 
 
 Burden 
 
 
 31 
 
 
 
 
 
 
 
 12 
 
 
 
 
 
 
 
 
 
 
 
 
 31 
 
 Clement 
 
 
 12 
 
 
 
 
 
 
 
 19 
 
 
 
 
 
 
 
 
 
 
 
 
 31 
 
 Mason 
 
 
 9 
 
 
 
 . 
 
 
 
 22 
 
 
 
 
 
 
 
 
 
 
 
 
 10 
 
 Thomas 
 
 
 
 10 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 5 
 
 Richard 
 
 
 
 5 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 104 
 
 King Henry 
 
 
 
 
 34 • 
 
 
 
 
 
 
 22 
 
 
 
 
 
 20 ... 
 
 
 
 28 
 
 
 26 
 
 King of Castile 
 
 
 ... 
 
 
 
 8 . 
 
 
 
 
 
 
 7 
 
 
 
 
 
 II 
 
 
 
 
 
 52 
 
 Emperor 
 
 
 
 
 
 15 . 
 
 
 
 
 
 
 25 
 
 
 
 
 
 9 ... 
 
 
 
 3 
 
 
 73 
 
 Bungay 
 
 
 
 
 
 
 
 3 
 
 
 ... 
 
 
 31 
 
 
 
 
 
 .. 12 
 
 
 
 
 
 6 
 
 Constable 
 
 
 
 
 
 
 
 
 
 6 
 
 
 
 
 
 
 
 
 
 
 
 
 84 
 
 Vandermast 
 
 
 
 
 
 
 
 
 
 
 
 84 
 
 
 
 
 
 
 
 
 
 
 7 
 
 "Hercules" 
 
 
 
 
 
 
 
 
 
 
 
 7 
 
 
 
 
 
 
 
 
 
 
 48 
 
 Lambert 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 33 
 
 
 
 •• 15 
 
 ... 
 
 
 ... 
 
 
 37 
 
 Serlsby 
 
 
 ... 
 
 
 
 
 , 
 
 
 
 
 ... 
 
 
 29 
 
 
 
 .. 8 
 
 
 
 
 
 25 
 
 Keeper 
 
 
 
 
 
 
 
 
 
 
 
 
 II 
 
 
 
 
 14 
 
 
 
 
 15 
 
 Post 
 
 
 
 
 
 
 
 
 
 
 
 
 15 
 
 ... 
 
 
 
 
 
 
 
 3 
 
 "The Brazen Head".. 
 
 
 
 
 •■ 
 
 
 
 
 
 
 
 
 
 3 
 
 
 
 
 
 
 
 II 
 
 1ST Scholar 
 
 .. 
 
 
 
 .. 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 .. II 
 
 
 
 
 
 9 
 
 2ND Scholar 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 .. 9 
 
 
 
 
 
 2 
 
 Friend 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 2 
 
 
 
 
 21 
 
 Devil 
 
 
 
 
 .. . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 21 
 
 ... 
 
 
 18 
 
 Hostess 
 
 
 iS 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 295 
 
 Margaret 
 
 
 
 48 
 
 
 
 51 
 
 
 53 
 
 
 Si 
 
 
 
 
 52 
 
 
 8 
 
 
 9 
 
 Joan 
 
 
 
 9 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 
 34 
 
 Elinor 
 
 
 
 
 10 . 
 
 
 
 
 
 6 
 
 
 
 
 10 ... 
 
 
 
 8 
 
 
 2210 
 
 
 18 
 
 3 187 
 
 90 
 
 G7 I 
 
 51 
 
 184 
 
 150 
 
 1G4 
 
 27S 
 
 171 
 
 147 
 
 
 85 109 
 
 114 
 
 73 
 
 77 
 
 
 2209 
 
 Actual Number of Lines 
 
 18 
 
 3 1S7 
 
 90 
 
 67 I 
 
 31 
 
 184 
 
 150 
 
 1C4 
 
 27S 
 
 171 
 
 146 
 
 
 S5 109 
 
 114 
 
 73 
 
 77 
 
 
 The ClareiKlon Press edition miRlit have divided the play into Acts as well as Scenes. In British Dramatists 
 
 there is no division of cither. 
 
EVENINGS WITH SIIAKSPERE. 73 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 ELEVEN CHARACTERS SINGLY AND SEVEN GROUPS. 
 
 King OF Castile 2CI Ermsby 33 1 Mason 31"! 
 
 1ST Scholar h -43 2nd Scholar 9 f45 Richard 5-43 
 
 Constable 6) "The Brazen Head" 3 J "Hercules" 7J 
 
 Burden 43 | ^ Clement 31 ) . Keeper 25 ) , Serlsby 37 ) 
 
 Friend 2 j 45 Post 15 P*^ Devil 21 p6 Thomas 10 j 47 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. Of the Elizabethan dramatists, Greene alone had the literary characteristics of Shaksperc. 
 
 2. Margaret in Friar Bacon is the finest delineation of woman-character in the pre-Shaksperian drama. 
 
 3. Greene's references to Shakspere show no more than a protest against the admission of an 
 
 uneducated man amongst University playwrights. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 
 Acted by P/cscnt Owners. 
 
 ["British Museum. 
 Her Majesty's servants - Bodleian Library. 
 
 [ Lady Ellesmcre. 
 Bodleian Library. 
 
 Henslowe has several entries of the acting of Friar Bacon, The earliest is by "my lord Stranges 
 mene" on February 19, 1592 {Diary, p. 20). 
 
 Greene died on the 3rd of September, 1592. 
 
 The entry of the 1594 edition in the Stationers' Registers reads thus : 
 1594. May 14. 
 
 Edward White. Entred for his Copie vnder thandes of bothe the wardens a bookc entituled ihe 
 Ilistorye of ffrycr Bacox and ffrycr BouyoA yk vjdC. 
 
 The name of Adam Islip was first inserted and then struck out. 
 
 The edition was published as " The Honorable Historic of frier Bacon, and frier Bongay." 
 
 Henslowe " Lent unto Thomas Downton, the 14 of desembr 1602, to paye unto M'" Mydelton for a 
 prologe and epeloge for the playe of Bacon for the cortc, the some of vs " (Diary, p. 22S). Nothing is 
 now known of this prologue and epilogue. 
 
 In connection with this play should be studied "The Famous Historic of frier Bacon : containing 
 the wonderful things that he did in his life : also the Manner of his death, with the Li\-es and Deaths of 
 the two Conjurers, Bungye and Vandermast," which Prof. Ward (Clarendon Press edition) says was "a 
 popular story-book probably written towards the end of the si.Ktcenth century, and founded upon the 
 accretions of the legendary history of Friar Bacon." It is reprinted in Thoms's Early Prose Romances. 
 
 Date. 
 
 renter. 
 
 riiblisher. 
 
 1594- 
 
 
 
 Edward White 
 
 1599- 
 
 
 
THE TWO GENTLEMEN OF VERONA 
 
 r 
 
 CHARACTERS. 
 
 I. 
 
 II. 
 
 III. 
 
 IV. 
 
 V. 
 
 I 
 
 2 
 
 3 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 G 
 
 7 
 
 I 
 
 2 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 4 
 
 393 
 
 465 
 
 226 
 
 35 
 
 46 
 
 242 
 
 5(3 
 
 200 
 
 22 
 
 16 
 
 26 
 
 26 
 
 29 
 
 323 
 72 
 159 
 
 Valentine 
 
 Proteus 
 
 Speed 
 
 Antonio 
 
 Panthino 
 
 Launce 
 
 TnuRio 
 
 Duke 
 
 1ST Outlaw 
 
 2ND Outlaw 
 
 3RD Outlaw 
 
 Host 
 
 Eglamour 
 
 Julia 
 
 LUCETTA 
 
 Silvia 
 
 43 
 6S 
 
 51 
 
 91 
 
 54 
 
 2 
 3 
 
 9 
 
 5 
 8 
 
 I 
 
 £35 
 00 
 
 8 
 
 17 
 
 I 
 
 4 
 
 22 
 
 21 
 
 17 
 
 48 
 
 (35 
 (35 
 
 1X2 
 
 49 
 3 
 
 14 
 iS 
 
 24 
 
 220 
 214 
 
 28 
 
 35 
 
 (33 
 (33 
 
 43 
 
 43 
 
 43 
 
 ; 
 
 72 
 18 
 
 77 
 75 
 40 
 
 104 
 102 
 
 42 
 
 14 
 42 
 
 23 
 4 
 
 15 
 14 
 20 
 
 57 
 7 
 
 26 
 
 27 
 29 
 
 
 t9 
 52 
 
 30 
 
 55 
 
 99 
 29 
 
 . 
 
 
 
 15 
 
 16 
 
 18 
 
 10 
 
 59 
 5(5 
 
 6 
 
 I 
 5 
 
 3 
 
 73 
 40 
 
 5 
 20 
 
 I 
 I 
 I 
 
 20 
 21 
 
 233(3 
 2294 
 
 Actual No. of Lines 
 
 I 02 
 
 161 
 
 145 
 140 
 
 92 
 91 
 
 183 
 182 
 
 90 
 90 
 
 398 
 397 
 
 98 
 
 98 
 
 7(3 
 
 7(3 
 
 14G 
 140 
 
 
 51 
 
 7 
 
 213 
 
 2IO 
 
 I 
 I 
 
 3 
 2 
 
 15 
 15 
 
 182 
 173 
 
 In II. 2, Protcus's lines should be iG, and in V. i, l\glamour's should be 9. 
 
:^ 
 
 EVENINGS IVITII SIIAKSPERE.- 75 
 
 nnyrr 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. The Two Gentlemen of Verona was founded upon an early play of which Julio unci Ilyppolita 
 
 was a translation. 
 
 2. The repetition in the later plays of the incidents of The Two Gentlemen of Verona shows that 
 
 Shakspere was dissatisfied with the crude way in which he had at first sketched them, 
 and proves that he would not have included the play in an edition of his works. 
 
 3. The versification of The Two Gentlemen of Verona is more harmonious than most of the 
 
 poetry of Shakspere. 
 
 THE EARLIEST KNOWN EDITION IS THE 1623 FOLIO. 
 
 Meres in 159S names the " GCtlemC of Verona" as one of Shakspere's comedies. 
 
 Till it was entered with the other plays of the First Folio on November 8, 1623, there is 
 no mention of it in the Stationers' Registers. 
 
 "Julio und Hyppolita," with an English translation, is reprinted in Cohn's Shaliespeare in 
 Germany, where, and in a similarly named and earlier published section of Thoms's Three 
 Notelcts on Shakespeare, much of interest will be found in reference to the English actors who 
 went to Germany about 1600 and performed plays in various towns. Thomas Heywood, in his 
 Apology for Actors, 1612 (ed. Shakespeare Society, 1841, pp. 40, 58) has something to say about 
 English comedians who were acting on the continent about that time. " Julio und Hyppolita " 
 and the " Traga:dia von Tito Andronico " (see p. 59) are reprinted by Cohn from Englische 
 Comcdicn und Tragedien, first published in 1620. The Titus Andronicus, with many other plays, 
 had been reprinted by Tieck in 1817 in his Deutsches Theater, a work intended to comprise the 
 most noteworthy of the less known early German plays, but which came to an end before it 
 had fulfilled its purpose. 
 
 II 
 
EDWARD II. 
 
 ii 
 
 CHARACTERS. 
 
 I. 
 
 II. 
 
 III. 
 
 IV. 
 
 V. 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 I 
 
 2 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 159 
 4 
 4 
 6 
 
 717 
 149 
 40 
 
 449 
 
 120 
 
 8G 
 
 8 
 
 li 
 
 I 
 
 50 
 117 
 
 5 
 
 3 
 41 
 
 5 
 18 
 
 17 
 
 6 
 
 21 
 
 22 
 
 9 
 
 2 
 
 2 
 
 29 
 
 13 
 
 3 
 
 8 
 
 45 
 
 23 
 
 4 
 
 49 
 
 4 
 
 3 
 
 3 
 
 261 
 27 
 
 I 
 81 
 
 Gaveston 
 
 1ST Poor Man 
 
 2ND Poor Man 
 
 3RD Poor Man 
 
 King Edward 
 
 Lancaster 
 
 Elder Mortimer 
 
 Younger Mortimer 
 
 Kent 
 
 Warwick 
 
 Bishop of Coventry 
 
 Archbishop of Canterbury 
 
 Pembroke 
 
 Beaumont 
 
 Baldock 
 
 Younger Spenser 
 
 Messenger 
 
 Guard 
 
 Arundel 
 
 James 
 
 Elder Spenser 
 
 Herald 
 
 Levune 
 
 Sir John 
 
 Rice AP Howel 
 
 Abbot 
 
 1ST Monk 
 
 Mower 
 
 Leicester .... 
 
 Bishop of Winchester ... 
 
 86 
 4 
 4 
 6 
 5S 
 14 
 2 
 
 13 
 16 
 3 
 8 
 
 
 5 
 
 18 
 
 
 21 
 
 
 2 
 
 21 
 
 6 
 
 
 
 
 
 
 17 
 5 
 22 
 
 9 
 16 
 
 ... 
 
 138 
 
 ^3 
 91 
 
 I 
 19 
 
 13 
 
 8 
 
 I 
 
 
 86 
 53 
 
 58 
 18 
 7 
 
 9 
 
 9 
 7 
 3 
 
 9 
 
 8 
 
 9 
 
 I 
 
 9 
 21 
 
 28 
 
 9 
 
 87 
 
 39 
 7 
 ... 
 12 
 2 
 7 
 
 5 
 14 
 
 21 
 
 7 
 
 3O 
 
 13 
 
 I 
 
 4 
 
 25 
 23 
 
 49 
 
 124 
 
 58 
 13 
 
 35 
 9 
 
 64 
 9 
 
 2 
 
 ? 
 
 G 
 
 ... 
 
 12 
 
 "5 
 
 "3 
 
 52 
 
 ::: 
 
 24 
 13 
 
 34 
 
 123 
 
 119 
 
 28 
 
 4 
 
 3 
 3 
 
 22 
 42 
 
 102 
 
 100 
 
 23 
 36 
 
 3 
 
 i 
 
 I 
 
 I 
 
 I 
 
 23 
 
 
 4 
 29 
 
 I 
 
 3 
 15 
 
 
 
 
 
 2 
 3 
 
 Z 
 2 
 
 2 
 10 
 
 ... 
 
 15 
 
 15 
 
 12 
 
 9 
 2 
 2 
 
 15 
 
 14 
 6 
 3 
 8 
 
 155 
 155 
 
 2 
 
 7 
 
 3 
 2 
 
 31 
 '7 
 
 X23 
 
 ... 
 
 '^ 
 
 I 
 
 67 
 
 67 
 
 
 
 16 
 2 
 
 I 
 
 
 
 
 16 
 
 5 
 
 24 
 
 9 
 
 17 
 
 
 
 
 7 
 6 
 
 
 
 
 ... 
 
 
 2 
 
 Trussel 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Berkeley 
 
 Matrevis 
 
 GURNEY 
 
 1ST Soldier 
 
 Lightborn 
 
 Champion 
 
 1ST Lord 
 
 2ND Lord 
 
 Queen Isabella 
 
 Niece 
 
 Horse-boy 
 
 
 14 
 
 
 72 
 
 23 
 
 8 
 3 
 
 
 39 
 
 I 
 
 I 
 
 ... 
 
 X2 
 
 5 
 
 187 
 184 
 
 99 
 96 
 
 19 
 
 ^7 
 
 27 
 13 
 
 85 
 
 82 
 
 55 
 55 
 
 ... 
 14 
 
 30 
 30 
 
 16 
 2 
 
 89 
 S7 
 
 119 
 
 118 
 
 Prince Edward 
 
 
 
 
 
 
 
 
 
 
 214 
 
 
 
 42G 
 423 
 
 82 
 
 82 
 
 266 
 261 
 
 29 
 
 28 
 
 70 
 GS 
 
 119 
 
 107 
 
 20 
 
 ig 
 
 2682 
 2623 
 
 Actual Number of Lines ... 
 
 83 
 
 5 
 5 
 
 In British Dramatists this play is not divided into Acts or Scenes. The arrangement in the Table is the same 
 as that of Fleay's edition (Collins' Series) and Tancock's edition (Clarendon Press Series). 
 
EVENINGS WITH SIIAKSPERE. 
 
 77 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 Canterbury 31') 
 Berkeley S | 
 2ND Lord 3 1"'' 
 2ND Poor Man 4 J 
 
 Elder Spenser iS"| 
 Beaumont i | 
 GuRNEY 23 1 
 1ST Poor Man 4] 
 
 46 
 
 NINE CHARACTERS SINGLY AND NINE GROUPS. 
 
 '3l 
 
 Coventry ?,\ 
 Leicester 29 
 Champion 4 
 Messenger 5J 
 
 46 
 
 46 
 
 Arundel 41 1 
 3RD Poor Man C/''' 
 
 Levune 
 
 MATREVIS45I 
 
 Winchester 
 Sir John 21 | 
 Abbot 9 f 
 
 Guard 3) 
 
 Elder Mortimer 40) ^ 
 
 Mower 2 J 
 
 47 
 
 Pembroke 361 
 1ST Monk 2 [ 
 1ST Lord 
 James 
 
 Trusshl 
 
 Rice ap Howel 
 
 Herald 
 
 1ST Soldier 
 
 r 
 
 4G 
 
 SUGGESTIONS FOR DISCUSSION. 
 Edwai-d II., at the time of its production, was the master-piece of history-plays. 
 The attacks made by Nash and Greene upon Marlowe show that his influence upon dramatic verse 
 
 is commonly over-estimated. 
 The death-scene of Edward II. moves pity and terror beyond any scene ancient or modern. 
 
 Date. rrintcr. 
 
 1594 
 
 1598 Richard Bradocke 
 
 1612 
 
 1622 
 
 LIST OF EARLIEST 
 rnblishcr. 
 William Jones 
 William Jones 
 Roger Barnes 
 Henry Bell 
 
 KNOWN EDITIONS. 
 
 Acted by 
 Earl of Pembroke's servants 
 Earl of Pembroke's servants 
 Earl of Pembroke's servants 
 The late Queen's servants 
 
 Present Owners. 
 
 Library at Cassel. 
 ( British Museum. 
 \ Bodleian Library. 
 
 British Museum. 
 / British Museum. 
 \ Bodleian Library. 
 
 A 
 
 Marlowe died in May, 1593. 
 
 The first of the known editions was thus entered in the Stationers' Registers : — 
 1503. July 6. 
 
 William Jones Entred for his copie vnder thandes of Master Richard Judson and the Wardens. A 
 booke. Intituled The troublesom Reign and Lamentable Death of Edwaud the Skcoxd. king 
 of England, with the tragicall fall of proud Mortymek vjd w. 
 
 The edition itself was issued with its title in the words of the entry. 
 
 In the Registers there are these entries : — 
 IS03- December 3. 
 
 Nicholas Linge Entred for theire Copie vnder the handes of the Wardens and master Hartwei 
 John Busbie booke entituled Piep.se Gavisto.v Erie of Cornewall his life deathe andfoiitine 
 
 1596. April 15, 
 
 Matthew Entred for his copie vnder the handes of the wardens a booke called .voRTniEn.iDos the 
 
 Lownes. lamentable Civill warres betwene Ed]i-akd the Sxcoxd and the Barons vjd. 
 
 This poem by Drayton was published in the same year, and on October 8, 1601, its copyright was trans- 
 ferred to Master Linge, who in the following year brought out an edition in which the title was somewhat 
 modified and the structure of the verse altered. It is reprinted in Chalmers's English Poets. 
 
 The following entries are in the Registers : — 
 161 1. December 16. 
 
 Roger Barnes, Entred for his Copy by assignement from William Jones and vnder master warden 
 lownes his hand, A booke called the troublesome raygne and lamentable deathe of Edwaiid 
 the 2'!- by Chr Marlowe gent vjd, 
 
 1617. April 17. 
 
 Henry Bell Assigned ouer vnto him by Roger Barnes and Consent of master warden Lownes a booke 
 Called The tragedie of Edward the secoxdh written by Christofer Marloe vjd. 
 
 The titles of the last three of the editions are in the words of the 1593 entry, with the addition of 
 "And also the life and death of Peirs Gaueston, the great Earle of Cornewall, and mighty fauonte of 
 King Edward the second." 
 
 In the New Shakspere Society's Transactions, 1875-G, Part II., is given Dr. Rudolf Genee's list of 
 the chief textual differences between the 1594 edition and modern editions. 
 
LOVE'S LABOUR'S LOST. 
 
 
 
 ] 
 
 . 
 
 IL 
 
 !IL 
 
 
 IV. 
 
 
 V. 
 
 
 r 
 
 CHARACTERS. 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 2 
 
 I 
 
 I 
 
 I 
 
 2 
 
 3 
 
 I 
 
 2 
 
 
 322 
 
 King 
 
 
 117 
 
 
 47 
 
 
 
 ... 
 
 76 
 
 
 82 
 
 
 70 
 
 LONGAVILLE 
 
 . ... 
 
 14 
 
 
 G 
 
 
 
 
 33 
 
 
 17 
 
 
 91 
 
 DUMAIN 
 
 
 8 
 
 
 2 
 
 
 
 
 44 
 
 
 37 
 
 
 627 
 
 BiRON 
 
 
 128 
 
 
 18 
 
 51 
 
 
 
 237 
 
 
 193 
 
 
 32 
 
 Dull 
 
 
 9 
 
 7 
 
 
 
 
 13 
 
 
 3 
 
 
 
 202 
 
 Costard 
 
 
 44 
 
 13 
 
 
 40 
 
 26 
 
 3 
 
 4 
 
 14 
 
 58 
 
 
 255 
 
 Armado 
 
 . ... 
 
 
 96 
 
 
 5S 
 
 ... 
 
 
 
 48 
 
 53 
 
 
 234 
 
 BOYET 
 
 
 
 
 67 
 
 
 64 
 
 
 
 
 103 
 
 
 2 
 
 1ST Lord 
 
 
 
 
 2 
 
 
 
 
 
 
 
 
 5 
 
 Forester 
 
 
 
 
 
 
 5 
 
 
 
 
 
 
 80 
 
 Nathaniel 
 
 
 
 
 
 
 
 45 
 
 
 13 
 
 22 
 
 
 200 
 
 HOLOFERNES 
 
 
 ... 
 
 
 
 
 
 104 
 
 ... 
 
 60 
 
 36 
 
 
 4 
 
 Mercade 
 
 
 
 
 
 
 
 
 
 
 4 
 
 
 iGS 
 
 MOTII 
 
 
 
 70 
 
 
 Go 
 
 
 
 
 24 
 
 14 
 
 
 18 
 
 Jaquenetta 
 
 
 
 C 
 
 
 
 
 8 
 
 4 
 
 ... 
 
 
 
 289 
 
 Princess 
 
 
 
 
 67 
 
 
 50 
 
 
 
 
 172 
 
 
 42 
 
 Maria 
 
 
 
 
 22 
 
 
 4 
 
 ... 
 
 
 
 16 
 
 
 4G 
 
 Katharine 
 
 . ... 
 
 
 
 8 
 
 
 
 
 
 
 38 
 
 
 178 
 
 Rosaline 
 
 
 
 
 30 
 
 
 II 
 
 
 
 
 137 
 
 
 2S65 
 
 
 3-'o 
 
 192 
 
 269 
 
 209 
 
 I Go 
 
 173 
 
 39S 
 
 1G2 
 
 9S2 
 
 
 2 7 89 
 
 Actual Number of Lines 
 
 318 
 
 192 
 
 258 
 
 207 
 
 151 
 
 173 
 
 3S6 
 
 1G2 
 
 942 
 
 
1598. W. W. Cutbert Burby 
 
 EVENINGS WITH SHAKSPERE. 79 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 The evidences that Shakspere in the 1598 Quarto had "corrected and augmented" his Love's 
 
 Labour's Lost are to be found in the play itself. 
 Love's Labour's Lost, being the only play for the plot of which Shakspere was solely responsible, 
 
 shows that the bent of his mind was decidedly comic. 
 In Love's Labour's Lost some of the anti-Martinist writers are satirised, and all the chief characters 
 
 are drawn from living originals. 
 
 EARLIEST KNOWN EDITION. 
 
 Date. Printer. Piibthhcr. Acted by Present Owners. 
 
 British Museum. 
 
 Bodleian Library. 
 
 Trinity College, Cambridge. 
 
 University of Edinburgh. 
 
 Duke of Devonshire. 
 
 Lady Ellesmere. 
 LMr. Halliwell-Phillipps. 
 Meres, in 159S, mentions " Loue labors lost " as one of Shakspere's comedies. 
 
 The title of the 1598 edition is "A Pleasant Conceited Comedie called, Loues labors lost." As it 
 is described on its title-page as "newly corrected and augmented. By W. Shakespere," there must 
 have been an earlier form, which seems to be referred to in R.T.'s The Months Minde of a Melancholy 
 Lover, 1598, where the play is thus mentioned : 
 
 " Loves Labor Lost, I once did see a Play, 
 Ycleped so 
 
 and also in a letter from Sir Walter Cope in 1604 to the " Lorde Vycount Cranborne," in which, 
 lamenting that there is "no new playe that the queue hath not scene," he speaks of the players having 
 " Revyved an olde one, Cawled Loves Lahore lost." 
 
 In the suspected entry of the Court Revels of 1605 (see p. 71) is this record : " By his Matis plaiers. 
 Betwin Newers Day and Twelfe day A play of Loues Labours Lost." 
 
 The first entry in the Stationers' Registers in reference to this play is as follows : 
 1607. January 22. 
 
 Master Linge Entred for his copies by direccon of A Court and with consent of Master Burby vnder 
 his handwrytinge These, iij copies 
 viz. 
 Romeo and Juueit. 
 Loues Labour Loste. 
 
 The taminge of A Shrezcc xviij^A' 
 
 There is also this entry : 
 1607. November ig. 
 
 John Smythick. Entred for his copies vnder thandcs of the wardens, these bookcs followinge Whiche 
 dyd belonge to Nicholas Lynge 
 
 A booke called IIamli-.tt 
 
 9 The taminge of a Shrewe vjd 
 
 10 R0.VE0 and JuLETT vj* 
 
 11 Loues Labour Lost vjd 
 
 John Smythick (appearing as I. Smithweeke) was one of those at whose charges the 1G23 Folio was 
 printed, in which the play is entitled " Loues Labour's lost." 
 
 In the consideration of this play, Mr. S. L. Lee's "A New Study of Love's Labour Lost" (Gentleman's 
 Magazine, October, 1880), and Dr. F. Landmann's "Shakspere and Euphuism" (New Shakspere 
 Society's Transactions, 18S0-5, Part II.), should be consulted. 
 
RICHARD II. 
 
 
 CHARACTERS. 
 
 I. 
 
 n. 
 
 HL 
 
 IV. 
 
 V. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 755 
 
 
 ' 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 4 
 
 ' 
 
 ^ 
 
 3 
 
 4 
 
 I 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 Richard 
 
 57 
 
 
 74 
 
 40 
 
 41 
 
 
 
 
 
 145 
 
 104 
 
 
 134 
 
 63 
 
 
 
 
 96 
 
 192 
 
 Gaunt 
 
 8 
 
 16 
 
 62 
 
 
 1 06 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 414 
 
 BOLINGBROKE 
 
 59 
 
 
 78 
 
 
 
 
 5G 
 
 
 38 
 
 ... 
 
 55 
 
 
 39 
 
 
 
 5G 
 
 
 
 a 
 
 135 
 
 Mowbray 
 
 83 
 
 
 5^ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 25 
 
 Marshal 
 
 
 
 25 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 85 
 
 AUMERLE 
 
 
 
 5 
 
 15 
 
 
 
 
 ... 
 
 
 12 
 
 3 
 
 
 26 
 
 
 II 
 
 13 
 
 
 
 
 6 
 
 1ST Herald 
 
 
 
 6 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 7 
 
 2ND Herald 
 
 
 
 7 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 32 
 
 Green 
 
 
 
 
 5 
 
 
 25 
 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 
 39 
 
 Bushy 
 
 
 
 
 4 
 
 
 33 
 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 "All" 
 
 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 288 
 
 York 
 
 
 
 
 
 74 
 
 41 
 
 49 
 
 
 2 
 
 
 13 
 
 
 II 
 
 
 70 
 
 28 
 
 
 
 
 142 
 
 Northumberland 
 
 
 
 
 
 50 
 
 
 35 
 
 
 
 
 30 
 
 
 15 
 
 7 
 
 
 
 
 
 5 
 
 22 
 
 Ross 
 
 
 
 
 
 20 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 
 
 
 12 
 
 WlLLOUGIlBY 
 
 
 
 
 
 ID 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 
 
 
 17 
 
 Servant 
 
 
 
 
 
 
 5 
 
 
 
 
 
 
 10 
 
 
 
 
 
 2 
 
 
 
 22 
 
 Bagot 
 
 
 
 
 
 
 9 
 
 
 
 
 
 
 
 13 
 
 
 
 
 
 
 
 45 
 
 Percy 
 
 
 
 
 
 
 
 31 
 
 
 
 ... 
 
 8 
 
 
 5 
 
 
 
 G 
 
 
 
 5 
 
 8 
 
 Berkeley 
 
 
 
 ... 
 
 
 
 
 8 
 
 
 
 
 
 
 
 
 
 
 
 
 
 15 
 
 Captain 
 
 
 
 
 
 
 
 
 15 
 
 
 
 
 
 
 
 
 
 
 
 
 20 
 
 Salisbury 
 
 
 
 
 
 
 
 
 9 
 
 
 II 
 
 
 
 
 ... 
 
 
 
 
 
 
 63 
 
 Carlisle 
 
 
 
 ... 
 
 
 
 
 
 
 
 14 
 
 ... 
 
 
 49 
 
 
 
 
 *"' 
 
 
 
 37 
 
 Scroop 
 
 
 
 
 
 
 
 
 
 
 37 
 
 
 
 
 
 
 
 
 
 
 52 
 
 Gardener 
 
 
 
 
 
 
 
 
 
 
 
 
 52 
 
 
 
 
 
 
 
 
 27 
 
 FiTZWATER 
 
 
 
 
 
 
 
 
 
 
 
 
 
 23 
 
 
 
 
 
 
 4 
 
 5 
 
 Lord 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 5 
 
 ... 
 
 
 
 
 
 
 10 
 
 Surrey 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 10 
 
 
 
 
 
 
 
 10 
 
 Abbot 
 
 
 
 
 ... 
 
 
 .." 
 
 
 
 
 ..'. 
 
 
 
 10 
 
 
 
 
 
 
 
 21 
 
 EXTON 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 10 
 
 G 
 
 5 
 
 12 
 
 Groom 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 12 
 
 
 G 
 
 Keeper 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 G 
 
 
 58 
 
 Duchess of Gloucestek 
 
 
 58 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 115 
 
 Queen 
 
 
 
 
 
 I 
 
 39 
 
 
 
 
 
 
 43 
 
 
 32 
 
 
 
 
 
 
 G 
 
 Lady 
 
 
 
 
 
 
 
 
 
 
 
 
 C 
 
 ... 
 
 
 
 
 
 
 ... 
 
 93 
 
 Duchess OF York 
 
 
 
 
 
 
 
 
 
 ■_ 
 
 
 
 
 
 
 45 
 
 48 
 
 
 
 
 
 2797 
 
 
 207 
 
 74 
 
 309 
 
 c7 
 
 302 
 
 152 
 
 173 
 
 24 
 
 44 
 
 220 
 
 213 
 
 III 
 
 340 
 
 102 
 
 12G 
 
 151 
 
 12 
 
 120 
 
 52 
 
 275G 
 
 Actual Number of Lines 
 
 205 
 
 74 
 
 309 
 
 G5 
 
 299 
 
 149 
 
 171 
 
 24 
 
 44 
 
 218 
 
 209 
 
 107 
 
 334 
 
 z 
 
 117 
 
 14G 
 
 12 
 
 n. 
 
 52 
 
 Tn n. 5 r.olin.i^broke's lines should be 55. The total lines should be 2755, as the total of V. 4 should be n. 
 
EVENINGS WITH SIIAKSPERE. 
 
 SCHEME 
 
 Surrey 
 
 Green 
 
 Berkeley 
 
 Abbot 
 
 Marshal 
 
 32 
 
 42 
 
 43 
 
 FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 TEN CHARACTERS SINGLY AND EIGHT GROUPS. 
 
 FiTzwATER 27 ) Scroop 37 J 
 
 Captain 15 \ '^^ 2nd Herald 7 \ '^'^ 
 
 Ross 22 1 Salisbury 
 
 Keeper 6 > 45 E.xton 21 ^ 46 
 
 Servant 17 ) Lord 5 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 Bushy 
 
 1ST Herald 
 
 B.A.GOT 
 WiLLOUGHBY 
 
 Gkoo.m 
 
 "I 
 
 46 
 
 1. Richard II. was written by Shakspere in two parts, the first of which was the play seen by Dr. 
 
 Simon F"orman. 
 
 2. Shakspere wrote Richard II. as a warning against the Court-party favoured by Elizabeth. 
 
 3. On account of its unity of design Richard II. deserves to be called the most admirable of all 
 
 historical plays. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 
 Piiblishi 
 
 1597 Valentine Simmes Androw Wise 
 
 159S Valentine Simmes Andrew Wise 
 
 1608 W. W. 
 
 [608 W. W. 
 
 1615 
 
 Acted by Present Owners. 
 
 r Trinity College, Cambridge. 
 Lord Chamberlain's servants 4 Duke of Devonshire. 
 
 [Mr. A. H. Huth. 
 
 r British Museum. 
 Lord Chamberlain's servants 4 Bodleian Library. 
 
 [Trinity College, Cambridge. 
 
 I British Museum. 
 
 ( Trinity College, Cambridge, 
 
 i Bodleian Library. 
 
 / Duke of Devonshire. 
 
 r British Museum. 
 4 Bodleian Library. 
 
 [Trinity College, Cambridge, 
 
 Mathew Law Lord Chamberlain's servants 
 Mathew Law The King's servants 
 
 Mathew Law The King's servants 
 
 In the Stationers' Registers is this entry: — 
 1597. August 29. 
 
 Andrew "Wise. Entred for his Copie by appoyntment from master Warden man The Tragedye of 
 RicHAiiD the Second vjd 
 
 Thus described the edition was issued in the same year without author's name. The 1598 edition "by William Shake- 
 speare " had the same title. In 1598 Meres mentions " Richard the 2 " as one of Shakspere's tragedies. 
 
 Sir John Hayward had been imprisoned for writing a work introducing the death of Richard II. In the Stationers' 
 Registers on January 9, 1599, it is called " the fiirste parte of the Life and Reign of Kinge Henry the ffourthe extending to 
 the ende of the fiirst yere of his Reign." The British Museum has a copy. 
 
 On February 7, 1601, the day before the outbreak of Essex's rebellion, his friends, in order to foment popular hatred 
 against Elizabeth, paid the Lord Chamberlain's company, to which Shakspere then belonged, for a special performance of 
 "the playe of the deposyng and kyllyng of Kyng Rychard the Second." Augustine Phillipps, one of the company, says that 
 they at first demurred to acting this as it was " so old, and so long out of yous." Sir Gelly Meyrick, Essex's steward, in his 
 official examination, said, in reference to the same performance, that "the playe was of Kyng Harry the iiij.th and of the 
 kyllyng of Kyng Richard the Second" (From documents in the Public Record Office). Competent critics are not agreed 
 about the identity of this play with Shakspere's, in which it is believed that the portion first printed in 1608 (IV. i. 154—318) 
 formed part of the original play, but had for political purposes been withheld. 
 
 The following entry occurs in the Registers : — 
 1603. June 25. 
 
 Mathew Laws Entred for his copies in full courte Holden this Day. These ffyve copies folowinge ijavjd 
 
 viz 
 iij enterludes or playes 
 
 The fiirst is of Ricuard the . 3. 
 The second of Ricbard the . 2. 
 The Third of Hesry the . 4 the firste part, all kinges. 
 
 all whiche by the consent of the Company are sett ouer to him from 
 Andrew Wyse 
 
 The 1608 editions are alike except in the title-pages. The play has there the same description and authorship as in the 
 1598 edition. It was in 1608 that the copies first contained the "new additions of the Parliament Sceane, and the deposing 
 of King Richard." 
 
 Simon Forman left a MS. account of a performance of Richard II. which he saw at the Globe on April 30, i(3ii (see 
 under Macbeth). 
 
 The edition of 1615 had the full title-page that appeared in 1608. 
 
 In the 1623 Folio the play is called "The life and death of King Richard the Second." 
 
 In connection with Richard II. should be read Holinshcd's Chronicle and Daniel's Poems on the Civil Wars. As bearing 
 upon the subject Prof. Henry Morley, in his edition of the play in Cassell's National Library, prints Langland's Richard the 
 Rcddcss and a passage from Gower's Confessio Ainantis. 
 
 12 
 
KING DAVID 
 
 
 ^ 
 
 
 
 I. 
 
 II. 
 
 
 III. 
 
 
 
 IV. 
 
 
 
 V. 
 
 
 Is 
 a. a 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 r 
 
 CHARACTERS. 
 
 3 
 to 
 
 
 
 I 
 
 2 
 
 I 
 
 3 
 
 
 u 
 
 I 
 
 - 
 
 3 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 3 
 
 u 
 
 C 
 
 
 
 I 
 
 2 
 
 
 571 
 
 David 
 
 
 72 
 
 
 79 
 
 
 63 
 
 
 82 
 
 85 
 
 
 61 
 
 
 
 ... 
 
 
 128 
 
 
 113 
 
 CUSAY 
 
 
 19 
 
 8 
 
 7 
 
 
 7 
 
 
 
 7 
 
 54 
 
 
 
 
 
 I 
 
 10 
 
 
 213 
 
 JOAB 
 
 
 
 4S 
 
 
 
 
 
 38 
 
 
 
 7 
 
 
 41 
 
 
 34 
 
 45 
 
 
 16 
 
 Abisai 
 
 
 
 8 
 
 
 
 
 
 4 
 
 
 
 2 
 
 
 
 
 
 2 
 
 
 74 
 
 Urias 
 
 
 
 9 
 
 65 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 18 
 
 Hanon 
 
 
 
 8 
 
 
 
 
 
 10 
 
 
 
 
 
 
 
 
 
 
 7 
 
 Machaas 
 
 
 
 7 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 223 
 
 Absalon 
 
 
 
 
 51 
 
 
 
 20 
 
 19 
 
 
 63 
 
 
 ... 
 
 70 
 
 
 
 
 
 65 
 
 Nathan 
 
 
 
 
 
 
 49 
 
 
 
 
 
 
 
 
 
 
 16 
 
 
 5 
 
 1ST Servant 
 
 
 
 
 
 
 5 
 
 
 
 
 
 
 
 
 
 
 
 
 13 
 
 Amnon 
 
 
 
 
 
 
 
 13 
 
 
 
 
 
 
 
 
 
 
 
 14 
 
 Jonadab 
 
 
 
 
 
 
 
 2 
 
 12 
 
 
 
 
 
 
 
 
 
 
 15 
 
 Adonia 
 
 
 
 
 
 
 
 6 
 
 9 
 
 
 
 
 
 
 
 
 
 
 14 
 
 Sadoc 
 
 
 
 
 
 
 
 
 
 10 
 
 4 
 
 
 
 
 
 
 
 
 26 
 
 Ahimaas 
 
 
 
 
 
 
 
 
 
 4 
 
 2 
 
 II 
 
 
 
 
 5 
 
 4 
 
 
 8 
 
 Jonathan 
 
 
 
 
 
 
 
 
 
 5 
 
 
 3 
 
 
 
 
 
 
 
 27 
 
 Ithay 
 
 
 ... 
 
 
 ... 
 
 
 
 
 
 
 
 5 
 
 
 
 
 
 
 
 41 
 
 Achitophei 
 
 
 
 
 
 
 
 
 
 
 17 
 
 
 24 
 
 
 
 
 
 
 17 
 
 Amasa 
 
 
 
 
 
 
 
 
 
 
 5 
 
 
 
 
 
 12 
 
 
 
 I 
 
 "All" 
 
 Abiathar 
 
 
 
 
 
 
 
 
 
 _ 
 
 I 
 I 
 
 
 
 
 
 
 
 
 55 
 
 Semei 
 
 
 
 
 
 
 
 
 
 
 
 55 
 
 
 
 
 
 
 
 23 
 
 Soldier 
 
 
 
 
 
 
 
 
 
 
 
 
 
 23 
 
 
 
 
 
 39 
 
 Salomon 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 39 
 
 
 4 
 
 Messenger 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 4 
 
 
 23 
 
 "Prologue" 
 
 23 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 lOI 
 
 Bethsabe 
 
 
 42 
 
 
 
 
 27 
 
 
 
 
 
 
 
 
 
 
 32 
 
 
 23 
 
 Thamar 
 
 
 
 
 2 J 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 35 
 
 "Chorus" 
 
 
 
 
 
 23 
 
 
 
 
 
 
 
 
 
 12 
 
 
 
 
 31 
 
 Woman of Thecoa 
 
 
 
 
 
 
 
 
 31 
 
 
 
 
 
 
 
 
 
 
 9 
 
 1ST Concubine 
 
 
 
 
 
 
 
 
 
 
 9 
 
 
 
 
 
 
 
 
 9 
 
 2ND Concubine 
 
 23 
 
 133 
 
 88 
 
 225 
 
 23 
 
 
 
 
 
 9 
 
 
 
 
 
 
 
 
 1834 
 
 
 151 
 
 41 
 
 205 
 
 134 
 
 1(35 
 
 144 
 
 24 
 
 134 
 
 12 
 
 52 
 
 2S0 
 
 
 .S33 
 
 Actual Number of Lines 
 
 23 
 
 i3i S8 
 
 225 
 
 23 
 
 150 
 
 41 
 
 205 
 
 134 
 
 xr.5 
 
 144 
 
 24 
 
 134 
 
 12 
 
 52 
 
 280 
 
 The play in Biilish Dnimatists should have been divided into Acts and Scenes as in the Table. 
 
EVEXINGS WITH SIIAKSPERE. 83 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 TWELVE CHARACTERS SINGLY AND SIX GROUPS. ' 
 
 Abiathan I ) Abisai ^^ Kt Amasa 17 
 
 Hanon 18 \ ^ 1ST Servant 5 \ Messenger 4 
 
 Adonia is) Tonadab 14 K^ Amnon 13 I 
 
 JONADAB 14 ) 
 
 Jonathan 8 \ 
 
 Machaas 7 \ Jonathan 8 \ Sadoc 14 \ 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. Peele's early work was over-praised by Nash, who thereby hoped to depreciate Marlowe. 
 
 2. King David, with nothing to recommend it but harmonious versification, strikingly displays Peele's 
 
 lack of power of invention. 
 
 3. Peele's writings largely influenced Milton. 
 
 EARLIEST KNOWN EDITION. 
 Date. Printer. rublishcr. Acted by Present Owners. 
 
 /British Museum. 
 1599 Adam Islip \Bodleian Library. 
 
 The following entries are to be found in the Stationers' Registers : 
 1561. July 22 — 1562. July 24. 
 
 Recevyd of Thomas hackett for his lycense for pryntinge an ncn^ interlude of 
 the ij sy limes of kynge Daytd iiij* 
 
 1594. May 14. 
 
 Edward White. Entred for his Copie vnder thandes of bothc the wardens a booke called the 
 
 hooke of Dayid and Betiisaba vj^C. 
 
 The name of Adam Islip was first entered and then struck out. 
 
 In 1598 Meres speaks of Peele's death. 
 
 The edition of 1599 was issued as " The Love of King David & fair Bethsabe. With the Tragedie 
 of Absalon. As it hath ben diuers times plaied on the stage. Written by George Peele." 
 
A MIDSUMIVIER-NIGHT'S DREAM 
 
 fe 
 
 
 I 
 
 
 II. 
 
 III. 
 
 IV. 
 
 V. 
 
 II 
 
 CHARACTERS. 
 
 
 
 
 
 
 
 
 
 I 
 
 2 
 
 I 
 
 2 
 
 I 
 
 2 
 
 I 
 
 2 
 
 I 
 
 242 
 
 Theseus 
 
 65 
 
 
 
 
 
 
 41 
 
 
 136 
 
 41 
 
 Egeus 
 
 30 
 
 
 
 
 
 
 II 
 
 
 
 142 
 
 Demetrius 
 
 2 
 
 
 23 
 
 2 
 
 
 62 
 
 25 
 
 
 28 
 
 178 
 
 Lysander 
 
 53 
 
 
 
 44 
 
 
 59 
 
 ID 
 
 
 12 
 
 134 
 
 Quince 
 
 
 51 
 
 
 ... 
 
 39 
 
 
 
 9 
 
 35 
 
 279 
 
 Bottom 
 
 
 54 
 
 
 
 94 
 
 
 51 
 
 19 
 
 Gi 
 
 58 
 
 Flute 
 
 
 5 
 
 
 
 7 
 
 
 
 12 
 
 34 
 
 14 
 
 Starveling 
 
 
 2 
 
 
 
 3 
 
 
 
 2 
 
 7 
 
 24 
 
 Snout 
 
 
 2 
 
 
 
 10 
 
 
 
 
 12 
 
 16 
 
 Snug 
 
 
 3 
 
 
 
 
 
 
 4 
 
 9 
 
 206 
 
 Tuck 
 
 
 
 37 
 
 18 
 
 II 
 
 lOI 
 
 3 
 
 
 3O 
 
 224 
 
 Oberon 
 
 
 
 79 
 
 S 
 
 
 03 
 
 4G 
 
 
 28 
 
 24 
 
 Philostrate 
 
 
 
 
 
 
 
 
 
 24 
 
 36 
 
 Hippolyta 
 
 5 
 
 
 
 
 
 
 7 
 
 
 24 
 
 165 
 
 Hermia 
 
 56 
 
 
 
 2G 
 
 
 So 
 
 3 
 
 
 
 229 
 
 Helena 
 
 43 
 
 
 34 
 
 32 
 
 
 iiG 
 
 4 
 
 
 
 52 
 
 Fairy 
 
 
 
 28 
 
 24 
 
 
 
 
 
 
 143 
 
 TiTANIA 
 
 
 
 72 
 
 8 
 
 34 
 
 
 25 
 
 
 4 
 
 5 
 
 Peaseblossom 
 
 
 
 ... 
 
 
 4 
 
 ... 
 
 I 
 
 
 
 5 
 
 Cobweb 
 
 
 
 ... 
 
 
 4 
 
 
 I 
 
 
 
 3 
 
 Moth 
 
 
 
 
 
 3 
 
 
 
 
 
 6 
 
 Mustardseed 
 
 
 
 ... 
 
 
 4 
 
 
 2 
 
 
 
 222G 
 
 
 254 
 
 117 
 
 273 
 
 1G2 
 
 213 
 
 4S1 
 
 2JO 
 
 4G 
 
 •150 
 
 2180 
 
 Actual Number of Lines 
 
 251 
 
 114 
 
 268 
 
 162 
 
 206 
 
 463 
 
 225 
 
 46 
 
 •145 
 
 Contrary to the usual practice of classing Fairies with the fcmali' characters, Oberon and Puck are 
 here put amongst the men, as the parts for the ladies are sufiiciently numerous without them. 
 
i6oo Thomas Fisher Lord Chamberlain's servants 
 
 EVENINGS WITH SIIAKSPERE. 85 
 
 SCHEME FOR ARRANGING THE PARTS WITH SEVEN LADIES. 
 
 FIVE CHARACTERS SINGLY AND TWO GROUPS. 
 
 Cobweb 5I ^ Hippolyta 36) 
 
 Fairy 52/57 Moth i\^^ 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. A Midsummcy-Night's Dream was written to order for Lord Southampton's marriage. 
 
 2. The introduction of supernatural influences renders A Midsummer-Night's Dream unfit for stage- 
 
 representation. 
 
 3. The varying interpretations of II. i. 14S— 16S show that the passage is not allegorical. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 
 Date. riintcr. riihlishcr. Acted by Present Oii'iiers. 
 
 /British Museum. 
 Bodleian Library. 
 Trinity College, Cambridge. 
 Duke of Devonshire. 
 Mr. A. H. Huth. 
 
 (British Museum. 
 Bodleian Library. 
 Trinity College, Cambridge. 
 Duke of Devonshire. 
 Mr. Halliwell-Phillipps. 
 
 In 159S Meres, referring to Shakspere's comedies, mentions "his Midsummers night dreame." 
 
 The first of the editions named above stands in the Stationers' Registers thus :— 
 1600. October 8. 
 Thomas ffyssher Entred for his copie vnder the handes of master Rodes and the Wardens. A booke 
 
 called A mydsommer nightcs Dreame '^J 
 
 There is no entry of the Roberts Quarto. 
 
 Both the editions " written by William Shakespeare " were published with the same short title. 
 
 The following entry occurs in the Registers :— 
 1C08. August 13. 
 
 Master Pavyer. Entred for his copie vnder thandes of Master Wilson and the Wardens. A booke 
 beinge A history of Tytana and Theseus '^i 
 
 In the British Museum is a copy dated 1636 of "The Historic of Titana and Theseus," by W. Bettie 
 and pubHshed by R. Bird. 
 
 The title of the play in the 1G23 Folio is "A Midsommer Nights Dreame." 
 
 Prof. Henry Morley, in his edition of the play in Cassell's National Library, prints several poems 
 on the subject of Pyramus and Thisbe, all earlier than the play. Much in reference to Robin Good- 
 fellow can be seen in Hazlitt's Fairy MytJiohgy. Plutarch's Life of Theseus, Halpin's Oberon's Vision and 
 Fairy Mythology by Halliwell [Phillipps] (eds. Shakespeare Society 1843 and 1845), should also be 
 consulted. 
 
RICHARD III. 
 
 
 CHARACTERS 
 
 L 
 
 11. 
 
 III. 
 
 IV. 
 
 V. 
 
 ^ 
 
 2 
 
 3 
 
 4 
 
 ^ 
 
 2 
 
 3 
 
 4 
 
 ' 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 ^ 
 
 2 
 
 3 
 
 4 
 
 5 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 1I6I 
 174 
 
 39 
 149 
 2 
 55 
 13 
 374 
 107 
 
 ei 
 
 66 
 ^^ 
 
 13 
 28 
 12 
 30 
 17 
 9 
 3 
 
 30 
 5 
 7 
 3 
 
 14 
 I 
 
 37 
 3 
 7 
 
 10 
 8 
 2 
 136 
 2 
 
 8 
 
 I 
 
 ID 
 
 9 
 3 
 
 165 
 
 274 
 
 2I« 
 140 
 21 
 
 9 
 47 
 
 ^6 
 
 8 
 
 Gloucester 
 
 Clarence 
 
 Brackenbury 
 
 Hastings 
 
 Gentleman 
 
 Rivers 
 
 Grey 
 
 Buckingham 
 
 Derby 
 
 Dorset 
 
 Catesby 
 
 1ST Murderer 
 
 2ND Murderer 
 
 King Edward 
 
 1ST Citizen 
 
 2ND Citizen 
 
 3RD Citizen 
 
 Archbishop 
 
 1ST Messenger 
 
 Mayor 
 
 Cardinal 
 
 Pursuivant 
 
 Priest 
 
 Ratcliff 
 
 Vaughan 
 
 Ely 
 
 Lovel 
 
 Scrivener 
 
 "Another" 
 
 Tyrrel 
 
 2ND Messenger 
 
 3RD Messenger 
 
 4TH Messenger 
 
 Urswick 
 
 Sheriff 
 
 Richmond 
 
 Oxford 
 
 Herbert 
 
 Blunt 
 
 Surrey 
 
 Norfolk 
 
 Ghost OF Henry VI 
 
 "Lords" 
 
 Anne 
 
 Queen Elizabeth 
 
 Queen Margaret 
 
 Duchess OF York 
 
 Boy 
 
 Girl 
 
 Duke OF York 
 
 Prince 
 
 Page 
 
 Ghost of Prince Edward 
 
 125 
 22 
 8 
 10 
 
 154 
 2 
 
 ::: 
 ;;; 
 
 118 
 
 125 
 
 5 
 
 18 
 
 6 
 
 12 
 
 8 
 3 
 2 
 7 
 
 50 
 124 
 
 142 
 25 
 
 59 
 69 
 
 41 
 
 '3' 
 
 4 
 
 12 
 
 5 
 4 
 
 64 
 7 
 
 19 
 
 I 
 
 12 
 24 
 
 7 
 
 ... 
 
 21 
 44 
 
 21 
 
 9 
 
 13 
 
 28 
 
 ::: 
 
 9 
 ::: 
 
 15 
 26 
 
 i'fi 
 
 5C 
 6 
 
 58 
 "5" 
 
 9 
 
 23 
 43 
 
 70 
 
 "7 
 
 13 
 
 16 
 15 
 
 3 
 I 
 
 17 
 4 
 
 3 
 
 32 
 49 
 
 12 
 8 
 
 2 
 '7 
 
 ::: 
 
 69 
 27 
 
 II 
 
 ::: 
 2 
 
 z 
 
 ... 
 :;: 
 
 ... 
 
 73 
 
 156 
 
 14 
 
 5 
 I 
 
 6 
 
 ... 
 
 39 
 32 
 
 83 
 29 
 
 3 
 2 
 
 's 
 
 6 
 
 26 
 
 ::: 
 
 4 
 
 29 
 
 198 
 17 
 
 5 
 10 
 
 3' 
 
 7 
 10 
 
 149 
 94 
 
 54 
 
 12 
 
 27 
 
 ... 
 2 
 
 154 
 
 ID 
 "4 
 
 3 
 
 10 
 21 
 
 4 
 
 i'5 
 4 
 
 t^5 
 
 6 
 
 I 
 
 10 
 9 
 3 
 
 8 
 
 s' 
 
 8 
 
 6 
 7 
 
 ::: 
 ::: 
 
 9 
 
 32 
 
 3707 
 3620 
 
 Actual Number of Lines 
 
 '65 
 162 
 
 274 
 263 
 
 360 
 35G 
 
 295 
 290 
 
 140 
 140 
 
 158 
 154 
 
 49 
 49 
 
 78 
 73 
 
 201 
 200 
 
 '25 
 
 124 
 
 25 
 25 
 
 III 
 
 109 
 
 109 
 109 
 
 14 
 14 
 
 249 
 247 
 
 105 
 
 104 
 
 131 
 126 
 
 59 
 
 57 
 
 555 
 
 540 
 
 20 
 
 29 
 
 29 
 
 24 
 
 24 
 
 377 
 
 1 
 
 13 
 13 
 
 41 
 
 41 
 
 Much confusion will occur in the reading of this play if a very careful comparison of the text is not made beforehand, as the 
 Quarto and I-'olio editions vary so much. 
 
 In V. 3 the lines of Clarence, Ghost of Henry VI., Ghost of Prince Edward should be respectively 8, 7, 6, and the total lines 
 should be 3618, as the total of 11. 3 should be 47. 
 
EVENINGS WITH SIIAKSPERE. 
 
 87 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN AND SEVEN LADIES. 
 
 •47 
 
 Archbishop i2> 
 Ratcliff 30 
 Sheriff 2 
 
 Pursuivant 3/ 
 Oxford 
 
 Ghost of Henrv VI. 
 3RD Citizen 
 4TH Messenger 
 
 Men's Paris. 
 
 nine CHARACTERS SINGLY AND NINE GROUPS. 
 
 Grey 13 
 
 Urswick 8 
 Scrivener 14 
 2ND Citizen 13 
 
 Surrey i \ 
 
 2ND Murderer 69/' 
 
 Tyrrel 
 
 Blunt 
 
 Priest i 
 
 2ND Messenger 3 
 
 Cardinal 9 
 
 Gentleman 2 
 
 1ST Citizen 8 
 
 1ST Messenger 30 
 
 37, 
 
 Vaughan 
 
 49 
 
 5l. 
 
 1ST Murderer 66) 
 
 Ladies' Parts. 
 four characters singly and three groups. 
 
 Boy 21 ' 
 
 Ghost of Prince Edward 8 . 
 
 Duke of York 47 
 
 }30 
 
 Prince 51 1 
 Page 6 1 
 
 Ely 7) 
 
 Norfolk 10 I 
 Dorset 15 [ 
 Mavok 17 J 
 Lovel 3\ 
 
 Herbert i ( 
 
 Brackenbury 39 
 3RU Messenger 7) 
 
 57 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. The Quartos of Richard III. arc pirated copies of Shakspere's text which appears in the 1623 Folio. 
 
 2. There is no justification for the disregard of historic truth in Richard HI. 
 
 3. The continuity of the character of Richard in 3 Hauy VI. and Richard III. proves that tlie two plays are by the same author. 
 
 1598 
 
 1C05 
 
 Valentine Sims 
 
 Thomas Creede 
 Thomas Creede 
 Thomas Creede 
 Thomas Creede 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 iblishcr. Acted by 
 
 ew Wise Lord Chamberlain's servants 
 
 Lord Chamberlain's servants 
 Lord Chamberlain's servants 
 Lord Chamberlain's servants 
 
 1622 Thomas Purfoot 
 
 Andrew Wise 
 Andrew Wise 
 Mathew Lawe 
 Mathew Lawe 
 Mathew Law 
 
 The King's servants 
 The King's servants 
 
 Present Owners. 
 British Museum. 
 Bodleian Library. 
 Duke of Devonshire. 
 Mr. A. H. Huth. 
 British Museum. 
 Bodleian Library. 
 Trinity College, Cambridge. 
 British Museum. 
 Trinity College, Cambridge. 
 British Museum. 
 Bodleian Library. 
 British Museum. 
 Trinity College, Cambridge. 
 British Museum. 
 Bodleian Library. 
 .Trinity College, Cambridge. 
 
 In i'579 Dr. Thomas Legge, Vice-Chancellor of Cambridge, wrote a play in Latin called " Richardus Tertius;" and, with a like 
 title, Henry Lacey of the same University in 1586 wrote a play, copies of which are among the Harleian MSS. in the British Museum. 
 On June kj, 1594, was entered in the Stationers' Registers, and in the same year was published, an enterlude entitled "The True 
 Tragedie of Richard the Third : Wherein is showne the deatli of Edward the fourth, with the smothering of the two yoong Princes in 
 the Tower : With a lamentable eude of Shores wife, an example for all wicked women. And lastly the coniunction and ioyning of the 
 two noble Houses, Lancaster and Yorke. As it was playd by the Queenes Maiesties Players." It was entered to, and printed by, 
 Thomas Creede, and published by William Barley. Legge's play and that of 1594 have been printed by the Shakespeare Society and 
 by Hazlitt in Shakespeare's Library. Shakspere was indebted to neither play. 
 
 The earliest known edition of Shakspere's Richard III. was thus entered in the Stationers' Registers:— 
 1597. October 20. 
 
 Andrewe wise Entred for his copie vnder thandes of master B.\rlowe, and master warden man. The 
 tragedie of hinge Richakd the Tiiiito ivith the death of the Duke of Clahencb vjd 
 
 The edition itself, which is anonymous, is called " The Tragedy of King Richard the third. Containing, His treacherous Plots against 
 his brother Clarence: the pittiefuU murther of his innocent nephewes: his tyrannicall vsurpation: with the whole course of his 
 detested life, and most deserucd death." The 1598 edition has the same title, adding "By William Shakespeare." In 1598 Meres 
 mentions " Richard the 3 " as one of Shakspere's tragedies. 
 
 In 1602 the title-page describes the play as " newly augmented " ; but there is no additional matter. 
 
 On June 25, 1603, the copyright was transferred from Wise to Mathew Lawe. (For the full entry see p. 81.) 
 
 The title of the 1605 and following editions is the same as that of 1602. In the Folio the title is "The Tragedy of Richard the 
 Third : with the Landing of Earle Richmond, and the Battell at Bosworth Field." 
 
 Before and after Shakspere's play, in addition to the works mentioned above, much was written on the life and times of 
 Richard HI. "A tragicall Report of Kinge Richard the 3" was, amongst several " ballades," entered in the Stationers' Registers to 
 Henry Carre on August 15, 1586. In 1600 was printed Thomas Heywood's Edward IV., in which Richard appears much concerned 
 about the " prophecy of G." Included with payment " for new adicyons for Jeronymo," Henslowe " lent unto bengemy Johnsone, at 
 the apoyntment of E. AUeyn and W"i Biide, the 24 of June 1G02, in earneste of a boocko called Richard crockbacke the some of xU" 
 (Diary, p. 223). Probably this play was never finished. Henslowe has also (pp. 214, 251) entries about "the Booke of Shoare" and 
 about "a playe wherein Shores wiffe is writen," in connection with which the names of "Thomas hewod," "John Ducke," "harey 
 Chettell," and "John Daye" are mentioned. 
 
 From 1559, the date of the first edition of A Myrrourc for Magistrates, down to 1610, several poems by Baldwin, Higgens, 
 Churchyard, and Niccols appeared, referring to the incidents of the same historical period. Many are mentioned by Mr. F. A. 
 Marshall in the ' Henry Irving ' Shakespeare. On May 14, 1614, was entered to Laurence Lisle, and in the same year C.B. issued, 
 The Ghost 0/ Richard III., which has been reprinted by the Shakespeare Society from the unique copy in the Bodleian Library. 
 
 Mr. James Spedding and Mr. E. H. Pickersgill have made elaborate comparisons of the Quarto and Folio versions oi Richard III. 
 
 Their papers are in the New Shakspere Society's Transactions, 1875-6, Part I. 
 
LOCRINE. 
 
 1 
 
 CHARACTERS. 
 
 I. 
 
 II. 
 
 III. 
 
 IV. 
 
 V. 
 
 
 2 
 u 
 
 I 
 
 2 
 
 3 
 
 3 
 
 
 1 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 c 
 
 s 
 
 
 ^ 
 
 2 
 
 3 
 
 4 
 
 3 
 
 1 
 
 2 
 
 3 
 
 4 
 
 5 
 
 
 143 
 38 
 
 i6s 
 
 136 
 
 4 
 
 330 
 31 
 
 218 
 38 
 
 274 
 54 
 14 
 16 
 
 146 
 
 5 
 7 
 
 5 
 
 lOI 
 
 120 
 26 
 
 105 
 9 
 3 
 4 
 
 62 
 
 Brutus 
 
 ASSARACUS 
 
 Corineus 
 
 Thrasimaciius 
 
 Debon 
 
 LOCRINE 
 
 Camber 
 
 Strumbo 
 
 Trompart 
 
 HuMBER 
 
 HUBBA 
 
 Segar 
 
 Captai.v 
 
 Albanact 
 
 Oliver 
 
 William 
 
 1ST Soldier 
 
 2ND Soldier 
 
 "Ate" 
 
 Guendolen 
 
 Dorothy 
 
 Estrild 
 
 Margery 
 
 Pace 
 
 Madan 
 
 Sabren 
 
 3: 
 
 143 
 12 
 70 
 II 
 
 2 
 19 
 
 I 
 
 7 
 
 ... 
 
 ... 
 
 74 
 3 
 
 8 
 
 4 
 10 
 
 17 
 
 56 
 31 
 
 4 
 
 18 
 
 ... 
 7 
 
 36 
 
 14 
 
 16 
 ... 
 
 18 
 
 ... 
 
 17 
 2 
 
 37 
 2 
 
 39 
 
 3 
 
 15 
 
 9 
 
 7 
 
 19 
 19 
 
 62 
 
 ... 
 
 21 
 4 
 ... 
 
 4 
 
 ... 
 
 17 
 
 13 
 
 23 
 
 33 
 13 
 
 6 
 
 ... 
 
 ... 
 
 28 
 15 
 10 
 
 30 
 
 II 
 5 
 
 9 
 
 12 
 9 
 
 ': 
 
 ... 
 
 10 
 4 
 
 52 
 
 2 
 
 16 
 
 4 
 
 ! 
 
 88 
 4 
 
 7 
 
 5 
 
 49 
 
 31 
 49 
 
 5 
 
 85 
 85 
 
 3G 
 
 ... 
 
 36 
 36 
 
 34 
 
 18 
 
 20 
 25 
 
 46 
 7 
 
 ... 
 
 9 
 3 
 
 no 
 no 
 
 17 
 
 ... 
 
 35 
 
 4 
 
 5C 
 56 
 
 2 
 n 
 
 3 
 
 16 
 16 
 
 30 
 
 5 
 
 13 
 ."! 
 
 15 
 3 
 
 II 
 44 
 
 12 
 
 57 
 
 19 
 62 
 
 
 20C5 
 
 20-19 
 
 Actual No. of Lines 
 
 21 
 
 265 
 
 2C3 
 
 85 
 85 
 
 14 
 14 
 
 17 
 17 
 
 109 
 
 109 
 
 91 
 
 79 
 
 97 
 
 93 
 
 27 
 
 27 
 
 114 
 "4 
 
 29 
 29 
 
 17 
 
 88 
 88 
 
 71 
 
 71 
 
 55 
 55 
 
 57 
 
 57 
 
 14 
 14 
 
 54 
 54 
 
 16 
 16 
 
 187 
 
 187 
 
 45 
 45 
 
 18 
 18 
 
 66 
 
 ! 
 
 205 
 
 205 
 
 
El'EMXCS WITH SIIAKSPERE. 
 
 89 
 
 SCHEME FOR ARRANGING THE TARTS WITH SEVEN LADIES. 
 
 SIX CHARACTERS SINGLY AND ONE GROUP. 
 
 Madan 4 I 
 
 P.\GE 3/7 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. The ' dumb show ' of Locyinc fi.xes the date of its production. 
 
 2. Locrinc was written by Peele as a mock-heroic travesty in ridicule of Greene's work. 
 
 3. The comic scenes in Lccyine arc undeniably Shakspere's. 
 
 Date. Printer. 
 
 1595 Thomas Creede 
 
 EARLIEST KNOWN EDITION. 
 
 Acted by 
 
 Present Oiinicrs. 
 British Museum. 
 Trinity College, Cambridge. 
 Duke of Devonshire. 
 
 In the Stationers' Registers is this entry : — 
 
 1594- July 20. 
 
 Thomas Creede. Entrcd for his Copie vnder thandcs of the Wardens. The hviicntable Tragedie of 
 LocKi.vji, the eldest soiiiie of Kiiige Buvtus. discoui singe the uaires of the Brittans &:. vjd 
 
 The edition was published with the "&c." of the entry expanded in the title into "& Hunnes, with 
 their discomfiture: The Britaines victoria with their Accidents & the death of Albanact. No lesse 
 pleasant then profitable. Newly set foorth, ouerseene and corrected, By W.S." 
 
 In connection with this play reference should be made to the Chronicles containing the legendary 
 story, and to the poems which had dealt with the episodes such as Spenser's Faerie Queene and Drayton's 
 
 Poly-Olbioii. In later times Milton introduced part of the story in Coiiius. 
 
 13 
 
ROMEO AND JULIET. 
 
 1. 
 
 ss 
 
 1° 
 
 41 
 
 24 
 
 5 
 
 161 
 
 36 
 
 6 
 
 2(39 
 
 41 
 
 75 
 
 618 
 
 69 
 
 38 
 
 273 
 
 14 
 
 3 
 
 350 
 
 37 
 
 16 
 
 6 
 
 I 
 
 32 
 
 7 
 
 13 
 
 19 
 
 I 
 
 3 
 
 14 
 
 "5 
 
 3 
 
 290 
 
 541 
 14 
 9 
 
 CHARACTERS. 
 
 1 
 
 I. 
 
 aj 
 
 n. 
 
 in. 
 
 IV. 
 
 V. 
 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 0^ 
 
 2 
 
 I 
 
 2 2 
 
 4 
 
 5 
 
 6 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 I 2 
 
 3 4 
 
 5 I 
 
 2 3 
 
 
 Sampson 
 
 Gregory 
 
 Abraham 
 
 Benvolio .. ... ■ 
 
 Tybalt 
 
 1ST Citizen . 
 
 Capulet 
 
 Montague 
 
 Prince 
 
 Romeo 
 
 Paris • 
 
 1ST Servant .. . 
 
 Mercutio 
 
 2ND Servant 
 2ND Capulet 
 Friar Laurence 
 
 Peter ... . 
 
 1ST Musician 
 
 2ND Musician ... . 
 
 3RD Musician .. . 
 
 Balthasar . 
 
 Apothecary 
 
 Friar John 
 
 1ST Watchman .. 
 2ND Watchman ... 
 3RD Watchman ... 
 
 "Prologue" ... 
 Lady Capulet ... 
 Lady Montague .. 
 
 Nurse 
 
 Juliet 
 
 "Chorus" 
 
 Page 
 
 .J I 
 24 
 5 
 
 51 
 
 5 
 
 2 
 
 3 
 
 . 28 
 
 ■ 23 
 
 . 65 
 
 4 ... 
 .. I 
 .. 3 
 
 20 
 33 
 
 29 
 4 
 21 
 
 5 
 
 3G 
 
 61 
 8 
 
 13 
 
 34 
 73 
 
 I 
 17 
 
 56 
 
 27 
 II 
 
 7 
 3 
 
 ... 
 
 I 
 
 15 
 
 19 
 
 ... 
 ... 
 
 14 
 
 9 
 
 2 
 
 34 
 
 86 2 
 
 2 
 
 ii.| 
 
 ■ 14 
 
 5 54 
 
 • 95 
 
 • 7 
 •• 63 
 
 38 
 43 
 
 12 
 
 18 
 
 7 
 
 53 
 14 
 4 
 
 3 
 
 16 
 36 
 
 71 
 II 
 
 31 
 116 
 
 71 
 
 87 
 
 21 
 
 31 
 
 4 
 2 
 
 63 
 24 
 
 37 
 
 25 
 105 
 
 
 
 
 
 
 23 . 
 5G . 
 
 48 I 
 
 5 ... I 
 
 . .. 1 
 
 • -I- 
 
 3 3 
 
 2 ... 
 256 
 
 9 28 ... 
 
 . ... 71 
 . 6 .. 
 
 . 25 ... 
 . 30 ... 
 . 16 ... 
 . 6 .. 
 . I ... 
 . ... II 
 ■ - 7 
 
 3 13 - 
 
 4 28 ... 
 
 ... ID 
 ... 10 
 ... 36 
 ... 82 
 ... 32 
 
 17 75 
 
 ... 21 
 
 13 •■ 
 ... 19 
 ... I 
 ■• 3 
 
 •• 5 
 
 •• 13 
 ... 9 
 
 30316 
 30310 
 
 
 3144 
 3052 
 
 Actual No. of IJnes 
 
 4251 
 424-1 
 
 107 
 
 lie 
 
 '1 
 
 120 
 
 ,114 
 
 157 
 
 1 
 
 14 
 
 I' 
 
 45 
 
 '12 
 
 202 
 
 190 
 
 37233 
 
 54233 
 
 81 
 80 
 
 37 
 37 
 
 20S 
 202 
 
 147 
 
 14] 
 
 179 
 175 
 
 37 
 3C 
 
 25'1 
 
 ,24 
 
 127 -) 
 126, 
 
 8,59,2 
 
 1 
 
 Ti 
 
 915389 
 71508C 
 
 
 The total lines should be 3053, as the total of IV. 4 should be 2S 
 
EVENINGS WITH SHAKSPERE. 
 
 91 
 
 il 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 FOURTEEN CHARACTERS SINGLY AND FOUR GROUPS. 
 
 2ND Capulet 3] istCitizen 6^ Friar John I3"1 Apothecary 
 
 1ST Watchman 19 -23 2nd Servant 14-23 Abraham 5-24 ist Musician 16 j-24 
 
 3RD Musician iJ 3RD Watchman 3 J 2nd Musician 6 J 2ND Watchman iJ 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. Internal evidence proves that the original draft of Romeo and Juliet was written as early as 1591. 
 
 2. It is a weighty testimony to the massive healthiness of Shakspere's character, that, among the 
 
 heroes of his plays, Romeo alone falls a victim to love. 
 
 3. The nurse in Romeo and Juliet has her original in ^Marlowe's Dido. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 Date. Viintcr. Publisher. Acted by 
 
 1597 lohn Danter 
 
 1599 Thomas Creede Cuthbert Burby 
 
 Lord Hunsdon's servants 
 
 1609 
 
 lohn Smethwicke The King's servants 
 
 — lohn Smethwick The King's servants 
 
 Prcseiit Oiiiicis. 
 British Museum. 
 Bodleian Library. 
 Trinity College, Cambridge. 
 { Duke of Devonshire. 
 
 {British Museum. 
 Bodleian Library. 
 Trinity College, Cambridge. 
 University of Edinburgh. 
 Mr. A. H. Huth. 
 /" British Museum. 
 J Bodleian Library. 
 I Trinity College, Cambridge. 
 Ulr. A. H. Huth. 
 British Museum. 
 Bodleian Library. 
 Trinity College, Cambridge. 
 Duke of Devonshire. 
 
 In the Stationers' Registers is this entry:— 
 1562. July 22—1563. July 
 
 master Tottle 
 
 yd of master Tottle for his lycense for pryntinge of the Tnigieall 
 ' of the R0.MBCS and Jvliett with sonettes iiij* 
 
 Recevi 
 
 history 0/ the Ro.\ibcs and Ji 
 This is Arthur Brooke's poem which, on November 19, 1562, without the Sonnets, was printed with the title "The Tragicall 
 Historye of Romeus and luliet, written first in Italian by Bandell, and nowe in EnRlishe by Ar. Br It has been reprmted, 
 amongst other places, in the 1821 Variorum, Vol. VI., and in Hazlitt's Shakespeare s Library In the address To the 
 Reader " Brooke refers to a version of the story he had seen on the stage. In 1567 was published the second volume of 
 Painter's Palace of Pleasure, which contained as "The XXV. Nouoll," translated from a French version, ^The goodly 
 Hystory of the true, and constant Loue betweene Rhomeo and lulietta, the one of whom died of Poyson, and the other ot 
 sorrow, and heuinesse: wherein be comprysed many aduentures of Loue, and other deuises touchinge the same. This is 
 also printed by Hazlitt. In 1583, on February 18, " master Tottell " was licensed to print "Romeo and Juletta, and se%eral 
 other books. There is no edition known of this date. In 1587 Brooke's poem was republished as " The Tragicall histone of 
 Romeus and luliet, contayning in it a rare example of true constancie : with the Subtill Counsels and practises of an old 
 Fryer, and their ill euent." The student who wishes to pursue the story to more remote sources will find references to thern 
 in many annotated editions of the play, and especially in the reprint of the work of Brooke and Painter which has been 
 edited by Mr. P. A. Daniel for the New Shakspere Society. 
 
 The following entry occurs in the Registers:— 
 IS96. AU£;USt 5. , II 1 r 11 ■ 
 
 Edward White. Entred for his Copie vnder the wardens handcs. these twoo ballades ttsUowinge 
 
 viz 
 The one intituled. A Jiene ballad of Romeo and Jvliett vjd 
 
 The I507 edition is called " kn Excellent conceited Tragedie of Romeo and luliet, As it hath been often (with great 
 applause) plaid publiquely." The title of the 1590 edition is "The most excellent and lamentabe Tragedie, of Romeo and 
 luliet. Newly corrected, augmented, and amended." Both these were anonymous. " Romeo and luliet is given by Meres 
 in 1598 in his list of Shakspere's tragedies. 
 
 In 1607 the play is mentioned twice in the Registers. On January 22, it was entered with Lovc'i Labour's Lost ^nd The 
 Taming of a Shretf' to Ling from Burby, and on November 19 Ling transferred the three plays and A booke called 
 Hamlett" to Smythick (for the full entries see p. 79^ It has been thought that the undated edition (some copies of which 
 are anonymous and some have the name of " W. Shake-speare") may have been published soon after the entry, ine 
 British Museum copy has no name of author. The known copies of the 1609 edition are anonymous, and have the same 
 title as the 1599 edition. The Folio version is called " The Tragedie of Romeo and Ivliet. ' 
 
 The "Tragsdia von Romio und Julietta" in Cohn's Shakespeare in Germany should be studied, and, on the question of 
 conjoint authorship, Mr. Fleay's article in Macmillan's Magazine, July, 1877, and Mr. Spalding s paper in the New Shakspere 
 Society's Transactions, 1877-9, Part I. 
 
 13* 
 
EDWARD III 
 
 1 
 
 
 I. 
 
 n. 
 
 
 
 HI. 
 
 
 
 
 IV. 
 
 
 V. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 is 
 
 CHARACTERS. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 C3^ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1° 
 
 
 ' 
 
 2 
 
 I 
 
 ' 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 G 
 
 7 
 
 I 
 
 739 
 
 Edward 
 
 7S 
 
 32 
 
 225 
 
 123 
 
 
 
 87 
 
 
 55 
 
 
 40 
 
 
 
 
 
 
 99 
 
 59 
 
 Artois 
 
 3^ 
 
 
 
 
 
 
 9 
 
 
 6 
 
 
 
 
 
 
 6 
 
 
 
 104 
 
 AUDLEY 
 
 2 
 
 
 
 12 
 
 
 
 8 
 
 
 13 
 
 
 
 
 45 
 
 
 9 
 
 15 
 
 
 39 
 
 LOKRAIN 
 
 I 'J 
 
 2 
 
 
 
 9 
 
 
 
 9 
 
 
 
 
 
 
 
 
 
 
 282 
 
 Prince 
 
 19 
 
 
 
 4 
 
 
 
 47 
 
 
 37 
 
 
 
 
 89 
 
 
 II 
 
 48 
 
 27 
 
 121 
 
 Warwick 
 
 4 
 
 8 
 
 109 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 ... 
 
 
 13 
 
 MOUNTAGUE 
 
 9 
 
 4 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 33 
 
 David 
 
 
 33 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 4 
 
 Douglas 
 
 
 4 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 8 
 
 1ST Messenger 
 
 
 8 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 2ND Messenger 
 
 
 I 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 46 
 
 LODOWICK 
 
 
 
 40 
 
 G 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 44 
 
 Derby 
 
 
 
 
 19 
 
 
 
 12 
 
 
 5 
 
 
 7 
 
 
 
 
 
 
 I 
 
 271 
 
 John 
 
 
 
 
 
 92 
 
 
 57 
 
 4 
 
 
 
 
 17 
 
 
 78 
 
 iS 
 
 I 
 
 4 
 
 85 
 
 Charles 
 
 
 
 
 
 6 
 
 
 
 
 
 
 
 40 
 
 
 2G 
 
 II 
 
 
 
 3 
 
 Bohemia 
 
 
 
 
 
 3 
 
 
 
 
 
 
 
 
 
 
 
 
 
 65 
 
 Mariner 
 
 
 
 
 
 G6 
 
 
 
 
 
 
 
 
 
 
 
 
 
 32 
 
 Philip 
 
 
 
 
 
 9 
 
 
 3 
 
 
 
 
 
 
 
 13 
 
 7 
 
 
 
 4 
 
 Polish Captain 
 
 ... 
 
 
 
 
 4 
 
 
 
 
 
 
 
 
 
 
 
 
 
 22 
 
 1ST Frenchman 
 
 
 
 
 
 13 
 
 
 
 
 
 9 
 
 
 
 
 
 
 
 19 
 
 2ND Frenchman 
 
 
 
 
 
 
 19 
 
 
 
 
 
 
 
 
 
 
 
 
 5 
 
 3RD Frenchman 
 
 
 
 
 
 
 5 
 
 
 
 
 
 
 
 
 
 
 
 
 31 
 
 4TH Frenchman 
 
 
 
 
 
 
 31 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 2 
 
 GOBIN 
 
 
 
 
 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 "All" 
 
 
 
 
 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 9 
 
 Montfort 
 
 
 
 
 
 
 
 
 
 
 9 
 
 
 
 
 
 
 
 
 92 
 31 
 
 Salisbury 
 
 ViLLIERS 
 
 
 
 
 
 
 
 
 
 
 31 
 3 
 
 
 28 
 
 
 6 
 
 
 
 55 
 
 18 
 
 Percy 
 
 ... 
 
 
 
 
 
 
 
 
 
 iS 
 
 
 
 
 
 
 
 16 
 
 French Captain .. 
 
 
 
 
 
 
 
 
 
 
 
 II 
 
 
 
 5 
 
 
 
 
 20 
 
 1ST Herald 
 
 '.'.' 
 
 
 
 
 
 
 
 
 
 
 
 
 II 
 
 
 
 
 9 
 
 6 
 
 2ND Herald 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 
 G 
 
 
 
 
 
 10 
 
 3RD Herald 
 
 ".' 
 
 
 
 
 
 
 
 
 
 
 
 
 10 
 
 
 
 
 
 I 
 
 1ST Esquire 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 I 
 
 2ND Esquire 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 9 
 
 1ST Citizen 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 9 
 
 7 
 
 2ND Citizen 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 7 
 
 17 
 
 17 
 
 Copland 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 214 
 
 Countess 
 
 
 74 
 
 89 
 
 51 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 8 
 
 Woman 
 
 
 
 
 
 
 s' 
 
 
 
 
 
 
 
 
 
 
 
 
 17 
 
 Queen 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 17 
 
 2510 
 
 
 I Go 
 
 iCG 
 
 •1^^3 
 
 215 
 
 189 
 
 7G 
 
 22S 
 
 13 
 
 iiG 
 
 43 
 
 S5 
 
 85 
 
 iGi 
 
 12S 
 
 64 
 
 64 
 
 245 
 
 2493 
 
 Actual No. of Lines 
 
 169 
 
 1G6 
 
 •159 
 
 212 
 
 189 
 
 76 
 
 227 
 
 13 
 
 114 
 
 •13 
 
 S5 
 
 85 
 
 iGi 
 
 i-G 
 
 G2 
 
 Cm 
 
 242 
 
EVEXIXGS WITH SIIAKSPERE. 
 
 93 
 
 SCIII'ME FOR ARRANGING THE I'ARTS WITH EIGHTEEN MEN. 
 
 Derby 44] Percy 18] Gobin 2~| Bohemia s"! 
 
 2ND Messenger i I-50 Villiers 31 po Lorrain 39 po French Captain iG -50 
 
 3RD Frenchman 5 J ist Esquire iJ ist Citizen 9 J 4TH Frenchman 31 J 
 
 Copland 17) ist Herald 20] Montague 13^ Montfort \ 
 
 Douglas 4 ( _ ist Frenchman 22 ^50 Philip 32 -51 David 33 f .^ 
 
 2ND Frenchman 19 ( 5° ist Messenger 8 J 2nd Herald OJ 2nd Citizen 7^^ 
 
 3RD Herald 10 ) Lodowick 46 \ 2nd Esquire i ) 
 
 Polish Captain 4 J ^° 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. The varying proportion of rhyme-lines to vcrsc-lines in Ednanl III. shows that I. 2— II. 2 is the 
 
 only part written by Shakspere. 
 
 2. In Edward III., the chief part of which must have been written by Peele, the mode of treating 
 
 history is un-Shakspcrian. 
 
 3. Shakspere's gallery of female characters is incomplete without the Countess of Salisbury. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 Date. Prinicr. Publishci: Acted by Present Owners. 
 
 ^ ,, ^ , (British Museum. 
 
 1596 Cuthbert Burby ( Trinity College, Cambridge. 
 
 {British T^Iuseum. 
 Bodleian Library. 
 Trinity College. Cambridge. 
 Mr. Halliwell-Phillipps. 
 The first-mentioned of the editions was thus entered in the Stationers' Registers:— 
 1595. December i. 
 
 Cutbert Burby Entred for his copie vnder the handes of the wardens A book Intitled Edward the 
 Third and the Blackc Prince their 'warrcs -with hinge John of Frauncc vjd 
 
 In the following year the edition was published anonymously as "The Raigne of King Edward the third. As it hath bin 
 sundrie times plaied about the Citie of London." The 1599 edition has the same title. 
 
 In the Registers are these entries :— 
 1609. October 16. 
 
 Master Welby Assigned ouer vnto hym by mistres Burby in full Court holdcn this daye and with the 
 consent of the master wardens and Assistentcs here present in Court All her right in 
 these copies folowinge vnder this condycon that yf there shalbe found any indirecte 
 Dealinge herein by any of the parties to the same Then these copies to be at the 
 disposicon of the .Company and this entrance to be void xixs 
 
 viz in 
 
 27. Edm:ird the riiutD 
 
 30. Doctor FFAusTus the 2 parte. 
 
 37. her parte with master Burre, in every man in his humour 
 
 1618. March 2. 
 
 Master Snodham Assigned ouer vnto him by master Welbey with Conscntc of the master and wardens 
 all his Right in theis Copies followinge xxj8 
 
 Hexry the 4."^ by D Havwarde 
 Edward the 5'' the play. 
 Doctor . Favstus 2 parte 
 Every man in his humor, his parte 
 
 Drs. Warnke and Proescholdt in their edition in "Pseudo-Shakespearian Plays" (Halle: Max Niemeyer, :886), in 
 which they argue against the Shaksperian aufhorship of Eih.'ard III., say " The greater part . . . . . js based on 
 
 Holinshed's Chronicle of England on Holinshcd's Chronicle of Scotland and on Pamter s Palace oi Pleasure 
 
 but that to the latter " the poet was indebted merely for the Icadmg idea" of the Countess-episode. Air. J. W. 
 
 Mills asks " If it be not Shakspere, who was the great unknown that could write lines so different from the diction ot any 
 known contemporary?" and Miss Emma Phipson points out many similarities between this play and Shakspere s later 
 work {.Academy, June 25, 1887, p. 455). 
 
JOHN 
 
 h 
 
 
 L 
 
 II. 
 
 III. 
 
 IV. 
 
 V. 
 
 CHARACTERS. 
 
 I 
 
 ■ 
 
 ■ 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 435 
 
 King John 
 
 48 
 
 104 
 
 34 
 
 3 
 
 64 
 
 
 
 119 
 
 
 27 
 
 
 8 
 
 
 ... 
 
 
 28 
 
 41 
 
 ClIATILLON 
 
 16 
 
 25 
 
 
 
 
 
 
 
 
 ... 
 
 ... 
 
 
 
 
 
 
 
 3 
 
 Essex 
 
 3 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 522 
 
 Bastard i 
 
 43 
 
 123 
 
 9 
 
 
 
 
 5 
 
 
 
 22 
 
 57 
 
 43 
 
 53 
 
 
 
 
 20 
 
 39 
 
 22 
 
 Robert Faulconbridge 
 
 22 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 GURNEY 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 154 
 
 Lewis 
 
 
 28 
 
 8 
 
 
 
 
 
 iS 
 
 
 
 
 
 83 
 
 
 
 17 
 
 ... 
 
 
 35 
 
 Austria 
 
 
 27 
 
 8 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 193 
 
 King Philip 
 
 
 119 
 
 48 
 
 
 
 
 
 26 
 
 
 
 
 
 
 
 
 
 
 
 64 
 
 1ST Citizen 
 
 
 64 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 12 
 
 French Herald 
 
 
 12 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ^3 
 
 English Herald 
 
 
 13 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 ... 
 
 
 158 
 
 Salisbury 
 
 
 
 6 
 
 
 
 
 
 
 
 28 
 
 53 
 
 
 32 
 
 
 19 
 
 
 
 20 
 
 165 
 
 Pandulph 
 
 
 
 72 
 
 
 
 
 
 67 
 
 
 
 
 II 
 
 15 
 
 
 
 ... 
 
 
 
 140 
 
 Hubert 
 
 
 
 
 
 
 
 
 8 
 
 
 » 
 
 35 
 
 25 
 
 
 
 I 
 
 
 
 28 
 
 
 2 
 
 1ST Executioner 
 
 
 
 
 
 
 
 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 79 
 
 Pembroke 
 
 
 
 
 
 
 
 
 
 ... 
 
 .. 
 
 5G 
 
 13 
 
 
 
 
 4 
 
 
 
 c 
 
 28 
 
 Messenger 
 
 
 
 
 
 
 
 
 
 
 
 14 
 
 
 
 
 s 
 
 
 6 
 
 
 
 I 
 
 Peter 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 
 
 
 
 
 
 9 
 
 Bigot 
 
 
 
 
 
 
 
 
 
 
 
 
 9 
 
 ... 
 
 
 
 
 
 
 
 39 
 
 Melun 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 39 
 
 
 
 
 55 
 
 Elinor 
 
 29 
 
 21 
 
 2 
 
 
 
 3 
 
 
 
 
 
 
 
 
 
 
 
 
 15 
 
 Lady Faulconbridge ... 
 
 [5 
 
 
 ... 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 120 
 
 Arthur 
 
 
 9 
 
 I 
 
 
 
 I 
 
 
 )9 
 
 ... 
 
 ID 
 
 
 
 
 
 
 
 
 263 
 
 Constance 
 
 
 48 
 
 141 
 
 
 
 
 74 
 
 
 
 
 
 
 
 
 
 
 
 42 
 
 Blanch 
 
 
 15 
 
 27 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 29 
 
 Prince Henry 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 29 
 
 2640 
 
 2 
 
 77 
 
 G08 
 
 35G 
 
 II 
 
 81 
 
 1S5 I 
 
 44 
 
 275 
 
 167 
 
 81 
 
 I S3 
 
 17 
 
 Gz 
 
 23 
 
 48 
 
 122 
 
 2570 
 
 Actual Number of Lines 2 
 
 76 
 
 59S 
 
 2-\7 
 
 10 
 
 7i 
 
 183 I 
 
 34 
 
 269 
 
 159 
 
 79 
 
 I So 
 
 z_ 
 
 Ci 
 
 22 
 
 44 
 
 iiS 
 
EVENINGS WITH SIIAKSPERE. 95 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 FIFTEEN CHARACTERS SINGLY AND THREE GROUPS. 
 
 GuRNEY I ) Bigot 9 ( Essex 3 ) 
 
 French Herald 12 \ ^ Peter i ist E.xecutioner 2 ( ^ 
 
 SUGGESTIONS FOR DISCUSSION. 
 For the outline of John, Shakspere was solely indebted to The Troublesome Raigiie, to the author of 
 which belongs the great merit of presenting an intelligent dramatic record of that period. 
 
 In John, Shakspere altered history to make the play a protest against foreign intervention in the 
 political troubles of England in his own day. 
 
 The Character of James Gurney is a striking instance of Shakspere's power in very small matters. 
 
 THE EARLIEST KNOWN EDITION IS THE 1623 FOLIO. 
 
 In 1 59S Meres, recounting Shakspere's excellence in tragedy, mentions " his .... King lohn." 
 
 " The Troublesome Raigne of lohn King of England, with the discouerie of King Richard 
 Cordelions Base sonne (vulgarly named, The Bastard Fawconbridge) : also the death of King lohn at 
 Swinstead Abbey," is connected with Shakspere's play. The following editions are in existence:— 
 
 Date. 
 
 rublishcr. Acted by Prcicnt Oi^'i 
 
 i^gi Sampson Clarke The Queen's players Trinity College, Cambridge. 
 
 f British Museum. 
 ^ , -rr 1 ^1^.1 I Bodleian Library. 
 
 1611 Valentine Simmes lohn Helme The Queen s players -I r^^.^-^^ College. Cambridge. 
 
 \^Duke of Devonshire. 
 British Museum. 
 
 1622 Aug : Mathewes Thomas Dewe < Trinity College, Cambridge. 
 
 Duke of Devonshire. 
 
 The 1591 edition was published anonymously. It is reprinted in Hazlitt's Shakesf'eare's Library. The 
 1611 edition was said to be by " W. Sh." and the 1622 edition by " W. Shakespeare." 
 
 In the Stationers' Registers is this entry :— 
 
 1C14. November 29. 
 
 John Beale. Entred for his Coppie by Direction from the wardens a booke called the history of 
 Geokoe lord FFAvcoxBiiiDG biistcrd soniic to Richard Co/.'Z)£t/o.v which said Coppie was 
 master Barleyes vjd. 
 
 William Barley was the publisher of " The True Tragedie of Richard the Third " in 1594 (see p. 87). 
 
 As the publishers of the 1623 Folio did not include John in the list of plays " not formerly entred 
 to other men," it must be inferred that they looked upon the earlier form as the work of Shakspere, 
 althouo-h there is no entry of The Troublesome Raigne in the Stationers' Registers. In the Folio the 
 play is called " The life and death of King lohn." 
 
THE TAMING OF THE SHREW 
 
 
 
 
 Inductior, ' 
 
 I 
 
 
 n. 
 
 HI. 
 
 
 
 IV. 
 
 
 
 V. 
 
 
 li 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ^ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 s^ 
 
 CHARACTERS. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1" 
 
 
 I 
 
 2 
 
 I 
 
 2 
 
 I 
 
 I 
 
 2 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 I 
 
 2 
 
 
 68 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Sly 
 
 10 
 
 54 
 
 4 
 
 
 
 
 
 
 
 
 
 
 
 
 
 137 
 
 Lord 
 
 ic6 
 
 31 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 9 
 
 1ST Huntsman 
 
 9 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 3 
 
 2ND Huntsman 
 
 3 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 21 
 
 1ST Servant 
 
 2 
 
 14 
 
 I 
 
 
 
 3 
 
 
 I 
 
 
 
 
 
 
 
 
 5 
 
 Player 
 
 5 
 
 
 
 
 
 
 
 
 .. 
 
 
 
 
 
 
 
 12 
 
 2ND Servant 
 
 
 12 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 12 
 
 3RD Servant 
 
 
 12 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 2 
 
 "All- 
 
 
 I 
 
 
 
 
 
 
 I 
 
 
 
 
 
 
 
 
 8 
 
 Messenger 
 
 
 8 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 190 
 
 LUCENTIO ... .J.. ... 
 
 
 
 92 
 
 7 
 
 
 2S 
 
 6 
 
 
 5 
 
 
 II 
 
 
 16 
 
 25 
 
 
 295 
 
 Tranio 
 
 
 
 63 
 
 34 
 
 46 
 
 
 4 
 
 2 
 
 6( 
 
 
 27 
 
 
 13 
 
 4 
 
 
 ^75 
 
 Baptista 
 
 
 
 23 
 
 
 70 
 
 
 3 
 
 J 
 
 
 
 20 
 
 
 14 
 
 12 
 
 
 172 
 
 Gremio 
 
 
 
 27 
 
 39 
 
 5G 
 
 
 3 
 
 i 
 
 
 
 
 
 13 
 
 3 
 
 
 213 
 
 HORTENSIO 
 
 
 
 30 
 
 78 
 
 15 
 
 29 
 
 
 
 2_ 
 
 II 
 
 
 8 
 
 " 
 
 17 
 
 
 118 
 
 BlONDELLO ... 
 
 
 
 6 
 
 2 
 
 
 
 4 
 
 7 
 
 8 
 
 
 30 
 
 
 20 
 
 5 
 
 
 585 
 
 Petruchio 
 
 
 
 
 78 
 
 162 
 
 
 6 
 
 2 72 
 
 
 88 
 
 
 42 
 
 iS 
 
 O3 
 
 
 187 
 
 Grumio 
 
 
 
 
 49 
 
 
 
 2 
 
 98 
 
 
 38 
 
 
 
 
 
 
 32 
 
 Curtis 
 
 
 
 
 
 
 
 
 32 
 
 
 
 
 
 
 
 
 5 
 
 Nathaniel 
 
 
 
 
 
 
 
 
 5 
 
 
 
 
 
 
 
 
 I 
 
 Philip 
 
 
 
 
 
 
 
 
 I 
 
 
 
 
 
 
 
 
 I 
 
 Joseph 
 
 
 
 
 
 
 
 
 I 
 
 
 
 
 
 
 
 
 I 
 
 Nicholas ... 
 
 
 
 
 
 
 
 
 I 
 
 
 
 
 
 
 
 
 2 
 
 Peter 
 
 
 
 
 
 
 
 
 2 
 
 
 
 
 
 
 
 
 54 
 
 Pedant 
 
 
 
 
 
 
 
 
 
 I, 
 
 
 21 
 
 
 18 
 
 
 
 I 
 
 Haberdasher 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 
 
 
 18 
 
 Tailor 
 
 
 
 
 
 
 
 
 
 
 18 
 
 
 
 
 
 
 51 
 
 Vincentio 
 
 
 
 
 
 
 
 
 
 
 
 
 9 
 
 40 
 
 2 
 
 
 5 
 
 Hostess 
 
 5 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 16 
 
 Page 
 
 
 15 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 220 
 
 Katharina 
 
 
 
 13 
 
 
 52 
 
 
 3 
 
 3 
 
 
 45 
 
 
 22 
 
 4 
 
 51 
 
 
 70 
 
 BlANCA 
 
 
 
 4 
 
 
 iG 
 
 33 
 
 I 
 
 
 G 
 
 
 
 
 2 
 
 8 
 
 
 II 
 
 Widow 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 11 
 201 
 
 
 2700 
 
 
 140 
 
 147 
 
 264 
 
 
 
 2S7" 
 
 417 
 
 93 
 
 2( 
 
 )0 2x7 
 
 12 
 
 5 201 
 
 109 
 
 81 
 
 158 
 
 
 2G48 
 
 Actual Number of IJncs 
 
 138 
 
 147 
 
 259 
 
 282 
 
 412 
 
 92 
 
 2. 
 
 4 214 
 
 12 
 
 19S 
 
 109 
 
 79 
 
 155 
 
 :i 
 
 
 In Induction I. the Lord's lines should be 105, and in II. i Tranio's47. 
 
n]'EXIXCS WITH SUAKSPERE. gy 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 twelve characters singly and six groups. 
 
 Joseph i ) ist Servant 21 ) Vincentio 51 \ 
 
 Tailor iS \ ^ Haberdasher i | • Nicholas iJ^^ 
 
 Philip i \ Peter 2^ Nathaniel 5 
 
 Messenger 8 > iS Player 5 KO 2nd Huntsman 3 
 
 1ST Huntsman 9 \ 3RD Servant 12 j 2nd Servant 12 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. Greene's references to the original of The Taming of the Shyeiv and to Faire Em prove that the latter 
 
 play was written by Shakspere. 
 
 2. It can be proved from The Taming of the Shrew that Shakspere had been to Italy. 
 
 3. If The Taming of the Shrew is to be taken seriously, it shows Shakspeare's ignorance of human nature. 
 
 THE EARLIEST CERTAIN EDITION IS THE 1G23 FOLIO. 
 There is a copy without a title-page, which, not improbably, may be of a date between 1607 and iCio. 
 
 The following is a list of the earliest known editions of The Taming of a Shrew, which must be 
 studied with the play in its present form : — 
 
 Dnte. Printer. Publisher. Acted by Present Owners. 
 
 1594 Peter Short Cutbert Burble Earl of Pembroke's servants Duke of Devonshire. 
 1596 P. S. Cuthbert Burble Earl of Pembroke's servants j Lld'^EHesmer?' 
 
 1607 V. S. Nicholas Ling Earl of Pembroke's servants | g°,ttf"Snshire. 
 
 The first of these editions was thus entered in the Stationers' Registers :— 
 1594. May 2. 
 
 Peter Shorts Entred vnto him for his copie vnder master warden Cawoodes hande a booke intituled 
 A pltsant Ccnceyted historie called ' the Tayminge of a Shrowe ' vjd 
 
 The edition itself, without author's name, has the same title. It has been reprinted by the Shakespeare Society and in 
 Hazlitt's Shakespeare's Library. 
 
 On June 11, 1594, Henslowe records (Diary, p. 36) that " the tamynge of a shrowe " was played at Newington by " my 
 Lord Admeralle and my Lorde chamberlen men." 
 
 The following entry, probably referring to the subject of the play, occurs in the Registers:— 
 1594. October 16. 
 
 Thomas Gosson Entred for their copie vnder thandes of master warden Binge, a ballad intituled, the 
 Joseph Hunte coolinge of curst rate vjd 
 
 The 1396 edition is an anonymous one, with the same title as that of 1594. 
 
 On August 27, 1596, there is in the Registers, in connection with Thomas Millington's name, a mention of " the ballad 
 entituled The Taming of a Shrew" (see p. 155). The ballad in Percy's Rcliques of Ancient English Poetry called "The 
 Frolicksome Duke" deals only with the incident of the Induction, which in some such form was a frequent one in literature. 
 
 The transfers of the copyright of A Shretu were made from Burby to Ling on January 22, 1607, and from Ling to 
 Smythick on November 10, 1607, (see p. 70). Ling's edition in 1607 was published anonymously, and had the same title as the 
 previous issue. Smythick was one of those who brouglit out tlio 1623 Folio, in the entry of which in the Registers The 
 'Paining of the Shrew is not named, as the publishers did not include those copies which had been " formerly entred to other 
 men." They evidently considered that it was practically a play by Shakspere which in 1607 had been assigned to Smythick, 
 who, in 1631, brought out another quarto, the text of which follows that of the Folio. 
 
 The facts mentioned above point to a date for the present play later than that usually ascribed to it (see a paper by 
 Mr. A. R. Frey in Shakespeariana, June, 1887. He unaccountably states that Shaksperc's name is on the title-page of the 
 1607 edition of A Shrew). 
 
 Lord Pembroke's company acted Titus Andronicus (see p. 59). Beyond this there is no record that they performed any 
 other play with which Shakspere was connected except The True Tragedy (see p. 69). 
 
 As a supplement to this play the student should read Fletcher's The Woman's Prize, in which the tables are turned on 
 the husband. 
 
 In reference to the authorship of The Taming of the Shrew consideration should be given to Mr. Fleay's paper and the 
 discussion thereon (New Shakspere Society's Transactions, 1874, Part I.). 
 
EVERY MAN IN HIS HUMOUR. 
 
 1. 
 
 CHARACTERS. 
 
 6 
 
 
 I. 
 
 11. 
 
 III. 
 
 IV. 
 
 V. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 - 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 ^ 
 
 ~ 
 
 3 
 
 I 
 
 2 
 
 3 
 
 \ 5 
 
 6 
 
 7 
 
 8 
 
 9 
 
 I 
 
 313 
 
 Knowell 
 
 
 iC'5 
 
 
 
 ... 
 
 
 
 86 
 
 
 
 2 
 
 
 
 ... I 
 
 9 ... 
 
 
 
 23 
 
 
 ■ 3 
 
 3S0 
 
 Brainworm 
 
 
 s 
 
 27 
 
 
 
 
 62 
 
 57 
 
 28 
 
 8 
 
 
 2 
 
 
 5 5 
 
 8 ... 
 
 15 
 
 26 
 
 
 40 
 
 44 
 
 248 
 
 Stephen 
 
 
 5~ 
 
 52 
 
 
 
 
 39 
 
 
 38 
 
 23 
 
 
 8 
 
 
 
 . G 
 
 
 
 
 19 
 
 II 
 
 27 
 
 Servant 
 
 
 18 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 9 1 
 
 298 
 
 Ed. Knowell 
 
 
 
 78 
 
 
 
 
 21 
 
 
 72 
 
 45 
 
 
 20 
 
 
 13 • 
 
 ■ 42 
 
 
 
 
 
 7 1 
 
 202 
 
 Mathew 
 
 
 
 
 24 
 
 G4 
 
 I 
 
 
 
 23 
 
 2 
 
 
 23 
 
 
 
 . 12 
 
 
 42 
 
 
 9 
 
 2 
 
 251 
 
 Cob 
 
 
 
 
 83 
 
 
 I 
 
 
 
 
 74 
 
 53 
 
 
 27 
 
 
 . ... 
 
 
 
 10 
 
 
 3 
 
 404 
 
 BOBADILL 
 
 
 
 
 
 123 
 
 8 
 
 
 
 64 
 
 39 
 
 
 8 
 
 
 
 . 116 
 
 
 27 
 
 
 6 
 
 13 
 
 432 
 
 KiTELY 
 
 
 
 
 
 
 165 
 
 
 
 
 116 
 
 34 
 
 22 
 
 
 
 
 51 
 
 
 28 
 
 
 16 
 
 86 
 
 Cash 
 
 
 
 
 
 
 2 
 
 
 
 
 73 
 
 
 8 
 
 
 
 . ... 
 
 I 
 
 ... 
 
 2 
 
 
 ... 
 
 149 
 
 Downright 
 
 
 
 
 
 
 53 
 
 
 
 
 
 
 5(3 
 
 
 
 II 
 
 
 
 ... 
 
 21 
 
 8 
 
 258 
 
 Wellbred 
 
 
 
 
 
 
 ... 
 
 
 
 69 
 
 35 
 
 
 46 
 
 
 23 ■ 
 
 
 7fi 
 
 
 
 
 9 
 
 I 
 
 "All" 
 
 
 
 
 
 
 ... 
 
 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 236 
 
 Clement 
 
 
 
 
 
 
 
 
 
 
 
 41 
 
 
 
 
 
 
 
 
 
 195 
 
 31 
 
 Formal 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 6 
 
 
 
 ... I 
 
 G ... 
 
 
 
 
 
 9 
 
 30 
 
 "Prologue" 
 
 30 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 33 
 
 Tib 
 
 
 
 
 
 G 
 
 
 
 
 
 
 
 
 9 
 
 
 
 
 
 IS 
 
 
 3 
 
 72 
 
 Dame Kitelv 
 
 
 
 
 
 
 If, 
 
 
 
 
 
 
 17 
 
 
 
 
 14 
 
 
 iS 
 
 
 7 
 
 30 
 
 Bridget 
 
 
 
 
 
 
 
 
 
 
 
 
 iS 
 
 
 
 
 12 
 
 
 
 
 
 3481 
 
 
 30 
 
 243 
 
 157 
 
 107 
 
 193 
 
 24G 
 
 122 
 
 143 
 
 294 
 
 41G 
 
 13G 
 
 228 
 
 36 
 
 41 9 
 
 3 187 
 
 169 
 
 95 
 
 96 
 
 95 
 
 354 
 
 3458 
 
 Actual No. of Lines 
 
 30 
 
 242 
 
 _ 
 
 157 
 
 107 
 
 193 
 
 243 
 
 122 
 
 143 
 
 294 
 
 402 
 
 136 
 
 228 
 
 36 
 
 41 9 
 
 3 187 
 
 169 
 
 95 
 
 91 
 
 95 
 
 354 
 
i:\'HXiscs WITH siiakspere. 09 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. The success of Every Man in his Humour led to the attack upon Jonson by Marston and Dekker. 
 
 2. Ben Jonson's frequent references to Tlie Spanish Tragedy are evidence of his high opinion of Kyd, 
 
 whom he had helped in his work. 
 
 3. Critics have been misled in thinking that, in the Prologue to Every Man in his Humour, Ben Jonson 
 
 refers to Shakspere. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 
 Dale. Printer. Publisher. Acted by Present Ou'nerS 
 
 1601 ■ Walter Burre Lord Chamberlain's servants British Museum. 
 
 f British Museum 
 1616 W. Stansby Richard Meighen Lord Chamberlain's servants -l and others_ 
 
 [ [This is the r olio. J 
 
 This play was " Acted in the yeere 159S. By the then Lord Chamberlaine his seruants " (see the 
 first volume of the Folio edition of Ben Jonson's works). 
 
 On August 4, 1600 (it must be then, although the year is not named), occurs this entry in the 
 
 Stationers' Registers:— 
 
 As you like yt a booke | 
 
 nEyiiY the ffift a booke I ^^ j^^ g^^jg^j 
 
 Exiery man in his humour a booke 
 
 The commedie of ' muehe A doo about nothing' a booke / 
 
 The restriction was soon removed, for this entry is met with :— 
 1600. August 14. 
 
 Master Burby Entred for yeir copie vnder the handcs of master pasvill and ye Wardens, a 
 "Walter Burre. booke called Eue)y man in his humour ^J 
 
 On the title-page of the 1601 edition it is stated that the play "hath been sundry times publickly 
 acted." It is designated by the short form of the 1600 entry. 
 
 At the Court Revels in 1605 it is said that " On Candelmas night A playe Euery one in his Umor " 
 was acted " By his Matis plaiers." (On the genuineness of this entry see p. 71). 
 
 On October 16, 1609, Burby's widow transferred her share in the copyright of this and thirty-seven 
 other works to Welby (see p. 93). 
 
 In 1616 was published the first volume of Ben Jonson's collected works. It was printed by W. 
 Stansby for R. Meighen. This does not seem to have disturbed the copyright originally entered to 
 Burby and Burre, for on March 2, 1618, Welby, who had become possessed of Mistress Burby's share, 
 transferred it to Snodham (see p. 93). 
 
 The Lord Chamberlain's servants mentioned in the 1616 Folio had become the King's servants 
 in 1603. 
 
 14* 
 
THE MERCHANT OF VENICE 
 
 1 
 
 |i 
 1° 
 
 CHARACTERS. 
 
 L 
 
 IL 
 
 in. 
 
 IV. 
 
 V. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 2 
 
 3 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 8 
 
 9 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 I 
 
 2 
 
 I 
 
 i88 
 
 Antonio 
 
 46 
 
 
 39 
 
 
 
 
 
 
 6 
 
 
 
 
 
 
 19 
 
 ... 
 
 
 
 66 
 
 
 12 
 
 109 
 
 Salarino 
 
 41 
 
 
 
 
 
 
 3 
 
 
 5 
 
 
 34 
 
 
 22 
 
 
 4 
 
 
 
 
 
 
 59 
 
 Salanio 
 
 II 
 
 
 
 
 
 
 3 
 
 
 
 
 21 
 
 
 24 
 
 
 
 
 
 
 
 
 341 
 
 Bassanio 
 
 51 
 
 
 16 
 
 
 3S 
 
 
 
 
 
 
 
 
 
 144 
 
 
 
 
 50 
 
 
 42 
 
 iSi 
 
 Lorenzo 
 
 6 
 
 
 
 
 
 
 27 
 
 
 21 
 
 
 
 
 
 5 
 
 
 12 
 
 34 
 
 
 
 76 
 
 178 
 
 Gratiano 
 
 34 
 
 
 
 
 iS 
 
 
 3 
 
 
 20 
 
 
 
 
 
 31 
 
 
 
 
 33 
 
 5 
 
 34 
 
 18 
 
 Servant 
 
 
 5 
 
 
 
 
 
 
 
 
 
 
 II 
 
 2 
 
 
 
 ... 
 
 
 
 
 
 364 
 
 Shvlock 
 
 
 
 134 
 
 
 
 
 
 39 
 
 
 
 
 
 72 
 
 
 16 
 
 ... 
 
 
 103 
 
 
 
 103 
 
 Morocco 
 
 
 
 
 32 
 
 
 
 
 
 ... 
 
 71 
 
 
 
 
 
 
 
 
 
 
 
 188 
 
 Launcelot 
 
 
 
 
 
 120 
 
 5 
 
 6 
 
 15 
 
 
 
 
 
 ... 
 
 
 
 
 35 
 
 
 
 7 
 
 41 
 
 Old Gobbo 
 
 
 
 
 
 41 
 
 
 
 
 
 .. 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 2 
 
 Leonardo 
 
 
 
 
 
 2 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 ... 
 
 
 66 
 
 Arragon 
 
 
 
 
 
 
 
 
 
 
 
 
 66 
 
 ... 
 
 
 
 ... 
 
 
 
 
 
 16 
 
 Tubal 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 16 
 
 
 
 
 
 ... 
 
 
 
 9 
 
 Musician 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 9 
 
 
 
 
 ... 
 
 
 
 I 
 
 "All" 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 I 
 
 
 
 
 
 ... 
 
 
 24 
 
 Salerio 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 20 
 
 
 
 
 4 
 
 
 
 1 
 
 Balthasar 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 
 ... 
 
 57 
 
 Duke 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 57 
 
 
 
 8 
 
 Stephano 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 8 
 
 589 
 
 Portia 
 
 
 96 
 
 
 17 
 
 
 
 
 
 
 9 
 
 
 20 
 
 
 118 
 
 
 71 
 
 
 1 38 
 
 12 
 
 108 
 
 no 
 
 Nerissa 
 
 
 46 
 
 
 
 
 ... 
 
 
 
 
 
 
 6 
 
 
 5 
 
 
 2 
 
 
 22 
 
 4 
 
 25 
 
 89 
 
 Jessica 
 
 
 
 
 
 
 16 
 
 
 4 
 
 18 
 
 
 
 
 
 7 
 
 
 I 
 
 29 
 
 
 
 14 
 
 2742 
 
 
 189 
 
 147 
 
 189 
 
 49 
 
 219 
 
 21 
 
 42 
 
 58 
 
 70 
 
 80 
 
 55 
 
 103 
 
 136 
 
 340 
 
 39 
 
 87 
 
 98' 
 
 473 
 
 21 
 
 326 
 
 2662 
 
 Actual No. of Lines 
 
 1 86 
 
 147 
 
 183 46 
 
 215 
 
 21 
 
 40 
 
 57 
 
 68 
 
 79 
 
 53 
 
 lOI 
 
 136 
 
 330 36 
 
 84 
 
 96 
 
 458 
 
 19 
 
 307 
 
EVENIXGS WITH SIIAKSPERE. 101 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 seventeen characters singly and one group. 
 
 Leonardo 2) 
 
 Balthasar iP 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. The influence of Marlowe's Jew of Malta is clearly seen in The Merchant of Venice. 
 
 2. Shakspere was induced to take up the story of The Merchant of Venice by his own money-lending 
 
 habits. 
 
 3. The sympathy which is aroused on behalf of Shylock is entirely adventitious, 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 Date. Printer. Publisher. Acted by Present Oz^ners. 
 
 (British Museum. 
 Bodleian Library. 
 Trinity College, Cambridge. 
 Duke of Devonshire. 
 Mr. A. H. Huth. 
 (^ British Museum. 
 
 1600 I. R. Thomas Heyes Lord Chamberlain's servants - ^rfnUyCdlege!" Cambridge. 
 
 (Ouke of Devonshire. 
 
 When "my Lord Admeralle and my Lorde chamberlen men" were playing at Newington they 
 often acted "the Venesyon comodey," which on August 25, 1594, was a new play (Henslowe's Dwry, 
 p. 40). Beyond the indication afforded by the title, there is no evidence that this was Shakspere's play. 
 
 • In the Stationers' Registers are these entries : — 
 159S. July 22. 
 
 James Robertes. Entred for his copie vnder the handes of both the wardens, a booke of the Marchaunt 
 of Venyce or otherwise called the Jewe of Venyce 
 
 Prouided that yt bee not prynted by the said James Eobertes or anye other what- 
 soeuer without lycence first had from the Right honorable the lord Chamberlen vj<l 
 1600. October 28. 
 
 Thomas haies Entred for his copie vnder the handes of the Wardens and by Consent of master 
 Robertes. A booke called the booke of the merchant of Venyce vjd 
 
 IMany words have been expended about the relative order and value of the two 1600 editions, each 
 of which had the name of "Shakespeare" on its title-page. The general opinion gives the Roberts 
 Quarto the doubtful honour of first appearance, as it is commonly credited with being a surreptitious 
 copy. The Heyes Quarto is usually considered to be the better of the two texts, which were issued 
 with much the same title. That of the second mentioned is "The most excellent Historie of the 
 Merchant of Venice. With the extreame crueltie of Shylocke the lewe towards the sayd Merchant, in 
 cutting a iust pound of his flesh : and the obtayning of Portia by the choyse of three chests." In each 
 of the editions, with a little variety of spelling, the head-line throughout is "The Comicall History of 
 the Merchant of Venice." 
 
 In Cunningham's record of the 1605 performances at Whitehall (see p. 71) is this entry : " By his 
 Matis plaiers. On Shrousunday A play of the Marchant of Venis. Shaxberd.'' The same authority 
 says that by the King's command the play was acted again on the Tuesday following. 
 
 The following entry occurs in the Registers : — 
 1619. Julv 8. 
 
 Laurence Hayes Entred for his Copies by Consent of a full Court theis two Copies following which 
 were the Copies of Thomas Haies his fathers 
 
 vizt. • 
 A play Called The Marchant of Venice, 
 xij'i 
 
 The title of the play in the Folio is simply "The Merchant of Venice." 
 
 On the sources, fanciful and probable, of the two stories a great deal has been written, and a 
 summary of it will be found in most of the Editors' introductions to the play. In addition to the 
 pieces printed by Hazlitt (Shakespeare's Library) the student will find much of interest in "The Original 
 of Shylock," by Mr, Sidney L. Lee (Gentleman's Magazine, February, iSSo). 
 
MUCH ADO ABOUT NOTHING. 
 
 1 
 
 II 
 
 
 L 
 
 IL 
 
 in. 
 
 IV. 
 
 V. 
 
 
 CHARACTERS, 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ■3^ 
 
 
 I 
 
 - 
 
 3 
 
 I 
 
 2 
 
 3 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 I 
 
 2 
 
 I 
 
 2 
 
 3 
 
 4 
 
 
 357 
 
 Leonato 
 
 35 
 
 14 
 
 
 39 
 
 
 4G 
 
 ... 
 
 4 
 
 
 
 17 
 
 69 
 
 
 108 
 
 
 
 25 
 
 
 34 
 
 Messenger 
 
 30 
 
 
 
 
 
 
 
 
 
 
 2 
 
 
 
 
 
 
 2 
 
 
 356 
 
 Don Pedro 
 
 OG 
 
 
 
 71 
 
 
 71 
 
 
 51 
 
 
 
 
 12 
 
 
 71 
 
 ... 
 
 7 
 
 7 
 
 
 474 
 
 Benedick 
 
 99' 
 
 
 
 85 
 
 
 SS 
 
 
 9 
 
 
 
 
 52 
 
 
 25 
 
 66 
 
 
 50 
 
 
 125 
 
 Don John 
 
 2 
 
 
 46 
 
 12 
 
 19 
 
 
 
 38 
 
 
 
 
 8 
 
 
 
 
 ... 
 
 
 
 293 
 
 Claudio 
 
 40 
 
 
 
 28 
 
 
 37 
 
 
 35 
 
 ... 
 
 
 
 59 
 
 
 58 
 
 
 15 
 
 21 
 
 
 57 
 
 Antonio 
 
 
 15 
 
 
 7 
 
 
 
 
 
 
 
 
 
 
 32 
 
 
 
 3 
 
 
 41 
 
 Conrade 
 
 
 
 15 
 
 
 
 
 
 
 20 
 
 ... 
 
 
 
 6 
 
 
 ... 
 
 
 
 
 140 
 
 BORACHIO 
 
 
 
 16 
 
 4 
 
 39 
 
 
 
 
 53 
 
 
 
 
 4 
 
 24 
 
 ... 
 
 
 
 
 32 
 
 Balthasar 
 
 
 
 
 6 
 
 
 26 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 ... 
 
 
 198 
 
 Dogberry 
 
 
 
 
 
 
 
 
 
 72 
 
 
 41 
 
 
 50 
 
 35 
 
 
 
 
 
 30 
 
 Verges 
 
 
 
 
 
 
 
 
 
 14 
 
 
 9 
 
 
 5 
 
 2 
 
 
 
 
 
 32 
 II 
 
 1ST Watch 
 
 2ND Watch 
 
 ... 
 
 
 
 
 
 
 
 
 26 
 8 
 
 
 
 
 6 
 3 
 
 
 
 
 
 
 84 
 
 Friar 
 
 
 
 
 
 
 
 
 
 
 
 
 75 
 
 
 
 
 
 9 
 
 
 17 
 
 Sexton 
 
 
 
 
 
 
 
 
 
 
 
 
 
 17 
 
 
 
 
 
 
 II 
 
 Lord 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 II 
 
 
 
 309 
 
 Beatrice 
 
 57 
 
 
 
 124 
 
 
 8 
 
 10 
 
 
 
 18 
 
 
 57 
 
 
 
 24 
 
 
 II 
 
 
 135 
 
 Hero 
 
 2 
 
 
 
 II 
 
 
 
 78 
 
 
 
 iS 
 
 
 iS 
 
 
 
 
 
 S 
 
 
 75 
 
 Margaret 
 
 
 
 
 c 
 
 
 
 I 
 
 
 
 58 
 
 
 
 
 
 10 
 
 
 
 
 51 
 
 Ursula 
 
 
 
 
 II 
 
 
 
 29 
 
 
 
 5 
 
 
 
 
 
 6 
 
 
 
 
 2 
 
 Boy 
 
 
 
 
 
 
 ' 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 2864 
 
 
 331 
 
 29 
 
 77 
 
 404 
 
 58 
 
 278 
 
 118 
 
 137 
 
 193 
 
 99 
 
 69 
 
 350 
 
 91 
 
 355 
 
 106 
 
 33 
 
 136 
 
 
 2S2G 
 
 Actual No. of Lines 
 
 330 
 
 29 
 
 77 
 
 404 
 
 58 
 
 -' 
 
 iiG 
 
 137 
 
 193 
 
 99 
 
 Co 
 
 340 
 
 90 
 
 341 
 
 106 
 
 '' 
 
 131 
 
 
 The actual number of lines should be 2829, as the total of II. 3 should be 276. In the ' Globe ' three 
 lines of the second verse of the song are not printed in full. 
 
E]'EXL\GS WITH SIIAKSPERE. I03 
 
 SUGGESTIONS FOR DISCUSSION, 
 
 1. Much Ado about Nothing is the play mentioned by Meres as Loue hibours timnc. 
 
 2. In Benedick and Beatrice, Shakspere meant his audience to see Lord Herbert and a niece of 
 
 the Earl of Nottingham. 
 
 3. The conduct of Hero's love-matters is contemptible and unjustifiable. 
 
 EARLIEST KNOWN EDITION. 
 
 Date. Printer. Publishers. Acted by Present Owners. 
 
 ,„. ( British Museum. 
 
 Andrew Wise, r , ^, u 1 • ■ . ) Bodleian Library. 
 
 1600 V.S. and Lord Chamberlain s servants j ^^;^;^^^„_,„g/c^^,^^ijgg 
 
 William Aspley ( ^Ir. A. H. Huth. 
 
 This play was one of those entered in the Stationers' Registers on August 4, 1600, and marked " to 
 be staled " (see p. 99). It was, however, soon allowed to be printed, as appears by this entry :— 
 
 1600. August 23. 
 
 Andrewe Wyse Entred for their copies vnder the handes of the wardens Two bookes. the one called 
 William Aspley Muche a Doo about 710th ingc. Thother the second parte of the history of hinge iiesry the 
 IllJt'' ivith the humours of Sir john ffallstaff : Wrytten by master Shakespere xijd 
 The title-page of the edition has the statement that "it hath been sundrie times publikely acted," 
 and that it was " Written by William Shakespeare." "Much adoe about Nothing " is the title given to 
 the play both in Quarto and Folio. 
 
 During the festivities which took place at Court in 1613, at the time of the marriage of the 
 Princess Elizabeth with Frederick V., this play, under different names, was acted twice. A MS. in the 
 Bodleian contains "The Accompte of the right honourable the Lord Stanhope of Harrington, Treafurer 
 of his Majefties Chamber, for all fuch Somes of money as hath beine receaved and paied by him within 
 his Office from the feafte of St. Michaell Tharchangell, Anno Regni Regis Jacobi Decimo (1612), untill 
 the feafte of St. Michaell, Anno Regni Regis Jacobi undecimo (1613), conteyning one whole yeare. 
 
 "Item paid to John Heminges uppon lyke warrant, dated att Whitehall ix^" die Julij 1G13 for himfelf 
 and the rest of his fellowes, his Majefties fervauntes and Players for prefentinge a playe before the Duke 
 of Savoyes Embafladour on the viijth daye of June, 1613, called Cardenna, the fome of vj li. xiij s. iiij d. 
 
 " Item paid to John Heminges uppon the Cowncells warrant dated att Whitehall xx° die Maij 1613, 
 for prefentinge before the Princes Highnes the Lady Elizabeth and the Prince Pallatyne Elector 
 fowerteene feverall playes, viz : one playe called Filafter, One other called the Knott of ffooles. One 
 other Much adoe abowte nothinge. The Mayeds Tragedy, The merye dyvell of Edmonton, The 
 Tempeft, A kinge and no kinge, The Twins Tragedie The Winters Tale, Sir John ftalltafte, The Moor 
 of Venice, The Nobleman, Ca^fars Tragedye, And one other called Lo%e lyes a bleedinge. All which 
 Playes weare played with-in the tyme of this Accompte, viz : paid the fome of iiij^^xiij li. vj s. viij d. 
 
 "Item paid to the faid John Heminges uppon the lyke warrant, dated att Whitehall xx° die Maij 
 161 3, for prefentinge fixe feverall playes, viz : one playe called a bad beginininge makes a good endinge, 
 One other called the Capteyne, One othen the Alcumift. One other Cardenno One other The Hotfpur 
 And one other called Benedicte and Betteris, All played within the tyme of this Accompte viz : paid 
 Fortie powndes, And by waye of his Majefties rewarde twentie powndes, Inalllxli." (Shakespeare's 
 Ccnturic of Pray se, pp. 103-4). 
 
 Ayrer's " Comedia von der schonen Phaenicia," given in German and English form in Cohn's 
 Shakespeare in Germany should be compared with Much Ado about Nothing. The exact date of Ayrer's 
 play is unknown. The two plays were almost contemporaneous. 
 
THOMAS, LORD CROMWELL. 
 
 
 k 
 
 CHARACTERS. 
 
 L 
 
 u. 
 
 HI. 
 
 IV. 
 
 V. 
 
 
 
 I 
 
 2 
 
 3 
 
 3 
 
 
 
 I 
 
 2 
 
 3 
 
 I 
 
 2 
 
 3 
 
 p 
 
 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 
 
 143 
 
 6 
 6 
 
 464 
 42 
 50 
 104 
 106 
 40 
 
 3 
 40 
 
 94 
 
 7 
 
 9 
 
 22 
 
 12 
 
 19 
 
 60 
 
 28 
 
 15 
 
 43 
 
 143 
 
 20 
 
 21 
 
 18 
 
 10 
 
 I 
 
 6 
 
 8 
 
 4 
 2 
 
 23 
 
 5 
 
 
 I 
 I 
 
 55 
 
 38 
 
 10 
 
 2 
 
 Hodge 
 
 Will 
 
 Tom 
 
 Cromwell 
 
 Old Cromwell 
 
 Bowser 
 
 Bagot 
 
 Frescobald 
 
 Banister 
 
 Post 
 
 Governor (Antwerp),.. 
 
 Bedford 
 
 Host 
 
 Servant 
 
 Governor (Bologna) ... 
 
 1ST Citizen 
 
 Messenger 
 
 Hales 
 
 Wolsey 
 
 More 
 
 Norfolk 
 
 Gardiner 
 
 Suffolk 
 
 Seely 
 
 Newton 
 
 Crosby 
 
 Usher 
 
 1ST Witness 
 
 2ND Witness 
 
 Herald 
 
 Sergeant 
 
 2ND Citizen 
 
 Lieutenant 
 
 Sadler 
 
 Executioner 
 
 Officer 
 
 Mistress Banister .. 
 
 "Chorus" 
 
 Joan 
 
 Young Cromwell 
 
 II 
 6 
 3 
 
 6 
 
 3 
 
 51 
 37 
 13 
 
 43 
 41 
 10 
 
 ... 
 20 
 
 10 
 
 37 
 3 
 
 ... 
 iS 
 
 43 
 51 
 
 44 
 
 37 
 17 
 
 7 
 40 
 
 43 
 35 
 
 28 
 
 38 
 42 
 
 43 
 7 
 7 
 
 22 
 I 
 12 
 
 15 
 
 iS 
 
 I 
 
 52 
 
 28 
 
 II 
 
 13 
 
 14 
 
 13 
 
 8 
 
 4 
 12 
 
 19 
 7 
 
 ... 
 
 28 
 5 
 
 29 
 23 
 
 "g 
 
 15 
 21 
 
 !!! 
 
 s 
 10 
 
 iS 
 10 
 
 ... 
 
 3(3 
 
 "s 
 
 ... 
 
 C 
 
 14 
 
 82 
 
 9 
 
 6 
 
 8 
 
 10 
 
 18 
 
 4 
 
 9 
 
 3 
 
 28 
 3 
 
 7 
 14 
 
 ... 
 
 4 
 2 
 
 ... 
 
 II 
 23 
 
 105 
 II 
 
 4 
 13 
 
 I 
 
 5 
 6 
 
 I 
 I 
 
 ... 
 2 
 
 
 
 iCSy 
 
 Actual Number of Lines 
 
 20 
 20 
 
 no 
 no 
 
 114 
 
 10 
 10 
 
 58 
 58 
 
 13^ 
 138 
 
 : 
 
 .00 
 
 1S7 
 1 87 
 
 no 
 
 10& 
 
 13 
 13 
 
 77 
 75 
 
 147 
 
 Llf 
 
 28 
 
 28 
 
 45 
 44 
 
 I2( 
 
 32 
 32 
 
 12 
 
 61 
 
 59 
 
 34 
 
 34 
 
 149 
 149 
 
 
EVENINGS WITH SIIAKSPERE. 
 
 105 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 TEN CHARACTERS SINGLY AND EIGHT GROUPS. 
 
 Suffolk 20 1 
 Newton 18 -41 
 Post 3 J 
 
 WoLSEY 2S 1 
 
 Host 7 Ui 
 Will 6 J 
 
 Seely 
 
 1ST Citizen 
 
 2ND Witness 
 
 Crosby Io^ 
 Tom 6l 
 1ST Witness 6 | "* 
 Messenger 19 j 
 
 Banister 40] 
 Executioner i -4 
 Usher i J 
 
 GovernorI 
 2 Sergeant 
 Officer 
 
 More 15 
 
 Governor (Bologna) 22 [-42 
 Lieutenant 5, 
 
 , -^ Sadler 
 
 2ND Citizen 23 
 
 Herald 
 
 Servant 
 
 ■43 
 
 '¥ 
 
 SUGGESTIONS FOR DISCUSSION. 
 Thomas. Lord Cromu'ell was a continuation of the series of plays written by Chettle and others on 
 
 the incidents of the reign of Henry VIII. 
 In Thomas, Lord Cromivell the character and fate of the minister of Henry VIII. are adapted so as 
 
 to fit the history of Essex, the favourite of Henry's daughter. 
 By his observations on Thomas, Lord Cromivell, Schlegel shows himself to be an incompetent 
 
 Shaksperian critic. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 
 Date. 
 1602 
 
 Publisher. 
 William lones 
 
 Acted by 
 Lord Chamberlain's servants 
 
 1613 Thomas Snodham 
 
 The King's servants 
 
 Prezent Owners. 
 Bodleian Library. 
 British Museum. 
 Bodleian Library. 
 Trinity College, Cambridge. 
 Duke of Devonshire. 
 
 Here is an instance of a play entered in the Stationers' Registers to one whose name does not 
 appear on the title-page of the work. The following is the entry :— 
 1G02. August II. 
 
 William Cotton Entred for his Copie vnder thandes of master Jackson and master waterson warden 
 
 A booke called ' the lyfe and Deathe of the Lord Cromhell' as yt was lately Acted by the 
 
 Lord Chamberleyn his servantes vj* 
 
 The title of the 1602 book " written by W. S." is " The True Chronicle Historic of the whole life 
 
 and death of Thomas Lord Cromwell." It is said to have " beene sundrie times publikely Acted." 
 
 In the Registers is this entry : — 
 1611. December 16. 
 John Browne. Entred for his Copyes by assignement from william Jones and vnder master warden 
 
 lownes his hand and one other booke called, the lyfe and death of the 
 
 Lord CuoMWELL, by W ; S. ^^• 
 
 The 1613 edition has its title worded in the same way as the 1C02. 
 A transfer of copyright is thus recorded : — 
 1617. February 16. 
 
 Master Barrett Assigned ouer vnto him by master Leake and by order of a full Courte all theis 
 Copies followinge xiiij*. 
 
 Idem 
 
 Vxsvs and Aooyis 
 
 Allowed vnto him also by the same Court all the Copies that belonged to master 
 Cotton vizt 
 
 Life and death of lord Cromwell 
 This play was first added to Shakspere's plays in the third Folio in 1664. 
 
 15 
 
HENRY IV. 
 
 
 
 L 
 
 
 n. 
 
 HL 
 
 IV. 
 
 V. 
 
 s3 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 CHARACTERS. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 2 
 
 3 
 
 ' 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 341 
 
 King 
 
 75 
 
 
 4. 
 
 5 
 
 • 
 
 
 
 
 130 
 
 
 ... 
 
 
 
 
 47 
 
 
 
 19 
 
 25 
 
 41 
 
 Westmoreland... 
 
 33 
 
 
 
 
 .. 
 
 
 
 
 
 
 
 7 
 
 
 
 
 
 
 I 
 
 
 688 
 
 Falstaff 
 
 
 90 
 
 
 
 53 
 
 
 24S 
 
 
 
 127 
 
 
 67 
 
 
 
 22 
 
 
 27 
 
 44 
 
 
 G16 
 
 Prince Henry .. 
 
 
 98 
 
 
 
 31 
 
 
 256 
 
 
 44 
 
 47 
 
 
 9 
 
 
 
 29 
 
 
 9 
 
 78 
 
 15 
 
 87 
 
 POINS 
 
 
 52 
 
 
 
 ti 
 
 
 24 
 
 
 
 
 
 
 
 
 
 
 
 
 
 189 
 
 Worcester 
 
 
 
 6, 
 
 5 ... 
 
 
 
 
 16 
 
 
 
 22 
 
 
 4 
 
 
 
 34 
 
 
 
 3 
 
 26 
 
 Northumberland 
 
 
 
 2( 
 
 ) 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 566 
 
 Hotspur 
 
 
 
 17 
 
 I ... 
 
 
 72 
 
 
 109 
 
 
 
 77 
 
 
 73 
 
 
 
 
 39 
 
 9 
 
 16 
 
 
 41 
 
 Blunt 
 
 
 
 7 
 
 
 
 
 
 
 7 
 
 
 
 
 20 
 
 
 
 
 
 7 
 
 ... 
 
 
 25 
 
 1ST Carrier 
 
 
 
 
 24 
 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 I 
 
 Ostler 
 
 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 20 
 
 2ND Carrier 
 
 
 
 
 20 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 47 
 
 Gadshill 
 
 
 
 
 40 
 
 3 
 
 
 4 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 21 
 
 Chamberlain ... 
 
 
 
 
 21 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 31 
 
 Bardolph 
 
 
 
 
 
 3 
 
 
 12 
 
 
 
 n 
 
 
 3 
 
 
 
 
 
 
 
 ... 
 
 
 14 
 
 Peto 
 
 
 
 
 
 I 
 
 
 13 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 G 
 
 1ST Traveller ... 
 
 
 
 
 
 6 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 3 
 
 Servant 
 
 
 
 
 
 
 3 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 18 
 
 Francis 
 
 
 
 
 
 
 
 18 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 5 
 
 Vintner 
 
 
 
 
 
 • • 
 
 
 S 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 8 
 
 Sheriff 
 
 
 
 
 
 
 
 8 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 60 
 
 Mortimer 
 
 
 
 
 
 .. 
 
 
 
 60 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 80 
 
 Glendower 
 
 
 
 
 
 
 
 
 80 
 
 
 
 
 
 
 
 
 
 
 
 
 
 46 
 
 Douglas 
 
 
 
 
 
 
 
 
 
 
 
 n 
 
 
 4 
 
 
 
 
 6 
 
 !■) 
 
 8 
 
 
 7 
 
 1ST Messenger ... 
 
 
 
 
 
 
 
 
 
 
 
 6 
 
 
 
 
 
 
 I 
 
 
 
 
 66 
 
 Vernon 
 
 
 
 
 
 
 
 
 
 
 
 
 
 20 
 
 
 
 
 21 
 
 
 
 
 34 
 
 Archbishop 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 34 
 
 
 
 
 
 
 
 8 
 
 Sir Michael 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 S 
 
 
 
 
 
 
 
 I 
 
 2ND Messenger... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 
 8 
 
 Lancaster 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 6 
 
 2 
 
 58 
 
 Lady Percy 
 
 
 
 
 
 
 47 
 
 
 II 
 
 
 
 
 
 
 
 
 
 
 
 
 57 
 
 Hostess 
 
 
 
 
 
 
 
 14 
 
 
 
 43 
 
 
 
 
 
 
 
 67 
 
 172 
 
 45 
 
 3219 
 
 
 08 
 
 24c 
 
 31 
 
 2 106 I 
 
 18 
 
 122 
 
 603 
 
 276 
 
 181 
 
 230 
 
 143 
 
 86 
 
 121 
 
 42 
 
 145 
 
 102 
 
 3180 
 
 Actual No. of Lines 
 
 08 
 
 24c 
 
 30 
 
 2 106 I 
 
 18 
 
 120 
 
 603 
 
 271 
 
 180 
 
 230 
 
 1 
 
 86 
 
 "3 
 
 41 
 
 144 
 
 lOI 
 
 65 
 
 172 
 
 44 
 
 The total lines should be 3177, as the total of V. should be 1C9. 
 
EVENINGS WITH SIIAKSPERE. 
 
 107 
 
 Blunt 
 
 Vintner 
 Ostler 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 ELEVEN CHARACTERS SINGLY AND SEVEN GROUPS. 
 
 Lancaster 8 
 
 1ST Carrier 25 
 1ST Messenger 7 
 
 40 
 
 Sir Michael 81 
 Bardolph 31 f^ 
 Servant 3 J 
 
 Francis 18 
 
 1ST Traveller 6 
 2ND Carrier 20 
 
 r 
 
 5 -47 
 
 Archbishop 34 
 Peto 14 
 
 48 
 
 Westmoreland 41 
 Sheriff 8 
 
 Northumberland 26') 
 49 Chamberlain 21 j-48 
 
 2ND Messenger i J 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. In I Hany IV. Shakspere introduces the wild pastime only to show out more clearly the virtue of 
 
 serious business. 
 
 2. I Henry IV. is Shakspere's finest play, so far as characterisation is concerned. 
 
 3. In the representation of Prince Henry in i Henry IV. Shakspere meant to describe himself. 
 
 Date. 
 
 Printer. 
 
 I'ublislHr. 
 
 1598 
 
 P. s. 
 
 Andrew Wise 
 
 1599 
 
 s. s. 
 
 Andrew Wise 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 
 Acted by 
 
 Present Owners. 
 
 1604 Valentine Simmes Mathew Law 
 
 1608 Mathew Law 
 
 1613 W.W. Mathew Law 
 
 1622 T. P. Mathew Law 
 
 r British Museum. 
 4 Trinity College, Cambridge. 
 
 [ Duke of Devonshire. 
 
 f British Museum. 
 
 I Bodleian Library. 
 4 Trinity College, Cambridge. 
 
 I Duke of Devonshire. 
 
 [Mr. A. H. Huth. 
 
 I Bodleian Library. 
 
 I Trinity College, Cambridge. 
 
 f British Museum. 
 -| Bodleian Library. 
 
 [ Duke of Devonshire. 
 
 f British Museum. 
 -| Bodleian Library. 
 
 1^ Trinity College, Cambridge. 
 
 r British Museum. 
 - Bodleian Library. 
 
 t Trinity College, Cambridge. 
 
 The first notice of this play in the Stationers' Registers is the iollovving :— 
 1598. February 25. 
 
 Andrew Wyse. Entred for his Copie vnder thandes of Master Dix : and master Warden man a booke 
 
 intituled The hisiorye of HnynY the IllJth with his battaile 0/ Shrewsburye against Hx.yrir 
 
 HoTTSPURKE of the Northe with the conceipted mirthe of Sir Jobs ffalstoff vjd. 
 
 The edition itself, which was anonymous, had its title worded much in the same way. In 1598 Meres mentions " Henry 
 
 the 4" among Shakspere's tragedies. 
 
 On January 9, 1509, Sir John Hayward's book on the events of the first year of the reign of Henry IV. was entered in 
 the Registers to " Master WoolfF." This is the book for writing which Hayward was imprisoned (see p. 81). The 1599 
 edition of 1 Henry IV. is said on its title to be " Newly corrected by W. Shake-speare. Tins appears also in the three 
 following editions, whose titles were all worded much alike. 
 
 The copyright of Hayward's book was assigned by VVoolff's widow to Burby on April 14, 1603. 
 
 The date of the transfer of i Henry IV. to " Mathew Lawe" was on June 25, 1603 (see p. 81). 
 
 Of the 1613 edition the British Museum has two copies, which are not quite alike. 
 
 Among the plays acted before a Court-Party in 1613, that which is described as "The Hotspur" (see p. 103) was most 
 likely this play. 
 
 On March 2, 1618, Welby transferred the right he had acquired in Hayward's book to Snodham (see p. 93V 
 
 The title of the play in the 1623 Folio is " The First Part of Henry the Fourth, with the Life and Death of Henry 
 Sirnamed Hot-Spvrre." 
 
 "The Famous Victories of Henry the fifth," printed 
 
 i&nd2 Henry IV. and Henry V. It is reprinted in Hazlitt's Shakespe _ ., ^^ - ,r.i.-ii- -i 
 
 Cassell's National Library. It will be of interest to give some attention to the Introduction by Mr. Halliwell [FhilUppsj 
 in the Shakespeare Society Reprint (1845) of the Deryng Henry IV. MS. 
 
 1598 (see p. 117), should be studied in connection with 
 akesbeare's Libiarv and in the edition of i Henry IV. in 
 
ANTONIO AND MELLIDA 
 
 
 
 
 
 I. 
 
 II. 
 
 
 III. 
 
 
 IV. 
 
 \ 
 
 
 
 Total 
 Numl)er 
 
 of 
 Lines. 
 
 CHARACTERS. 
 
 n 
 
 1 
 c 
 
 1 
 
 
 
 
 
 
 
 
 
 V 
 
 w 
 
 I 
 
 I 
 
 I 
 
 2 
 
 3 
 
 I 
 
 I 
 
 2 
 
 40 
 
 Galeatzo 
 
 6 
 
 
 
 8 
 
 
 ... 
 
 
 3 
 
 
 23 
 
 
 195 
 
 PlERO 
 
 8 
 
 
 37 
 
 17 
 
 
 18 
 
 31 
 
 20 
 
 
 64 
 
 
 97 
 
 Alberto 
 
 59 
 
 
 4 
 
 17 
 
 
 
 
 
 17 
 
 
 
 194 
 
 Balurdo 
 
 4 
 
 
 I 
 
 39 
 
 
 26 
 
 5 
 
 26 
 
 55 
 
 38 
 
 
 34 
 
 FOROBOSCO 
 
 10 
 
 
 2 
 
 22 
 
 
 
 
 
 
 
 
 245 
 
 Felice 
 
 3S 
 
 
 21 
 
 44 
 
 
 91 
 
 22 
 
 I 
 
 21 
 
 7 
 
 
 359 
 
 Antonio 
 
 41 
 
 
 116 
 
 52 
 
 
 
 27 
 
 III 
 
 
 12 
 
 
 19 
 
 Matzagente 
 
 5 
 
 
 
 8 
 
 
 
 
 
 
 6 
 
 
 44 
 
 DiLDO 
 
 
 
 
 29 
 
 
 9 
 
 
 5 
 
 I 
 
 
 
 36 
 
 Catzo 
 
 
 
 
 27 
 
 
 9 
 
 
 
 
 
 
 51 
 
 Castilio 
 
 
 
 
 12 
 
 
 31 
 
 7 
 
 
 
 I 
 
 
 232 
 
 Andrugio 
 
 
 
 
 
 87 
 
 
 
 97 
 
 
 48 
 
 
 60 
 
 Lucio 
 
 
 
 
 
 31 
 
 ... 
 
 
 25 
 
 
 4 
 
 
 JO 
 
 Painter 
 
 
 
 
 
 
 
 
 
 10 
 
 
 
 23 
 
 "Prologue" 
 
 
 23 
 
 
 
 
 ... 
 
 
 
 
 
 
 100 
 
 Mellida 
 
 
 
 23 
 
 23 
 
 
 ... 
 
 3 
 
 34 
 
 
 17 
 
 
 39 
 
 Flavia 
 
 
 
 2 
 
 17 
 
 
 II 
 
 4 
 
 
 
 5 
 
 
 162 
 
 Rossaline 
 
 
 
 51 
 
 -9 
 
 
 7 
 
 
 
 
 72 
 
 
 I 
 
 Page 
 
 
 
 
 
 
 ... 
 
 ... 
 
 ' 
 
 
 
 
 12 
 
 " Epilogue" 
 
 
 
 
 
 
 
 
 
 
 
 12 
 
 1953 
 
 
 171 
 
 23 
 
 2C0 
 
 344 
 
 118 
 
 202 
 
 99 
 
 323 
 
 104 
 
 297 
 
 - 
 
 1937 
 
 Actual Number of Lines 
 
 17c 
 
 23 
 
 257 
 
 339 
 
 116 
 
 ao. 
 
 90 
 
 321 
 
 104 
 
 297 
 
 12 
 
EVENIKGS WITH SIIAKSPERE. lOQ 
 
 The play can be divided into more scenes than are given in Byitish Dramatists. In Act III. " Enter 
 Felice " should be the beginning of the second scene. In this scene some of the speeches are given to 
 wrong characters. On p. 356, col. 2, the lines beginning " But 'tis not crossed " should be Catzo's, and 
 in the next column "All beyond all," &-c., should be Dildo's. Antonio's first speech on p. 357 should 
 begin a third scene, and the stage-directions should be altered. In col. 2, p. 360, the speech beginning 
 " A sudden horror " should be Antonio's. In the table the necessary corrections have been made. 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. Antonio and Mdlida affords a good illustration of the way in which Elizabethan dramatists 
 
 satirised one another. 
 
 2. Marston's engagement by the Lord Admiral's servants is celebrated allegorically in Wily Beguiled. 
 
 3. It is a matter for regret that Marston's greatest beauties of detail are to be found in his coarsest 
 
 works. 
 
 EARLIEST KNOWN EDITION. 
 
 Date. Printer. Publishers. Acted by Present O-.viier. 
 
 1602 Mathewe Lownes, & Thomas Fisher The Children of Paul's British Museum. 
 
 This play and its second part, known as Antonio's Revenge, were thus entered in the Stationers' 
 Registers : — 
 
 1601. October 24. 
 
 mathew Lownes Entred for their Copye vnder the handes of the wardens a booke called The ffyrst 
 
 Thomas ifyssher and second partes of the play called Axrnoyio and Meuda vjd 
 
 PROVIDED that he gett laufuU licence for yt. 
 The edition was soon after issued as "The History of Antonio and Mellida. The first part." The 
 title-page said it had " beene sundry times acted," and that it was "Written by I. M." 
 
2 HENRY 
 
 
 1 
 
 p s 
 
 CHARACTERS. 
 
 
 
 c 
 
 I. 
 
 II. 
 
 III. 
 
 IV. 
 
 V. 
 
 i 
 1 
 
 'a. 
 
 37 
 
 
 I 
 
 2 
 
 3 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 I 
 
 2 
 
 3 
 
 108 
 
 I 
 
 23 
 9 
 
 4 
 
 76 
 18 
 
 II 
 
 9 
 
 13 
 s 
 
 5 
 
 I 
 
 2 
 
 50 
 70 
 13 
 
 7 
 
 5 
 4 
 
 3 
 36 
 
 5 
 28 
 
 38 
 31 
 
 II 
 
 4 
 
 II 
 
 10 
 14 
 
 5 
 
 38 
 7 
 
 27 
 
 ... 
 
 15 
 
 13 
 
 II 
 
 3 
 
 I 
 
 __ 
 
 
 86 
 
 4 
 
 1 06 
 
 i6 
 
 78 
 
 719 
 
 162 
 
 13 
 
 149 
 
 56 
 
 57 
 
 10 
 
 3 
 
 8 
 
 308 
 
 82 
 
 57 
 12 
 
 11 
 
 6 
 
 294 
 
 77 
 223 
 
 47 
 13 
 
 2 
 
 2 
 
 13 
 14 
 
 4 
 no 
 109 
 
 9 
 17 
 23 
 
 8 
 
 39 
 II 
 3 
 
 I 
 
 40 
 
 35 
 189 
 
 5 
 46 
 93 
 37 
 
 Lord Bardolph 
 
 Porter 
 
 Northumberland 
 
 Travers 
 
 Morton 
 
 Falstaff 
 
 Lord Chief Justice ... 
 
 Servant 
 
 Archbishop 
 
 Mowbray 
 
 Hastings 
 
 Fang 
 
 Snare 
 
 Gower 
 
 Prince Henry 
 
 POINS 
 
 Bardolph 
 
 1ST Drawer 
 
 2ND Drawer 
 
 Pistol 
 
 Peto 
 
 King Henry IV 
 
 Warwick 
 
 Shallow 
 
 Silence 
 
 Mouldy 
 
 Shadow 
 
 Wart 
 
 Feeble 
 
 BULLCALF 
 
 Messenger 
 
 Westmoreland 
 
 Lancaster 
 
 Colevile 
 
 Gloucester 
 
 Clarence 
 
 Harcourt 
 
 Davy 
 
 1ST Beadle 
 
 1ST Groom 
 
 2ND Groom 
 
 "Rumour" 
 
 Page 
 
 Hostess 
 
 Lady Northumberland 
 
 Lady Percy 
 
 Doll Tearsheet 
 
 Dancer 
 
 .,0 
 
 40 
 
 4 
 
 &7 
 16 
 78 
 
 ... 
 
 185 
 (33 
 13 
 
 '7 
 
 46 
 
 33 
 6 
 
 28 
 
 57 
 42 
 
 10 
 3 
 
 8 
 
 89 
 
 93 
 70 
 
 17 
 
 lO 
 
 19 
 
 ... 
 
 5 
 4G 
 
 122 
 
 37 
 12 
 II 
 
 12 
 13 
 38 
 6 
 
 2 
 90 
 
 79 
 
 80 
 31 
 
 140 
 
 22 
 
 136 
 16 
 
 13 
 
 2 
 
 2 
 13 
 14 
 
 91 
 
 43 
 16 
 
 4 
 81 
 
 25 
 
 7 
 13 
 
 17 
 67 
 
 81 
 
 13S 
 15 
 
 I 
 3 
 
 6 
 
 33 
 
 I 
 36 
 
 28 
 
 
 3490 
 3446 
 
 Actual Number of Lines 
 
 40 
 40 
 
 225 
 215 
 
 278 
 
 "3 
 no 
 
 209 
 
 209 
 
 196 
 19C 
 
 70 
 
 68 
 
 422 
 
 Ill 
 
 loS 
 
 358 
 35S 
 
 235 
 22S 
 
 129 
 
 142 
 142 
 
 135 
 
 132 
 
 244 
 
 241 
 
 98 
 98 
 
 149 
 
 145 
 
 149 
 
 35 
 
 35 
 
 115 
 "5 
 
 37 
 37 
 
EVENINGS WITH SHAKSPERE. Ill 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 NINE CHARACTERS SINGLY AND NINE GROUPS. 
 
 97 
 
 Harcourt 
 
 8 ) Mowbray 56 ) 
 
 Morton 78 ) 
 
 
 Pistol 81 ) 
 
 Lord Bardolph S6 \ 96 Davy 39 \ 96 
 
 Peto 6 > 97 
 
 
 Mouldy 13 > 97 
 
 Shadow 
 
 2 ) 2ND Groom i ) 
 
 Feeble 13 ) 
 
 
 Snare 3 ) 
 
 Clarence 23 j 
 
 Gloucester 17 ^ Warwick 
 
 77 \ Servant 
 
 13 
 
 GOWER 8 
 
 CoLEviLE 9 ( -. 
 
 Bardolph 57 f Wart 
 
 2 r ^^ Hastings 
 
 4^90 BULLCALF 
 
 13) 1ST Drawer 
 
 57 1 
 
 , POINS 82 
 
 [5° 1ST Groom 3 
 
 Travers 16 (y^ 
 
 Fang 10 (^^ Porter 
 
 141 
 
 Silence 47 ) 
 
 1ST Beadle 11) 2nd Drawer 
 
 12 
 
 ) Messenger 4 
 
 In Ladies' Parts omit Doll Tearsheet (see p. 30). 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 Shakspere wrote 2 Hairy IV. to show that State-hypocrisy and plebeian cheating, being one and the 
 
 same thing in principle, are equally disastrous in their results. 
 Animosity against the Commons is the inspiring thought of 2 Henry IV. 
 The changes made in connection with the names of Oldcastle and Falstaff prove that Shakspere's 
 
 sympathies were with the Protestant party. 
 
 EARLIEST KNOWN EDITION. 
 
 Date. Piinter. rublishers. Acted by Piesciit Owners. 
 
 /British Museum. 
 Andrew Wise, Bodleian Library. 
 
 iGoo V. S, and Lord Chamberlain's servants - Trinity College, Cambridge. 
 
 William Aspley Duke of Devonshire. 
 
 iMr. A. H. Huth. 
 
 There was some confusion in the printing of this edition, some copies of which have not the first scene 
 of the third act. 
 
 This play was first entered in the Stationers' Registers on August 23, iGoo (see p. 103). 
 
 The book was published with the title "The Second part of Hcnrie the fourth, continuing to his 
 death, and coronation of Henrie the fift. With the humours of sir lohn Falstaffe, and swaggering 
 Pistoll." It was stated to have "been sundrie times publikely acted," and to have been "Written by 
 William Shakespeare." 
 
 In the 1613 Stanhope record (seep. 103) the play of " Sir John ffalstaffe " may be either this or 
 The Merry Wives of Windsor (see pp. 107, 113). 
 
 In the Folio the title of the play is " The Second Part of Henry the Fourth, Containing his Death : 
 and the Coronation of King Henry the Fift." 
 
 Henry Morley, in his edition of the play in Cassell's National Library, prints "The Death of 
 Henry IV." from Daniel (see p. 63). 
 
THE MERRY WIVES OF WINDSOR 
 
 Total 
 Number 
 
 of 
 Lilies. 
 
 
 
 
 I 
 
 
 
 II. 
 
 III. 
 
 IV. 
 
 V. 
 
 
 CHARACTERS, 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 
 2 
 
 3 
 
 4 
 
 5 
 
 9 
 
 44 
 6 
 
 24 
 32 
 
 6 
 
 II 
 
 G 
 
 7 
 
 48 
 
 I 
 28 
 
 2 
 
 2 
 
 4 
 5 
 
 7 
 
 3 
 
 ... 
 
 ... 
 ... 
 
 4 
 
 4 
 
 5 
 
 18 
 21 
 25 
 65 
 
 7 
 
 6 
 
 II 
 
 28 
 
 45 
 
 26 
 10 
 
 
 137 
 X63 
 
 265 
 
 174 
 
 48S 
 
 29 
 
 61 
 
 37 
 
 51 
 
 131 
 
 II 
 
 114 
 
 100 
 
 339 
 
 I 
 
 4 
 
 2 
 
 76 
 
 254 
 
 361 
 
 209 
 
 15 
 
 13 
 
 Shallow 
 
 Slender 
 
 Evans 
 
 Page 
 
 Falstaff 
 
 Bardolpi 
 
 Pistol 
 
 Nym ... 
 
 Simple 
 
 Host 
 
 Rugby 
 
 Caius 
 
 Fenton 
 
 Ford... 
 
 "All" 
 
 1ST Skrv 
 
 2ND Serv 
 
 Anne Pac 
 
 Mistress 
 
 Mistress 
 
 Mistress 
 
 Robin 
 
 William 
 
 \nt . 
 
 ANT. 
 ^E . 
 
 Qui 
 Pag 
 
 For 
 
 Pagi 
 
 :ki.v 
 
 E ... 
 D ... 
 
 55 
 107 
 85 
 26 
 19 
 
 6 
 
 6 
 
 6 
 
 3 
 
 13 
 
 12 
 
 I 
 
 52 
 2 
 
 28 
 21 
 
 II 
 
 15 
 
 4 
 44 
 14 
 
 103 
 
 20 
 
 29 
 
 13 
 10 
 
 12 
 34 
 
 2 
 
 83 
 45 
 
 120 
 5 
 7 
 
 "5 
 
 81 
 
 I 
 
 20 
 3 
 
 8 
 
 35 
 7 
 33 
 
 14 
 3 
 
 57 
 16 
 
 8 
 18 
 
 13 
 
 7 
 4 
 
 12 
 
 7 
 3 
 
 39 
 
 I 
 
 18 
 3 
 
 15 
 13 
 40 
 
 8 
 30 
 
 I 
 
 67 
 75 
 II 
 
 13 
 23 
 
 8 
 
 27 
 
 18 
 8 
 
 105 
 5 
 
 29 
 iG 
 
 39 
 
 iS 
 13 
 
 4 
 
 II 
 
 8 
 15 
 
 50 
 
 3 
 2 
 
 So 
 67 
 
 5 
 9 
 
 ... 
 ... 
 
 12 
 22 
 
 ... 
 ... 
 
 12 
 
 ... 
 
 43 
 7 
 
 
 
 19 
 5 
 
 ... 
 
 
 3035 
 3019 
 
 Actual No. of Lines 
 
 32C 
 
 13 
 
 13 
 
 114 
 
 180 
 180 
 
 248 
 
 248 
 
 329 
 329 
 
 loC 
 
 102 
 _ 
 
 129 
 129 
 
 94 
 93 
 
 260 
 260 
 
 118 
 "5 
 
 155 
 
 155 
 
 87 
 87 
 
 240 
 240 
 
 14 
 14 
 
 96 
 9i 
 
 132 
 
 132 
 
 55 
 
 55 
 
 32 
 32 
 
 iG 
 16 
 
 25 
 
 25 
 
 4 
 4 
 
 2G2 
 259 
 
 
 The 'Globe' Rives the pnrt of the Queen of the Fairies in V. 5 to Mistress Quickly. It should be 
 taken i>y .Vnnc l'af,'e (see IV. vi. 20). 
 
EVENINGS WITH SHAKSPERE. II3 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. The confusion of time in The Merry Wives 0/ Windsor confirms tlic tradition that the play was 
 
 written in haste. 
 
 2. The low tone of The Merry Wives of Windsor was intended by Shakspere for the taste of t'.ie 
 
 barbarian aristocrats, for whom it was especially ordered, 
 
 3. Shakspere introduced Falstaff as the hero of The Merry Wives of Windsor on purpose to dej^rade him. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 
 Date. Printer. Publisher. Acted bv Present Owners. 
 
 ! Bodleian Library. 
 Trinity College, Cambridge. 
 Duke of Devonshire. 
 Mr. A. II. Huth. 
 f British Museum. 
 
 1619 Arthur Johnson \ Bodleian Library. 
 
 (^Trinity College, Cambridge. 
 
 Under date of January 18, 1602, are the following entries in the Stationers' Registers:— 
 John Busby Entred for his copie vnder the hand of master Seton A booke \ -^ 
 
 called An excellent and pleasant conceited commcdie of Sir Joirx > Conceited 
 
 VFAVLSTOF and the m:rry ivyves of Windcsor ) Conrnedie 
 
 Arthure Johnson Entred for his Copye by assignement from John Busbye, A booke Called an excellent 
 and pleasant conccyted Corned ie of Sir Jons fi-avi.stave and the mcrye uyves of Windsor vji 
 To these entries Mr. Arber appends this note : " The word conceited not being very clearly written in the 
 text, it is repeated at the side as here printed. It is quite clear that the Merry Wives of Windsor was 
 printed by J. Busby before this date, but not entered in the Registers until he came to assign it to 
 A. Johnson. See the similar case of King Li:.4/i." Mr. Furnivall, commenting upon this note (yome 300 
 Fresh Allusions to Shaltspere, x.xi.x.), says: "there is no reason whatever for supposing" this. The 1602 
 edition, reprinted by the Shakespeare Society and in Hazlitt's Shakespeare's Library, is a mere sketch 
 compared with the Folio version. Its title is " A Most pleasaunt and excellent conceited Comedie, of 
 Syr lohn Falstaffe, and the merrie Wiues of Windsor. Entermixed with sundrie variable and pleasing 
 humors, of Syr Hugh the Welch Knight, lustice Shallow, and his wise Cousin M. Slender. With the 
 swaggering vaine of Auncient Pistoll and Corporal Nym." It is said to be " By William Shakespeare," 
 and to have been acted " Both before her Maiestie, and else-where." 
 
 The record that this play was acted at Whitehall early in November, 1604, is open to suspicion (see 
 p. 71). In Cunningham's Extracts the entry follows a notice of a play acted on November i, 1604 
 (see p. 143), and reads thus: " By his Matis plaiers. .The Sunday ffoUowinge A Play of the Merry 
 Wiues of Winsor," 
 
 It is most likely that the play acted at Court in 1613, under the name of " Sir John ffalstaffe," was 
 this play (compare the title in the 1602 entry and in the Quarto editions, and see pp. 103, iii). 
 
 The 1619 edition, having its title shorn of the mention of the middle group of characters, is 
 practically a reprint of the 1602 copy. 
 
 In the 1623 Folio tha title is simply "The Merry Wiues of Windsor." 
 
 Critics try to show that for the incidents of this comedy Shakspere had to consult many out-of- 
 the-way sources. Som-3 of these are printed in the 182 1 Variorum, in Hazlitt's Shakespeare's Library, and 
 by Henry Morley in his edition of the play in Cassell's National Library. According to many com- 
 mentators it would seem that the invention of some of the situations of the play might have come 
 within the powers of a Straparola, but that it was quite beyond a Shakspere. It is, however, not too 
 much to believe that Shakspere was equal to devising its plot, and that if there is any likeness to the 
 stories quoted, it is only through indirect influence and not direct inspiration. The alleged sources of 
 this play can be ignored, unless the student wishes to learn how remotely-similar incidents were treated 
 by writers of whom it is probable Shakspere had never heard. 
 
 The determination of the relative order of this and the other Falstaff-plays will be an exercise full 
 of interest to the student, who must closely examine the introduction to the Shakespeare Society 
 Edition of the 1602 Sketch, edited by Mr. Ilalliwell [Phillipps] . 
 
 16 
 
ANTONIO'S REVENGE 
 
 ^^ 
 
 CHARACTERS. 
 
 •3w 
 
 
 447 
 
 PlERO 
 
 63 
 
 Strotzo 
 
 25 
 
 Lucio 
 
 549 
 
 Antonio 
 
 7 
 
 Matzagente ... ... 
 
 68 
 
 Alberto 
 
 160 
 
 Balukdo 
 
 17 
 
 Gale.\tzo 
 
 254 
 
 Pandulpho 
 
 5 
 
 FOROBOSCO 
 
 94 
 
 Andrugio 
 
 I 
 
 Felice 
 
 13 
 
 I.ST Senator 
 
 8 
 
 2ND Senator 
 
 33 
 
 "Prologue 
 
 58 
 
 Maria 
 
 31 
 
 Nutrice ... 
 
 54 
 
 Mellida ... 
 
 I 
 
 1ST Page... 
 
 I 
 
 2ND Page 
 
 12 
 
 Jt'LIO 
 
 .97G 
 
 Actual Number of IJnes 
 
 Cg 
 
 88 
 
 65 
 
 146 
 
 235 
 
 [81 I 225 
 
 I 
 
 IV. 
 
 V. 
 
 44 
 
 253 
 
EVENINGS WITH SHAKSPERE. 11$ 
 
 For convenience of distribution of parts, the division of scenes is left as in British Diamntists. But 
 Scenes 2 and 3 of Act I. should be one scene. 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. Although Marston freely imitated Shakspere, there is also evidence that he furnished Shakspere 
 
 with hints. 
 
 2. Marston's chief merits as a playwright are to be found in his comedies. 
 
 3. Taken altogether, Marston brings discredit on the Elizabethan drama. 
 
 EARLIEST KNOWN EDITION. 
 
 Dale. rrintcr. Publisher. Acted by Pmeiit Owney. 
 
 1602 Thomas Fisher The Children of Paul's British Museum. 
 
 This play, which is the second part of Antonio and Mcllida. was entered in the Stationers' Registers 
 on October 24, 1601 (see p. 109). 
 
 The title of the edition is "Antonio's Reucnge. The second part." The acting and authorship 
 are referred to in the same words as in the first part. 
 
 Collier says that to one of these plays there may be a reference in Henslowe's note that he "Lent 
 unto Wm Borne, the 28 of septembr 1599, to lend unto Mr maxton, the new poete (Mr Mastone), in 
 earneste of a Boocke called , the some of .\xxxs." {Diary, p. 156). 
 
 16* 
 
HENRY V 
 
 1° 
 
 CHARACTERS. 
 
 1 
 £ 
 
 ■1 
 
 II. 
 
 • in. 
 
 IV. 
 
 V. 
 
 
 
 2 
 
 1 
 
 ' 
 
 2 
 
 5 
 
 4 
 
 2 
 
 ' 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 1 
 
 I 
 
 213 
 
 17 
 
 ... 
 
 17 
 4 
 
 7 
 46 
 
 329 
 326 
 
 2 
 
 10 
 29 
 
 3 
 18 
 
 1 
 
 3 
 
 95 
 4 
 7 
 
 4 
 
 13 
 
 9 
 
 2 
 
 »35 
 
 '32 
 
 4 
 
 3" 
 
 20 
 
 32 
 
 82 
 
 82 
 
 1 
 
 5 
 
 ... 
 ... 
 
 ... 
 
 6 
 
 4 
 
 9 
 
 "5 
 
 ... 
 
 24 
 23 
 
 6 
 
 12 
 27 
 
 ... 
 ... 
 
 ::. 
 
 39 
 
 38 
 
 7 
 
 C5 
 2 
 
 16 
 12 
 
 194 
 
 191 
 
 8 
 
 58 
 5 
 
 ... 
 "'' 
 43 
 
 23 
 I 
 
 :; 
 
 '3' 
 
 1 
 X 
 
 45 
 
 45 
 
 45 
 
 23 
 
 53 
 
 18 
 
 ... 
 
 94 
 
 94 
 
 2 
 
 233 
 
 8 
 
 3 
 
 26 
 
 6S 
 
 3« 
 9 
 24 
 
 404 
 
 402 
 
 14 
 14 
 
 
 223 
 27 
 1063 
 130 
 27 
 17 
 3+ 
 53 
 163 
 7 
 13 
 15 
 13 
 96 
 121 
 126 
 
 6 
 310 
 75 
 12 
 24 
 
 7 
 18 
 54 
 
 5 
 
 49 
 II 
 
 7 
 
 2 
 21 
 81 
 18 
 
 9 
 
 2 
 20 
 
 I 
 
 I 
 68 
 
 2 
 
 223 
 47 
 80 
 73 
 33 
 24 
 
 Canterbury 
 
 Ely 
 
 King Henry 
 
 Exeter 
 
 Westmoreland ... 
 1ST Ambassador... 
 
 Bardolph 
 
 Nym 
 
 Pistol 
 
 Bedford 
 
 Scroop 
 
 Cambridge 
 
 Grey 
 
 French King 
 
 Dauphin 
 
 Constable 
 
 Messenger 
 
 Fluellen 
 
 GowER 
 
 Jamy 
 
 Macmorris 
 
 Governor 
 
 Bourbon 
 
 Montjoy 
 
 Gloucester 
 
 Orleans 
 
 Rambures 
 
 Erpingham 
 
 Court 
 
 Bates 
 
 Williams 
 
 Grandpre 
 
 Salisbury 
 
 York 
 
 French Soldier 
 
 Warwick 
 
 English IlKr.ALD 
 
 Burgundy 
 
 "All" 
 
 "Chorus" 
 
 Hostess 
 
 Boy 
 
 Katharine 
 
 Alice 
 
 Isabel 
 
 34 
 
 82 
 20 
 
 ■41 
 
 120 
 iG 
 14 
 17 
 
 42 
 
 26 
 
 42 
 43 
 
 :;; 
 
 17 
 
 5 
 
 137 
 II 
 3 
 
 3 
 13 
 
 '5 
 13 
 
 6 
 
 5 
 16 
 
 :. 
 
 30 
 9 
 
 57 
 
 42 
 38 
 12 
 2 
 
 35 
 
 34 
 ... 
 
 ... 
 
 34 
 34 
 
 ... 
 2 
 
 .3 
 
 ... 
 ... 
 
 48 
 14 
 
 24 
 
 34 
 
 153 
 
 153 
 
 ... 
 
 58 
 
 1 
 
 ... 
 
 ... 
 
 42 
 24 
 
 66 
 66 
 
 28 
 21 
 
 ... 
 
 9 
 
 69 
 1 
 
 45 
 
 21 
 
 66 
 23 
 
 25 
 
 18 
 iS 
 
 56 
 6a 
 3 
 
 41 
 9 
 
 53 
 
 
 34" 
 3380 
 
 Actual No. of Lines 
 
 34 
 34 
 
 102 
 
 98 
 
 315 42 
 
 133 
 
 133 
 
 '95 
 
 66 
 66 
 
 151 
 
 i,C 
 
 35 
 35 
 
 .6g 
 165 
 
 53 
 53 
 
 
E VENINGS 1 1 7 Til SUA KSPERE. 
 
 117 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 ELEVEN CHARACTERS SINGLY AND SEVEN GROUPS. 
 
 Salisbury 9 
 Warwick i 
 Erpingham 7 
 Orleans 49 
 
 Cambridge 15 ) 
 
 Macmorris 24 
 
 RaMBURES II 
 
 1ST Ambassador 17 
 
 67 
 
 66 
 
 Scroop 
 
 MoNTjoY 54 ;- 
 E. Herald ■' ' 
 
 ^las 
 
 Gloucester 5 
 Ely 27 
 Bourbon iS 
 Grandprk iS 
 
 Westmoreland 
 Governor 
 
 1' 
 
 
 Bedford 7 \ 
 Court 2 ( ,0 
 Nym 53 ^^ 
 Messenger 6 ) 
 
 York 
 Grey 
 
 BaRDOLI'H 
 
 F. Soldier 
 
 2 
 
 13 
 34 
 20 
 
 69 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. The Quartos of Hairy V. were pirated copies of Shakspere's work, which, for stage-purposes, he 
 
 had shortened from the original play as it appears in the Folio. 
 
 2. Henry V. contains a manifesto of the political scheme of the friends of Essex. 
 
 3. Henry V. is Shakspere's ideal of highest manhood. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 Dale: P, inter. I'liblishcr. Acted by I'nsiiit Owiurs. 
 
 f British Museum. 
 
 [600 Thomas Creede 
 
 Tho.Millington 
 
 and 
 
 lohn Busby 
 
 Lord Chamberlain's servants 
 
 Thomas Creede Thomas I'auier Lord Chamberlain's servants 
 
 T. P. 
 
 Lord Chamberlain's servants 
 
 i Bodleian Library. 
 
 I Trinity College, Cambridge. 
 
 Duke of Devonshire. 
 I Mr. A. H. Huth. 
 \ Trinity College, Cambridge. 
 / Duke of Devonshire. 
 ( British Museum. 
 
 Bodleian Library. 
 
 Trinity College, Cambridge. 
 
 Duke of Devonshire. 
 
 Mr. A. H. Huth. 
 
 In the Stationers' Registers is this entry ;— 
 
 1594. May 14. • ■ 1 1 
 Thomas Creede. Entred for his c^pie vnder thand of master Cawood warden a booke intituled. I he 
 
 famous victories of luc.ynri-: the ffyft conteyiiiiige the honorable battell of Agincourt vjl C 
 
 This play was acted by the Queen's servants. The earliest known edition is one of 159S (see p. 107). 
 Henslowe notes several performances of "harey the v." the first of which is on November 28, 
 
 1595, when the play was marked as a new one [Diary, p. 61). 
 
 In 1600 the first of the editions mentioned in the table was lirought out, entitled "The Cronicle 
 History of Henry the fift, With his battell fought at Agin Court in France. Togither with Auntient 
 Pistoll." It had no author's name, but was said to have " bene sundry times playd." 
 
 On August 4, 1600, " Henry the flift " was entered in the Registers (see p. 99) with a memorandum 
 of restriction as to printing. In the same month is this entry : — 
 
 iGoo. August 14. 1 , • , J • 
 
 Thomas Pavyer Fntn-d for his Copyes by Direction of master white warden vnder his hand wrytinge 
 
 Tluse Copyes followinge beinge thinges formerlye printed and sett over to the sayd 
 
 Thomas Pavyer. ,,/^ 
 
 The historye of Hesi:y the Vth vith the battell of Ageiicoiirt 
 
 vjd 
 
 The 1602 edition has the same title as its predecessor, and is also anonymous. 
 
 Cunningham records (see p. 71) a performance of this play at Whitehall in 1605. " By his Mat's 
 plaiers. On the 7 of January was played the play of Henry the fift." 
 
 The title of the 1608 edition differs only in spelling from that of the others. There is no author s 
 name. 
 
 In the Folio the play is called " The Life of Henry the Fift." 
 
 In 1603 Henry V. was referred to as "the p'aic of Ancient Pistoll" (HalliwelUPliillipps, Outlines, II. 330). This is 
 another instance of plays being sometimes known by subordinate portions of their titles (see pp. 107, in. 113)- 
 
 On the question of the relation of the Quartos to the Folio, the student should consult Mr. P. A. Daniel's Introduction 
 to the Parallel Text edition of the play issued by the New Shakspere Society, and Dr. Brinsley Nicholson s paper in the 
 
 Society's Transaetivns, 1S80 — 2, Part I. 
 
Ill 
 
 EVENINGS WITH SHAKSPERE. 
 
 POEMS AND SONNETS. 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. Venus and Adonis is not so fine a poem as Hero and Leander. 
 
 2. Venus and Adonis and Lucrece were written before Shakspere left Stratford. 
 
 3. The Passionate Pilgrim, regarded in the light of the facts connected with its first publication, should be 
 
 excluded from all future editions of Shakspere's works. 
 
 4. The ' W. H.' of the Sonnets is Shakspere's brother-in-law. 
 
 5. The ' Dark Woman ' of the Sonnets (identified as Mary Fitton) can be traced through all the early plays. 
 
 6. It is astounding that for fame Shakspere relied only upon the Sonnets, looking to the fact that, except as 
 
 connected with his life, they are wearisome and uninteresting. 
 
 VENUS AND ADONIS. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 
 I'ycscnl O-wncis. 
 
 Bodleian Library, 
 r British Museum. 
 - Bodleian Library. 
 [Mr. A. H. Huth. 
 J British Museum. 
 I Bodleian Library. 
 
 Sir Charles Isham. 
 
 British Museum. 
 
 Bodleian Library. 
 
 Bodleian Library. 
 { Bodleian Library. 
 I Trinity College, Cambridge. 
 
 The entries of this poem in the Stationers' Registers before 1623 are as follows : — 
 1593. April 18. 
 
 Richard ffeild Entred for his copie vnder thandes of the Archbisshop of Canterbury and 
 
 Assigned ouur to master warden Stirrop, a booke intituled V ems and Adoms. vjd S. 
 
 master Harrison senior 
 i^Junij 1594 
 
 Date. 
 
 I'yiutcy. 
 
 I'ublishcr. 
 
 1593 
 
 Richard Field 
 
 
 
 1594 
 1596 
 
 Richard Field 
 R. F. 
 
 
 lohn Harison 
 
 1599 
 1602 
 1602 
 1617 
 
 
 
 William Leake 
 
 William Leake 
 
 William Leake 
 
 W. B. 
 
 
 
 1620 
 
 
 I. P. 
 
 1594. June 25. 
 Master Harrison 
 
 Senior. 
 
 1396. June 25. 
 William leeke 
 
 Assigned ouer vnto him from Richard ffeild in open Court holden this Day a book 
 called Vekus and Adoxis vjd 
 
 The which was before entred to Richard ffeild . iS. aprilis 1593 
 
 from master harrison thelder, in full Court 
 harrisons consent. A booke called. Vexvs 
 
 vjd 
 
 ith John Monger, had bought Adam Islip's 
 
 Assigned ouer vnto him for liis copit 
 holden this day. by the said maste 
 mid A 00. VIS 
 In 1G07 Robert Raworth, a master-printer, who, > 
 business, was " supprest for printing anothers Copy" of Venus and Adonis. 
 
 In 1617 Leake transferred the copyright to Barrett (see p. 105), who afterwards assigned it to 
 Parker: — 
 1G20. March 8. 
 
 John Parker. Assigned ouer vnto him with the consent of Master Barrett, and order of a full Court 
 holden this Day all his right in theis Copies following viijs vjd 
 
 vizt 
 
 Vexl-s and Ahosis 
 
 Niilher of tlic editions has the aullior's name on the tille-paRC, but each has a dedication sipned "William Shake- 
 epcarc. " The cditois of the ' Canibii.lfie ' Shakiapcaic name an edition of 1600, said to have been published by Harrison; 
 but this cop^, which is in the Uodleian, has its title-pafic in manuscript. LookinK at the history of the copyricht given 
 above, it is impossible that Harrison could have issued an edition in that year. The 'Cambridge' editors say of the 1602 
 editions that " a comparison of the two proves to demonstration that they were different editions." 
 
 not I 
 
 .ary Vi imagine that for the incidents of tliis poem Shakspere had to turn to any written authorities, 
 
ii\-nxiXGS WITH siiaksperh. ng 
 
 LUCRECE. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 
 Date. Printer. Fublisher. Present Owners. 
 
 ["British Museum. 
 Bodleian Library. 
 1594 , Richard Field lohn Harrison - Sion College. 
 
 I Duke of Devonshire. 
 
 [Mr. A. H. Huth. 
 1598 P. S. lohn Harrison Trinity College, Cambridge. 
 
 1600 I. H. lohn Harrison Bodleian Library. 
 
 ,607 N^O. lohn Harrison | S^eSS.'^'""'"''*" 
 
 1616 T. S. Roger lackson Bodleian Library. 
 
 1616 J. G. J. Stafford British Museum. 
 
 The following is the first entry of this poem in the Stationers' Registers : — 
 1594. ]\Iay 9. 
 Master harrison Entred for his copie vnder thand of master Cawood Warden, a booke intituled 
 
 Senior the Ravyshement of Lvcp.ece vjii C 
 
 In the Bodleian there are two copies, which are not alike. 
 
 There is in the Registers this entry :— 
 160S. June 3. 
 
 John Busby Entred for their copie vnder thandes of Sir George Buck, knight and the Wardens. 
 
 Nathanael But- A Booke called . A Romane tragedie called ' The Rape of Lcciiece' vjii 
 
 ter. 
 This is Thomas Heywood's play, which afterwards went through several editions. 
 
 The transfer of the copyright of the poem is thus recorded : — 
 1614. March i. 
 
 Eoger Jackson Entred for his Coppies by consent of ^Master John Harrison the eldest and by order 
 of a Court, these 4 bookes followinge ijs 
 
 LUCP.ECE. 
 
 The editions from 1594 to 1607 give no name of author on title-page, but, as in Venus and Adonis, 
 each is accompanied by a dedication bearing the signature " William Shakespeare," whose name in 1616 
 appeared on the title-page of the editions published in that year, the date when the poem was said to be 
 "newly reuised." Each edition has an "argument," giving the story in a short prose-outline, the 
 authorship of which is uncertain. 
 
 The incidents, recorded in this poem had early found their way into ballad-literature. " The 
 grevious complaynt of Lucrece," entered in the Registers in 1568-9; "The Death of Lucryssia," 
 1569-70, are instances of the popular treatment of a subject which had engaged the attention of various 
 writers from Chaucer onwards. 
 
 It would be interesting to have a paper on the notices which Shakspere's poems received from his 
 contemporaries, who seem to have been more favourably impressed by the poems than they were by 
 the plays. 
 
I20 EVEXIX-GS WITH SHAKSPERE. 
 
 THE PASSIONATE PILGRIM. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 
 Date. 
 
 Printer. 
 
 I'uhlisher. 
 
 Present Owners. 
 
 1599 
 
 ForW. laggard 
 
 W. Leake 
 
 Trinity College, Cambridge. 
 
 1612 
 
 W. laggard 
 
 
 Bodleian Library. 
 
 This collection of poems, by various authors, was not entered in the Stationers' Registers. 
 
 The title of the 1599 edition is merely " The Passionate Pilgrime. By \V. Shakespeare." 
 
 On the title-page the 1612 edition is called the third edition. It is entitled " The Passionate 
 Pilgrime. or Certaine Amorous Sonnets, betweene Venus and Adonis, newly corrected and augmented. 
 By W. Shakespere. The third Edition. Whereunto is newly added two Loue-Epistles, the first from 
 Paris to Hellen, and Hellens answere backe againe to Paris." These love-epistles were from a work 
 by Thomas Heywood, who took exception to their Shaksperian association in the title. He speaks 
 {Apology for Actors, ed. Shakespeare Society, p. 62) of the injury done to his " Britaines Troy" by 
 printing these poems " in a lesse volume under the name of another " — a strange and slightingly vague 
 way of alluding to Shakspere in the year 161 2. The Bodleian copy has two title-pages, in one of which 
 Shakspere's name is omitted. 
 
 A full analysis of the contents of the 1599 edition is given in the 1821 Variorum. A very useful 
 account may be found in Halliwell-Phillipps's Outlines (Vol. I. pp. 375 8), and a briefer one in Furnivall's 
 Introduction to the ' Leopold ' Shakspere (pp. xxxv.-vi.). 
 
 In almost the same words three of the sections of The Passionate Pilgrim were in the 1598 Love's 
 Labour's Lost. That one which comes in "Sonnets To sundry notes of Musicke" — a separate part of 
 the 1599 collection— was also printed in lOoo in England's Helicon as "The Passionate Shepherd's Song," 
 with "\V. Shakespeare" attached. England's Helicon contained some other parts of The Passionate 
 Pilgrim. 
 
/rr/T.V/.VG.S 11777/ SIIAKSPERF. 121 
 
 Date. 
 
 riinter. 
 
 Vublhher. 
 
 1609 
 
 G. Eld for T. T. 
 
 lohn Wright 
 
 THE PHCENIX AND THE TURTLE. 
 
 This poem, over the name of "William Shakc-speare," is first met with in a book published in 1601 
 under the following title: " Loves Martyr: or, Rosalins Complaint. Allegorically shadowing the truth 
 of Loue, in the constant Fate of the Phccnix and Turtle. A Poeme enterlaced with much varietie 
 and raritie ; now hrst translated out of the venerable Italian Torquato Cseliano, by Robert Chester. 
 With the true legend of famous King Arthur, the last of the nine Worthies, being the first Essay of a 
 new Brytish Poet : collected out of dmerse Authenticall Records. To these are added some new com- 
 positions, of seuerall moderne Writers whose names are subscribed to their seuerall workes, vpon the 
 first subi'ect: viz. the Phcenix and Turtle." The Rev. Alexander B. Grosart, in his edition of Love's 
 Martyr, issued as one of the New Shakspere Society's volumes, says "by the 'Phoenix' Shakespeare 
 intended Elizabeth, and by the 'Dove' Essex, and the 'Phoenix and Turtle," hitherto regarded as a 
 mere enigmatical epicedial lay ... . will be recognized as of rarest interest" (pp. Ix.-i.). The 
 whole of Dr. Grosart's Introduction should be studied. Mr. Furnivall controverts Dr. Grosarfs views 
 (New Shakspere Society's Transactions, 1877-9, Part III.). 
 
 THE SONNETS. 
 
 EARLIEST KNOWN EDITION. 
 
 Present Owners 
 British Museum. 
 Bodleian Library. 
 Trinity College, Cambridge. 
 Bentinck's Library, Varel. 
 
 Of this edition some copies, of which the British Museum has one, have "William Asplcy " on 
 the title-page in place of Wright's name. 
 
 In 1598 Meres, referring to Shakspere, mentions "his sugred sonnets among his priuate friends." 
 It is not known what these were. 
 
 In substantially the same form, two of the Sonnets are first seen in print in the 1599 rassioiiate 
 Pilgrim . 
 
 In the Stationers' Registers is this entry :— 
 1609. May 20. 
 
 Thomas Thorpe Entred for his copie vnder thandes of master Wilson and master Lownes Warden a 
 Booke called Shakespearfs sonnettes TJ* 
 
 The edition has the title " Shake-speares Sonnets. Neuer before Imprinted." 
 
 The critical student of the Sonnets can always find occupation in demolishing the theories that 
 have been offered in their explanation. 
 
 The edition edited by William Sharp and published by Walter Scott (1887) is a useful companion. 
 
 A LOVER'S COMPLAINT. 
 
 "A Louers complaint. By William Shake-speare," was printed at the end of the edition of the 
 Sonnets. 
 
 17 
 
A WOMAN KILLED WITH KINDNESS 
 
 
 
 
 
 
 
 
 
 _^^__ 
 
 
 
 
 ^^_ 
 
 ,^,^ 
 
 
 ^.^ 
 
 
 
 ■_^ 
 
 
 
 
 I. 
 
 II. 
 
 III. 
 
 IV. 
 
 V. 
 
 
 1 
 
 
 tc 
 
 
 
 
 
 
 0" 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 = 
 
 CHARACTERS. 
 
 
 2 
 
 I 
 
 2 
 
 I 
 
 2 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 I 
 
 2 3 
 
 4 
 
 a, 
 
 ^ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 183 
 
 Sir Franxis Acton 
 
 
 49 
 
 
 16 
 
 
 
 35 
 
 
 23 
 
 
 
 
 
 27 
 
 
 • 33 
 
 
 370 
 
 Sir Charles IMountford 
 
 
 45 
 
 
 67 
 
 
 7 ... 
 
 4S 
 
 
 
 87 
 
 
 
 
 87 
 
 
 • 9 
 
 
 248 
 
 Wendoll 
 
 
 6 
 
 ... 
 
 8 
 
 15 • 
 
 . 114 
 
 
 23 
 
 
 
 28 
 
 
 
 
 
 4 ••• 
 
 
 427 
 
 Frankford 
 
 
 12 
 
 
 
 55 ■ 
 
 
 ... 
 
 127 
 
 
 
 52 
 
 
 125 
 
 
 23 • 
 
 • 33 
 
 
 39 
 
 Cranwell 
 
 
 4 
 
 
 2 
 
 
 
 
 5 
 
 
 
 II 
 
 
 I 
 
 
 5 • 
 
 • 5 
 
 
 31 
 
 Malby 
 
 
 I 
 
 
 ... 
 
 
 
 6 
 
 
 6 
 
 
 
 
 
 2 
 
 
 . II 
 
 
 133 1 Jenkin 
 
 
 
 22 
 
 
 13 • 
 
 ■ 19 
 
 
 21 
 
 
 
 3 
 
 23 
 
 4 
 
 
 
 5 12 
 
 
 149 i Nicholas 
 
 
 
 17 
 
 
 18 . 
 
 • 19 
 
 
 47 
 
 
 
 9 
 
 
 18 
 
 
 4 I 
 
 5 2 
 
 
 16 I Jack Slime 
 
 
 
 16 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 . ... 
 
 
 3 ! Roger Brickbat 
 
 ... 
 
 
 3 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 5j"ALL^' 
 
 
 
 2 
 
 
 
 
 ... 
 
 
 
 
 
 
 2 
 
 
 ... . 
 
 I 
 
 
 I Falconer 
 
 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 9 
 
 Sheriff 
 
 
 
 
 9 
 
 
 
 
 
 
 
 
 
 
 _ 
 
 ... . 
 
 
 
 17 
 
 Keeper 
 
 
 
 
 
 
 2 
 
 
 
 
 15 
 
 ... 
 
 
 
 
 
 
 
 38 
 
 Shafton 
 
 
 
 
 
 
 9 ... 
 
 19 
 
 
 
 
 
 
 
 
 
 
 
 6 
 
 Butler 
 
 
 
 
 
 
 
 
 G 
 
 
 
 
 
 
 
 
 
 
 7 
 
 Old MouNTForn 
 
 
 
 
 
 
 
 
 
 7 
 
 
 
 
 
 
 
 
 
 5 
 
 Sandy 
 
 
 
 
 
 1 
 
 
 
 
 5 
 
 
 
 
 
 
 
 
 
 4 j RODER 
 
 
 
 
 
 
 
 
 
 4 
 
 
 
 
 
 
 
 
 
 4 
 
 Tidy 
 
 
 
 ... 
 
 
 
 
 
 
 4 
 
 
 
 
 
 
 
 
 
 7 
 
 Serving-man 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 7 
 
 
 
 
 
 
 2 
 
 Carter 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 14 
 
 "Prologue" 
 
 M 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 234 
 
 Mistress Frankford .. 
 
 
 9 
 
 
 
 12 . 
 
 • 44 
 
 
 17 
 
 
 ... 
 
 23 
 
 
 44 
 
 
 .. 5 
 
 4 31 
 
 
 23 
 
 SiSLY 
 
 
 
 3 
 
 
 7 • 
 
 
 
 
 
 
 
 8 
 
 
 
 
 3 2 
 
 
 141 
 
 Susan 
 
 
 
 
 23 
 
 
 . ... 
 
 9 
 
 
 28 
 
 26 
 
 
 
 
 49 
 
 
 . 6 
 
 
 18 
 
 "Ern.ccu'E" 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 18 
 
 2134 
 
 
 M 
 
 12O 
 
 C3 
 
 126 
 
 120 5 
 
 9 19G 
 
 117 
 
 246 
 
 77 
 
 128 
 
 126 
 
 38 
 
 194 
 
 165 
 
 32,1 
 
 44145 
 
 18 
 
 2044 j Actual Number of Lines 
 1 
 
 14 
 
 iiG 
 
 f>3 
 
 109 
 
 "3 5 
 
 8 189 
 
 112 
 
 240 
 
 75 
 
 125 
 
 ^ 
 
 3« 
 
 iSS 
 
 15C 
 
 31 ,1 
 
 41 141 
 
 18 
 
 In British Dyimatisls there is no division of Acts or Scenes. The arrangement of Scenes is ob\ ious. It 
 will, however, be better to let Act V. have only the last Scene. 
 
EVENIXGS WITH SIIAKSPERE. 12^ 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 FIFTEEN CHARACTERS SINGLY AND THREE GROUPS. 
 
 Tidy 4)^ Sandy 5)^ Roger si 
 
 Carter 2 \ Falconer i \ Roder 4 J ' 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. Taking the limits within which it is to be regarded, the moral sentiment of A Woman Killed ivith 
 
 Kindness is admirable. 
 
 2. Thomas Heywood's manner in domestic drama is a model for playwrights. 
 
 3. Judged by his writings, Thomas Heywood— whether looked upon as a dramatist, actor, or man— 
 
 deser\-es the very highest respect. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 
 Date. Printer. Publisher. Acted by Present Owners. 
 
 1607 William laggard lohn Hodgets ' British Museum. 
 
 1617 Isaac laggard The Queen's servants British Museum. 
 
 On February 5, 1603, Henslowe " Pd unto Thomas hewode, for a womones gowne of blacke 
 vellvett, for the playe of a womon Kylld with Kyndnes, some of vjli 13s." On the 12th of the same 
 month he " Pd at the apoyntment of the company, unto Thomas Heywood, in pt of payment for his 
 playe called A womon kylled with Kyndnes, the some of iijli." On the 6th of the following month he 
 "Pd at the apoyntment of the company, unto Thomas Hewode, in fulle payment for his playe called 
 a womon Kyld with Kyndnes, the some of iij'i"; and the next day he " Pd at the apoyntment of 
 Thomas Blackewod, unto the tayller which made the blacke satten sewt for the woman Kyld with 
 Kyndnes, the some of .xs" {Diary, pp. 248-50). 
 
 The title of the 1607 edition is merely " A \Voman kikle with Kindnesse." It is said to be 
 "Written by Tho ; Heywood." 
 
 The title of the 1617 copy, which is described as " The third Edition," is the same as that of 1607, 
 and the author's name is given in the same form. 
 
 This play was not entered in the Stationers' Registers. 
 
 17* 
 
AS YOU LIKE IT. 
 
 
 1 
 Is 
 
 1° 
 
 CHARACTERS. 
 
 L 
 
 IL 
 
 in. 
 
 IV. 
 
 V. 
 
 
 I 
 
 2 
 40 
 
 5 
 
 30 
 53 
 21 
 
 93 
 63 
 
 305 
 
 3 
 24 
 
 66 
 
 57 
 
 .47 
 
 I.)C 
 
 I 
 
 29 
 3 
 
 39 
 2 
 
 73 
 O9 
 
 2 
 
 8 
 
 4 
 9 
 
 21 
 
 21 
 
 3 
 
 23 
 
 54 
 
 77 
 
 76 
 
 4 
 26 
 
 26 
 19 
 
 7 
 
 20 
 
 104 
 
 100 
 
 1 
 
 5 
 
 30 
 
 35 
 
 65 
 65 
 
 6 
 
 16 
 3 
 
 19 
 19 
 
 7 
 
 32 
 2 
 
 51 
 20 
 3 
 
 100 
 
 20b 
 203 
 
 2 
 16 
 
 18 
 18 
 
 2 
 62 
 
 70 
 
 37 
 24 
 
 72 
 192 
 
 457 
 
 3 
 
 76 
 
 16 
 5 
 
 12 
 
 r 
 r 
 
 4 
 
 ID 
 
 32 
 22 
 
 r 
 
 62 
 
 5 
 
 29 
 
 43 
 
 72 
 
 144 
 139 
 
 I 
 
 41 
 
 18 
 
 ... 
 
 12 
 153 
 
 224 
 
 224 
 
 2 
 
 I 
 
 8 
 
 19 
 
 3 
 
 80 
 
 14 
 
 22 
 74 
 
 190 
 
 1 84 
 
 I 
 49 
 
 2 
 11 
 
 7 
 
 69 
 
 r.9 
 
 2 
 
 29 
 
 10 
 
 ... 
 ... 
 
 13 
 
 74 
 9 
 
 135 
 
 3 
 
 II 
 
 ... 
 ... 
 
 4 
 
 31 
 
 27 
 
 73 
 
 49 
 
 4 
 II 
 
 54 
 
 ... 
 
 31 
 
 I 
 34 
 
 -4 
 6 
 
 17 
 
 45 
 6 
 
 229 
 
 228 
 
 1 
 
 
 322 
 
 66 
 
 154 
 
 3 
 
 45 
 
 316 
 
 53 
 
 69 
 
 III 
 
 53 
 
 43 
 
 2 
 
 4 
 
 9 
 
 75 
 
 76 
 
 235 
 
 5 
 
 ID 
 
 II 
 24 
 
 6 
 
 17 
 
 304 
 749 
 23 
 87 
 31 
 27 
 
 Orlando 
 
 Adam 
 
 Oliver 
 
 Dennis 
 
 Charles 
 
 Touchstone 
 
 Le Beau 
 
 Duke Frederick 
 
 Duke senior 
 
 Amiens 
 
 1ST Lord (Duke senior)... 
 2ND Lord 
 
 1ST Lord (Duke Fked.)... 
 2ND Lord ,, 
 
 Corin 
 
 SiLVIUS 
 
 Jaques 
 
 Sir Oliver 
 
 Forester 
 
 William 
 
 " Hymen" 
 
 "All" (Song) 
 
 Jaques de Boys 
 
 Celia 
 
 Rosalind 
 
 Audrey 
 
 PHEBE 
 
 1ST Page 
 
 2ND Page 
 
 68 
 
 7 
 62 
 
 3 
 40 
 
 iFo 
 
 
 2930 
 
 2867 
 
 Actual Number of I,incs 
 
EVEXIXCsS WITH SIIAKSPERE. 1 25 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 FIFTEEN CHARACTERS SINGLY AND THREE GROUPS. 
 
 SirOiivfr O Dennis 3) William ii 
 
 oNDLoPDmnKEF^ or-^ Forester , ^° h^ ist Lord (Duke F.) 4 
 
 2ND LORD (UUKE !■.) g) 2ND LORD (DUKE S.) 2] \ / t 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. Shakspere founded As You Like It upon a similar play, and not directly upon -Lodge' s Rosalynde . 
 
 2. It is a characteristic evidence of Shakspere's intention to be a moral teacher that he altered the 
 
 fate of Duke Frederick. 
 
 3. From As You Like It much may be gathered to show the influence of poets upon one another. 
 
 THE EARLIEST KNOWN EDITION IS THE 1623 FOLIO. 
 
 On August 4, 1600, there is an entry of this play in the Stationers' Registers (see p. 99)- The 
 restriction then imposed upon its printing does not seem to have been removed, as in the case of the 
 plays mentioned with it. The publishers of the Folio in 1623 included As You Like It in their entry in 
 the Registers, evidently considering that the 1600 entry did not bring the play within the category of 
 those w^hich had been " formerly entred to other men." 
 
 Thomas Lodge's novel, Rosalyndc, the first edition of which was published in 1590, should be 
 studied in connection with this play. It is reprinted in Hazlitfs Shakespeare's Library and in Cassell's 
 National Library. In the latter series, The Tale of Gamelyn, for some time attributed to Chaucer, is 
 reprinted with As You Like It, as it is probable that Lodge was indebted to it. 
 
THE LONDON PRODIGAL 
 
 CHARACTERS. 
 
 2G6 
 
 124 
 
 398 
 
 373 
 
 49 
 
 92 
 
 32 
 
 90 
 
 6 
 
 65 
 
 4 
 
 156 
 
 9 
 
 7 
 
 7 
 
 53 
 122 
 69 
 
 1934 
 
 1926 
 
 Fl 0^\ERDALE SENIOR .. 
 
 Flowerdale junior .., 
 Matth w Flowerdale 
 
 Sir Lancelot 
 
 Artichoke 
 
 Weathercock 
 
 Daffodill 
 
 Civet 
 
 Drawer 
 
 Sir Arthur 
 
 Soldier 
 
 Oliver 
 
 Ralph 
 
 Ruffian 
 
 Citizen 
 
 Frances 
 
 Luce 
 
 Delia 
 
 Citizen's Wife ... 
 
 233 
 
 Actual Number of Lines I 233 15 
 
 27 iGS 
 
 167 
 
 28 
 
 in. 
 
 60 
 
 34 
 
 II 
 
 45 
 
 53 
 
 47 
 
 56 
 
 46 
 
 
 8 
 
 
 4 
 
 IV. 
 
 59 
 
 59 
 
 136 
 57 
 4 
 II 
 
 .(10 
 
 409 
 
EVEXIKGS WITH SHAKSPERE. 
 
 127 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. As it can be shown that Faire Em is by Shakspere, The Loudon Prodigal must also be ascribed to 
 
 him (see Suggestion i. p. 97). 
 
 2. The plot of The Loudon Prodigal tells the story of a rivalship between Greene, IMarlowe, and Peele 
 
 for the office of poet to the Queen's servants. 
 
 3. The fact that Shakspere acted in The London Prodigal, and in other plays, was enough to e.xcite the 
 
 indignation of Nash and Greene at this degradation of an author's position. 
 
 Date. 
 1605 
 
 EARLIEST KNOWN EDITION. 
 
 Publisher. Acted by 
 
 T. C. 
 
 Nathaniel Butter 
 
 The King's servants 
 
 Present Owners. 
 British Museum. 
 Bodleian Library. 
 Trinity College, Cambridge. 
 Duke of Devonshire. 
 
 The title of this edition is merely "The London Prodigall." It is said to be "By William 
 Shakespeare." 
 
 Richard Simpson's researches {The School 0/ Shakspere, Yo\. II.) led him to think that The London 
 Prodigal was acted before 1592. If so, the e.xisting play is probably a revised form. 
 
 This play was not entered in the Stationers' Registers. 
 
TWELFTH NIGHT. 
 
 "5 o 
 
 7 
 M 
 32 
 398 
 183 
 344 
 306 
 107 
 128 
 128 
 
 353 
 1G9 
 321 
 
 2739 
 2G92 
 
 CHARACTERS. 
 
 Duke 
 Curio 
 Valentine 
 Captain -... 
 Sir Toby... 
 Sir Andrew 
 Clown ... 
 IMalvolio 
 Antonio ... 
 Sebastian 
 Fabian 
 Servant .. 
 1ST Officer 
 2ND Officer 
 Trie-st 
 
 Viola 
 Maria 
 Olivia ... 
 
 Actual No. of Lines 
 
 27 
 
 14 
 
 29 
 
 33 
 
 III. 
 
 69 
 
 144 
 iS 
 
 58 
 33 
 
 40 
 
 4 
 6 
 
 4 
 
 5(3 
 29 
 45 
 
 437 
 433 
 
 IV. 
 
 V. 
 
 I 
 
 2 
 
 3 
 
 ■ 
 
 
 
 
 94 
 
 10 
 
 13 
 
 
 7 
 
 7 
 
 
 
 20 
 
 20 
 
 n 
 
 
 77 
 
 ... 
 
 45 
 
 
 19 
 
 28 
 
 17 
 
 6 
 
 23 
 
 ... 
 
 32 
 30 
 
 6 
 
 8 
 46 
 
 16 
 
 
 12 
 
 67 
 
 70 
 
 141 
 
 35 
 
 434 
 
 Chj 
 
 141 
 
 35 
 
 418 
 
EVENIXGS WITH SIIAKSPERE. 129 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. As Twelfth Night is Shakspere's last play dominated by the genial spirit of Comedy, the date of its 
 
 production is that of a change in his circumstances altering his view of life. 
 
 2. Shakspere in Twelfth Night made his grand attack on the Puritan party. 
 
 3. In Twelfth Night, Shakspere satirised Marston as Malvolio and Ben Jonson as Sir Toby Belch. 
 
 THE EARLIEST KNOWN EDITION IS THE 1623 FOLIO. 
 
 Under the date of February 2, 1602, John Manningham, a barrister of the Middle Temple, entered 
 in his Diary, now amongst the Harleian MSS. in the British Museum, "At our feast wee had a play 
 called 'Twelue Night, or What you Will,' much like the Commedy of Errores, or Menechmi in Plautus, 
 but most like and neere to that in Italian called Inganni. A good practise in it to make the Steward 
 beleeve his Lady widdowe was in love with him, by counterfeyting a letter as from his Lady in generall 
 termes, telling him what shee liked best in him, and prescribing his gesture in smiling, his apparaile, &c., 
 and then when he came to practise making him beleeue they tooke him to be mad." (Camden Society 
 edition of the Diary, p. 18.) 
 
 Cunningham {Op. cit. p. xlv.) gives this entry from the Office Books of the Treasurers of the 
 Chamber: "To John Heminges &c upon a warrant dated 20 April 1618 for presenting two several] 
 Playes before his Maty, on Easter Monday Twelfte night the play soe called and on Easter Tuesday the 
 Winter's Tale xxH." (see p. 71). 
 
 The first mention of this play in the Stationers' Registers is in the entry of the First Folio. 
 
 Commentators have written learnedly about the differences between the comedy named by Man- 
 ningham and another Italian play, Ingannati, to which it is said Twelfth Night bears a yet closer resem- 
 blance. It may safely be concluded that Shakspere knew nothing about either of them. He was quite 
 as capable as either of their authors of inventing the incidents of the story ; or, at all events, he was 
 equal to developing it after hearing it spoken about by his companions. The incident of the disguised 
 page and her love-adventures was common enough in literature. 
 
 18 
 
JULIUS OESAR. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 1 
 
 
 I. 
 
 
 IL 
 
 
 in. 
 
 IV. 
 
 V. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 CHARACTERS. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 2 
 
 3 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 I : 
 
 I 
 
 3 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 
 26 
 
 Flavius 
 
 26 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 1ST Commoner 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 33 
 
 Marcellus ... 
 
 
 33 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 20 
 
 2ND Commoner 
 
 
 20 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 154 
 
 Cesar 
 
 
 
 39 
 
 
 
 72 
 
 
 
 40 
 
 
 
 
 
 3 
 
 
 
 
 
 
 
 136 
 
 Casca 
 
 
 
 
 67 
 
 57 
 
 10 
 
 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 
 
 327 
 
 Antony 
 
 
 
 
 6 
 
 
 
 I 
 
 
 
 98 
 
 146 
 
 
 38 : 
 
 . 
 
 
 22 
 
 
 ... 
 
 's 
 
 8 
 
 
 18 
 
 Soothsayer ... 
 
 
 
 
 3 
 
 
 
 
 
 14 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 727 
 
 Brutus 
 
 
 
 
 73 
 
 
 180 
 
 3 
 
 
 
 79 
 
 55 
 
 
 ••• 3 
 
 4 
 
 204 
 
 33 
 
 g' 
 
 is 
 
 3 
 
 39 
 
 
 507 
 
 Cassius 
 
 
 
 
 143 
 
 95 
 
 37 
 
 
 
 
 46 
 
 
 
 > 
 
 ? 
 
 98 
 
 49 
 
 
 32 
 
 
 
 
 9 
 
 Cicero 
 
 
 
 
 
 9 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 18 
 
 Cinna 
 
 
 
 
 
 9 
 
 4 
 
 
 
 
 5 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 33 
 
 Lucius 
 
 
 
 
 
 
 17 
 
 
 
 6 
 
 
 
 
 
 
 
 10 
 
 
 
 
 
 
 
 44 
 
 Decius 
 
 
 
 
 
 
 
 12 
 
 25 
 
 
 
 7 
 
 
 
 
 
 
 
 
 
 
 
 
 
 17 
 
 Metellus 
 
 
 
 
 
 
 
 9 
 
 
 
 
 8 
 
 
 
 
 
 
 
 
 
 
 
 
 
 8 
 
 Trebonius 
 
 
 
 
 
 
 
 3 
 
 2 
 
 
 
 3 
 
 
 
 
 
 
 
 
 
 
 
 
 
 15 
 
 Ligarius 
 
 
 
 
 
 
 
 15 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 30 
 
 Servant 
 
 
 
 
 
 
 
 
 5 
 
 
 ,. 
 
 21 
 
 4 
 
 
 
 
 
 
 
 
 
 
 
 
 2 
 
 PUBLIUS 
 
 
 
 
 
 
 
 
 I 
 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 20 
 
 Artemidorus ... 
 
 
 
 
 
 
 
 
 
 16 
 
 
 4 
 
 
 
 
 
 
 
 
 
 
 
 
 
 2 
 
 POPILIUS 
 
 
 
 
 
 
 
 
 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 15 
 
 "All" 
 
 
 
 
 
 
 
 
 
 
 
 
 14 
 
 
 
 
 
 
 
 
 
 
 i 
 
 
 23 
 
 1ST Citizen ... 
 
 
 
 
 
 
 
 
 
 
 
 
 18 
 
 5 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 24 
 
 2ND Citizen ... 
 
 
 
 
 
 
 
 
 
 
 
 
 iS 
 
 6 
 
 
 
 
 
 
 
 
 
 
 
 23 
 
 3RD Citizen ... 
 
 
 
 
 
 
 
 
 
 
 
 
 16 
 
 7 
 
 
 
 
 
 
 
 
 
 
 
 23 
 
 4TH Citizen ... 
 
 
 
 
 
 
 
 
 
 
 
 
 14 
 
 9 
 
 
 
 
 
 
 
 
 
 
 
 16 
 
 CiNNA (Poet) ... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 16 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 47 
 
 OCTAVIUS 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 12 . 
 
 
 
 
 25 
 
 
 
 
 10 
 
 
 4 
 
 Lepidus 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 4 
 
 
 
 
 
 
 
 
 
 
 26 
 
 LUCILIUS 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ... I 
 
 
 
 
 
 I 
 
 
 
 12 
 
 2 
 
 
 16 
 
 PiNDARUS 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 13 
 
 
 
 
 5 
 
 1ST Soldier ... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 
 
 
 
 4 
 
 
 
 2 
 
 2ND Soldier ... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 J 
 
 
 
 
 
 
 
 
 
 
 I 
 
 3RD Soldier ... 
 
 
 
 
 
 
 
 
 
 
 
 
 ■■ 
 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 7 
 
 Poet 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 7 
 
 
 
 
 
 
 
 39 
 
 Messala 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 14 
 
 2 
 
 
 19 
 
 
 4 
 
 
 32 
 
 TiTINIUS 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 ... 
 
 31 
 
 
 
 
 6 
 
 Varro 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 6 
 
 
 ... 
 
 
 
 
 
 4 
 
 Claudius 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 4 
 
 
 
 
 
 
 
 4 
 
 Messenger ... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 4 
 
 
 
 
 
 
 8 
 
 Cato 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 3 
 
 5 
 
 
 
 10 
 
 Clitus 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 10 
 
 
 3 
 
 Dardanius 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 3 
 
 
 3 
 
 VOLUMNIUS 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 3 
 
 
 7 
 
 Strato 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 '. 
 
 
 
 
 
 
 7 
 
 
 27 
 
 Calpurnia 
 
 
 
 
 I 
 
 
 
 
 2G 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 92 
 
 Portia 
 
 
 
 
 
 
 
 62 
 
 
 
 30 
 
 
 
 
 
 
 
 
 
 '" ! 
 
 
 
 
 2614 
 
 
 80 
 
 332 
 
 170 
 
 349 I 
 
 35 
 
 iG 
 
 50 
 
 317 
 
 ^sT 
 
 43 
 
 54 5 
 
 7 
 
 348 
 
 .36 
 
 6 
 
 116 
 
 33 
 
 "s^ 
 
 
 2480 
 
 Actual No. of Lines 
 
 80 
 
 326 
 
 164 
 
 334 I 
 
 -'J 
 
 iG 
 
 4G 
 
 298 
 
 276 
 
 43 
 
 51 5 
 
 2 
 
 309 
 
 12G 
 
 6 
 
 no 
 
 32 
 
 82 
 
 
 The tliinl ii.ame in the list should be IMarulIus. 
 
EVENINGS WITH SHAKSPERE. 
 
 131 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 FIVE CHARACTERS SINGLY AND THIRTEEN GROUPS. 
 
 Lepidus 
 
 CiNNA 
 
 LuciLius 26 
 
 8-48 
 
 6j 
 
 popilius 2~] 
 Messala 39 [-46 
 1ST Soldier 5 J 
 
 Trebonius 8^ 
 Marullus 33 [-48 
 Poet 7 J 
 
 Cicero 9"] 
 Strato 7 -49 
 
 Lucius 33 J 
 
 Metellus 17"] 
 Flavius 26 ^49 
 Varro 6 J 
 
 Cato 8 1 
 
 Soothsayer 18 '^49 
 3RD Citizen 23 J 
 
 Artemidorus 20 ■] 
 1ST Citizen ->-> '- 
 
 23 r47 
 
 Messenger 
 
 j; 
 
 Claudius 
 2ND Citizen 
 2NdCommoner 
 
 24I48 
 20J 
 
 OCTAVIUS 
 
 1ST Commoner i j»4g 
 
 3RD SOLDIEF 
 
 ner I U 
 :r I J 
 
 PUBLIUS 2^ 
 
 LiGARius 15 ^49 
 Titinius 32 J 
 
 Decius 
 
 Dardanius 3 r49 
 2ND Soldier 2 J 
 
 n] 
 
 VOLUMNIUS 3"! 
 
 CiNNA (Poet) 16 [-49 
 Servant 
 
 r 
 30 J 
 
 Clitus 10^ 
 
 Pindarus 16 -49 
 4TH Citizen 23 J 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. jfuUiis Co'say in its present form is Ben Jonson's abridgement of Shakspere's play. 
 
 2. The unintentional result of Julius disar is a glorification of tyrannicide. 
 
 3. The characterisation and the details of Julius Casar show Shakspere's ignorance of classical matters. 
 
 THE EARLIEST KNOWN EDITION IS THE 1623 FOLIO. 
 
 There is no earlier notice of the play either in the Stationers' Registers or (definitely) elsewhere. 
 It would be an interesting problem for the student to endeavour to fix its date either by external or 
 internal evidence. For this purpose references to contemporary literature have not much value, as 
 between 1562 and 1613 many plays on the history of Julius Caesar were published. 
 
 This may be the play described in 1613 as "Caesars Tragedye" (see p. 103). 
 
 The passages in Plutarch's Lives should be carefully compared with the corresponding ones in the 
 play. They are easily accessible in many places. 
 
 18 
 
A YORKSHIRE TRAGEDY. 
 
 
 
 
 
 
 
 I. 
 
 
 
 
 
 
 ^3 
 
 CHARACTERS. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 P 
 
 
 1 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 8 
 
 9 
 
 10 
 
 24 
 
 Oliver 
 
 24 
 
 
 
 
 
 
 
 
 
 
 18 
 
 Ralph 
 
 18 
 
 
 
 
 ... 
 
 
 
 
 
 ... 
 
 42 
 
 Samuel 
 
 42 
 
 ... 
 
 
 
 
 
 
 
 
 
 275 
 
 Husband 
 
 
 84 
 
 20 
 
 68 
 
 26 
 
 4 
 
 
 20 
 
 7 
 
 46 
 
 13 
 
 1ST Gentleman 
 
 
 7 
 
 ... 
 
 ... 
 
 ... 
 
 
 
 I 
 
 4 
 
 I 
 
 4 
 
 2ND Gentleman 
 
 
 I 
 
 
 ... 
 
 
 ... 
 
 
 3 
 
 
 
 I 
 
 3RD Gentleman 
 
 
 I 
 
 ... 
 
 
 
 
 
 
 
 
 38 
 
 Servant 
 
 
 3 
 
 10 
 
 
 5 
 
 ... 
 
 20 
 
 
 
 
 48 
 
 4TH Gentleman 
 
 
 48 
 
 
 ... 
 
 
 
 
 
 
 
 64 
 
 Master 
 
 
 ... 
 
 
 33 
 
 
 3 
 
 7 
 
 9 
 
 3 
 
 9 
 
 3 
 
 "All" 
 
 
 
 
 
 ... 
 
 
 
 3 
 
 
 ... 
 
 21 
 
 Knight 
 
 
 
 
 ... 
 
 
 
 
 
 21 
 
 
 I 
 
 Officer 
 
 
 
 
 
 
 
 
 
 ... 
 
 I 
 
 163 
 
 Wife 
 
 
 53 
 
 O5 
 
 
 9 
 
 
 14 
 
 
 
 22 
 
 7 
 
 1ST Son 
 
 
 
 
 7 
 
 
 
 
 
 
 ... 
 
 8 
 
 Maid 
 
 
 
 
 
 8 
 
 
 
 
 
 
 I 
 
 2ND Son 
 
 
 
 
 
 I 
 
 
 
 
 
 
 731 
 
 
 84 
 
 197 
 
 95 
 
 108 
 
 A 9 
 
 7 
 
 41 
 
 iO 
 
 35 
 
 79 
 
 706 
 
 Actual Number of Lines 
 
 79 
 
 1S5 
 
 95 
 
 108 
 
 48 
 
 7 
 
 40 
 
 35 
 
 33 
 
 76 
 
IIVEXIXGS WITH SIIAKSPERE. 133 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 Looked at in the light of the external evidence, Shakspere's authorship of at least the first scene of 
 
 A Yorkshire Tragedy must be admitted, even if the rest of the play has to be given to Beaumont. 
 The brevity of A Yorkshire Tragedy is to be accounted for by a stage-practice of the time, of which 
 
 this play is an interesting, because rare, example. 
 By inserting in A Yorkshire Tragedy the lines from Pierce Penilesse, Shakspere meant to indicate a 
 
 similarity between Nash and the criminal, and thus exhibits the same unforgiving spirit that he 
 
 showed towards Greene. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 
 Printer. 
 
 Acted by Pnscid Ozvncrs. 
 
 British Museum. 
 
 1608 
 
 R B Thomas Pauier The King's servants \ Bodleian Library. 
 
 Duke of Devonshire. 
 
 i British Museum. 
 Bodleian Library. 
 Trinity College, Cambridge. 
 
 f Duke of Devonshire. 
 
 This play w^as thus entered in the Stationers' Registers :— 
 
 1608. May 2. 
 
 Master Pavyer Entered for his Copie vnder the handes of master Wilson and master Warden Seton 
 A booke Called A Yorkshire Tragedy written by Wvlli.\m Sh.\kespere vjd 
 
 The title of the 1608 edition is in the same words as in the entry, and is followed by the statement 
 that it was " Not so new as Lamentable and true." This is an allusion to the murder which had been 
 committed in 1605. It is stated to have been played at the Globe, and to have been "Written by W. 
 Shakspeare." 
 
 The 1619 edition has the same words for its title. There is no reference to the acting. The author 
 is described as "W. Shakespeare." 
 
 The outrage which forms the subject of this play is thus referred to in Stow's Chronicle (ed. 1631, 
 pp. 870-1): "Walter Caluerly, of Caluerly in Yorkeshire, Esquier, murthred 2. of his yong children 
 stabbed his wife into the body with full purpose to haue murthred her, and instantly went from his 
 house to haue slain his yongest child at Nurse, but was preuented. For which fact at his tryall in 
 Yorke, he stood mute, and was iudged to be prest to death, according to which iudgement he was 
 executed at the Castell of Yorke, the fift of August." Events of the kind quickly called forth a certain 
 sort of literature. In reference to this murder there are in the Stationers' Registers the following 
 entries : — 
 1605. June 12. 
 
 Nathaniel Butter Entred for his copie vnder thandes of master hartwell and master norton warden 
 A booke called Tkvo vnnaturall Murthers. the one practised by master Coverlet a Yorkshire 
 gent vppon his Kife and happened on his children the 2-i of Aprilis 160s '^j^ 
 
 Thomas Pavyer Entred for his Copie vnder the handes of the wardens A ballad 0/ Lamentable Muriher 
 Donne in Yorkeshire by a gent vppon 2 of his owne Children sore woundinge his IVyfe and 
 Nurse ^j*^ 
 
 1605. August 24, 
 
 Nathanael Butter Entred for his Copie vnder the hand of Master ffeild The Araignment Condcmpnacon 
 and Exccucon of Master Cavehly at Yorke in Auguste 1605 ^j'^ 
 
HAMLET. 
 
 
 1 . 
 
 1° 
 
 CHARACTERS. 
 
 L 
 
 n. 
 
 HL 
 
 IV. 
 
 V. 
 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 I 
 
 2 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 I 
 
 2 
 
 
 3S 
 
 Bernardo 
 
 34 
 
 4 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 lO 
 
 Francisco 
 
 ID 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 
 298 
 
 Horatio 
 
 100 
 
 50 
 
 
 
 2G 
 
 17 
 
 ... 
 
 
 
 9 
 
 
 
 
 
 
 
 2 
 
 28 
 
 
 12 
 
 54 
 
 
 67 
 
 Marcellus 
 
 46 
 
 6 
 
 
 
 7 
 
 8 
 
 
 ... 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 551 
 
 King 
 
 ... 
 
 93 
 
 
 
 
 
 
 39 
 
 40 
 
 7 
 
 50 
 
 
 34 
 
 
 44 
 
 
 67 
 
 
 141 
 
 9 
 
 27 
 
 
 I 
 
 Cornelius 
 
 
 I 
 
 
 . 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 22 
 
 VOLTIMAND 
 
 ... 
 
 I 
 
 
 
 
 
 
 21 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 20S 
 
 Laertes 
 
 
 7 
 
 53 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 48 
 
 
 47 
 
 18 
 
 35 
 
 
 357 
 
 Polonius 
 
 
 4 
 
 68 
 
 
 
 87 
 
 140 
 
 23 
 
 13 
 
 9 
 
 7 
 
 
 
 
 
 
 
 
 
 
 
 1569 
 
 Hamlet 
 
 
 103 
 
 
 68 
 
 99 
 
 
 302 
 
 84 
 
 245 
 
 24 
 
 176 
 
 
 2- 
 
 2G 
 
 47 
 
 
 
 
 142 
 
 230 
 
 
 7 
 
 "All" 
 
 
 I 
 
 
 
 
 
 
 
 1 
 
 
 
 
 
 
 
 3 
 
 
 
 I 
 
 1 
 
 
 95 
 
 Ghost 
 
 
 
 
 
 S9 
 
 
 
 
 
 
 6 
 
 
 
 
 
 
 
 
 
 
 
 15 
 
 Reynaldo 
 
 
 
 
 
 
 15 
 
 
 
 
 
 
 
 
 
 "... 
 
 
 
 
 
 
 
 105 
 
 Rosencrantz .. 
 
 
 
 
 
 
 
 50 
 
 12 
 
 15 
 
 14 
 
 
 
 9 
 
 4 
 
 I 
 
 
 
 
 
 ... 
 
 
 57 
 
 Guildenstern ... 
 
 
 
 
 
 
 
 21 
 
 5 
 
 24 
 
 5 
 
 
 
 2 
 
 
 
 
 
 
 
 
 
 51 
 
 1ST Player 
 
 
 
 
 
 
 
 48 
 
 
 3 
 
 
 
 
 
 
 
 
 
 
 
 
 
 44 
 
 Player King 
 
 
 
 
 
 
 
 
 
 44 
 
 
 
 
 
 
 
 
 
 
 
 
 
 6 
 
 LUCIANUS 
 
 
 
 
 
 
 
 
 
 6 
 
 
 
 
 
 
 
 
 
 
 
 
 
 27 
 
 FORTINBRAS 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 8 
 
 
 
 
 
 19 
 
 
 12 
 
 Captain 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 12 
 
 
 
 
 
 
 
 12 
 
 1ST Gentleman .. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 12 
 
 
 
 
 
 
 II 
 
 2ND Gentleman... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 II 
 
 
 
 ... 
 
 
 
 I 
 
 Servant 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 " 
 
 
 
 
 I 
 
 
 
 
 
 5 
 
 1ST Sailor 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 5 
 
 
 
 
 
 5 
 
 Messenger 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 5 
 
 
 
 
 107 
 
 1ST Clown 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 107 
 
 
 
 19 
 
 2ND Clown 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 19 
 
 
 
 13 
 
 1ST Priest 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 13 
 
 
 
 56 
 
 OSRIC 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 56 
 
 
 10 
 
 Lord 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 10 
 
 
 G 
 
 1ST Ambassador... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 6 
 
 
 15S 
 
 Q'-HKN 
 
 
 10 
 
 
 
 
 
 20 
 
 9 
 
 4 
 
 
 47 
 
 12 
 
 
 
 
 16 
 
 
 21 
 
 12 
 
 7 
 
 
 175 
 
 Ol'HKLIA 
 
 
 
 20 
 
 
 
 28 
 
 
 33 
 
 18 
 
 
 
 
 
 
 ... 
 
 7G 
 
 
 ... 
 
 
 
 
 3 
 
 "Prologue" 
 
 ... 
 
 
 
 
 
 
 
 
 3 
 
 
 
 
 
 
 
 
 
 
 
 
 
 30 
 
 Player Queen ... 
 
 
 
 
 
 
 
 
 
 30 
 
 
 
 
 
 
 
 
 
 
 
 
 
 .,.-,. 
 
 
 190 
 
 280 
 
 141 
 
 lOI 
 
 213 
 
 130 
 
 647 
 
 206 
 
 422 
 
 102 
 
 236 
 
 46 
 
 34 
 
 74 
 
 6i 
 
 235 
 
 34 
 
 214 
 
 333 
 
 445 
 
 
 J9J'J 
 
 Actual No. of Lines 
 
 175 
 
 258 
 
 13G 
 
 91 
 
 191 
 
 119 
 
 633 
 
 19G 
 
 417 
 
 98 
 
 217 
 
 45 
 
 33 
 
 70 
 
 OC 
 
 220 
 
 34 
 
 195 
 
 322 
 
 414 
 
EVENINGS WITH SIIAKSPERE 
 
 135 
 
 Cornelius 
 Reynaldo 
 1ST Gentleman 
 1ST Priest 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN 
 thirteen characters singly and five groups, 
 fortinbras 27"] voltimand 22"] 
 
 Francisco io -42 Lord 10 \- 
 
 isT Sailor 5 J 2nd Gentleman 
 
 Bernardo 38^ 
 Messenger 5 ^44 
 Servant i J 
 
 •43 
 
 MEN. 
 
 Captain 12 
 
 1ST Ambassador G 
 2ND Clown 19 
 
 Luc IAN us 6 
 
 43 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. The construction of Hamlet shows that Shakspere was a supreme theatre-poet rather than a dramatist 
 
 proper. 
 
 2. It is only by looking upon Hamlet as suffering from " moral insanity " that the action of the play 
 
 becomes intelligible and consistent. 
 
 3. The acting traditions of Polonius are an instance, only less forcible than those of Shylock, of the 
 
 inability of the stage to represent the finer points of Shaksperian characterisation. 
 
 4. The Player's speech in Hamlet was originally written by Shakspere for Marlowe's Dido, instead of 
 
 the part added by Nash. 
 
 5. Ophelia's weakness is the cause of Hamlet's failure. 
 
 6. Nearly all the characters in Hamlet represent persons connected with the history of Sir Philip Sidney. 
 
 Date. 
 1603 
 
 1604 
 
 1605 
 
 N: L. 
 
 LIST OF EARLIEST KNOWN EDITIONS 
 
 Publisher. Acted by 
 
 and lohn Trundell His Highness' servants 
 
 I. R. 
 
 W. S. 
 
 N. L. 
 
 N. L. 
 
 lohn Smethwicke 
 
 lohn Smethwicke 
 
 Present On'iicrs. 
 
 British Museum. 
 
 Duke of Devonshire. 
 
 Duke of Devonshire. 
 
 Lord Howe. 
 
 Mr. A. H. Huth. 
 
 British Museum. 
 
 Trinity College, Cambridge. 
 
 British Museum. 
 
 Bodleian Library. 
 I Trinity College, Cambridge. 
 'British Museum. 
 
 Bodleian Library. 
 
 Trinity College, Cambridge. 
 
 Duke of Devonshire. 
 ^^Mr. A. H. Huth. 
 
 In the Stationers' Registers is this entry:— 
 1602. July 26. 
 
 James Robertes Entred for his Copie vnder the handes of master Pasfeild and master waterson 
 warden A booke called ' the Revenge of Haulett Prince Denmarke ' as yt was latelie Aeied 
 by the Lord Chamberleyne his scrvantes vjd 
 
 The 1603 edition carae out as "The Tragicall Historic of Hamlet Prince of Denmarke." It was declared to be by 
 " William Shake-speare," and to have " beene diuerse times acted by his Highnesse seruants in the Cittie of London: as 
 also in the two Vniuersities of Cambridge and Oxford, and else-where." The 1604 copy has the same title ; nothing is said 
 about its performance, but it is stated to be " Newly imprinted and enlarged to almost as much againe as it was, according 
 to the true and perfect Coppie." A parallel-text edition of these two versions was published in 1S60, with a preface by Mr. 
 Samuel Timmins. The relation of these editions to one another and to the 1623 Folio is one of the unsettled Shakspere- 
 questions, to which a close study should be given. 
 
 Tire 1605 edition is a reprint of that of 1604, and has the same title. 
 
 There is no certainty when the undated copy was issued. Some say that it could not be earlier than 1636 or 1637; 
 others think it was published in 1607, soon after the transference of the copyright from Ling to Smethwick, which took place 
 on November 19th of that year (see p. 79). It will be noted that there is an undated edition of Komco and Juliet, tlie coi>y- 
 right of which play was transferred at the same time. .Ml the editions alter 1604 repeat the announcement about the 
 revision and give the authorship. In the title of the undated issue and the 1611 edition, and the Folio version, "Tragedy" 
 takes the place of "Tragicall Historic." 
 
 Shakspere was probably indebted to, and perhaps wrote part of, a play on the same subject, earlier than is now known 
 to exist. Nash in 1589, Henslowe in 1594, and Lodge in 1596 have references to such. 
 
 In connection with Shakspere's play should be studied the translated " Hystorie of Hamblet" (reprinted in Hazlitt's 
 Shakespeare's Library) and "Fratricide Punished, or Prince Hamlet of Denmark" (reprinted in German and English form in 
 Cohn's Shakespeare in Germany). Both these and the 1603 version are in Furness's edition of the play. Close attention 
 should also be given to Dr. Tanger's paper on the test of the editions in the New Shakspere Society's Transactions, 1880-2, 
 Part I., and to the 1603 Hamlet " Harness Prize-Essays, iSSo," by Mr. C. H. Herford and Mr. W. H. Widgery. 
 
THE SILENT WOMAN 
 
 
 
 Prologues 
 
 I. 
 
 
 II. 
 
 
 I.I. 
 
 IV. 
 
 V. 
 
 Ss 
 
 
 
 
 
 
 
 
 
 
 ^3 
 
 CHARACTERS. 
 
 I 
 
 2 
 
 I 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 I 
 
 2 
 
 I 
 
 505 
 
 Clerimont 
 
 
 
 160 
 
 
 92 
 
 
 17 
 
 80 
 
 7 
 
 36 
 
 37 
 
 7(^ 
 
 1265 
 
 Truewit 
 
 
 
 162 
 
 159 
 
 77 
 
 
 46 
 
 23 
 
 143 
 
 158 
 
 393 
 
 104 
 
 346 
 
 Dauphine 
 
 
 
 54 
 
 
 64 
 
 
 13 
 
 59 
 
 
 33 
 
 46 
 
 77 
 
 201 
 
 La-Foole 
 
 
 
 69 
 
 
 
 
 
 21 
 
 
 9 
 
 67 
 
 35 
 
 511 
 
 Morose 
 
 
 
 
 S2 
 
 
 150 
 
 
 
 103 
 
 13 
 
 73 
 
 90 
 
 4 
 
 Mute 
 
 
 
 
 4 
 
 
 
 
 
 
 
 
 
 77 
 
 CUTBEARD 
 
 
 
 
 I 
 
 II 
 
 
 II 
 
 12 
 
 7 
 
 
 
 35 
 
 205 
 
 Daw 
 
 
 
 
 
 82 
 
 
 
 8 
 
 13 
 
 7 
 
 70 
 
 25 
 
 119 
 
 Otter 
 
 
 
 
 
 
 
 
 26 
 
 5 
 
 71 
 
 
 17 
 
 5 
 
 Parson 
 
 
 
 
 
 
 
 
 
 5 
 
 
 
 
 2 
 
 "All" 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 ^ 
 
 29 
 
 " 1ST Prologue" 
 
 29 
 
 
 
 
 
 
 
 
 
 
 
 
 14 
 
 "2ND Prologue" 
 
 
 14 
 
 
 
 
 
 
 
 
 
 
 
 46 
 
 Page 
 
 
 
 46 
 
 
 
 
 
 
 
 
 
 
 114 
 
 EriCCENE 
 
 
 
 
 
 4 
 
 6 
 
 
 
 34 
 
 
 50 
 
 20 
 
 143 
 
 Mistress Otter 
 
 
 
 
 
 
 
 
 105 
 
 3 
 
 17 
 
 15 
 
 3 
 
 139 
 
 Haughty 
 
 
 
 
 
 
 
 
 
 43 
 
 
 64 
 
 32 
 
 65 
 
 Centaure 
 
 
 
 
 
 
 
 
 
 7 
 
 
 32 
 
 26 
 
 46 
 
 Mavis 
 
 
 
 
 
 
 
 
 
 6 
 
 
 28 
 
 12 
 
 10 
 
 Tklsty 
 
 
 
 
 
 
 
 
 
 
 
 10 
 
 
 3S46 
 
 
 29 
 
 14 
 
 ^91 
 
 2.\G 
 
 330 
 
 156 
 
 87 
 
 334 
 
 377 
 
 344 
 
 8S.S 
 
 453 
 
 3S4G 
 
 Actual Number of Lines 
 
 29 
 
 14 
 
 491 
 
 246 
 
 330 
 
 156 
 
 87 
 
 334 
 
 377 
 
 344 
 
 885 
 
 453 
 
EVENINGS WITH SHAKSPERE. 1 37 
 
 SCHEME FOR ARRANGING THE PARTS WITH SEVEN LADIES. 
 
 five characters singly and two groups. 
 
 Trusty 10 ) Page 46 ) ^^ 
 
 " 1ST Prologue " 29 j ^^^ "2nd Prologue " 14 ) 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. As the plot of A Silent Wovtan is of a kind inadmissible in comedy, the play should be looked upon 
 
 as a farce. 
 
 2. Ben Jonson's " Censure of the English Poets " is not to be taken seriously. 
 
 3. Ben Jonson's greatest strength lay in the production of Masques, in which he left an example which 
 
 Milton closely followed. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 
 Date. Printer. rublisher. Acted by Present Owners. 
 
 1609 
 
 1C12 
 
 ( British Museum 
 iGiG W. Stansby Richard Meighen \ and others. 
 
 ( [This is the Folio] (see p. 99). 
 
 1620 William Stansby lohn Browne The Children of the Revels British Museum. 
 
 The Silent Woman at its first performance does not seem to have been well received (see Jonson's 
 Conversations with Drummond, Shakespeare Society edition, p. 41). 
 
 In the Stationers' Registers are these entries : — 
 1610. September 20. 
 
 John Browne Entred for their Copye vnder thandes of Sir George Bucke and master Waterson 
 John Busby for master warden Leake, A booke called, Epicoene or the silent woman by Ben : 
 Junior Johnson TJ*- 
 
 1612. September 28. 
 
 Walter. Burre Entred for his copie by assignement from John Browne and consent of the Wardens 
 in full Court holden this Day. A booke called the Commodye of ' the silent Woman ' vjd 
 
 I have not been able to find particulars about the 1609 and 1612 editions. They are not in the 
 British Museum. 
 
 The 1620 edition (which was " to be sold by lohn Browne," although he had transferred his copy- 
 right in 1612 to Burre) is entitled "The Silent Woman." It states on its title-page that it is "A 
 Comoedie," and that its author is " B. lonson." 
 
 19 
 
ALL'S WELL THAT ENDS WELL, 
 
 1. 
 
 P 
 
 CHARACTERS. 
 
 I. 
 
 n. 
 
 in. 
 
 IV. 
 
 V. 
 
 
 I 
 
 2 
 
 3 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 ... 
 ... 
 
 10 
 33 
 
 2 
 
 22 
 19 
 
 18 
 
 3 
 
 63 
 
 33 
 20 
 160 
 
 ... 
 12 
 
 16 
 12 
 
 3 
 
 Go 
 
 
 289 
 
 127 
 
 168 
 
 44 
 212 
 
 3 
 I 
 
 19 
 34 
 II 
 98 
 2 
 4 
 
 306 
 
 479 
 
 I 
 
 66 
 139 
 
 23 
 
 Bertram 
 
 Lafeu 
 
 Parolles 
 
 King 
 
 1ST Lord 
 
 2ND Lord 
 
 Steward 
 
 Clown 
 
 "All" 
 
 4TH Lord 
 
 Duke 
 
 1ST Gentleman 
 2ND Gentleman 
 1ST Soldier ... 
 2ND Soldier ... 
 Servant 
 
 Countess 
 
 Helena 
 
 Page 
 
 Widow 
 
 Diana 
 
 Mariana 
 
 12 
 30 
 
 C7 
 
 46 
 
 89 
 
 I 
 
 7 
 
 68 
 6 
 5 
 
 26 
 
 113 
 
 71 
 
 10 
 32 
 24 
 80 
 
 8 
 5 
 
 68 
 
 39 
 
 ... 
 
 35 
 
 37 
 103 
 71 
 77 
 
 I 
 I 
 
 I 
 I 
 
 32 
 
 25 
 24 
 
 II 
 
 42 
 32 
 10 
 
 20 
 
 6 
 
 8 
 
 13 
 
 24 
 
 12 
 II 
 
 51 
 
 42 
 
 8 
 G 
 
 18 
 26 
 
 I 
 ... 
 
 30 
 
 42 
 24 
 23 
 
 37 
 19 
 
 34 
 
 37 
 
 37 
 17 
 
 44 
 42 
 2 
 
 18 
 2 
 
 34 
 52 
 
 39 
 III 
 
 r 
 
 70 
 
 80 
 
 4 
 
 34 
 
 3 
 3 
 
 53 
 40 
 
 ... 
 19 
 
 
 3127 
 29G6 
 
 Actual No. of Lines, 
 
 245 
 244 
 
 86 
 
 7G 
 
 277 
 2G2 
 
 227 
 
 74 
 
 74 
 
 324 
 
 60 
 
 37 
 
 104 
 97 
 
 27 
 23 
 
 140 
 
 '1 
 
 14 
 
 II 
 
 44 
 42 
 
 120 
 
 104 
 
 .27 
 1-5 
 
 54 
 
 48 
 
 io8 
 105 
 
 86 
 7G 
 
 376 
 
 376 
 
 40 
 36 
 
 112 
 112 
 
 44 
 
 38 
 
 59 
 
 59 
 
 379 
 
 340 
 
 
EVENINGS WITH SHAKSPERE. 139 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. Not even Shakspere's masterly and modified treatment of the plots of the Italian novelists has 
 
 been able to render their dramatic form anything but repulsive. 
 
 2. Much of All's Well that Ends Well is Shakspere's youthful poetry left in from an earlier draft of 
 
 the play. 
 
 3. Acted by great performers, All's Well that Ends Well is seen as a true work of art, free from the 
 
 defects which appear when the play is merely read. 
 
 THE EARLIEST KNOWN EDITION IS THE 1623 FOLIO. 
 
 This is also the date of its first entry in the Stationers' Registers. 
 
 At present there is no e.xternal evidence as to the date of its production. 
 
 It seems almost certain that Shakspere took the main part of the story from " Giletta of Narbona," 
 which Painter, in his Palace of Plea sure, 1566, had translated from Boccaccio. This, which is "The 
 Thirty-Eighth Novell " in Painter's book, is reprinted in Hazlitt's Shakespeare's Library. 
 
 19* 
 
THE ALCHEMIST. 
 
 Total 
 
 Number 
 
 of 
 
 
 
 1 
 
 a; 
 
 
 
 I. 
 
 II. 
 
 III. 
 
 IV. 
 
 V. 
 
 CHARACTERS. 
 
 
 
 
 
 
 
 
 
 
 
 
 Lines. 
 
 
 <; 
 
 ^ 
 
 I 
 
 I 
 
 I 
 
 2 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 1215 
 
 Face 
 
 
 
 
 
 276 
 
 20S 
 
 
 264 
 
 iiS 
 
 43 
 
 54 
 
 77 
 
 84 
 
 63 
 
 28 
 
 1065 
 
 Subtle 
 
 
 
 
 226 
 
 290 
 
 
 197 
 
 135 
 
 40 
 
 43 
 
 41 
 
 2 
 
 91 
 
 
 100 
 
 Dapper 
 
 
 
 
 Gi 
 
 
 
 19 
 
 
 
 
 
 4 
 
 16 
 
 
 86 
 
 Drugger 
 
 
 
 
 33 
 
 28 
 
 
 17 
 
 
 
 
 7 
 
 
 
 I 
 
 502 
 
 Mammon 
 
 
 
 
 
 2S4 
 
 
 ... 
 
 140 
 
 
 42 
 
 
 12 
 
 
 24 
 
 230 
 
 Surly 
 
 
 
 
 
 118 
 
 
 
 13 
 
 II 
 
 
 64 
 
 15 
 
 
 9 
 
 123 
 
 Ananias 
 
 
 
 
 
 27 
 
 15 
 
 18 
 
 
 
 
 26 
 
 8 
 
 ... 
 
 29 
 
 91 
 
 Tribulation .. 
 
 
 
 
 
 
 39 
 
 45 
 
 
 
 
 
 2 
 
 
 5 
 
 132 
 
 Kastril 
 
 
 
 
 
 
 
 27 
 
 15 
 
 31 
 
 ... 
 
 26 
 
 12 
 
 
 21 
 
 174 
 
 LOVEWIT 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 82 
 
 
 92 
 
 14 
 
 1ST Neighbour 
 
 
 
 
 
 
 
 
 
 
 
 14 
 
 
 
 14 
 
 2ND Neighbour 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 14 
 
 
 ... 
 
 9 
 
 3RU Neighbour 
 
 
 
 
 
 
 
 
 
 
 
 9 
 
 
 
 6 
 
 4TH Neighbour 
 
 
 
 
 
 ... 
 
 ... 
 
 
 
 
 
 6 
 
 
 ... 
 
 5 
 
 5TH Neighbour 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 5 
 
 
 ... 
 
 9 
 
 6th Neighbour 
 
 
 
 
 
 
 
 
 
 
 
 9 
 
 
 ... 
 
 6 
 
 1ST Officer 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 5 
 
 2 
 
 2ND Officer 
 
 
 
 
 
 
 
 
 
 
 
 
 
 2 
 
 12 
 
 "Argument" 
 
 12 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 24 
 
 "Prologue" 
 
 
 24 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 225 
 
 Dol 
 
 
 
 8G 
 
 C 
 
 
 10 
 
 41 
 
 
 31 
 
 10 
 
 
 41 
 
 
 14 
 
 Dame Pliant 
 
 
 
 
 
 
 
 5 
 
 8 
 
 
 I 
 
 
 
 ... 
 
 4058 
 
 
 12 
 
 2-1 
 
 OS 2 
 
 961 
 
 54 
 
 597 
 
 467 
 
 133 
 
 170 
 
 252 
 
 27S 
 
 212 
 
 216 
 
 3169 
 
 Actual Number of Lines 
 
 12 
 
 24 
 
 517 
 
 770 
 
 51 
 
 492 
 
 360 
 
 9S 
 
 122 
 
 1 89 
 
 215 
 
 152 
 
 167 
 
EVENINGS WITH SHAKSPERE. I4I 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. If, in the English drama, a model be sought of all that is regular in design and perfect in execution, 
 
 it will be found in The Alchemist. 
 
 2. Ben Jonson's scholarship and knowledge of life enabled him to use his dramatic powers to greater 
 
 advantage than any other writer of comedy. 
 
 3. As Ben Jonson fails in presenting the pathetic side of human nature, he is not entitled to take high 
 
 rank among dramatists. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 
 Date. Printey. rublisher. Acted by Present Oxviien. 
 
 1612 Thomas Snodham Walter Burre British Museum. 
 
 f British Museum 
 1616 W. Stansby Richard Meighen ■< and others. 
 
 ( [This is the Folio] (see p. 99). 
 
 The 1616 Folio says that the play was acted in 1610, when it was thus entered in the Stationers' 
 Registers : — 
 
 1610. October 3. 
 
 Walter Burre. Entred for his Copy vnder thandes of Sir George Bucke and Th ' Wardens a 
 Comcedy called, The Akhymist made by Ben : Johnson vjd. 
 
 The title of the 1612 edition is simply "The Alchemist," and it is stated to be "written by 
 Ben. lonson." 
 
 "The Alcumist" was one of the plays acted at Court in 1613 (see p. 103). 
 
OTHELLO 
 
 Totftl 
 
 Number 
 
 of 
 
 Lines. 
 
 CHARACTERS. 
 
 I. 
 
 II. 
 
 III. 
 
 IV. 
 
 V. 
 
 I 
 
 2 
 
 3 
 
 I 
 
 2 
 
 3 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 I 
 
 2 
 
 123 
 
 RODERIGO 
 
 42 
 
 I 
 
 16 
 
 9 
 
 
 8 
 
 
 
 
 
 
 36 
 
 
 II 
 
 
 1117 
 
 Iago 
 
 loS 
 
 27 
 
 93 
 
 156 
 
 
 218 
 
 5 
 
 I 
 
 217 
 
 9 
 
 134 
 
 62 
 
 
 75 
 
 12 
 
 139 
 
 Bkabantio 
 
 46 
 
 31 
 
 62 
 
 
 
 
 
 
 
 
 
 
 
 
 
 888 
 
 Othello ... 
 
 
 38 
 
 115 
 
 29 
 
 
 5(3 
 
 
 5 
 
 201 
 
 50 
 
 109 
 
 68 
 
 6 
 
 8 
 
 203 
 
 288 
 
 C.\ssio 
 
 
 i5 
 
 
 51 
 
 
 91 
 
 21 
 
 
 12 
 
 37 
 
 31 
 
 
 
 15 
 
 14 
 
 5 
 
 1ST Officer 
 
 
 3 
 
 2 
 
 
 
 
 
 
 
 
 
 
 
 
 
 73 
 
 Duke 
 
 
 
 73 
 
 
 
 
 
 
 
 
 
 
 
 
 
 28 
 
 1ST Senator 
 
 
 
 28 
 
 
 ... 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 5 
 
 2ND SeN.'VTOR 
 
 ... 
 
 
 5 
 
 
 
 
 
 
 
 
 
 
 
 
 
 4 
 
 Sailor 
 
 
 
 4 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 9 
 
 Messenger 
 
 
 
 9 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 Gi 
 
 Montano 
 
 
 
 
 21 
 
 
 33 
 
 
 
 
 
 
 
 
 
 7 
 
 4 
 
 1ST Gentleman 
 
 
 
 
 3 
 
 
 
 
 I 
 
 
 
 
 
 
 
 
 14 
 
 2ND Gentleman 
 
 
 
 
 14 
 
 
 
 
 
 
 
 
 
 
 
 
 17 
 
 3RD Gentleman 
 
 
 
 
 17 
 
 
 
 
 
 
 
 
 
 
 
 
 5 
 
 "All" 
 
 
 
 
 2 
 
 
 2 
 
 
 
 
 
 
 
 
 
 I 
 
 2 
 
 4TH Gentleman 
 
 
 
 
 2 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 13 
 
 Herald 
 
 
 ... 
 
 
 
 13 
 
 
 
 
 
 
 
 
 
 
 
 30 
 
 Clown 
 
 
 
 
 
 ... 
 
 
 iS 
 
 
 
 12 
 
 
 
 
 
 
 5 
 
 1ST Musician 
 
 
 
 
 
 
 
 5 
 
 
 
 
 
 
 
 
 
 76 
 
 LODOVICO 
 
 
 
 
 
 
 
 
 
 
 
 25 
 
 
 2 
 
 9 
 
 40 
 
 26 
 
 Gratiano 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 9 
 
 ^7 
 
 389 
 
 Desdemona 
 
 
 
 28 
 
 30 
 
 
 I 
 
 
 
 7- 
 
 Si 
 
 14 
 
 64 
 
 57 
 
 
 42 
 
 245 
 
 Emilia 
 
 
 
 
 3 
 
 
 
 13 
 
 
 28 
 
 iS 
 
 
 44 
 
 49 
 
 4 
 
 86 
 
 36 
 
 BlANCA 
 
 
 
 
 
 
 
 
 
 
 17 
 
 12 
 
 
 
 7 
 
 ... 
 
 3602 
 
 
 196 
 
 iiG 
 
 435 
 
 337 
 
 13 
 
 409 
 
 62 
 
 7 
 
 530 
 
 224 
 
 3-!5 
 
 274 
 
 114 
 
 138 
 
 422 
 
 331G 
 
 Actual Xiimlirr of Linos 
 
 184 
 
 09 
 
 410 
 
 321 
 
 13 
 
 394 
 
 58 
 
 6 
 
 479 
 
 201 
 
 293 
 
 252 
 
 106 
 
 129 
 
 371 
 
 In III. 4 Desdemona's lines should be 80, and in V. i Cassio's 16. The total lines should 
 the total of II. 3 should be 395. 
 
 be 3317, as 
 
EVENINGS WITH SHAKSPERE. 1 43 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 FIFTEEN CHARACTERS SINGLY AND THREE GROUPS. 
 
 1ST Officer 5 ) 2nd Senator 5 ) Sailor 4 ) 
 
 4TH Gentleman 2 \ ' ist Gentleman 4 \ -^ ist Musician 5 \ -' 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. From the close resemblance of Othello to the story in Giraldi's Hecatommiihi, it must be inferred 
 
 that Shakspere knew Italian. 
 
 2. The point of Othello's passion is not jealousy, but agony at the loss of his ideal. 
 
 3. It requires a thorough-bred gentleman to play Othello. 
 
 EARLIEST KNOWN EDITION. 
 
 Date. Printer. Publisher. Acted by Present Oivncrs. 
 
 { British Museum. 
 „. ,,r ,, , rr-T. TT- . ^ ) Bodleian Library. 
 
 1622 N. O. Thomas Walkley The King s servants < Trinity College, Cambridge. 
 
 ( Mr. A. H. Huth. 
 
 In The Egerton Papers (p. 343) edited by Collier for the Camden Society, the following is quoted in 
 Mainwaring's account of expenses in connection with Queen Elizabeth's visit to Lord Ellesmere at 
 Harefield : 
 
 6 August, 1602. Rewardes to the vaulters, players, and dauncers. Of this xli to Burbidge's players 
 for Othello. 
 This is said to be one of Collier's forgeries. 
 
 It has been stated that in 1604 there was on "Hallamas Day being the first of Nouembar A play 
 in the Banketinge house att Whithall called The Moor of Venis " performed "By the kings Matis 
 plaiers" (Cunningham, Op. cit. See p. 71). 
 
 On April 30, 1610, the Secretary to the German Embassy in London recorded that at the Globe 
 "y fut represente I'histoire du More de Venise." 
 
 Before a party at Court the play, under the title of "The Moor of Venice," was acted in 1613 
 (see p. 103). 
 
 In the Stationers' Registers is this entry : — 
 1621. October 6. 
 
 Thomas Walkley Entred for his copie vnder the handes of Sir George Buck, and Master Swinhowe 
 warden, The Tragedie of Otuellq, the tnoore of Venice. vjd 
 
 As "TheTragoedy of Othello, The Moore of Venice," the edition of 1622 was issued with the state- 
 ment that it had " beene diuerse times acted at the Globe, and at the Black -Friers," and that it was 
 " Written by William Shakespeare." In the 1623 Folio the title is the same. 
 
 The tale from Giraldi, alluded to above, is given with an English translation in Hazlitt's Shake- 
 speare's Library. 
 
MEASURE FOR MEASURE 
 
 li 
 
 1° 
 
 CHARACTERS. 
 
 I. 
 
 II. 
 
 III. 
 
 IV. 
 
 V. 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 I 
 
 ^ 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 880 
 
 Duke 
 
 67 
 
 ... 
 
 51 
 
 
 
 
 25 
 
 
 141 
 
 114 
 
 38 
 
 91 
 
 83 
 
 
 
 5 ... 
 
 257 
 
 205 
 
 ESCALUS 
 
 II 
 
 
 
 
 109 
 
 
 
 
 
 32 
 
 
 
 
 8 
 
 
 
 45 
 
 321 
 
 Angelo 
 
 12 
 
 
 
 
 35 
 
 85 
 
 
 117 
 
 
 
 
 
 
 29 
 
 
 
 43 
 
 321 
 
 Lucio 
 
 
 54 
 
 
 C3 
 
 
 15 
 
 
 
 
 lOI 
 
 
 
 25 
 
 
 
 
 63 
 
 27 
 
 1ST Gentleman ... 
 
 
 27 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 II 
 
 2ND Gentleman ... 
 
 
 II 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 176 
 
 POMPEY 
 
 
 19 
 
 
 
 83 
 
 
 ... 
 
 
 
 16 
 
 
 25 
 
 33 
 
 
 
 
 ... 
 
 "5 
 
 Claudio 
 
 
 5S 
 
 
 
 
 
 
 
 54 
 
 
 
 3 
 
 
 
 
 
 
 171 
 
 Provost 
 
 
 3 
 
 
 
 I 
 
 19 
 
 12 
 
 
 5 
 
 5 
 
 
 96 
 
 17 
 
 
 
 
 13 
 
 6 
 
 Friar Thomas 
 
 
 
 6 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 81 
 
 Elbow 
 
 ... 
 
 ... 
 
 
 
 62 
 
 
 
 
 
 19 
 
 
 ... 
 
 
 ... 
 
 
 
 
 II 
 
 Froth 
 
 
 
 
 
 II 
 
 
 
 
 
 
 
 
 
 
 
 
 
 3 
 
 Justice 
 
 
 
 
 
 3 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 
 6 
 
 Servant 
 
 
 
 
 
 .. 
 
 
 4 
 
 
 2 
 
 ... 
 
 
 
 
 
 
 
 
 1 
 
 23 
 
 Abhorson 
 
 
 
 
 
 
 
 
 
 
 
 
 
 12 
 
 II 
 
 
 
 
 
 5 
 
 Messenger 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 5 
 
 
 
 
 
 
 17 
 
 Barnardine 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 17 
 
 
 
 
 
 3G 
 
 Friar Peter 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 6 
 
 29 
 
 37 
 
 Mistress Overdone 
 
 
 28 
 
 
 
 
 
 
 
 
 
 9 
 
 
 
 
 
 
 
 
 426 
 
 Isabella 
 
 
 
 
 27 
 
 
 
 94 
 
 
 78 
 
 97 
 
 
 25 
 
 
 9 
 
 
 
 9 
 
 87 
 
 9 
 
 Francisca 
 
 
 
 
 9 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 10 
 
 Juliet 
 
 
 
 
 
 
 
 
 10 
 
 
 
 
 
 
 
 
 
 
 
 6 
 
 Boy 
 
 
 
 
 
 
 
 
 
 
 
 
 6 
 
 
 
 
 
 ... 
 
 
 68 
 
 Mariana 
 
 
 
 
 
 
 
 
 
 
 
 
 13 
 
 
 
 
 
 2 
 
 53 
 
 2971 
 
 
 90 
 
 200 
 
 57 
 
 99 
 
 304 
 
 217 
 
 47 
 
 197 
 
 297 
 
 296 
 
 82 
 
 232 
 
 195 
 
 37 
 
 K 
 
 ^ 17 
 
 590 
 
 2821 
 
 Actual No. of Lines 
 
 84 
 
 198 
 
 54 
 
 90 
 
 300 
 
 187 
 
 4a 
 
 188 
 
 280 
 
 29G 
 
 76 
 
 226 
 
 190 
 
 37 
 
 I. 
 
 5 15 
 
 545 
 
EVE SINGS WITH SHAKSPERE. 1 45 
 
 In Scheme for arranging the parts with seven ladies omit Mistress Overdone. 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. Shakspere's main purpose in Measure for Measure, written on behalf of his fellow Roman Catholics, 
 
 was to e.xalt the ascetic ideal. 
 
 2. Without Measure for Measure, Shakspere's analysis of human character would be incomplete. 
 
 3. The carelessness of the plot of Measure for Measure is inexcusable. 
 
 THE EARLIEST KNOWN EDITION IS THE 1C23 FOLIO. 
 
 Mr. Halliwell-Phillipps (Outlines, Vol. I. p. 197) says, " On the evening of December the 26th, 1604, 
 the comedy of Measure for Measure was performed before the Court at Whitehall." The authority 
 for this statement is a document among the Malone papers in the Bodleian Library. The same per- 
 formance is quoted by Cunningham [Op. eit. p. 204) thus : " By his Matis plaiers. On S'. Stiuens Night 
 in the Hall A Play called Mesur for Mesur. Shaxberd " (see p. 71). 
 
 The subject of this play had been dealt with by George Whetstone in dramatic form in 1578, and 
 as a narrative in 1582. With Whetstone's version, called The History of Promos and Cassandra, 
 Shakspere was doubtless familiar, although Measure for Measure shows considerable departures from it. 
 Whetstone's play and tale are both reprinted in Hazlitt's Shakespeare's Library, where also may be seen 
 the story from Giraldi to which Whetstone may have been indebted ; but the main incident was a very 
 common one in literature (see Douce's Illustrations of Shakspeare, ed. 1839, pp. 94-99). 
 
 This play is not mentioned in the Stationers' Registers till the Folio entry on November 8, 1623. 
 
 20 
 
PHILASTER. 
 
 1^. 
 
 CHARACTERS. 
 
 L 
 
 IL 
 
 III. 
 
 IV. 
 
 V. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 -3- 
 
 
 I 
 
 2 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 91 
 
 Cleremont 
 
 21 
 
 
 
 
 
 
 10 
 
 15 
 
 
 20 
 
 10 
 
 
 5 
 
 3 
 
 
 5 
 
 
 2 
 
 380 
 
 Dion 
 
 1/3 
 
 
 
 
 
 
 40 
 
 59 
 
 
 20 
 
 32 
 
 2 
 
 13 
 
 5 
 
 
 63 
 
 
 33 
 
 39 
 
 Thrasiline 
 
 II 
 
 
 
 
 
 
 5 
 
 8 
 
 
 8 
 
 
 
 
 3 
 
 
 4 
 
 
 
 322 
 
 King 
 
 59 
 
 
 
 
 
 
 67 
 
 
 22 
 
 8 
 
 44 
 
 
 II 
 
 
 
 54 
 
 
 57 
 
 236 
 
 Phar.^mond 
 
 41 
 
 28 
 
 
 S5 
 
 
 
 21 
 
 
 
 
 9 
 
 16 
 
 14 
 
 
 
 
 20 
 
 2 
 
 769 
 
 Philaster 
 
 95 
 
 102 
 
 30 
 
 
 
 
 
 179 
 
 61 
 
 
 31 
 
 62 
 
 63 
 
 
 29 
 
 39 
 
 21 
 
 57 
 
 31 
 
 1ST Woodman 
 
 
 
 
 
 
 
 ... 
 
 ... 
 
 
 
 31 
 
 
 
 
 
 
 
 
 
 9 
 
 2ND Woodman 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 8 
 
 I 
 
 
 ... 
 
 
 
 
 
 
 34 
 
 Country Fellow.. 
 
 
 
 
 
 
 
 
 
 
 
 
 34 
 
 
 
 
 
 
 
 
 4 
 
 "All" 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 
 3 
 
 
 
 5 
 
 1ST Messenger .. 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 5 
 
 
 
 
 4 
 
 2ND Messenger ... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 4 
 
 
 . 
 
 
 87 
 
 Captain 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 87 
 
 
 
 7 
 
 1ST Citizen 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 7 
 
 
 
 3 
 
 2ND Citizen 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 3 
 
 
 
 4 
 
 3RD Citizen 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 4 
 
 
 
 2 
 
 4TH Citizen 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 2 
 
 
 
 I 
 
 5TH Citizen 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 133 
 
 Megra 
 
 25 
 
 
 
 32 
 
 
 Go 
 
 
 
 
 I 
 
 
 
 
 
 
 
 15 
 
 74 
 
 Galatea 
 
 12 
 
 
 
 45 
 
 10 
 
 4 
 
 
 
 
 3 
 
 ... 
 
 
 
 
 
 
 
 25 
 
 Lady 
 
 7 
 
 II 
 
 
 
 5 
 
 
 
 2 
 
 
 
 
 
 
 
 ... 
 
 
 
 3" 
 
 Arethusa 
 
 
 92 
 
 
 
 38 
 
 7 
 
 
 93 
 
 I 
 
 
 34 
 
 9 
 
 
 10 
 
 12 
 
 
 15 
 
 357 
 
 Bellario 
 
 
 
 34 
 
 
 18 
 
 
 84 
 
 16 
 
 
 18 
 
 14 
 
 55 
 
 
 17 
 
 26 
 
 
 75 
 
 2928 
 
 
 384 
 
 233 
 
 64 
 
 1G2 
 
 71 
 
 214 
 
 345 
 
 194 
 
 57 
 
 187 
 
 163 
 
 171 
 
 II 
 
 56 
 
 212 
 
 148 
 
 256 
 
 2743 
 
 Actual No. of Lines 
 
 372 
 
 206 
 
 Ci 
 
 159 
 
 <«, 
 
 206 
 
 302 
 
 188 
 
 57 
 
 178 
 
 156 
 
 156 
 
 " 
 
 52 
 
 202 
 
 147 
 
 221 
 
EVENINGS WITH SHAKSPERE. 1 47 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. In the plays of Beaumont and Fletcher, the respective shares of the writers can be determined by 
 
 metrical tests. 
 
 2. In his own day Fletcher's popularity exceeded that of Shakspere, because he was a greater master 
 
 in the delineation of the softer passions. 
 
 3. The nonsense that Dryden wrote about Ben Jonson and Beaumont should be a warning to loose 
 
 critics. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 
 Date. rnnlci: Vublisher. Acted by I'lesciit Owners. 
 
 1620 Thomas Walkley The King's servants British Museum. 
 
 1622 Thomas Walkley The King's servants British Museum. 
 
 The date of the first performance of Phihuter is uncertain. It is usually set down somewhere 
 about 1608 (see 1821 Variorum, Vol. II. p. 453). It was acted more than once at the Court festivities in 
 1613 (see p. 103). 
 
 The play was thus entered in the Stationers' Registers :— 
 1620. January 10. 
 
 Thomas Walkley Entred for his copie vnder the handes of Master T.\uernor and Master Jaggard 
 warden A Play Called Pbilaster vjd 
 
 The first of the editions named above is called " Phylaster . Or, Loue lyes a Bleeding." It is said 
 
 " r"Hpn f Francis Baymonfj 
 to be wriuenj ^^^ iGent." and the statement is given that it was "acted at the Globe." 
 
 °^ y lohn Fletcher J 
 The title of the 1622 edition differs only in spelling. The edition is described as "The second Im- 
 pression, corrected, and amended." The name of the first author is given as "Beaumont," and it is 
 recorded that the play had been " Acted, at the Globe, and Blacke-Friers." 
 
 In the consideration of the plays by Beaumont and Fletcher, it will be useful to consult the 
 papers by Mr. Fleay and by Mr. Boyle in the New Shakspere Society's Transactions, 1874, Part I., 
 and 1880-6, Part III. 
 
LEAR 
 
 Total 
 Number 
 
 of 
 Lines. 
 
 CHARACTERS. 
 
 I. 
 
 n. 
 
 in. 
 
 IV. 
 
 ' I 
 
 I 
 
 2 
 
 61 
 128 
 
 II 
 
 3 
 
 3 
 ... 
 
 ... 
 
 4 
 
 5 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 17 
 
 43 
 
 3 
 
 20 
 6 
 
 4 
 
 18 
 23 
 
 68 
 
 5 
 14 
 
 6 
 
 15 
 15 
 
 31 
 
 7 
 33 
 
 I 
 44 
 
 2 
 
 I 
 
 3 
 
 29 
 
 4 
 
 5 
 
 6 
 
 7 
 
 1 
 
 2 
 3 
 
 10 
 
 ... 
 
 13 
 
 3 
 
 24 
 
 76 
 54 
 87 
 
 78 
 
 5 
 
 6 
 
 10 
 
 16 
 
 5 
 i8 
 379 
 326 
 
 379 
 
 344 
 
 323 
 
 770 
 
 156 
 
 109 
 
 12 
 
 32 
 
 406 
 
 80 
 
 16 
 
 252 
 
 87 
 
 II 
 
 9 
 5 
 5 
 12 
 19 
 18 
 6 
 10 
 
 201 
 
 "5 
 191 
 
 Kent 
 
 Gloucester 
 
 Edmund 
 
 Lear 
 
 Albany 
 
 Cornwall 
 
 Burgundy 
 
 France 
 
 Edgar 
 
 Oswald 
 
 Knight 
 
 Fool 
 
 Gentleman 
 
 Curan 
 
 1ST Servant ... 
 2ND Servant 
 
 44 
 25 
 3 
 122 
 
 I 
 I 
 
 12 
 32 
 
 37 
 
 131 
 II 
 
 6 
 
 16 
 
 109 
 
 2 
 
 22 
 
 30 
 63 
 
 104 
 15 
 
 I 
 
 
 32 
 12 
 
 161 
 
 41 
 
 63 
 106 
 
 119 
 
 16 
 
 i6 
 
 ... 
 
 ... 
 
 ... 
 320 
 
 16 
 32 
 
 9 
 
 13 
 
 40 
 
 no 
 
 98 
 
 31 
 14 
 
 12 
 
 7 
 
 14 
 78 
 69 
 
 
 33 
 12 
 
 43 
 
 ... 
 10 
 
 39 
 
 34 
 
 63 
 57 
 
 2 
 5 
 
 24 
 
 ... 
 31 
 -9 
 
 33 
 
 45 
 
 31 
 
 I 
 
 14 
 
 I 
 
 II 
 
 32 
 27 
 
 ... 
 
 21 
 
 12 
 
 
 ... 
 
 
 74 
 
 12 
 
 47 
 
 38 
 6 
 
 9 
 
 5 
 5 
 
 2 
 19 
 
 
 43 
 5 
 
 17 
 
 40 
 
 
 13 
 
 
 16 
 
 3RD Servant 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 Old Man 
 
 Messenger 
 
 Doctor 
 
 Captain 
 
 Herald 
 
 Goneril 
 
 Cordelia 
 
 Regan 
 
 31 
 46 
 
 17 
 
 ... 
 
 ... 
 25 
 
 66 
 
 ... 
 
 23 
 
 8 
 
 
 15 
 59 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 35C8 
 
 .\ctual No. of Lines 
 
 334 
 312 
 
 200 
 200 
 
 28 
 
 1 
 
 376 
 371 
 
 56 
 56 
 
 142 
 131 
 
 187 
 i8o 
 
 21 
 21 
 
 339 
 312 
 
 58 
 55 
 
 100 
 
 97 
 
 26 
 26 
 
 .96 
 
 26 
 26 
 
 124 
 
 122 
 
 117 
 108 
 
 89 
 82 
 
 no 
 
 In II .} Lcar'b lines should be iCj 
 
HVES'INGS WITH SHAKSPERE. 149 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 fourteen characters singly and four groups. 
 Burgundy 12 ) _ Curan ii\^^ Old Man 12 | Herald 
 
 3RD Servant 5^7 Captain C/'^ 2nd Servant 5^ ^ ist Servant 
 
 9 
 
 1608 Nathaniel Butter The King's servants 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. The Folio-text of Lear is Shakspere's revision of his own work. 
 
 2. Our estimate of Lear, as a whole, depends upon the view we take of the Fool. 
 
 3. A study of Leay shows that the language of poetry is more forcible than the language of painting. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 Date. Printer. Fublhher. Acted by Present Dinners. 
 
 C British Museum. 
 1 Bodleian Library. 
 -j Trinity College, Cambridge. 
 Duke of Devonshire, 
 and eight others. 
 (British Museum. 
 \ Bodleian Library. 
 
 1608 Nathaniel Butter The lung's servants < Trinity College, Cambridge. 
 
 ( Duke of Devonshire. 
 
 On April 6 and 8, 1594, Henslowe notes performances of " Kinge leare " by " the Queues men and 
 my lord of Susex to geather." 
 
 In the Stationers' Registers are these entries. In that of 1594 Adam Islip's name was first entered 
 and then struck out : 
 
 Edwardl Whitl' Entred alsoe for his Copie vnder thandes of bothe the wardens a booke entituled The 
 moste famous Chronicle historye of Leire kinge of England and his Three Daughters vja l. 
 
 Simon Sta¥ord Entred for his Copie vnder thandes of the Wardens A booke called ' the Tragecall historie 
 of kinge Leir and his Three Daughters &-:.' As it was latelie Acted vj 
 
 John Wright Entred for his Copie by assignement from Simon Stafford and by consent of Master 
 Leake, The Tragicall history of kinge Leire and his Three Daughters Provided that Simon 
 Stafford shall haue the printinge of this booke ^J 
 
 Mr. Arber adds this note : " It is evident that King Lear was printed by S. Stafford before the SthMay, 
 1605, though not entered until it was assigned on that date. See a similar case of The merry uives of 
 Windsor . . . ." (But see p. 113). Of the book entered in 1594 no copy is known. There is a copy 
 of the 1605 book in the British Museum entitled " The True Chronicle History of Kmg Leir and his 
 three daughters, Gonorill, Ragan, and Cordelia." It is said to have "been diuers and sundry times 
 lately acted"; but the place of acting is not named. The play is reprinted in H^zXM's Shakespeare s 
 Library. 
 
 Shakspere's play was thus entered in the Registers:— 
 1607. November 26. . , , o-i. j a 
 
 Nathanael Butter Entred for their copie vnder thandes of Sir George Buck knight and Thwardens A 
 John Busby booke called . Master William Shakespeare his 'historye of Kinge Lear' as yt was 
 
 played before the kinges maiestie at Whitehall vppon Sainct Stephens night at Christmas Last 
 by his maiesties servantes playinge vsually at the ' Globe ' on the Banksyde Y]* 
 
 One of the editions published in the following year bears the title " M. William Shak-speare: His True Chronicle Historie 
 of the life and death of King Lear and his three Daughters. With the vnfortunate life of Edgar, sonne and heire to the 
 Earle of Gloster, and his sullen and assumed humor of Tom of Bedlam." The fact of the performance recorded m tne 
 entry is stated. The only variations in the title of the other edition are in the spelling of some words. The authoi s name 
 is given as " Shake-speare." But in the texts of the two editions and in copies of the same edition there are many 
 variations (see 'Cambridge ' Shakespeare and Furness's edition of the play). A comparison of these two editions witn one 
 another and with the Folio should be made by the enquiring student (see a paper by Delius in the New Shakspere bociety s 
 Transactions, 1875-6, Part I.). In the Folio the play is called " The Tiagedie of King Lear." 
 
 An investigation into the sources of the plot will be of much interest. The historical versions of the story, passages 
 in Sidney's A rcadia (1598), many poetical forms of the incidents, the 1605 play, should all be looked at. Hazlitt and furness 
 supply all that is necessary. The more critically disposed searcher may trace the course of the story through writers otner 
 than English (see Mr. C. H. Herford's paper on " Some Variants of the Lear-story," in O^jens College Masii:iir, June, ia»3)- 
 
TIMON OF ATHENS 
 
 III 
 
 75 
 II 
 
 12 
 
 20 
 29 
 
 5 
 264 
 160 
 
 51 
 50 
 
 9 
 
 7 
 15 
 37 
 204 
 II 
 
 28 
 16 
 25 
 30 
 38 
 44 
 31 
 
 7 
 20 
 
 I 
 25 
 16 
 
 32 
 6 
 7 
 
 63 
 5 
 3 
 
 14 
 6 
 6 
 
 15 
 
 6 
 
 2 
 10 
 
 5 
 
 8 
 
 2567 
 2372 
 
 CHARACTERS. 
 
 Poet 
 
 Painter 
 
 Merchant 
 
 Jeweller 
 
 TiMON 
 
 Messenger 
 
 Old Athenian ... 
 
 LuciLius 
 
 Apemantus 
 
 Alcibiades 
 
 1ST Lord 
 
 2ND Lord 
 
 Ventidius 
 
 "All" 
 
 3RD Lord 
 
 1ST Servant 
 
 Flavius 
 
 2ND Servant 
 3RD Servant 
 1ST Senator 
 
 Caphis 
 
 1ST Varro's Servan 
 Isidore's Servant 
 
 Fool 
 
 Flaminius 
 
 Lucullus 
 
 Lucius 
 
 1ST Stranger ... 
 2ND Stranger ... 
 
 Servilius 
 
 3RD Stranger ... 
 
 Sempronius 
 
 Titus 
 
 hortensius 
 Lucius' Servant 
 
 Philotus 
 
 2ND Varro's Servant 
 2ND Senator 
 3RD Senator 
 
 4TH Lord 
 
 1ST Bandit 
 
 2ND Bandit 
 
 3RD Bandit 
 
 Soldier 
 
 "Cupid" 
 
 1ST Lady 
 
 Page 
 
 Phkynia 
 
 Timandra 
 
 Actual No. of Lines 
 
 in. 
 
 56 
 
 IV. 
 
 378 
 
 26 
 
 25 
 
 The total lines should be 2373, as the total of I. 2 should be 25S. 
 
EVENINGS WITH SHAKSPERE. 
 
 i=;i 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN AND SEVEN LADIES. 
 
 Men's Paris. 
 
 SEVEN CHARACTERS SINGLY AND ELEVEN GROUPS. 
 
 lucilius 
 
 Caphis 
 
 1ST Stranger 31 
 
 2ND Varro's Servant 7 
 
 5l 
 
 -64 
 
 LUCULLUS 38^ 
 
 Titus iC -64 
 
 3RD Servant 10 J 
 
 Merchant ii^ 
 Servilius 20 1^68 
 istServant 37 J 
 
 Lucius 44'^ 
 Philotus 6 [-65 
 3RD Lord 15 J 
 
 Old Athenian 29^ 
 Fool 25 [-69 
 
 Soldier 15 J 
 
 Ventidius 9] 
 Flaminius 30 ■ 
 Messenger 20 
 2ND Bandit 6 
 
 Sempronius 
 
 65 
 
 Lucius' Servant 32^ 
 Isidore's Servant 16 ', 
 2ND Servant 
 3RD Bandit 
 
 ■cl 
 
 65 
 
 Jeweller 12 ■ 
 
 1ST Varro's Servant 28 J 
 
 251 
 12 [-65 
 
 HORTENSIUS 11"] 
 
 1ST Lord 51 
 
 2ND Stranger 7 J 
 
 69 
 
 2ND Senator 63 
 3RD Stranger i 
 4TH Lord 3 
 
 1ST Bandit 14 ~ 
 2ND Lord 50 
 3RD Senator 5. 
 
 }- 
 
 .69 
 
 Ladies' Parts. 
 Omit Phrvnia and Timandra. 
 
 SUGGESTIONS FOR DISCUSSION. 
 ThiioH of Athens, in its present form, is a fragment of Shakspere's work added to by Cyril Tourneur. 
 The "light ending" test shows that the undoubted Shakspere-part of Timon of Athens was written 
 
 in 1607. 
 The misanthropy of Timon is the representation of the state of mind by which Shakspere was 
 
 agitated when he wrote his Sonnets. 
 
 THE EARLIEST KNOWN EDITION IS THE 1623 FOLIO. 
 
 This is also the date of its first mention in the Stationers' Registers. 
 
 There is in existence a manuscript play on the subject of Timon probably written about 1600. 
 There is no evidence that it was printed in Shakspere's time, and it is not likely that he knew anything 
 about it. It can be investigated by the student, as it was reprinted by the Shakespeare Society in 1842 
 and again by Hazlitt in Shakespeare's Library. 
 
 In Painter's Palaee of Pleasure, 1566, " The Twenty-eighth Nouell " is " Of the strange and beastlie 
 nature of Timon of Athens, enemie to mankinde, with his death, buriall, and epitaphe." Shakspere 
 would be familiar with it, and with some passages in the translated Plutareh, where, in the Lives of 
 Antony and Alcibiades, mention is made of Timon. But all these are too fragmentary to be in any real 
 sense the foundation of the play. Shakspere, doubtless, knew the story as a popular one, and there is 
 no need to think, with most editors, that he derived inspiration from Lucian's Dialogues, a book in a 
 tongue he could not read, and to which some parts of the play are nearer than to the other alleged 
 sources. If the double authorship of Timon of Athens is conceded, there may be no difficulty in 
 reference to Lucian. 
 
 Mr. Fleay has endeavoured to isolate the part of this play that he considers to have been written 
 by Shakspere. This, with his paper on the authorship and the discussion thereon, can be studied in the 
 New Shakspere Society's Transactions, 1874, Part I. 
 
A KING AND NO KING 
 
 
 s 
 
 
 I. 
 
 II. 
 
 
 III. 
 
 IV. 
 
 
 V. 
 
 
 II 
 
 CHARACTERS. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 r 
 
 
 I 
 
 ^ 
 
 I 
 
 ' 
 
 I 
 
 ^ 
 
 3 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 4 
 
 
 406 
 
 Mardonius 
 
 154 
 
 
 
 I 
 
 19 
 
 
 76 
 
 
 55 
 
 
 
 G3 
 
 
 
 38 
 
 
 428 
 
 Bessus 
 
 64 
 
 10 
 
 86 
 
 
 2 
 
 133 
 
 24 
 
 
 
 47 
 
 
 32 
 
 
 23 
 
 7 
 
 
 1129 
 
 Arbaces 
 
 307 
 
 
 
 53 
 
 208 
 
 
 "3 
 
 
 67 
 
 
 121 
 
 
 
 
 260 
 
 
 190 
 
 TiGRANES 
 
 26 
 
 28 
 
 
 6 
 
 47 
 
 
 
 
 51 
 
 
 
 
 28 
 
 
 4 
 
 
 9 
 
 1ST Gentleman 
 
 5 
 
 
 
 
 4 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 8 
 
 2ND Gentleman 
 
 4 
 
 
 ... 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 3 
 
 
 3 
 
 Messenger 
 
 3 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 268 
 
 GOBRIAS 
 
 
 
 78 
 
 
 56 
 
 
 
 25 
 
 20 
 
 
 I 
 
 
 
 
 88 
 
 
 143 
 
 Bacurius 
 
 
 ... 
 
 23 
 
 
 3 
 
 33 
 
 
 
 17 
 
 
 
 
 5 
 
 62 
 
 ... 
 
 
 II 
 
 1ST Man 
 
 
 
 
 II 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 12 
 
 2ND Man 
 
 ... 
 
 
 
 12 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 14 
 
 3RD Man 
 
 
 
 
 14 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 7 
 
 Philip 
 
 
 
 
 7 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 2 
 
 4TH Man 
 
 
 
 ... 
 
 2 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 6 
 
 "All" 
 
 
 
 
 6 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 17 
 
 3RD Gentleman 
 
 
 ... 
 
 
 
 
 17 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 86 
 
 1ST SVVORDMAN 
 
 
 
 
 
 
 
 
 
 
 70 
 
 
 5 
 
 
 II 
 
 ... 1 
 
 
 82 
 
 2ND SWORDMAN 
 
 
 
 
 
 
 
 
 
 
 53 
 
 
 4 
 
 
 25 
 
 
 
 108 
 
 Lygones 
 
 
 
 
 
 
 
 
 
 
 
 
 47 
 
 55 
 
 
 6 
 
 
 3 
 
 Servant 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 3 
 
 
 
 183 
 
 Spaconia 
 
 
 30 
 
 64 
 
 
 10 
 
 
 
 23 
 
 45 
 
 
 
 
 II 
 
 
 
 
 46 
 
 Arane 
 
 
 
 17 
 
 
 10 
 
 
 
 
 
 
 
 
 
 ... 
 
 19 
 
 
 255 
 
 Panthea 
 
 
 
 lOI 
 
 
 52 
 
 
 
 41 
 
 
 
 55 
 
 
 
 
 C 
 
 
 7 
 
 Woman 
 
 
 
 
 7 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 37 
 
 1ST Citizen's Wife .. 
 
 
 
 
 37 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 18 
 
 2ND Citizen's Wife ... 
 
 
 
 
 18 
 
 
 ... 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 3478 
 
 
 5G3 
 
 OS 
 
 iC'O 
 
 174 
 
 412 
 
 183 
 
 213 
 
 89 
 
 255 
 
 170 
 
 177 
 
 151 
 
 99 
 
 124 
 
 431 
 
 
 3207 
 
 Actual Number of Lines 
 
 537 
 
 Ci 
 
 342 
 
 173 
 
 345 
 
 183 
 
 202 
 
 80 
 
 252 
 
 162 
 
 154 
 
 14G 
 
 86 
 
 124 
 
 358 
 
EVEXIXGS WITH SHAKSPERE. I53 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 SEVENTEEN CHARACTERS SINGLY AND ONE GROUP. 
 
 Servant 3 
 4TH Man 2 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. The mode of clearing up the difficulties of the plot in A King and No King should be dramatically 
 
 inadmissible. 
 
 2. For certain kinds of dramatic writing the free metrical style of Beaumont and Fletcher is more 
 
 suitable than the strict Shaksperian rhythm. 
 
 3. Beaumont and Fletcher degraded Woman by representing her as the recipient of a soulless homage. 
 
 EARLIEST KNOWN EDITION. 
 Date. Printer. Publisher. Acted by Present Ourner. 
 
 i6ig Thomas Walkley The King's servants British Museum. 
 
 This play was licensed in iGii. 
 
 Cunningham {Op. cit. p. 211) prints a record of the performance of A King and No King on 
 December 26, 161 1. The authenticity of this, said to be taken from a MS. in the Audit Office, is 
 doubted. (But see Halliwell-Phillipps's Outlines, Vol. II., p. 309). The play was one of those acted 
 before the Court in 161 3 (see p. 103). 
 
 Beaumont died in 1616. 
 
 The earliest notice of the play in the Stationers' Registers is in 
 1618. August 7. 
 
 Master Blounte Entred for his Copie vnder the handes of Sir George Bucke and Master Adames 
 warden A play Called A king and noe kinge vjd 
 
 The edition published in the following year has no mention of Blount in the title-page, and has 
 merely the short title of the entry. It is said to be by " Francis Beamont, and lohn Fletcher," and to 
 have been " Acted at the Globe." 
 
 21 
 
MACBETH. 
 
 
 
 CHARACTERS. 
 
 L 
 
 ■■ 1 
 
 in. 
 
 IV. 
 
 V. 
 
 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 I 
 
 2 
 
 3 
 
 ' 
 
 2 
 
 3 
 
 4 
 
 5 
 
 44 
 9 
 
 2 
 
 6 
 
 7 
 
 8 
 
 20 
 
 9 
 26 
 
 19 
 
 I 
 
 86 
 
 75 
 
 
 
 Co 
 
 210 
 
 35 
 72 
 134 
 705 
 112 
 21 
 23 
 40 
 179 
 9 
 5 
 11 
 
 32 
 17 
 5 
 8 
 24 
 2 
 5 
 47 
 12 
 II 
 5 
 
 30 
 7 
 
 82 
 
 48 
 48 
 261 
 
 2 
 39 
 4 
 5 
 42 
 21 
 27 
 
 Duncan 
 
 Malcolm 
 
 Sergeant 
 
 Lennox 
 
 Ross 
 
 Macbeth 
 
 Banquo 
 
 Angus 
 
 Messenger 
 
 Porter 
 
 Macduff 
 
 Donalbain 
 
 "All" 
 
 Old Man 
 
 Attendant 
 
 1ST Murderer ... 
 2ND Murderer ... 
 
 Servant 
 
 3RD Murderer ... 
 
 Lord 
 
 1ST Apparition ... 
 English Doctor 
 Scotch Doctor 
 
 Menteith 
 
 Caithness 
 
 Seyton 
 
 Old Siward 
 Young Siward ... 
 
 1ST Witch 
 
 2ND Witch 
 
 3RD Witch 
 
 Lady Macbeth ... 
 
 Fleance 
 
 Hecate 
 
 2ND Apparition.. 
 3RD Apparition.. 
 Lady Macduff .. 
 
 Son 
 
 Gentlewoman ... 
 
 C 
 C 
 
 5 
 
 15 
 6 
 
 35 
 2 
 
 18 
 
 16 
 50 
 42 
 12 
 
 34 
 12 
 14 
 
 36 
 
 10 
 
 16 
 
 4 
 5 
 
 71 
 
 18 
 1 
 
 II 
 
 48 
 
 ... 
 
 43 
 
 45 
 24 
 
 2 
 
 39 
 ... 
 
 46 
 
 14 
 20 
 
 33 
 II 
 
 40 
 9 
 
 2 
 
 6 
 
 26 
 14 
 
 ... 
 
 114 
 21 
 
 I 
 10 
 
 8 
 3 
 
 41 
 ... 
 
 ... 
 
 2 
 
 z 
 
 18 
 
 4 
 
 II 
 
 ..' 
 
 8 
 
 5 
 
 5 
 
 105 
 
 7 
 
 3 
 
 40 
 
 I 
 34 
 
 32 
 21 
 
 6 
 
 75 
 
 2 
 
 40 
 30 
 29 
 
 5 
 4 
 
 5 
 
 19 
 9 
 
 4 
 
 ... 
 
 ... 
 ... 
 ' 
 
 42 
 21 
 
 141 
 41 
 
 ... 
 91 
 
 ... 
 5 
 
 38 
 
 23 
 27 
 
 7 
 9 
 
 ... 
 
 10 
 
 ... 
 55 
 
 ... 
 
 3 
 
 9 
 3 
 
 3 
 
 •■; 
 
 2 
 
 10 
 
 ... 
 
 6 
 2 
 
 z 
 
 3 
 ... 
 
 2 
 10 
 
 10 
 6 
 
 
 
 2410 
 2108 
 
 Actual No. ol Lint- 
 
 >7 
 12 
 
 7C 
 07 
 
 180 
 I5O 
 
 64 
 58 
 
 80 
 74 
 
 37 
 31 
 
 91 
 
 82 
 
 71 
 64 
 
 85 
 73 
 
 175 
 152 
 
 51 
 41 
 
 157 
 142 
 
 61 
 56 
 
 32 
 
 22 
 
 165 
 144 
 
 37 
 
 37 
 
 53 
 49 
 
 ige 
 >5C 
 
 t 
 
 2yb 
 24c 
 
 88 
 87 
 
 37 
 31 
 
 70 
 62 
 
 27 
 21 
 
 55 
 52 
 
 10 
 
 35 
 29 
 
 
 The total lincs'shoukl be 2100, as SG is the total of IV. 
 
 ihich Lady Macdiiffs lines should be 43. 
 
EVENINGS WITH SllAKSPERE. 1 55 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN AND SEVEN LADIES. 
 
 Men's Parts. 
 
 TWELVE CHARACTERS SINGLY AND SIX GROUPS. 
 
 Lord 24 ) Angus 21 | , Messenger 23 ) ^g 
 
 Attendant i \ ^ English Doctor 5 \ Servant 5 \ 
 
 Menteith 12^ Caithness iO Donalbain 9] 
 
 Young Siward 7-27 Seyton 5 [-27 ist Apparition 2^28 
 
 3RD Murderer 8 J Old Man iiJ 2nd Murderer 17 J 
 
 Ladies' Paris. 
 four characters singly and three groups. 
 
 TT ^ Gentlewoman 27) t at^v TM^r-i^rriru a-,\ 
 
 Hecate 39 .t Qnv oA ^9 Lady Macduff 43 ,q 
 
 Fleance 2 "^^ ^ ^ P 3RD Apparition 5 '^'^ 
 
 rLEANct. z) 2ND Apparition 4) ^ ^' 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. Macbeth in its present state is the original drama altered by Middleton. 
 
 2. Shakspere wrote Macbeth to show his belief in the influence that beings of the spirit-world have 
 
 upon every man and woman. 
 
 3. The internal evidence of Macbeth and contemporary records prove that Shakspere had been to 
 
 Scotland. 
 
 THE EARLIEST KNOWN EDITION IS THE 1623 FOLIO. 
 
 In the Stationers' Registers is this record: "27 die Augusti 1596. Tho. Millington— Thomas 
 Millington is likewyse fyned at ijs vjd for printinge of a ballad contrarye to order, which he also pre- 
 sently paid. Md. the ballad entituled The taming of a shrew. Also one other Ballad of Macdobeth." 
 Coming in a part of the Registers, permission to print which was not granted to Mr. Arber, this extract 
 is taken from Furness's edition of Macbeth, p. 387. 
 
 In Kemps nine daies wonder, 1600, there is an allusion to " a penny Poet, whose first making was 
 the miserable stolne story of Macdoel, or Macdobeth, or Macsomewhat " (ed. Camden Society, p. 21). 
 It has been thought that this ballad, of which no copy exists, may have furnished Shakspere with hints. 
 
 There was a play on this subject before the King at Oxford in 1605. 
 
 But these and other sources (see Furness, Op. cit.) are very improbable ones for Shakspere, who, 
 taking an outline of the facts from Holinshed, filled it in according to his own ideas. 
 
 Amongst the Ashmolean MSS. in the Bodleian there is one by Dr. Simon Forman, in which he 
 gives an account of the performances of some of Shakspere's plays. He saw Macbeth acted at the 
 Globe on April 20, 1610. His " Booke of Plaies and Notes thereof" was printed in the New Shakspere 
 Society's Transactions, 1875-C, Part II. 
 
 Any near approach to the date of the composition of Macbeth must, within certain limits, be 
 determined by internal evidence. 
 
 21: 
 
THE KNIGHT OF THE BURNING PESTLE 
 
 
 Is 
 
 CHARACTERS. 
 
 i\ 
 
 " 
 
 I. 
 
 II. 
 
 in. 
 
 r-. 
 
 V. 
 
 3 
 1 
 
 0. 
 
 
 
 1 
 
 ■ 
 
 2 
 
 3 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 ' 
 
 2 
 
 3 
 
 4 
 
 5 
 
 1 
 
 2 
 
 3 
 
 4 
 
 5 
 
 ^ 
 
 2 
 
 3 
 
 
 
 292 
 
 458 
 
 176 
 
 242 
 
 181 
 
 12 
 
 35 
 
 267 
 
 7 
 
 51 
 
 18 
 
 12 
 
 12 
 
 2 
 
 16 
 
 7 
 
 2 
 2 
 
 6 
 2 
 
 2 
 I 
 
 63 
 5" 
 161 
 74 
 185 
 20 
 6 
 25 
 5 
 
 Citizen 
 
 Ralph 
 
 Ventervvels 
 
 Jasper 
 
 Humphrey 
 
 Tim 
 
 George 
 
 Merrythought 
 
 Tapster 
 
 Host 
 
 Barber 
 
 1ST Knight 
 
 2ND Knight 
 
 Man 
 
 3RD Knight 
 
 Servant 
 
 Sergeant 
 
 Hamerton 
 
 Greengoose 
 
 1ST Soldier 
 
 2ND Soldier 
 
 "All" 
 
 "Prologue" 
 
 Wife 
 
 Luce 
 
 Boy 
 
 Mistress Merrythought 
 
 Michael 
 
 Woman 
 
 pompiona 
 
 2ND Boy 
 
 ... 
 
 ... 
 ... 
 
 26 
 
 64 
 6 
 
 37 
 41 
 
 12 
 
 38 
 35 
 76 
 
 33 
 
 48 
 
 I 
 
 71 
 
 3 
 3 
 
 23 
 
 14 
 14 
 
 41 
 
 26 
 
 G4 
 
 5 
 
 6 
 16 
 31 
 
 ... 
 18 
 
 30 
 59 
 
 38 
 37 
 
 5 
 7 
 
 76 
 13 
 
 5 
 36 
 
 7 
 
 9 
 16 
 
 2 
 
 20 
 
 4 
 
 ... 
 
 22 
 2 
 
 4 
 8 
 8 
 
 18 
 
 13 
 15 
 
 71 
 
 21 
 
 6 
 
 5 
 80 
 
 5 
 
 16 
 
 38 
 
 13 
 
 49 
 
 3 
 
 46 
 
 38 
 
 9 
 2 
 
 8 
 
 18 
 6 
 
 12 
 52 
 
 2 
 5 
 
 5 
 
 18 
 12 
 12 
 2 
 16 
 
 ... 
 
 35 
 
 6 
 
 7 
 38 
 
 49 
 
 2 
 43 
 
 I 
 
 18 
 
 19 
 19 
 
 8 
 41 
 
 7 
 
 25 
 
 47 
 14 
 
 3 
 
 _^ 
 
 10 
 19 
 
 9 
 26 
 
 4 
 ... 
 
 62 
 13 
 
 19 
 36 
 
 48 
 
 5 
 7 
 
 5 
 
 21 
 5 
 
 13 
 27 
 10 
 
 24 
 
 5 
 72 
 
 2 
 6 
 
 2 
 
 I 
 
 3 
 
 51 
 25 
 
 69 
 
 6 
 
 12 
 
 3 
 
 13 
 
 
 
 2853 
 2771 
 
 Actual Number of Lines 
 
 26 
 26 
 
 148 
 
 243 
 217 
 
 jin 
 
 164 
 1 
 
 71 
 
 313 
 
 205 
 
 77 
 77 
 
 38 
 38 
 
 I2C 
 12c 
 
 15c 
 14 
 
 16c 
 
 1 6c 
 
 32 
 
 i!: 
 
 1177 
 
 14c 
 14c 
 
 67 
 64 
 
 81 
 
 80 
 
 93 
 91 
 
 1 
 
 I2C 
 
 n( 
 
 1 
 
 98 
 
 95 
 
 95 
 
 19( 
 
 '4 
 14 
 
 
EVENINGS WITH SMj^f//?|^f. ^' 157 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN AND SEVEN LADIES. 
 
 Men's Parts. 
 
 FIFTEEN CHARACTERS SINGLY AND THREE GROUPS. 
 
 Man 2} Sergeant 2I Tapster 7) 
 
 1ST Soldier 2j4 Servant 7P 2nd Soldier 2j -* 
 
 Ladies' Parts. 
 
 five characters singly and two GROUPS. 
 
 Michael 20 ) Pompiona 25 ) 
 
 2ND Boy 5 \ ^ Woman 6 \ ^ 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. There is a definite connection between Don Quixote, The Knight of the Burning Pestle, and Hudibras. 
 
 2. The popularity of Beaumont and Fletcher was owing to the fact that they suited themselves to the 
 
 gross tastes of the Court and age, thus showing a marked contrast to Shakspere, who elevated 
 the public to himself. 
 
 3. The Faithful Shepherdess, possessing only beauties of detail, does not rank so high as Ben Jonson's 
 
 Sad Shepherd, while compared with Milton's Comus it is a miserable failure. 
 
 EARLIEST KNOWN EDITION. 
 
 Date. Printer. Publisher. Acted by Present Oicncr. 
 
 1613 Walter Burre British Museum. 
 
 This edition had merely "The Knight of the Burning Pestle" for its title. " W. B.," the 
 publisher, dedicating it to Master Robert Keysar in a smartly-written letter, alludes to its rejection 
 two years before by the theatre-going public, who did not understand " the privy mark of irony about 
 it." He refers to its likeness to Don Quixote, the first English translation of which appeared in 1612, 
 but part of which dated from 1605. 
 
 The play was not entered in the Stationers' Registers. 
 
PERICLES 
 
 k 
 
 Ho 
 
 CHARACTERS. 
 
 L 
 
 n. 
 
 in. 
 
 IV. 
 
 V. 
 
 
 u 
 
 
 U 
 
 I 
 
 2 
 
 3 
 
 4 
 
 3 
 
 
 '■J 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 u 
 
 
 
 I 
 
 2 
 
 3 
 
 4 
 
 a 
 1-. 
 
 
 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 3 
 
 5 
 
 ^ 
 
 2 
 
 3 
 
 
 307 
 
 603 
 28 
 
 I 
 
 33 
 
 II 
 
 122 
 
 no 
 
 4 
 
 43 
 
 31 
 
 20 
 
 153 
 
 3 
 
 7 
 
 I 
 
 2 
 
 I 
 
 I 
 
 10 
 
 6 
 
 109 
 
 3 
 
 6 
 
 25 
 
 18 
 
 23 
 
 2 
 
 I 
 
 2 
 
 32 
 
 99 
 
 107 
 
 9 
 
 2 
 89 
 82 
 II 
 190 
 117 
 10 
 
 "Gower" 
 
 Antiochus 
 
 Pericles 
 
 Thaliard 
 
 Messenger 
 
 1ST Lord 
 
 2ND Lord 
 
 Helicanus 
 
 Cleon 
 
 "All" 
 
 1ST Fisherman 
 2ND Fisherman ... 
 3RD Fisherman ... 
 
 SiMOMDES 
 
 3RD Lord 
 
 1ST Knight 
 
 42 
 
 67 
 98 
 6 
 
 I 
 
 
 
 
 40 
 
 
 
 
 
 
 60 
 
 
 
 
 
 52 
 
 
 
 ... 
 
 51 
 
 
 
 24 
 
 
 20 
 
 18 
 
 
 94 
 
 22 
 
 17 
 
 ... 
 
 79 
 
 
 25 
 
 
 33 
 
 
 59 
 
 
 28 
 
 
 
 
 
 ... 
 
 
 
 ... 
 
 
 115 
 
 
 55 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 2 
 31 
 ... 
 
 19 
 
 7 
 
 74 
 2 
 
 
 
 6 
 
 
 16 
 
 7 
 32 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 3 
 39 
 
 
 I 
 
 
 
 
 
 
 14 
 
 
 
 
 
 22 
 
 
 
 
 
 
 
 43 
 31 
 20 
 
 I 
 
 ... 
 
 ! 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 ... 
 
 
 
 ' 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 28 
 2 
 
 ... 
 
 67 
 
 6 
 
 I 
 
 I 
 
 I 
 
 58 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 Escanes ... 
 
 
 
 
 
 
 
 
 
 
 2ND Knight 
 
 3RD Knight 
 
 
 
 
 
 
 
 
 ... 
 
 
 I 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 10 
 6 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 2ND Sailor 
 
 Cerimon 
 
 Philemon 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 84 
 3 
 6 
 18 
 H 
 
 
 8 
 
 
 23 
 
 I 
 I 
 
 ;:: 
 
 
 
 6 
 4 
 
 
 
 I 
 
 
 17 
 
 
 Servant 
 
 1ST Gentleman ... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 2ND Gentleman ... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 2ND Pirate 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 3RD Pirate 
 
 Pandar 
 
 BOULT 
 
 Lysimachus 
 
 Tvrian Sailor 
 
 
 
 
 
 
 
 
 ••• 
 
 
 
 
 
 ••■ 
 
 
 ••• 
 
 ••• 
 
 
 28 
 44 
 
 
 
 
 4 
 55 
 52 
 
 
 55 
 9 
 
 
 
 
 
 
 
 
 Daughter 
 
 DiONYZA 
 
 Thaisa 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 9 
 
 
 
 22 
 
 22 
 
 
 4 
 
 
 II 
 
 2 
 
 6 
 
 ID 
 
 
 38 
 46 
 
 
 36 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 22 
 
 
 Lvchorida 
 
 
 
 
 
 
 
 
 
 Marina ... 
 
 
 
 
 
 
 
 
 
 
 
 
 
 16 
 74 
 
 
 
 
 61 
 43 
 
 
 65 
 10 
 
 297 
 
 265 
 
 20 
 
 20 
 
 2 
 "5 
 
 .03 
 
 
 Bawd 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 41 
 
 40 
 
 109 
 
 108 
 
 40 
 
 40 
 
 173 
 
 173 
 
 61 
 
 Co 
 
 121 
 
 116 
 
 59 
 
 58 
 
 98 
 93 
 
 60 
 
 60 
 
 86 
 
 82 
 
 127 
 III 
 
 48 
 41 
 
 18 
 
 18 
 
 52 
 
 52 
 
 III 
 103 
 
 163 
 
 58 
 51 
 
 51 
 
 51 
 
 10 
 
 10 
 
 212 
 
 24 
 24 
 
 
 2501 
 
 23QI 
 
 Actual No. of Lines 
 
 42 
 
 42 
 
 174 
 
 1 
 
 128 
 
 124 
 
 
EVEXIXCS Wiril SIIAKSPERE. 
 
 159 
 
 In reading aloud, Scenes 2, 5, and 6 of Act IV. are to be omitted. 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN AND SEVEN 
 
 Men's Parts. 
 Omit Pandar and Boult. 
 
 TWELVE CHARACTERS SINGLY AND SIX GROUPS. 
 
 LADIES. 
 
 
 1ST Pirate 2 \ 
 
 
 Philemon 
 
 3' 
 
 \ 
 
 
 2ND Gentleman 18 f 
 
 
 3RD P1R.A.TE 
 
 2 
 
 r 
 
 
 2ND Knight i ( '^ 
 
 
 3RD Fisherman 
 
 20 
 
 
 3RD Lord 3 , 
 
 
 3RD Knight 
 
 I 
 
 } 
 
 1ST Knight 7 ) 
 
 1ST Sailor 10 
 
 
 ESCANES 2 1 
 
 
 Marshal 
 
 2ND Lord ii | 
 
 . 24 TvRiAN Sailor 9 
 
 25 
 
 Leonine 23 I 26 
 
 
 1ST Gentlem. 
 
 2ND Sailor 6 ) 
 
 1 Servant C 
 
 
 Messenger i ) 
 
 
 2ND Pirate 
 
 Ladies' Parts : Omit Bawd. 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. The Stage-management of Pericles and the slavish reproduction of the romance of Apollonius show 
 
 that the whole play could not have been written by Shakspere. 
 
 2. The Story of Marina as an artistic whole written by Shakspere can be separated from Pericles, 
 
 showing the rest of the play to be parts added by Wilkins and Rowley. 
 
 3. Cerimon is Dr. John Hall. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 
 1609 
 
 1609 
 1611 
 
 1619 
 
 Henry Gosson 
 
 Henry Gosson 
 
 S. S. 
 
 Acted by 
 
 The King's servants 
 
 The King's servants 
 The King's servants 
 
 T. P. 
 
 Present Owners. 
 
 r British Museum. 
 - Bodleian Library. 
 
 [Trinity College, Cambridge. 
 
 I British Museum. 
 ■I Hamburg Public Library. 
 
 [Duke of Devonshire. 
 British Museum. 
 
 f British Museum. 
 -| Bodleian Library. 
 
 [Trinity College, Cambridge. 
 
 In the Stationers' Registers are the following entries:— 
 
 William Howe. Receyued of him for his licence to ymprint a booke intituled the most excellent pleasant 
 and variable historie of the strange adventures of prince Apolloxivs Lvcisa his wife and 
 Tharsa his daughter viij^ 
 
 This booke is sett foorth in print with this title The patterne of peynfull aduentures. 
 
 1608. May 20. , . , J ,T ITT J 
 
 Edward Blount. Entred for his copie vnder thandes of Sir George Buck knight and Master Warden 
 Seton A booke called. The booke of Pericles prynce of Tyre vjd 
 
 Edward Blunt Entred also for his copie by the lyke Aucthoritie. A booke Called. AsTmyy. and 
 Cleopatra 'J 
 
 In 1608 T. P. printed for Nat. Butter a novel by George Wilkins called "The Painfull Aduentures of Pericles Prince of 
 Tyre. Being The true History of the Play of Pericles, as it was lately presented by the worthy and ancient Poet, lohn 
 Gower." Copies are in the British Museum and the Zurich Public Library. 
 
 The 1609 copies are two distinct editions. In each and in the 1611 version the title is "The Late, And much admired 
 Play, Called Pericles, Prince of Tyre. With the true Relation of the whole Historie, aduentures, and fortunes of the said 
 Prince ■ As also. The no lesse strauRe, and worthy accidents, in the Birth and Life, of his Daughter Mariana. _ The play is 
 said to have " been diuers and sundry times acted by his Maiesties Seruants, at the Globe on the Banck-side, and to have 
 been written " By William Shakespeare." In the 1619 edition, which was issued with The Whole Contention in one volume 
 (see p. 65). the latter part of the title and the allusion to the acting are omitted. The author is described as " W. Shakespeare. 
 
 Notwithstanding its evident popularity and its clear statement of authorship, the play was not included in the 1623 
 Folio, and was not printed with Shakspere's works till 1664. It looks as if there had been some barrier to its inclusion, 
 other than a literary one. 
 
 The story of Pericles is met with in various forms (see Douce's Illustrations of Shakspcare, ed. 1839, pp. 39S-403). 
 Hazlitt, in Shakespeare's Library, reprints "The Story of Apollonius of Tyre" from Gower's Confessio Amantis,hom which 
 probably the authors of Pericles drew their inspiration. Hazlitt also prints Twine's novel, the entry of which in the 
 Stationers' Registers is recorded above. The earliest known edition is one without date, "Imprinted at London by 
 Valentine Simmes for the Widow Newman." 
 
 The story of Marina referred to in the second suggestion has been extracted by Mr. Fleay. It is printed in the New 
 Shakspere Society's Transactions, 1874, Part I. The student should consult his paper accompanying it, and also Mr. Boyle s 
 paper on the authorship of the play in the Transactions for 1SS0-5, Part II. 
 
ANTONY AND 
 
 1 
 
 CHARACTERS. 
 
 I. 
 
 II. 
 
 III. 
 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 I 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 8 
 
 
 
 i6 
 
 829 
 
 6 
 
 5 
 
 32 
 32 
 356 
 79 
 I 
 4 
 420 
 70 
 
 ■i 
 
 68 
 4 
 40 
 61 
 
 8 
 
 30 
 II 
 49 
 25 
 63 
 
 40 
 12 
 48 
 16 
 31 
 15 
 13 
 5 
 
 i 
 
 19 
 
 6 
 32 
 2 
 5 
 31 
 
 670 
 
 109 
 3 ' 
 
 Philo 
 
 Antony 
 
 1ST Attendant 
 
 Demetrius 
 
 Alexas 
 
 Soothsayer 
 
 Enobarbus 
 
 1ST Messenger 
 2ND Attendant 
 2ND Messenger .. 
 
 C.tSAR 
 
 Lepidus 
 
 Mardian 
 
 Pompey 
 
 Menecrates 
 
 Menas 
 
 Varrius 
 
 Mec.i;nas 
 
 Agrippa 
 
 1ST Servant 
 
 2ND Servant 
 
 Ventidius 
 
 SiLIUS 
 
 Eros 
 
 Canidius 
 
 1ST Soldier 
 
 Taurus 
 
 SCARUS 
 
 "All" 
 
 Dolabella 
 
 Euphronius 
 
 Thyreus 
 
 2ND Soldier 
 
 3RD Soldier 
 
 4TH Soldier 
 
 Captain 
 
 1ST Guard 
 
 2ND Guard 
 
 3RD Guard 
 
 Deucetas 
 
 Diomedes 
 
 Egyptian 
 
 Puoculeius 
 
 Gallus 
 
 Seleucus 
 
 Clown 
 
 Cleopatra 
 
 Ciiakmian 
 
 Iras 
 
 Octavia 
 
 Boy 
 
 16 
 
 25 
 
 5 
 21 
 
 59 
 
 I 
 
 II 
 13 
 
 47 
 15 
 
 I 
 4 
 
 C 
 
 43 
 15 
 
 47 
 
 70 
 8 
 
 16 
 
 62 
 
 15 
 
 17 • 
 
 6 '. 
 
 ... 
 
 60 . 
 
 8 
 
 ; 8 
 
 2 
 5 
 
 3 . 
 
 6 
 
 9 
 
 6 
 
 7 
 
 7 
 
 25 
 i'9 
 
 '3' 
 
 8" 
 
 4 
 3 
 
 I 
 
 25 
 'i' 
 
 ::: 
 
 106 
 10 
 
 16 
 
 44 
 
 is 
 
 6 
 64 
 27 
 
 28 
 
 18 
 
 12 
 30 
 33 
 
 It 
 
 8 
 
 6 
 
 30 
 II 
 
 2 
 2 
 
 .. 
 3 
 
 ? 
 
 2 
 
 4 
 i's 
 
 1 
 
 
 5 
 6 
 
 
 9 
 
 8 
 
 83 
 
 10 
 
 5 
 
 14 
 
 2 
 
 3C 
 
 3 
 
 i'( 
 I. 
 
 
 5 
 
 1 
 
 ::: 
 
 
 3558 
 30G3 
 
 Actual No. of Lines 
 
 08 
 62 
 
 215 
 
 125 
 
 105 
 
 93 
 
 91 
 
 78 5 
 
 295 
 2 250 
 
 48 
 42 
 
 15 
 10 
 
 143 
 119 
 
 173 
 
 145 
 
 iCi 
 141 
 
 41 
 37 
 
 80 
 06 
 
 05 
 51 
 
 41 
 
 38 
 
 27 
 
 ^ 
 
 98 
 81 
 
 6 
 6 
 
 
CLEOPATRA 
 
 
 IV. 
 
 V. 
 
 
 
 
 9 
 
 10 
 
 " 
 
 12 
 
 13 
 
 ' 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 8 
 
 9 
 
 10 
 
 II 
 
 12 
 
 13 
 
 14 
 
 15 
 
 ' 
 
 2 
 
 
 Antony 
 
 1ST Attendant 
 
 Enobarbus 
 
 1ST Messenger 
 
 C.SSAR 
 
 Mardian 
 
 Mec^enas 
 
 Agrippa 
 
 Eros"""!!" 
 
 Canidius 
 
 1ST Soldier 
 
 SCARUS 
 
 "All" 
 
 Dolabella.., 
 
 euphronius 
 
 Thyreus 
 
 2ND Soldier 
 
 3RD Soldier 
 
 4TH Soldier 
 
 Captain 
 
 1ST Guard 
 
 2ND Guard 
 
 3RD Guard 
 
 Dercetas 
 
 DiOMEDES 
 
 Egyptian 
 
 Proculeius 
 
 Gallus 
 
 Seleucus 
 
 Clown 
 
 Cleopatra 
 
 Charmian 
 
 Iras 
 
 4 
 
 !!! 
 
 9 
 
 21 
 
 58 
 
 ... 
 
 "s 
 
 I 
 
 2 
 4 
 
 22 
 
 5 
 
 14 
 2 
 
 IIO 
 
 3 
 44 
 
 29 
 46 
 
 13 
 
 5 
 
 41 
 II 
 
 2 
 
 '3' 
 
 's 
 
 6 
 
 5 
 
 31 
 
 3 
 I 
 
 I 
 9 
 
 2 
 12 
 
 20 
 2 
 
 10 
 10 
 
 5 
 
 '3 
 II 
 
 21 
 16 
 
 37 
 
 !!! 
 
 5 
 
 17 
 
 13 
 
 ... 
 
 '7 
 7 
 
 9 
 
 I 
 
 4 
 
 43 
 
 7 
 
 8 
 4 
 
 lob 
 12 
 
 2 
 
 '5' 
 
 2 
 
 23 
 3 
 
 63 
 
 5 
 4 
 
 54 
 
 4 
 6 
 
 17 
 
 6 
 
 I 
 
 58 
 
 2 
 42 
 
 i's 
 
 2 
 
 31 
 
 2 
 5 
 31 
 
 211 
 19 
 
 7 
 
 
 Actual Kg. of Lines 
 
 4 
 
 4 
 
 45 
 37 
 
 Si 
 "4 
 
 43 
 36 
 
 234 
 
 201 
 
 18 
 16 
 
 55 
 45 
 
 34 
 23 
 
 47 
 3S 
 
 25 
 17 
 
 43 
 39 
 
 42 
 39 
 
 44 
 
 35 
 
 10 
 9 
 
 4 
 
 4 
 
 51 
 
 49 
 
 12 
 
 10 
 
 166 
 
 140 
 
 104 
 
 90 
 
 77 
 
 423 
 369 
 
 a 
 
 22 
 
EVEMNGS WITH SIIAKSPERE. 
 
 ANTONY AND CLEOPATRA 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 SEVEN CHARACTERS SINGLY AND ELEVEN GROUI 
 
 Ventidius 30 \ 
 Thyreus 31 ( g 
 Taurus i ( ' 
 
 4TH Soldier 5 ) 
 
 Eros 49 
 
 Demetrius 5 J- 67 
 3RD Soldier 13 
 
 SCARUS 
 
 40 
 
 Philo 
 
 16 
 
 SiLIUS 
 
 II 
 
 67 
 
 Dercetas 
 Menecrates 
 
 "\ 
 
 67 
 
 2ND Servant S 
 
 Mec^nas 40") 
 
 1ST Guard 23 j-67 
 
 2ND Messenger 4 J 
 
 Agrippa 61 ^ 
 Seleucus 5 ^67 
 Captain i J 
 
 Gali-us 2 \ 
 
 1ST Soldier ^3(67 
 2ND Attendant i ( 
 3RD Guard i ) 
 
 Canidius 25 
 
 Alexas 32 
 
 Egyptian 6 
 
 2ND Guard 4 
 
 G7 
 
 DiOMEDES 
 
 Clown 
 
 1ST Attendani 
 
 1ST Servant 
 
 Dolabella 
 Varrius 
 2NI) Soldier 
 
 -67 
 
 Proculeius 
 
 EUPHRONIUS l6 J-67 
 
 Mardian 19 J 
 
 32 1 
 
 i6 U 
 
EVENINGS WITH SHAKSPERE. 1 63 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 Blount's entry unaccompanied by any edition of the play proves that Shakspere did not sanction 
 
 the printing of any of his works after 1604. 
 A comparison of Antony and Cleopatra with Samson Agonistes shows that Shakspere teaches the same 
 
 moral lesson as Milton, but with incomparably greater art. 
 The abundance of incident and detail in Antony and Cleopatra greatly detracts from the excellence 
 
 of the play. 
 
 THE EARLIEST KNOWN EDITION IS THE 1623 FOLIO. 
 
 In the Stationers' Registers is this entry : — 
 
 1593. October ig. 
 
 Symond water- Entred for his Copie vnder thandes of both the wardens a booke intituled The 
 
 son. Tragedy e of Cleopatra ^J 
 
 This is Daniel's play which was published in the following year. 
 
 On May 20, 1C08, "Anthony and Cleopatra" was entered in the Registers by Edward Blount (see 
 p. 159), who was one of those by whom the first Folio was brought out, and by whom, with Jaggard, 
 the play was again entered on November 8, 1623. In the Folio the play is entitled "The Tragedie of 
 Anthonie, and Cleopatra." In the FoHo's Table of Contents, called the " Catalogve," it is described as 
 " Anthony and Cleopater." 
 
 There is no need to consider that either Daniel's play, or any other dramatic form, furnished 
 Shakspere with hints, as for the facts, and sometimes the words, it is clear that he went to North's 
 English translation of Amyot's French version of Plutarch's Lives. 
 
 22 * 
 
THE DUCHESS OF MALF 
 
 191 
 
 462 
 
 798 
 
 287 
 
 533 
 
 24 
 
 30 
 
 13 
 
 6 
 53 
 
 69 
 
 577 
 
 9 
 
 143 
 
 31 So 
 3143 
 
 CHARACTERS. 
 
 Delio 
 
 Antonio 
 
 BOSOLA 
 
 Cardinal .. 
 Ferdinand .. 
 
 Silvio 
 
 Castruccio .. 
 roderigo .. 
 Grisolan 
 1ST Servant 
 2ND Servant 
 2ND Officer 
 3RD Officer 
 4TH Officer 
 1ST Officer 
 Malatesti .. 
 Pescara 
 1ST Pilgrim 
 2ND Pilgrim 
 
 "All" 
 
 1ST Madman 
 2ND Madman 
 3RD Madman 
 4TH Madman 
 1ST Executioner 
 Doctor 
 
 Cariola 
 Duchess 
 Old Lady 
 Julia ... 
 " Echo " 
 
 Actual No. of Lines 
 
 HI. 
 
 to6 
 
 150 
 
 IV. 
 
 65 
 
 9S 
 
 71 j9S 
 64 95 
 
 14S 
 141 
 
EVENINGS WITH SHAKSPERE. 
 
 165 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 TWELVE CHARACTERS SINGLY AND SIX GROUPS. 
 
 RODERIGO 
 
 1ST Officer 
 
 1ST Pilgrim 
 3RD Officer 
 
 .3|.S 
 
 2ND Officer 5 
 4TH Madman 14 
 
 19 
 
 Grisolan 6^ 
 
 2ND Madman 10 >ig 
 4TH Officer 3 J 
 
 1ST Executioner 4 ) 
 2ND Pilgrim 15 \ ■ 
 
 2ND Servant 
 3RD Madman 
 
 SUGGESTIONS FOR DISCUSSION. 
 Parts of The Duchess of Malfi exceed the just bounds of poetry and tragedy. 
 In flashes of genius which suddenly light up a wide horizon of emotions, Webster alone among 
 
 English dramatists can be said to equal Shakspere. 
 In his references to the play-writers of his time, Webster showed that he failed to appreciate 
 
 Shakspere's merits. 
 
 EARLIEST KNOWN EDITION. 
 
 Date. 
 1623 
 
 Printer. 
 Nicholas Okes 
 
 rublishcr. 
 lohn Waterson 
 
 Acted by 
 The King's servants 
 
 Present Oivncr. 
 British Museum. 
 
 There is no previous entry of the play in the Stationers' Registers. 
 
 In the Bodleian there is a MS. note by Malone recording his opinion " that the Dutchess of Maify 
 was produced about the year 1612." Dyce says {The Works of John Webstei; ed. 1877, p. 54) : " We are 
 certain that the Duchess of Malfi was performed before March, 1618-19, when Burbadge, who originally 
 played Ferdinand, died ; and we may conclude that it was first produced about 1616." 
 
 The title of the 1G23 edition is " The Tragedy of the dvtchesse of Malfy." It is said to have been 
 "Presented priuatly at the Black-Friers ; and pubHquely at the Globe," and to be "The perfect and 
 exact Coppy, with diuerse things Printed, that the length of the Play would not beare in the Present- 
 ment. Written by John Webster." 
 
 The story is to be found in Painter's Palace of Pleasure, 15G6, and other places (sec Dyce, loc. cit.). 
 
TROILUS AND CRESSIDA, 
 
 1 
 
 1 
 
 
 
 %■ 
 '0 
 
 31 
 
 I. 
 
 II. 
 
 III. 
 
 IV. 
 
 V. 
 
 CHARACTERS. 
 
 I 
 
 74 
 42 
 
 5 
 
 2 
 
 172 
 35 
 
 115 
 3 
 
 3 
 
 5S 
 
 66 
 
 93 
 
 179 
 
 I 
 
 ... 
 
 I 
 
 26 
 
 85 
 28 
 
 3 
 
 85 
 
 12 
 75 
 4 
 30 
 
 13 
 
 3 
 
 59 
 20 
 Si 
 
 28 
 61 
 II 
 19 
 
 5 
 
 ... 9 
 91 6 
 
 31 • 
 
 20 . 
 
 2 3 
 
 I 
 
 2 
 
 3 ^ 
 
 \ 5 
 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 8 
 
 9 
 
 10 
 
 541 
 
 453 
 
 143 
 
 ■ 35 
 
 195 
 
 158 
 
 488 
 
 12 
 
 89 
 
 321 
 
 195 
 
 70 
 
 20 
 
 212 
 
 4 
 
 103 
 103 
 
 21 
 
 31 
 
 2 
 
 3 
 
 3 
 
 ' I 
 
 31 
 
 312 
 
 5 
 
 37 
 30 
 15 
 
 Troilus 
 
 ... 
 
 1 ... 
 
 • 14 
 
 I 
 
 • 3 
 
 . 48 
 
 ■ 74 
 
 • 31 
 
 • 29 
 
 2 ... 
 
 20 
 
 31 
 32 
 
 I 
 
 21 
 3G 
 20 
 
 44 
 
 5 9 
 ... I 
 ... c 
 
 8 
 ... I 
 
 2 II 
 8 ... 
 ) 25 
 
 ■ 3C 
 . 28 
 . 62 
 
 • 9 
 
 ■ 25 
 
 ■ 7 
 
 • 79 
 
 5 ••■ 
 2 6 
 
 ... 
 
 . I 
 
 5 II 
 
 I 
 
 4 
 
 3 
 
 I 
 
 3 
 
 61 
 
 23 
 10 
 
 5 
 2 
 
 90 
 3 
 
 28 
 
 32 
 9 
 
 2 
 
 
 8 
 
 
 
 
 30 
 24 
 3 
 
 Pandarus .. 
 
 JEneas 
 
 Alexander .. 
 Agamemnon.. 
 Nestor 
 Ulysses 
 Menelaus .. 
 
 Ajax 
 
 Thersites .. 
 Achilles .. 
 Patroclus .. 
 
 Priam 
 
 Hector 
 Helenus .. 
 
 Paris 
 
 Diomedes .. 
 Servant 
 Calchas 
 Deiphobus .. 
 
 "All" 
 
 Margarelon 
 Myrmidon .. 
 
 " Prologue " 
 Cressida 
 
 
 
 
 
 
 
 
 
 
 
 
 
 II 
 14 
 13 
 
 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 23 
 
 ... 
 
 30 
 
 I 
 4 
 
 ! 
 
 6 
 
 13 
 8 
 
 16 
 
 2 
 
 
 29 
 
 2 
 
 ... 
 
 46 
 
 8 
 35 
 
 
 
 
 
 
 
 
 3 
 4 
 
 6 
 I 
 
 ID 
 
 4 
 
 
 5 
 
 I 
 
 
 
 3 
 
 ; 
 
 I 
 
 ... 
 
 I 
 
 Boy 
 
 Cassandra 
 
 Helen 
 
 Andromache 
 
 ... 
 24 
 
 15 
 
 ... 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 
 22 
 
 22 
 
 10 
 
 10 
 
 58 
 
 57 
 
 3(^33 
 34 9G 
 
 Actual No. of Lines 
 
 31 
 31 
 
 121 
 119 
 
 325 
 321 
 
 397 
 392 
 
 "1 
 
 219 
 213 
 
 28., 
 
 277 
 
 1722: 
 1722: 
 
 '4326 
 0316 
 
 84 
 79 
 
 121 
 "5 
 
 .3. 
 
 "T- 
 
 )0 32I 
 
 0293 
 
 "3 
 
 221 
 
 197 
 
 123 
 112 
 
 1 
 39'50 
 
 3S,47 
 
 33 
 31 
 
 24 
 24 
 
EVENINGS WITH SHAKSPERE. 1 67 
 
 SCHEME FOR ARRANGING TPIE PARTS WITH EIGHTEEN MEN. 
 
 SIXTEEN CHARACTERS SINGLY AND TWO GROUPS. 
 
 Helenus 4^ Deiphobus 
 
 Menelaus 12 V19 Servant 21 }• 24 
 
 Margarelon 3 I Myrmidon i 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. The Rhyme-test confirms the theory that Troilus and Cressida was written in three sections at 
 
 different periods of Shakspere's Hfe. 
 
 2. The miUtary allusions in Troilus and Cressida, together with contemporary records, prove that 
 
 Shakspere served under Leicester in the Low Countries. 
 
 3. Troilus and Cressida was Shakspere's last attempt at comedy when he was no longer capable of it. 
 
 LIST OF EARLIEST KNOWN EDITIONS. 
 
 Acted by Present Owners. 
 
 [ British Museum. 
 ) Bodleian Library. 
 1609 G. Eld ^ ?f,„„_. ) Trinity College, Cambridge. 
 
 " ^'^" "" f Duke of Devonshire. 
 
 rublishcrs. 
 
 R. 
 
 Bonian 
 
 
 and 
 
 H 
 
 . Walley 
 
 R. 
 
 Bonian 
 
 
 and 
 
 H 
 
 . Walley 
 
 160Q G. Eld and The King's servants 
 
 H. Walley 
 
 The follbwing entries occur in the Stationers' Registers : — 
 
 1565. July 22 — 1566. July 22. r , 1, • • 1 J 
 
 Purfoote Recevyd of Thomas purfoote for his lycense for pryntinge of a ballett mtituled 
 
 the history of Tp.oilus Whose thvotcs hath Well bene tryed iiijd 
 
 Warton conjectured that " throtes " was a miswriting for " troth." 
 
 15S1. June 23. 
 
 Edwarde white Lycenced vnto him vnder thandes of the wardens A proper ballad Dialoge ivise betivene 
 Trotlus and Chessida iiij^ 
 
 On April 7, 1599, Henslowe "Lent unto Thomas Downton, to lende unto Mr Dickers and harey 
 cheattell, in earneste of ther boocke called Troyeles and creasse daye the some of iijli " {Diary, p. 147). 
 On the i6th of the same month he " Lent unto harey cheattell and Mr Dickers, in pte of payment of 
 ther boocke called Troyelles and cresseda xxs " {Diary, p. 14S). At p. 149 of the Diary, "Troyeles and 
 creasseday" occurs as an entry without further comment. This book seems to have been ultimately 
 called "The tragedie of Agamemnon" (see Diary, p. 153), and further payments to the amount of 
 £^ 15s. were made for it in May, 1599. 
 
 The following entries are also in the Registers : — 
 1603. February 7. 
 
 Master Eobertes Entred for his copie in full Court holden this day to print when he hath gotten 
 sufficient aucthority for yt. The booke of ' Tnoius and Ci:esseda ' as yt is acted by 
 my lord Chamberlens Men vjd 
 
 i6og. January 28. 
 
 Richard Bonion Entred for their Copy vnder thandes of Master Segar deputy to Sir George Bucke 
 Henry Walleys and master warden Lownes a booke called the history of Troylvs and Cressida vj<l 
 
 Nothing is known of any book in connection with Roberts's entry. 
 
 The first mentioned of the 1609 editions is called "The Famous Historic of Troylus and Cresseid. Excellently ex- 
 pressing the beginning of their loues, with the conceited wooing of Pandarus Prince of Licia." It is said to be " Written 
 by William Shakespeare." It has a preface in which it is described as "a new play, never staled with the stage." The 
 title of the other edition is simply "The Historic of Troylus and Cresseida." The statement is added that " it was acted by 
 the Kings Maiesties seruants at the Globe." The author s name is given in the same form as in the other edition. By some 
 critics it is held that there is really only one 1609 edition, which was issued with different title-pages, and that the one 
 accompanied by the Preface is the later of the two. The student should form an independent opinion on this question. 
 
 In the 1623 Folio the play, which there has a whole-page Prologue, is called "The Tragedie of Troylus and Cressida." 
 Its name is not given in the " Catalogve," and it has two only of its pages numbered. 
 
 Commentators, of course, have been very dogmatic about the materials Shakspere used for this play. There is no 
 need to cite definite authorities, as through Chaucer and Chapman and other^the Elizabethans were familiar enough with 
 the incidents in dramatic and other forms. 
 
 To the critical student the literary character and chronological position of Troiltis and Cressida are each a puzzle. In 
 an attempted solution, the facts mentioned above and an allusion in (Marston's) Histrio-Mastix must be taken into 
 consideration. 
 
CORIOLANUS 
 
 1^ 
 
 3 ° 
 
 CHARACTERS. 
 
 L 
 
 n. 
 
 III. 
 
 IV. 
 
 V. 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 8 
 
 9 
 
 10 
 
 ^ 
 
 2 
 
 3 
 
 I 
 
 2 
 
 3 
 
 ^ 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 ' 
 
 ^ 
 
 3 
 
 4 
 
 5 
 
 6 
 
 96 
 
 45 
 30 
 598 
 
 38 
 
 62 
 
 281 
 60 
 313 
 255 
 274 
 13 
 
 11 
 
 I 
 34 
 I 
 2 
 12 
 6 
 17 
 24 
 62 
 7 
 z 
 2 
 3 
 
 16 
 3 
 I 
 24 
 41 
 42 
 57 
 20 
 35 
 14 
 10 
 9 
 14 
 15 
 
 4 
 
 31S 
 41 
 
 I 
 48 
 
 2 
 
 1ST Citizen 
 
 "All" 
 
 2ND Citizen 
 
 Menenius 
 
 Marcius 
 
 1ST Messenger ... 
 
 1ST Senator 
 
 Cominius 
 
 Titus Lartrs ... 
 
 SiCINIUS 
 
 Brutus 
 
 aufidius 
 
 2ND Senator 
 
 1ST Soldier 
 
 2ND Soldier 
 
 1ST Roman 
 
 2ND Roman 
 
 3RD Roman 
 
 Lieutenant 
 
 Herald 
 
 1ST Officer 
 
 2ND Officer 
 
 3RD Citizen 
 
 4TH Citizen 
 
 5TH Citizen 
 
 6th Citizen 
 
 7TH Citizen 
 
 iEDILE 
 
 1ST Patrician ... 
 2ND Patrician ... 
 
 VOLSCE 
 
 1ST Servingman... 
 2ND Servingman.. 
 3RD Servingman... 
 2ND Messenger ... 
 1ST Sentinel 
 2ND Sentinel ... 
 1ST Conspirator 
 2ND Conspirator 
 3HD Conspirator 
 
 1ST Lord 
 
 2ND Lord 
 
 3RD Lord 
 
 Volumnia 
 
 ViRGlLIA 
 
 Gentlewoman ... 
 
 Valeria 
 
 Young Marcius... 
 
 8 
 
 92 
 
 75 
 2 
 7 
 3 
 C 
 iG 
 19 
 
 2 
 
 30 
 
 52 
 25 
 I 
 46 
 
 34 
 2 
 8 
 
 19 
 7 
 
 18 
 11 
 
 I 
 I 
 2 
 
 50 
 9 
 
 44 
 
 7 
 
 9 
 10 
 
 45 
 
 55 
 5 
 
 32 
 
 '4 
 
 I 
 130 
 
 20 
 
 9 
 
 3 
 
 34 
 61 
 
 6 
 
 42 
 
 5 
 
 2 
 
 13 
 
 47 
 
 10 
 14 
 
 17 
 24 
 
 10 
 6 
 17 
 13 
 67 
 
 54 
 56 
 
 57 
 
 2 
 2 
 3 
 
 3 
 9 
 
 88 
 147 
 
 17 
 30 
 12 
 61 
 44 
 
 6 
 
 I 
 1 
 
 20 
 58 
 
 3 
 10 
 
 2 
 77 
 
 7 
 
 14 
 
 50 
 
 I 
 11 
 
 54 
 25 
 
 9 
 
 '71 
 143 
 
 5 
 45 
 
 7 
 
 7 
 
 65 
 58 
 
 5 
 
 16 
 10 
 
 ... 
 
 34 
 4 
 
 33 
 24 
 
 57 
 57 
 
 4 
 25 
 
 ... 
 
 64 
 
 56 
 
 41 
 42 
 57 
 
 7 
 3 
 2 
 56 
 
 II 
 
 40 
 
 43 
 22 
 
 5 
 6 
 
 6 
 ... 
 
 201 
 161 
 
 48 
 ... 
 
 59 
 
 57 
 
 40 
 
 31 
 4 
 
 ... 
 
 ;;; 
 
 86 
 74 
 
 58 
 14 
 
 I 
 
 35 
 14 
 
 122 
 
 106 
 9 
 
 103 
 6 
 
 2 
 
 226 
 
 209 
 
 38 
 
 5 
 
 14 
 
 14 
 
 7« 
 
 65 
 
 2 
 6 
 
 ... 
 
 8 
 
 7 
 
 4 
 35 
 
 83 
 
 ::: 
 
 10 
 9 
 14 
 15 
 
 4 
 
 3858 
 34 ''■J 
 
 Actu.-il No. of Line- 
 
 3" 
 
 .;S3 
 
 46 
 
 124 
 
 1=. 
 
 73 
 6j 
 
 33 
 
 29 
 
 103 
 ^7 
 
 8 
 
 7 
 
 19 
 
 106 
 
 94 
 
 36 
 33 
 
 313 
 
 1 
 
 188 
 16, 
 
 294 
 
 420 
 33c 
 
 170 
 
 '45 
 
 29 
 1 
 
 2C0 
 
 190 
 156 
 
EVENINGS WITH SHAKSPERE. 1 69 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 SEVEN CHARACTEKS SINGLY AND ELEVEN GROUPS. 
 
 Herald C) ,st Soldier iil 3x0 Roman 2] IZ ol^'^c^7 iD 
 
 2ND Citizen 30) -^ ' ^ 4TH Citizen 7) 
 
 1ST Lord 15] 2nd Patrician i "1 ist Officer 17] 
 
 1ST Roman 34 -63 2nd Soldier i ^64 ist Messenger 38 -64 
 2ND Sentinel 14 J 3RD Citizen 62 J 2ND Conspirator 9 J 
 
 Lieutenant 12] ^Edile 161 ist Sen.-^tor 62 ~| 
 
 2ND Lord 111-65 ist Sentinel 35 [-65 2nd Roman 1,-65 3^° Lord 4 |-66 
 
 2ND SeRVINGMAN 42 
 
 3RD Conspirator 14 J 5TH Citizen 2 J Gth Citizen 2 J 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. Although Coriolivuts shows that home-ties are stronger than the brute forces of the world, it fails to 
 
 intere^ because it is mainly a delineation of social and personal pride. 
 
 2. Coriolanus, containing so much of the very words of Plutarch, goes far towards earning for him the 
 
 title of " the biographical Shakespeare of universal history." 
 
 3. Shakspere's social and political views can be gathered from Coriolanus. 
 
 THE EARLIEST KNOWN EDITION IS THE 1623 FOLIO. 
 
 Coriolanus was not entered in the Stationers' Registers till 1G23, when in the Folio the play was 
 called "The Tragedy of Coriolanus." 
 
 There is no external evidence for determining the date of its composition, which must be con- 
 jectured from its literary style, including its metrical characteristics. 
 
 Nothing is known of any earlier dramatic version of the apocryphal story of Coriolanus, and it 
 is plain enough that here Plutarch was Shakspere's sole authority. 
 
 23 
 
THE VIRGIN-MARTYR 
 
 
 CHARACTERS. 
 
 I. 
 
 II. 
 
 III. 
 
 IV. 
 
 V. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 I 
 
 2 
 
 3 
 
 1 
 
 I 
 
 2 
 
 3 
 
 I 
 
 2 
 
 3 
 
 I 
 
 2 
 
 
 614 
 
 TiiEOPiiiLrs 
 
 88 
 
 
 4G 
 
 1 
 29 
 
 22 
 
 83 
 
 
 8 
 
 2G 
 
 55 
 
 139 
 
 118 
 
 
 2S4 
 
 Harpax 
 
 54 
 
 
 48 
 
 
 
 10 
 
 S7 
 
 
 43 
 
 8 
 
 29 
 
 5 
 
 
 11 
 
 Priest 
 
 5 
 
 
 ... 
 
 
 6 
 
 
 
 
 
 
 
 
 
 236 
 
 Sapritius 
 
 09 
 
 
 
 iS 
 
 24 
 
 10 
 
 
 Si 
 
 II 
 
 13 
 
 
 10 
 
 
 II 
 
 Sempronius 
 
 6 
 
 
 
 
 
 5 
 
 
 
 
 
 
 
 
 175 
 
 DiOCLESIAN 
 
 97 
 
 
 
 
 
 
 
 
 
 
 
 7S 
 
 
 16 
 
 King of Epire 
 
 16 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 II 
 
 King of Pontus 
 
 8 
 
 
 
 
 
 
 
 
 
 
 
 3 
 
 
 19 
 
 King of Macedon 
 
 19 
 
 
 
 
 
 
 
 
 
 
 
 
 
 125 
 
 Macrinus 
 
 3.S 
 
 
 7 
 
 31 
 
 
 
 
 26 
 
 
 iS 
 
 ... 
 
 5 
 
 
 257 
 
 Antoninus 
 
 90 
 
 
 
 55 
 
 
 
 
 53 
 
 
 59 
 
 1 
 
 
 268 
 
 Spungius 
 
 
 97 
 
 
 50 
 
 
 
 89 
 
 
 32 
 
 
 
 
 
 239 
 
 HiRCIUS 
 
 
 70 
 
 
 51 
 
 
 
 S4 
 
 
 34 
 
 
 
 
 
 11 
 
 1ST Doctor 
 
 
 
 
 
 
 
 
 II 
 
 
 
 
 
 
 23 
 
 Slave 
 
 
 
 
 
 
 
 
 23 
 
 
 
 
 
 
 9 
 
 Geta 
 
 
 
 
 
 
 
 
 
 
 
 9 
 
 
 
 2 
 
 JULIANUS 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 
 
 19 
 
 Maximinus 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 19 
 
 
 03 
 
 Calista 
 
 2 
 
 
 
 
 50 
 
 II 
 
 
 
 
 ... 
 
 
 
 
 23 
 
 Christeta 
 
 2 
 
 
 
 
 iG 
 
 5 
 
 
 
 
 
 ... 1 ... 
 
 
 152 
 
 Artemia 
 
 O3 
 
 
 
 2G 
 
 
 27 
 
 
 
 
 
 
 3<3 
 
 
 153 
 
 Angelo 
 
 
 52 
 
 
 30 
 
 2 
 
 3 
 
 12 
 
 3 
 
 G 
 
 21 
 
 21 
 
 3 
 
 
 329 
 
 Dorothea 
 
 
 40 
 
 
 47 
 
 131 
 
 16 
 
 170 
 
 
 22 
 
 17 
 
 5G 
 
 
 
 
 3050 
 
 
 557 
 
 259 
 
 lOI 
 
 337 
 
 251 
 
 272 
 
 227 
 
 1C9 
 
 230 
 
 200 
 
 277 
 
 
 2GS9 
 
 Actual Niiml)cr of Lines 
 
 474 
 
 253 
 
 87 
 
 304 
 
 213 
 
 134 
 
 270 
 
 185 
 
 157 
 
 194 
 
 177 
 
 241 
 
 
EVEMXGS WITH SIIAKSPERE. I7I 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. All the prose in The Vir^in-Maytyy was written by Dekker. 
 
 2. Massinger's plays furnish confirmation of the supposition that he had become a Roman Catholic. 
 
 3. Massinger's e.xcellent metre is a better model for dramatists in general to imitate than Shakspere's. 
 
 EARLIEST KNOWN EDITION. 
 
 Date. 
 
 Printer. 
 
 Piiblisltei: 
 
 Acted by 
 
 Present Owner. 
 
 1622 
 
 B. A. 
 
 Thomas lones 
 
 The servants of his IMajesty's Revels 
 
 British Museum. 
 
 In the Ofiice-book of Sir George Bucke, IMaster of the Revels (1610-1622) is this entry : "1620, 
 Oct. 6— For new reforming The Virgin-Maytyy for the Red Bull, 40s." 
 
 The play was thus entered in the Stationers' Registers : — 
 162 1. December 7. 
 
 Thomas Jones. Entred for his copie vnder the hands of Sir George Bucke, and Master Swinhowe 
 warden A Tragedy called The Viygin Martir. vjd 
 
 On the title-page of the 1622 edition the play is called " The Virgin Martir, a tragedie." It is said to 
 have "bin divers times publickely Acted with great Applause," and to have been "written by Phillip 
 Messenger and Thomas Deker." 
 
 The papers by Mr. Fleay and Mr. Boyle referred to on p, 147 take Massinger into consideration. 
 
 As an instance of the modern method of determining the respective shares of the writers of a play 
 in which there is a composite authorship, the student should refer to Mr. Fleay's paper, " Who Wrote 
 our Old Plays ? " {Macmillan's Magazine, September, 1874). 
 
CYMBELINE 
 
 h 
 
 CHARACTERS. 
 
 I. 
 
 II. 
 
 
 III. 
 
 IV. 
 
 V. 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 7 
 
 X 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 66 
 
 13 
 
 44S 
 
 291 
 
 217 
 
 52 
 
 275 
 
 52 
 
 436 
 
 44 
 
 25 
 
 73 
 
 9 
 
 4 
 
 104 
 
 336 
 169 
 
 143 
 3 
 15 
 3 
 
 I 
 15 
 43 
 
 6 
 
 I 
 51 
 
 1 
 40 
 
 14 
 
 8 
 
 21 
 
 1 66 
 
 596 
 
 15 
 
 12 
 
 1ST Gentleman ... 
 2ND Gentleman... 
 
 Posthumus 
 
 Cymbeline 
 
 PiSANIO 
 
 XST Lord 
 
 Cloten 
 
 2ND Lord 
 
 Iachimo 
 
 Philario 
 
 Frenchman 
 
 Cornelius 
 
 Musician 
 
 66 
 13 
 29 
 20 
 10 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 86 
 ... 
 
 134 
 
 220 
 
 19O 
 
 29 
 28 
 
 88 
 
 10 
 
 3 
 
 ... 
 ... 
 
 34 
 
 192 
 
 X68 
 
 30 
 10 
 
 13 
 
 57 
 
 IIO 
 
 96 
 
 15 
 3 
 
 I 
 
 16 
 
 27 
 
 23 
 
 43 
 109 
 "3 
 90 
 
 21 
 16 
 15 
 
 26 
 19 
 
 33 
 
 XI 
 
 ... 
 
 5 
 3 
 
 I 
 I 
 
 85 
 7 
 
 69 
 
 2 
 
 ... 
 ... 
 
 I 
 51 
 
 40 
 14 
 
 s 
 
 21 
 
 12 
 219 
 
 2^ 
 
 44 
 176 
 29 
 
 74 
 
 48 
 
 27 
 78 
 15 
 9 
 
 36 
 
 36 
 
 I 
 
 573 
 
 48^ 
 
 15 
 10 
 
 18 
 
 13 
 
 57 
 
 :: 
 
 3 
 
 25 
 
 154 
 
 7 
 31 
 32 
 
 41 
 
 15 
 
 X 
 
 7 
 
 72 
 
 I 
 
 ... 
 
 9 
 2 
 
 96 
 
 ... 
 
 73 
 24 
 
 " 
 ... 
 
 35 
 
 30 
 
 I 
 24 
 
 I 
 
 19 
 
 27 
 
 ... 
 
 90 
 II 
 II 
 
 112 
 
 107 
 
 Messenger 
 
 Lucius 
 
 Belarius 
 
 Guiderius 
 
 
 ... 
 
 
 
 
 
 
 
 Arviragus 
 
 Attendant 
 
 t<;t ^fnator 
 
 
 
 
 
 
 83 
 
 
 ID 
 2 
 
 TO 
 
 54 
 9 
 
 180 
 160 
 
 ... 
 
 193 
 
 152 
 
 35 
 
 35 
 
 22 
 
 ... 
 
 ... 
 97 
 87 
 
 59 
 
 86 
 
 «4 
 
 1ST Tribune 
 2ND Senator 
 
 Captain 
 
 Soothsayer 
 2ND Captain 
 
 "All" 
 
 1ST Gaoler 
 
 2ND Gaoler 
 
 SiCILIUS 
 
 1ST Brother 
 2ND Brother 
 "Jupiter" 
 
 Queen 
 
 Imogen 
 
 Lady 
 
 Mother 
 
 33 
 45 
 
 
 33 
 2 
 
 ... 
 
 67 
 
 I 
 
 27 
 
 27 
 
 XI 
 
 7 
 
 85 
 403 
 
 
 
 
 
 4 
 6 
 
 94 
 
 ... 
 
 52 
 46 
 
 ... 
 
 64 
 
 54 
 
 33 
 
 21 
 
 18 
 
 37^« 
 3310 
 
 ActualNo. of Lines 
 
 216 
 
 '11 
 
 43 
 
 43 
 
 48 
 40 
 
 '11 
 
 96 
 
 «7 
 
 241 
 
 2X0 
 
 70 
 70 
 
 53 
 51 
 
 The total linos should be 3341, as the total of IV 2 should be 404. 
 
E VEMXG S 117 Til SUA KSPERE. 
 
 ^7i 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 
 ELEVEN CHARACTERS SINGLY AND SEVEN GROUPS. 
 
 I'HILARIO 44 ; ,o 
 
 1ST Brother 14 \ ^ 
 
 1ST Tribune 
 2ND Lord 
 2nd g.aoler 
 Attendant 
 
 59 
 
 Musician 51 ) ^^ 
 1ST Gaoler 9 \ 
 
 43 
 
 Soothsayer 
 Messenger 4 ;- 
 
 2ND Gentleman 13J 
 
 SlCILIUS 40] 
 
 1ST Sen.ator 15 ]-6i 
 2ND Captain 6 J 
 
 Captain 15 ~1 
 Frenchman 25 I-61 
 "Jupiter" 21 J 
 
 1ST Lord 52 | 
 
 2ND Senator i J-61 
 2ND Brother 8 J 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1 . The tone of CymhcUnc shows that the play was written when Shakspere, having passed through his 
 
 life-gloom into a time of serenity and repose, had finally returned to Stratford. 
 
 2. The moral beauty of womanhood is the all-pervading idea of Cymheline. 
 
 3. The non-essential parts of Cymhdine show great carelessness in their treatment. 
 
 THE EARLIEST KNOWN EDITION IS THE 1623 FOLIO. 
 
 At that time its first mention occurs in the Stationers' Registers. 
 
 In the Folio the play is called " The Tragedie of Cymbeline." 
 
 Cymheline is one of the plays about which Dr. Forman (seep. 155), who died in September, 1611, 
 has left notes. At present there is no other external evidence by which its date can be ascertained. 
 
 Some of the incidents Shakspere would have met with in Ilolinshcd. The slander-story was often 
 told in early foreign literature. It is in one of Boccaccio's novels. Shakspere's indebtedness to this is 
 by no means clear, as it is not known that there was in his time any English version of the Decameron. 
 From early writers Hazlitt {Shakespeare's Library) gives passages to which parts of the play bear a 
 resemblance. 
 
THE DUKE OF MILAN. 
 
 
 ^1 
 
 CHARACTERS. 
 
 I. 
 
 II. 
 
 111. 
 
 IV. 
 
 V. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 r 
 
 
 ^ 
 
 ' 
 
 3 
 
 I 
 
 ^ 
 
 - 
 
 3 
 
 ' 
 
 2 
 
 3 
 
 ' 
 
 ' 
 
 
 
 239 
 
 Graccho 
 
 33 
 
 
 
 50 
 
 
 43 
 
 6 
 
 50 
 
 
 4 
 
 47 
 
 6 
 
 
 
 21 
 
 Julio 
 
 6 
 
 
 
 
 
 15 
 
 
 
 
 
 
 
 
 
 III 
 
 STEI'HANO 
 
 31 
 
 
 
 24 
 
 
 
 2 
 
 
 13 
 
 28 
 
 
 13 
 
 
 
 174 
 
 TiBIiRIO 
 
 7S 
 
 
 4 
 
 53 
 
 
 
 5 
 
 
 II 
 
 12 
 
 
 II 
 
 
 
 0S3 
 
 Francisco 
 
 
 31 
 
 5G 
 
 152 
 
 
 17 
 
 67 
 
 75 
 
 33 
 
 '33 
 
 IIO 
 
 79 
 
 
 
 10 
 
 1ST Gentleman 
 
 
 
 S 
 
 
 
 
 
 
 
 2 
 
 
 
 
 
 5 
 
 2ND Gentleman 
 
 
 
 3 
 
 
 
 
 
 
 
 2 
 
 
 
 
 
 5 
 
 3RD Gentleman 
 
 ... 
 
 
 3 
 
 
 
 
 ... 
 
 
 
 2 
 
 
 
 
 
 715 
 
 Sforza 
 
 
 
 2G9 
 
 
 119 
 
 
 51 
 
 
 
 16S 
 
 
 loS 
 
 
 
 2 
 
 1ST Courier 
 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 
 
 4 
 
 2ND Courier 
 
 
 
 4 
 
 
 
 
 
 
 
 
 
 
 
 
 141 
 
 Pescara 
 
 
 
 30 
 
 
 9 
 
 
 
 
 
 35 
 
 
 05 
 
 
 
 7 
 
 1ST Fiddler 
 
 
 
 
 
 7 
 
 
 
 
 
 
 
 
 
 
 
 43 
 
 Mkdina 
 
 
 
 
 
 ... 
 
 43 
 
 
 
 
 
 
 
 
 
 
 74 
 
 Hernando 
 
 
 
 
 
 
 74 
 
 
 
 
 
 
 
 ... 
 
 
 
 16 
 
 Alphonso 
 
 
 
 
 
 
 16 
 
 
 
 
 
 
 ... 
 
 
 
 
 51 
 
 Charles 
 
 
 
 
 
 ... 
 
 51 
 
 
 
 
 
 
 
 
 
 
 57 
 
 Officer 
 
 
 
 
 
 
 ... 
 
 57 
 
 
 
 
 
 
 
 
 
 7 
 
 Giovanni 
 
 
 
 
 
 
 
 7 
 
 
 
 
 
 
 
 
 
 iS 
 
 Servant 
 
 
 ... 
 
 
 
 
 ... 
 
 3 
 
 
 
 
 I 
 
 5 
 
 9 
 
 
 
 13 
 
 1ST Doctor 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 13 
 
 
 
 5 
 
 2ND Doctor 
 
 
 
 
 
 
 
 
 
 
 
 
 
 5 
 
 
 
 I 
 
 "All" 
 
 
 
 
 •• 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 117 
 
 Mariana 
 
 
 7 
 
 4 
 
 71 
 
 
 
 3 
 
 
 
 30 
 
 
 
 
 
 54 
 
 Isabella 
 
 
 8 
 
 3 
 
 32 
 
 
 
 
 
 
 G 
 
 
 5 
 
 
 
 34G 
 
 Marcelia 
 
 
 
 Co 
 
 143 
 
 
 
 53 
 
 
 40 
 
 41 
 
 
 
 
 
 9 
 
 Gentlewoman 
 
 
 
 
 
 
 9 
 
 
 ... 
 
 
 
 
 
 
 
 C7 
 
 Eugenia 
 
 
 
 
 
 
 
 
 
 
 
 Go 
 
 " 
 
 
 
 -'905 
 
 
 148 
 
 46 
 
 A55 
 
 53^ 
 
 312 
 
 151 
 
 189 
 
 125 
 
 97 
 
 394 ■ 
 
 222 
 
 324 
 
 
 
 2500 
 
 Actual Number of Ij'iics 
 
 126 
 
 38 
 
 382 
 
 433 
 
 2G9 
 
 120 
 
 1G2 
 
 116 
 
 79 
 
 31G 
 
 1 87 
 
 272 
 
 
 
 
 
 "■^^^ 
 
 
 ^~" 
 
 
 
 
 
 
 
 
 
 
 
 
nvHXixcs WITH siiakspere. 175 
 
 schp:me for arrangixCx the parts with eighteen men. 
 
 FOURTEEN' CHARACTERS SINGLY AND FOUR GROUPS. 
 
 2ND Doctor 51 Giovanni 7 I ro ist Fiddler 7) ist Doctor 13 
 
 2ND Courier 4/'' 3RD Gentleman 5) ~ 2nd Gentleman 5 i ^^ ist Courier 2 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. No author reflects the social corruption of the latter half of the reign of James I. so much as 
 
 Massinger. 
 
 2. Massinger's characters act from single motives and become what they are in spite of events; thus 
 
 differing from Shakspere's, who act from mixed motives and are made what they are by various 
 circumstances. 
 
 3. Nearly all Massinger's plays teem with political allusions from the standpoint of the Herberts. 
 
 EARLIEST KNOWN EDITION. 
 Date. rrinter. Publisher. Acted by I'lesent Ouner. 
 
 1623 B. A. Edward Blackmore The King's servants British Museum. 
 
 Cunningham (see p. 71) has, in a list of the performances before the Queen in 1579-80, a record of 
 "A History of the Duke of Millayn and the Marques of Mantua shewed at Whitehall on St. Stephens 
 daie at nighte enacted by the Lord Chamberlaynes srv'^nts" (p. 154). There is nothing more than the 
 similarity of title to show that this was an earlier play on the same subject as Massinger's. 
 
 In the Stationers' Registers are these entries : — 
 1623. January 20. 
 
 Edward Black- Entred for their Copie vnder the handes of Sir John Ashley knight Master of 
 more the Reuelles and Master Gilmyn warden, A play called Sfouza, Duke of MiUainc, 
 
 George Norton. made by Master. Messenger vjd 
 
 1G23. May 5. 
 
 Edward Black- Assigned ouer vnto him by George Norton and consent of a full court holden this 
 
 more. Daie all the estate, right and title the said George hath in the play called. The 
 
 Duke of Millan vjd 
 
 In 1623 the play was issued as "The Dvke of Millaine. A Traga^die." The title-page says it 
 had "beene often acted by his Maiesties seruants, at the blacke Friers," and had been "Written by 
 Philip Massinger gent." 
 
THE WINTER'S TALE 
 
 
 
 
 L 
 
 
 n. 
 
 in. 
 
 IV. 
 
 
 V. 
 
 
 
 CHARACTERS. 
 
 
 
 
 
 
 
 
 
 
 I 
 
 2 
 
 ■ 
 
 2 
 
 3 
 
 I 
 
 2 
 
 3 
 
 I 
 
 2 
 
 3 
 
 4 
 
 ■ 
 
 2 
 
 3 
 
 
 24 
 
 Archidamus 
 
 24 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 305 
 
 Camillo 
 
 26 
 
 123 
 
 
 
 
 
 
 
 
 is 
 
 
 131 
 
 
 
 7 
 
 
 277 
 
 POLIXENES 
 
 
 129 
 
 
 
 
 
 
 
 
 44 
 
 
 94 
 
 
 
 10 
 
 
 681 
 
 Leontes 
 
 
 210 
 
 108 
 
 
 109 
 
 
 73 
 
 
 
 
 
 
 105 
 
 
 76 
 
 
 63 
 
 1ST Lord 
 
 
 
 iS 
 
 
 12 
 
 
 9 
 
 
 
 
 
 
 24 
 
 
 
 
 no 
 
 13 
 
 Antigonus 
 
 Gaoler 
 
 
 
 30 
 
 13 
 
 29 
 
 
 
 51 
 
 
 
 
 
 
 
 
 
 52 
 
 1ST Servant 
 
 
 
 
 
 8 
 
 
 5 
 
 
 
 
 
 39 
 
 
 
 
 
 2 
 
 2ND Servant 
 
 
 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 
 
 24 
 
 Cleomenes 
 
 
 
 
 
 
 II 
 
 I 
 
 
 
 
 
 
 12 
 
 
 
 
 28 
 
 Dion 
 
 
 
 
 
 
 16 
 
 I 
 
 
 
 
 
 
 II 
 
 
 
 
 27 
 
 Officer 
 
 Mariner 
 
 
 
 
 
 
 
 
 II 
 
 
 
 
 
 
 
 
 
 144 
 
 209 
 
 32 
 
 Shepherd 
 
 Clown 
 
 "Time" 
 
 
 
 
 
 
 
 
 47 
 58 
 
 32 
 
 
 48 
 
 89 
 86 
 
 
 8 
 37 
 
 
 
 319 
 205 
 
 AUTOLYCUS 
 
 Florizel 
 
 
 
 
 
 
 
 
 
 
 
 87 
 
 207 
 167 
 
 38 
 
 25 
 
 
 
 48 
 
 1ST Gentleman 
 
 
 
 
 
 
 
 
 
 
 
 
 
 18 
 
 30 
 
 
 
 17 
 
 2ND Gentleman 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 17 
 
 
 
 71 
 
 3RD Gentleman 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 71 
 
 ... 
 
 
 211 
 
 Hermione 
 
 
 GS 
 
 4G 
 
 
 
 
 89 
 
 
 
 
 
 
 
 
 S 
 
 
 22 
 
 Mamillius 
 
 
 4 
 
 18 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 9 
 
 1ST Lady 
 
 
 
 9 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 4 
 
 2ND Lady 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 331 
 
 Paulina 
 
 
 
 
 44 
 
 84 
 
 
 Go 
 
 
 
 
 
 
 67 
 
 
 76 
 
 
 20 
 
 Emilia 
 
 
 
 
 20 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 128 
 
 Pekdita 
 
 ... 
 
 
 
 
 
 
 
 
 
 
 
 118 
 
 3 
 
 
 7 
 
 
 13 
 
 Dorcas 
 
 
 
 
 
 
 
 
 
 
 
 
 13 
 
 
 
 
 
 21 
 
 MOPSA 
 
 
 
 
 
 
 
 
 
 
 
 
 21 
 
 
 
 
 
 3421 
 
 
 50 
 
 534 
 
 233 
 
 77 
 
 244 
 
 27 
 
 2G5 
 
 147 
 
 32 
 
 62 
 
 135 
 
 9C5 
 
 278 
 
 188 
 
 1 84 
 
 
 3074 
 
 Actual Number of Lines 
 
 50 
 
 4^'5 
 
 199 
 
 6G 
 
 207 
 
 22 
 
 244 
 
 143 
 
 32 
 
 G2 
 
 13s 
 
 1 
 
 >^73 
 
 233 
 
 1 88 
 
 155 
 
EVENINGS WITH SIIAKSPERE. 1 77 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN AND SEVEN LADIES. 
 
 Men's Puits. 
 
 FIFTEEN CHARACTERS SINGLY AND THREE GROUPS. 
 
 Archidamus 24 ) ^^ G.AOLER 13 ) Cleomenes 24 I 
 
 2ND Servant '^ ) 2ND Gentleman 17 \ -^ Mariner ii ^ -^^ 
 
 Ladies' Parts. 
 
 five characters SINGLY AND TWO GROUPS. 
 
 Dorcas 13 ) Emilia 20 ) 
 
 1ST Lady 9 2nd Lady 4 ^ 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. The freedom with which Shakspere used the incidents of Pandosto shows that he did not hesitate to 
 
 profit by the work of an author whom he despised. 
 
 2. Shakspere wrote The Winter's Tale to enforce the lesson of forgiveness of wrongs. 
 
 3. The anachronisms which abound in The Winter's Tale seriously detract from the enjoyment of the 
 
 play. 
 
 THE EARLIEST KNOWN EDITION IS THE 1623 FOLIO. 
 
 Dr. Forman (seep. 155) has left a MS. note about a performance of "the Winters Talle at the 
 glob" which he saw on May 15, 1611. 
 
 Cunningham (Op. cit. p. 210) says that amongst the plays acted before the King in 161 1 there was 
 performed by the King's players on "The 5th of Nouember ; A play called ye winters nights Tayle " 
 (see p. 71). 
 
 In 161 3 " The Winters Tale " was one of the plays acted at Court at the wedding of the Princess 
 Elizabeth (see p. 103). 
 
 According to Cunningham " the Winter's Tale " was acted before James I. on Easter Tuesday, 1618 
 (see p. 129). 
 
 Sir Henry Herbert, who in 1623 became Deputy Master of the Revels, made in that year the 
 following entry in his Office-book: "For the kings players ;— an olde playe called Winters Tale, 
 formerly allowed of by Sir George Bucke, and likewyse by mee on Mr. Hemmings his worde that there 
 was nothing prophane added or reformed, thogh the allowed booke was missinge ; and therefore I 
 returned itt without a fee, this 19 of August, 1623 " (see 1S21 Variorum, Vol. II., pp. 462-3, and 
 Halliwell-Phillipps's Outlines, Vol. II., p. 300). Sir George Bucke succeeded to the Mastership of the 
 Revels upon the death of Tylney in October, 1610; but he had in 1603 obtained the reversion of the 
 office and had acted as ^Master, granting licences, for some time before Tylney's death. Sir George 
 licensed Lear (see p. 149) in 1607, Pericles (see p. 159), Antony and Cleopatra (see p. 159), and Hey wood's 
 Lucrece (see p. 119) in 1608, and Troibis and Cressida, by deputy (see p. 167), in 1609. 
 
 The earliest mention of the play in the Stationers' Registers is on November 8, 1623, with other 
 plays of the Folio, in which its title is " The Winters Tale." 
 
 Greene's Pandosto, iirst published in 15S8, is reprinted in Hazlitt's Shakespeare's Library. 
 
 24 
 
THE TEMPEST. 
 
 
 
 I 
 
 
 I 
 
 
 
 III. 
 
 
 IV. 
 
 V. 
 
 
 t?3 
 
 CHARACTERS. 
 
 
 
 
 
 
 
 
 
 
 "J 
 3 
 
 to 
 
 I 
 
 2 
 
 I 
 
 2 
 
 I 
 
 2 
 
 3 
 
 I 
 
 I 
 
 4 
 
 Master 
 
 4 
 
 
 
 
 
 
 
 
 ... 
 
 
 46 
 
 Boatswain 
 
 29 
 
 
 
 
 
 
 
 
 17 
 
 
 no 
 
 Alonso 
 
 2 
 
 
 26 
 
 
 
 
 26 
 
 
 5O 
 
 
 148 
 
 Antonio 
 
 s 
 
 
 126 
 
 
 
 
 12 
 
 
 2 
 
 
 165 
 
 GONZAI.O 
 
 22 
 
 
 90 
 
 
 
 
 28 
 
 
 25 
 
 
 122 
 
 Sl-BASTIAN 
 
 4 
 
 
 98 
 
 
 
 
 12 
 
 
 s 
 
 
 8 
 
 "All" 
 
 5 
 
 3 
 
 
 
 
 
 
 
 
 
 C65 
 
 Prospero 
 
 
 339 
 
 
 
 10 
 
 
 15 
 
 9-^ 
 
 183 
 
 20 
 
 179 
 
 C.\L!BAN 
 
 
 30 
 
 
 55 
 
 
 G6 
 
 
 20 
 
 s 
 
 
 140 
 
 Fekdinand 
 
 
 45 
 
 
 
 59 
 
 
 
 2J 
 
 13 
 
 
 12 
 
 Adrian 
 
 
 
 II 
 
 
 
 
 I 
 
 
 
 
 II 
 
 Francisco 
 
 
 
 10 
 
 
 
 
 I 
 
 
 
 
 112 
 
 Trinculo 
 
 
 
 
 58 
 
 
 33 
 
 
 16 
 
 5 
 
 
 174 
 
 Stepuano 
 
 
 
 
 80 
 
 ... 
 
 Os 
 
 
 2G 
 
 5 
 
 
 142 
 
 Miranda 
 
 
 87 
 
 
 
 45 
 
 
 
 3 
 
 7 
 
 
 190 
 
 Ariel 
 
 
 87 
 
 II 
 
 
 
 4 
 
 30 
 
 29 
 
 29 
 
 
 41 
 
 "Iris" 
 
 
 
 ... 
 
 
 
 
 
 41 
 
 
 
 24 
 
 "Ceres" 
 
 
 
 
 
 
 
 
 -1 
 
 
 
 7 
 
 "Juno" 
 
 
 
 
 
 
 
 
 7 
 
 
 
 2300 
 
 
 74 
 
 591 
 
 372 
 
 193 
 
 114 
 
 1G6 
 
 125 
 
 287 
 
 35S 
 
 20 
 
 2065 
 
 Actual Number of Lines 
 
 72 
 
 500 
 
 327 
 
 193 
 
 96 
 
 iGj 
 
 109 
 
 2G7 
 
 318 
 
 20 
 
EVEXIXGS WITH SIIAKSPERE. 1 79 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. Shakspere's observance of the Unities in The Tempest entitles it to special commendation. 
 
 2. Shakspere's object in writing The Tempest was to bring forward the question of the relationship of 
 
 civilised and uncivilised races. 
 
 3. The various allegorical interpretations of The Tempest show that as a play it is uninteresting, and 
 
 that it was written when Shakspere's powers were failing. 
 
 THE EARLIEST KNOWN EDITION IS THE 1623 FOLIO. 
 
 Before this date the play was not entered in the Stationers' Registers. In the edition the play is 
 called merely "The Tempest." 
 
 Cunningham {Op. cit. p. 210) says that in 1611 on " Hallomas nyght was presented att Whithall 
 before ye Kings Matie a play called the Tempest ". " By the Kings Players " (see p. 71). 
 
 The play was one of those acted at Court in 1613 (see p. 103). 
 
 In connection with The Tempest should be read Jacob Ayrer's " Comedia von der schonen Sidea," 
 reprinted with an English translation in Cohn's Shakespeare in Germany. This play is one of those 
 acted by English players in Germany about the year 1600 (see p. 75). Ayrer was a notary in 
 Nuremburg, where he died in 1G05. It has been thought that some lost English play supplied a 
 common source to Ayrer and Shakspere. 
 
 24 
 
THE BIRTH OF MERLIN 
 
 
 1 . 
 
 Sg 
 d a 
 
 CHARACTERS. 
 
 I. 
 
 IL 
 
 in. 
 
 IV. 
 
 V. 
 
 
 
 I 
 
 2 
 
 I 
 
 2 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 6 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 I 
 
 2 
 
 
 
 15 
 
 Cador 
 
 12 
 
 3 
 
 
 18 
 
 
 7 
 
 
 
 
 3 
 
 
 I 
 
 
 4 
 
 17 
 
 
 10 
 
 
 
 152 
 
 DONOBERT 
 
 27 
 
 35 
 
 
 22 
 
 ID 
 
 30 
 
 
 
 
 3 
 
 
 
 
 
 
 
 25 
 
 
 
 28 
 
 Gloster 
 
 4 
 
 5 
 
 
 10 
 
 
 I 
 
 
 
 
 I 
 
 
 ... 
 
 
 
 
 
 7 
 
 
 
 74 
 
 Edwin 
 
 15 
 
 3 
 
 
 12 
 
 9 
 
 16 
 
 
 
 
 8 
 
 
 I 
 
 
 3 
 
 3 
 
 
 4 
 
 
 
 44 
 
 TOCLIO 
 
 26 
 
 
 13 
 
 4 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 214 
 
 Aurelius 
 
 
 129 
 
 
 G4 
 
 
 
 
 
 
 21 
 
 
 
 
 
 
 
 ... 
 
 
 
 18 
 
 Oswald 
 
 
 4 
 
 14 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 05 
 
 I 
 
 Hermit 
 
 1ST Lord 
 
 
 31 
 
 I 
 
 
 23 
 
 
 ID 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 I 
 ... 
 
 
 
 2 
 
 2ND Lord 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 336 
 
 Clown 
 
 
 
 84 
 
 
 90 
 
 
 
 71 
 
 
 
 7i 
 
 
 
 
 17 
 
 
 I 
 
 
 
 273 
 
 Prince 
 
 
 
 51 
 
 86 
 
 
 
 
 
 
 27 
 
 
 14 
 
 16 
 
 9 
 
 42 
 
 
 28 
 
 
 
 3 
 
 "All" 
 
 
 
 
 I 
 
 
 I 
 
 ... 
 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 149 
 
 Edol 
 
 
 
 
 63 
 
 
 
 
 
 
 32 
 
 
 26 
 
 4 
 
 
 14 
 
 
 10 
 
 
 
 2 
 
 Captain 
 
 
 
 
 I 
 
 
 
 
 
 
 
 
 I 
 
 
 
 
 
 
 
 
 49 
 
 OSTORIUS 
 
 
 
 
 19 
 
 
 
 
 
 24 
 
 6 
 
 ... 
 
 
 
 
 
 
 
 
 
 iS 
 
 OCTA 
 
 
 
 
 5 
 
 
 
 
 
 8 
 
 5 
 
 ... 
 
 
 
 
 
 
 
 
 
 39 
 
 Proximus 
 
 
 
 
 25 
 
 
 
 
 
 2 
 
 
 12 
 
 
 
 
 
 
 
 
 
 47 
 
 Sir Nicodemus 
 
 
 
 
 
 47 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 92 
 
 Devil 
 
 
 
 
 
 10 
 
 
 27 
 
 20 
 
 
 
 
 
 ... 
 
 
 
 35 
 
 
 
 
 3 
 
 Bishop 
 
 
 
 
 
 
 3 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 2GO 
 
 Merlin 
 
 
 
 
 
 
 
 
 21 
 
 
 
 103 
 
 
 
 
 69 
 
 53 
 
 20 
 
 
 
 14 
 
 1ST Gentleman ... 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 14 
 
 
 
 ... 
 
 
 
 
 
 
 i3 
 
 2ND Gentleman ... 
 
 
 
 
 
 
 
 
 
 
 
 13 
 
 
 
 
 
 
 
 
 
 45 
 
 VORTIGER 
 
 
 
 
 
 
 
 
 
 
 
 JS 
 
 
 7 
 
 
 
 
 
 
 
 3 
 
 Messenger 
 
 
 
 
 
 
 
 
 
 
 
 3 
 
 
 
 
 
 
 
 
 
 39 
 
 CONSTANTIA 
 
 S 
 
 
 
 
 
 31 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 T30 
 
 MODESTIA 
 
 37 
 
 28 
 
 
 
 
 C5 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 103 
 
 Artesia 
 
 
 29 
 
 
 14 
 
 
 
 
 
 
 5- 
 
 
 
 
 
 
 
 8 
 
 
 
 "3 
 
 Jo\>^- 
 
 
 
 34 
 
 
 19 
 
 
 
 16 
 
 
 
 21 
 
 
 
 
 
 -;3 
 
 
 
 
 5 
 I 
 
 Spirit 
 
 Armel 
 
 
 
 
 ; 
 
 
 
 
 
 
 
 4 
 
 
 
 
 
 
 
 
 
 2 
 
 Plesgetii 
 
 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 20 
 
 Gentlewoman 
 
 
 
 ... 
 
 20 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 12 
 
 LUCINA 
 
 129 
 
 270 
 
 196 
 
 391 
 
 i8G 
 
 1 64 
 
 12 
 
 
 
 
 
 
 
 
 
 
 
 
 
 2450 
 
 
 39 
 
 128 
 
 34 
 
 159 
 
 2S1 
 
 43 
 
 27 
 
 16 
 
 162 
 
 III 
 
 114 
 
 
 
 2384 
 
 Actual No. of Lines 
 
 127 
 
 25G 
 
 195 
 
 3S1 
 
 1 86 
 
 iGo 
 
 39 
 
 127 
 
 33 
 
 148 
 
 27G 
 
 42 
 
 24 
 
 ■^ 
 
 1.59 
 
 104 
 
 112 
 
 
EVEXINGS WITH SIIAKSPERE. l8l 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN AND SEVEN LADIES. 
 
 Men's Parts. 
 
 FOURTEEN CHARACTERS SINGLY AND FOUR GROUPS. 
 
 Gloster 28 ) 
 Messenger 3 \ ^ 
 OcTA iS ) Oswald 18 ) Proximus 39 ) 
 
 2ND Lord 2 > ^^ Captain 2 > 34 Bishop 
 
 2ND Gentleman 13 ) ist Gentleman 14 ) ist Lord 
 
 3|43 
 
 Ladies' Parts. 
 
 FIVE characters SINGLY AND TWO GROUPS. 
 LUCINA 12 ) CONSTANTIA 39 
 
 Plesgeth 2 \ •+ Armel I 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 40 
 
 1. As parts of The Birth of Merlin are far above the level of Rowley's other work and of most other 
 
 dramatists, it is almost certain that the play contains fragments of Shakspere's writing. 
 
 2. The separate conduct of the plots contained in The Birth of Merlin is definite proof that Shakspere 
 
 could have had no hand in the present form of the play. 
 
 3. It is inconceivable that Shakspere could have presented any part of the Arthurian legend for the 
 
 mere amusement of the groundlings. 
 
 EARLIEST KNOWN EDITION. 
 Date. Printer. Publisher. Acted by Present Ou'ners. 
 
 Francis Kirkman r British Museum. 
 
 1662 Tho ; Johnson and \ Bodleian Library. 
 
 Henry Marsh I Trinity College, Cambridge. 
 
 The title of this edition is "The Birth of Merlin: or The Childe hath found his Father." It is 
 said to have "been seueral times Acted with great Applause," and to have been "Written by William 
 Shakespear, and William Rowley." In the most recent edition (1887), edited by Drs. Warnke and 
 Proeschcldt, the Introduction says that the "grammar and versification bear distinctly the stamp of 
 the age of Queen EHzabeth or King James I." It was not included with the other doubtful plays in 
 the 1664 Folio. 
 
 In 1597 Henslowe has several entries {Diary, pp. S7-9) of a play which he describes as 
 " Uterpendragon " and "Pendragon." It was a new play on April 29th of that year, and was acted 
 by "the lord admerall players." 
 
 In 1596-7 Henslowe has many notes about the purchase of properties for, and the receipts at the 
 performances of, a play which he calls " Valteger " {Diary, pp. 76-86, 273). This has been supposed to 
 be identical with the play which elsewhere (p. 204) he calls " Vortiger," and to have some connection 
 with part of the story of The Birth of Merlin. 
 
HENRY VIII 
 
 ^ 
 
 
 — 
 
 
 
 
 
 
 
 
 
 
 6 
 
 I. 
 
 IL 
 
 in. 
 
 IV. 
 
 V. 
 
 2 
 
 
 =3 
 
 CHARACTERS. 
 
 ° 
 
 
 
 
 
 
 tc 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 r 
 
 
 2 
 
 0^ 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 3 
 
 4 
 
 I 
 
 2 
 
 ' 
 
 2 
 
 I 
 
 2 
 
 3 
 
 4 - 
 
 
 
 192 
 
 Buckingham 
 
 
 118 
 
 ... 
 
 
 
 74 
 
 
 
 
 
 
 
 
 
 
 
 
 • ••• 
 
 
 211 
 
 Norfolk 
 
 
 105 
 
 9 
 
 ... 
 
 
 
 39 
 
 
 
 
 
 54 
 
 
 
 
 
 4 
 
 
 
 
 18 
 
 Abergavenny 
 
 
 18 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 436 
 
 WOLSEY 
 
 
 5 
 
 42 
 
 
 42 
 
 
 32 
 
 
 48 
 
 40 
 
 227 
 
 ... 
 
 
 
 
 
 
 
 
 2 
 
 1ST Secretary 
 
 
 2 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 14 
 
 Brandon 
 
 
 14 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . ... 
 
 
 5 
 
 Sergeant 
 
 
 5 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 457 
 
 King 
 
 
 
 79 
 
 
 19 
 
 
 32 
 
 
 95 
 
 
 
 61 
 
 
 
 «5 
 
 13 
 
 50 
 
 ... 2 
 
 
 
 2 
 
 "All" 
 
 
 
 I 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 
 61 
 
 Surveyor 
 
 
 
 Gi 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 150 
 
 Chamberlain 
 
 
 
 
 34 
 
 28 
 
 
 28 
 
 2Z 
 
 
 
 
 19 
 
 
 
 
 
 I 
 
 is ; 
 
 
 
 48 
 
 Sands 
 
 
 
 
 21 
 
 27 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 68 
 
 Lovell 
 
 
 
 
 27 
 
 4 
 
 6 
 
 
 
 
 
 
 
 
 
 31 
 
 
 
 
 
 
 9 
 
 Guildford 
 
 
 
 
 
 9 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 4 
 
 Servant 
 
 
 
 
 
 4 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 112 
 
 1ST Gentleman ... 
 
 
 
 
 
 
 07 
 
 
 
 
 3 
 
 
 
 41 
 
 
 I 
 
 
 
 
 
 
 88 
 
 2ND Gentleman ... 
 
 
 
 
 
 
 44 
 
 
 
 
 
 
 
 44 
 
 
 
 
 
 
 
 
 4 
 
 Vaux 
 
 
 
 
 
 
 4 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 93 
 
 Suffolk 
 
 
 
 
 
 
 
 
 17 
 
 
 
 
 03 
 
 
 
 7 
 
 
 "g 
 
 
 
 
 53 
 
 Campeius 
 
 
 
 
 
 
 
 
 15 
 
 
 15 
 
 23 
 
 
 
 
 
 
 
 
 
 
 91 
 
 Gardiner 
 
 
 
 
 
 
 
 
 2 
 
 
 
 
 
 
 
 42 
 
 ... 
 
 47 
 
 
 
 
 4 
 
 Scribe 
 
 
 
 
 
 
 
 
 
 
 4 
 
 
 
 
 
 
 
 
 
 
 
 
 3 
 
 Crier 
 
 
 
 
 
 
 
 ... 
 
 
 
 3 
 
 
 
 
 
 
 
 
 
 
 
 
 59 
 
 Griffith 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 58 
 
 
 
 
 
 
 
 8 
 
 Lincoln 
 
 
 
 
 
 
 
 
 
 
 8 
 
 
 
 
 
 
 
 
 
 
 
 
 81 
 
 Surrey 
 
 
 
 
 
 
 
 
 
 
 
 
 
 79 
 
 
 
 
 
 2 
 
 
 
 
 49 
 
 Cromwell 
 
 
 
 
 
 
 
 
 
 
 
 
 29 
 
 
 
 
 
 20 
 
 
 . ... 
 
 
 57 
 
 3RD Gentleman ... 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 57 
 
 
 
 
 
 
 
 
 4 
 11 
 
 Messenger 
 
 Capucius 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 4 
 II 
 
 
 
 
 
 
 
 4 
 
 Denny 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 4 
 
 
 
 
 
 
 134 
 
 Cranmer 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 19 
 
 16 
 
 43 
 
 ••• 5 
 
 
 
 7 
 
 Keeper 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 3 
 
 4 
 
 
 
 
 9 
 
 Butts 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 9 
 
 
 
 
 
 32 
 
 Chancellor 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 32 
 
 
 
 
 36 
 
 Porter 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 3G • 
 
 
 
 3 
 
 "Within" 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 3 • 
 
 
 
 41 
 
 Man 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 41 
 
 
 
 4 
 
 Garter 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 4 
 
 ... 
 
 
 32 
 
 "Prologue" 
 
 32 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 
 374 
 
 Queen Kathakink 
 
 
 
 53 
 
 
 
 
 
 
 SG 
 
 I.3I 
 
 
 
 I I.J 
 
 
 
 
 
 
 
 58 
 
 Anne 
 
 
 
 
 
 4 
 
 
 
 54 
 
 
 
 
 
 
 
 
 
 
 
 
 68 
 
 Old Lady 
 
 
 
 
 
 
 
 
 51 
 
 
 
 
 
 
 17 
 
 
 
 
 
 
 18 
 
 I 
 
 Patience 
 
 Boy 
 
 
 
 
 
 
 
 
 
 
 '■■; 
 
 
 
 g' 
 
 I 
 
 
 
 
 
 
 M 
 
 "Epilogue" 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ■ 14 
 
 
 3229 
 
 
 32 
 
 2C8 
 
 244 
 
 82 
 
 137 
 
 195 
 
 VeT 
 
 127 
 
 260 
 
 199 
 
 532 
 
 142 
 
 193 
 
 207 
 
 41 
 
 210 
 
 98 8 
 
 3 14 
 
 
 2821 
 
 Actual No. of Lines 
 
 32 
 
 226 
 
 214 
 
 67 
 
 108 
 
 169 
 
 144 
 
 107 
 
 241 
 
 1 84 
 
 460 
 
 117 
 
 173 
 
 177 
 
 35 
 
 182 
 
 94 7 
 
 7 14 
 
 
 In I. I 268 should be 2C7. In I. 2 the totals should be 2.15 and 215. The total lincs'shoukl be 2S22. 
 
E]'EMXGS WITH SIIAKSPERE. 1 83 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN. 
 ten characters singly and eight groups. 
 Surrey 81] Cromwell 49 ^ Campeius 53 ^ 
 1ST Secretary 2 -87 Porter 36^88 Ch.\ncellor 32 V89 
 Servant 4) Crier 3 J Vaux 4 J 
 
 Capucius II) Lincoln S] Abergavenny iS^ Guildford 9\ 
 
 Denny 4L Lovell 68' . Sands 48) j, 3RD Gentleman 57 1 „. Griffith 59 [g. 
 
 Butts 9 1^5 Serge.^nt 5 j ^ Man 41^^ Keeper ji Brandon 14 f 
 
 Surveyor 61 J Messenger 4 j Scribe ■ 4J Garter 4J 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. Hemy VIII. was written in 1G03, then set aside for political reasons and, altered by Fletcher, was 
 
 brought out in 1613 as a rival to Rowley's play on the same subject. 
 
 2. The grandeur of England resulting from the establishment of the Reformation is the governing 
 
 thought of Henry VIII. 
 
 3. The only Shakspere-parts left in Hciny VIII. are the scenes in which Katharine appears. 
 
 THE EARLIEST KNOWN EDITION IS THE 1623 FOLIO. 
 The play was there called " The Famous History of the Life of King Henry the Eight." 
 
 In the Stationers' Registers is this entry : — 
 1599. September 7. 
 
 master Dawson Entred for his copie vnder the handes of master Sonybanck and the Wardens. A 
 Booke or poeme called The life and Deathe of Thomas Woolsey Cardinall vjd 
 
 Henslowe notes [Diary, p. 189) that he "Lent unto Samwell Rowlye 1601, to paye unto harye 
 Chettell, for writtinge the Boocke of carnalle Wolseye lyfe, the 5 of June, some of xxs," and (p. 193) 
 that he " Layd owt at the apoyntment of my sonne and the companye unto harey cheattell for the 
 altrynge of the booke of carnowlle Wollsey, the 28 of June 1601 xxs," and on July 14th there is the note 
 of a payment in full to Chettle of xxxxs for the same play. For properties in it xxs were paid on 
 July 17th; xxxvijs on August 7th; xxjH and iij'i xs on the loth ; xxs on the nth; xxs and xs on the 
 i2th ; viijli 4s on the 13th ; xiiijd on the 14th. On the i8th Chettle was paid xxs more. On the 20th xs 
 and on the 21st xxs were spent on a dress for it. On the 24th Chettle received xxs " in earneste called 
 the j pt of carnall Wollsay." On September 3rd the Master of the Revels was paid for licensing "the 
 remainder of Carnowlle Wollseye." The last two references seem to be to a second play on the 
 subject, which is probably that mentioned in the following note, stating that Henslowe " Lent unto 
 Robarte shawe, to lend unto hary Chettell, and antonye Mondaye, and mihell Drayton, in earneste of a 
 boocke called the Rissenge of carnowlle Wolsey, the 10 of octobr . i6oi xxxxs." Further payments 
 to authors, to whom " Smythe" was then added, were made on November 6th, 9th, and 12th. On the 
 15th of May in the following year Chettle received xxs " for the mendynge of the fyrste pte of carnowlle 
 Wollsey," and in May and June various sums were paid for dresses "for the 2 pte of Wollsey" (pp. 
 220-2). 
 
 The following entry is in the Registers : — 
 1605. February 12. 
 
 Nathanaell yf he gett good alowance for the enterlude of King Heury the 8th before he begyn to 
 Butter print it. And then procure the wardens handes to yt for the entrance of yt : He is to 
 
 haue the same for his copy 
 
 When the Globe was burned down in 1613. there was a play being acted which dealt with the events of the reign of 
 Henry VIII. Authorities are not agreed that it was Shakspere's play. Stokes (Chronoof;'cal OnUr v- '66.) fays there 
 cannot be a doubt that the piece .... was Shakespeare's Heiiry VIII.' __ Halliwell-FhiUipps (Outhius, \ ol. II., p. 292) 
 says there is " decisive proof that it was not Shakespeare's Henry the Eighth." •..,.„ j _„ j„,.„i„ „„, „<• 
 
 This very interesting question, however, fades into insignificance in comparison with that modern de^elopment ot 
 criticism %vhich, by the application of mechanical tests, attributes many cherished passages in the play to Fletcher instead 
 of Shakspere. The student should make himself conversant with Fletcher's acknowledged works, and then come to his 
 own conclusion. Reference should be made to Mr. Spedding's paper (GentUmanS Magazine, August, 1850), reprinted wuth 
 other matter bearing on the subject in the New Shakspere Society's Transactions i!>7.4. Part I- and to a paper by Mr. 
 Boyle in the Tiansactions for 18S0-6, Part III., in which he divides the play between Massinger and Fletcher. 
 
THE TWO NOBLE KINSMEN 
 
 is 
 
 
 
 ^ 
 
 I. 
 
 n. 
 
 HI. 
 
 IV. 
 
 V. 
 
 1. 
 
 d, 
 
 CHARACTERS. 
 
 J 
 
 2 
 
 3 
 
 4 
 
 5 
 
 ■ 
 
 2 
 
 3 
 
 4 
 
 5 
 
 G 
 
 I 
 
 2 
 
 3 
 
 4 
 
 5 
 
 ' 
 
 I 
 
 2 
 
 3 
 
 I 
 
 2 
 
 3 
 
 4 
 
 331 
 125 
 
 514 
 
 593 
 
 12 
 
 5 
 
 124 
 
 105 
 
 15 
 
 30 
 
 25 
 
 17 
 
 106 
 
 I 
 
 27 
 22 
 10 
 7 
 4 
 49 
 92 
 
 13 
 9 
 6 
 3 
 
 32 
 
 24 
 
 77 
 
 53 
 
 50 
 
 102 
 
 3O8 
 
 327 
 
 14 
 
 I 
 
 18 
 
 Theseus 
 
 Pirithous 
 
 Arcite 
 
 Palamon 
 
 Valerius 
 
 Herald 
 
 Gaoler 
 
 Wooer 
 
 1ST Countryman 
 2ND Countryman 
 3RD Countryman 
 
 32 
 
 65 
 3 
 
 ... 
 
 '.'.'. 
 
 24 
 64 
 40 
 
 34 
 21 
 22 
 
 47 
 73 
 12 
 
 ... 
 
 ... 
 
 ... 
 
 ... 
 
 ... 
 ... 
 .. 
 
 ... 
 ... 
 
 ... 
 
 ;'o 
 
 44 
 50 
 
 44 
 5 
 
 I 
 2 
 2 
 
 ... 
 
 12 
 '4 
 
 31 
 
 5 
 
 26 
 
 117 
 165 
 
 21 
 
 ... 
 
 ... 
 
 28 
 14 
 
 39 
 
 ... 
 
 26 
 
 25 
 
 
 
 10 
 4 
 
 II 
 107 
 131 
 
 33 
 63 
 
 27 
 22 
 
 lO 
 
 3 
 43 
 
 20 
 34 
 
 4 
 '.' 
 
 ... 
 
 "'. 
 6 
 69 
 
 12 
 
 4 
 
 48 
 40 
 
 17 
 2 
 
 43 
 80 
 
 37 
 
 24 
 33 
 
 ... 
 ... 
 
 4 
 44 
 
 57 
 
 50 
 
 3 
 4 
 ... 
 
 4 
 13 
 
 9 
 
 8S 
 
 37 
 44 
 G 
 4G 
 
 3 
 
 ... 
 
 I 
 
 9 
 6 
 
 3 
 3 
 
 18 
 
 
 79 
 62 
 
 ... 
 
 47 
 36 
 
 
 
 '.'.'. 
 
 
 
 11 
 21 
 16 
 12 
 
 ... 
 
 
 
 
 
 
 
 ... 
 
 4 
 9 
 9 
 
 5 
 106 
 
 I 
 
 ... 
 
 ... 
 
 1 
 2 
 25 
 
 I 
 
 15 
 50 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 4TH Country 
 
 Gerrold 
 
 Taborer 
 
 Bavian 
 
 1ST Friend .. 
 2ND Friend .. 
 Brother 
 
 "All" 
 
 Gentleman.. 
 Messenger.. 
 
 Doctor 
 
 1ST Servant 
 1ST Knight .. 
 2ND Knight.. 
 3RD Knight.. 
 
 "Prologue" 
 
 Boy 
 
 1ST Queen .. 
 2ND Queen .. 
 3RD Queen .. 
 
 HiPPOLYTA .. 
 
 Emilia 
 
 Daughter .. 
 Woman 
 
 Nell 
 
 "Epilogue" 
 
 WAN 
 
 33 
 
 6 
 '3 
 
 39 
 
 
 ... 
 38 
 
 
 26 
 
 3312 ' 
 
 2S21 Actual No. of Lines 
 
 32 
 
 32 
 
 273 
 234 
 
 132 
 
 iiG 
 
 
 no 
 
 97 
 
 54 
 
 40 
 
 37 
 iG 
 
 62 
 
 1 
 
 345 
 
 2S1 
 
 
 99 
 
 83 
 
 33 
 
 33 
 
 84 
 64 
 
 39 
 39 
 
 141 
 123 
 
 38 
 
 83 
 53 
 
 26 
 26 
 
 
 376 
 
 201 
 154 
 
 177 
 156 
 
 104 
 
 179 
 173 
 
 162 
 
 112 
 
 171 
 150 
 
 158 
 137 
 
 18 
 
 18 
 
EVENINGS WITH SIIAKSPERE. 1 85 
 
 SCHEME FOR ARRANGING THE PARTS WITH EIGHTEEN MEN AND SEVEN LADIES. 
 
 Men's Parts. 
 
 THIRTEEN CHARACTERS SINGLY AND FIVE GROUPS. 
 
 Valerius 12 ) Brother 10 1 
 
 Herald 5 [ 18 Bavian i V 20 
 
 Taborer I ) 1ST Knight 9 ) 
 
 Gentleman 4 ) ,^ ist Servant 13 ) 3RD Knight 3 | ^^ 
 
 1ST Countryman 15 \ ^^ 2nd Knight 6 \ '■' 4TH Countryman 17 \ 
 
 Ladies' Parts. 
 three characters singly and four groups. 
 Boy 24)^ Woman 14 / ._ Nell 1)3 " Prologue" 32 ) g^ 
 
 "Epilogue" iS j 4^ 2ND Queen 53 i ""^ ist Queen 77 J ^ 3RD Queen 50^ 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. Most, if not all, of The Two Noble Kinsmen was written by Fletcher and Massinger. 
 
 2. In The Two Noble Kinsmen the degradation of Shakspere's work by Fletcher's underplot is painful 
 
 and almost intolerable. 
 
 3. The departures from Chaucer which are made in The Tivo Noble Kinsmen are in accordance with 
 
 Shakspere's mode of treating originals. 
 
 EARLIEST KNOWN EDITION. 
 
 Date. Printer. rublishcr. Acted by Present Owners. 
 
 /British Museum. 
 I Bodleian Library. 
 The. Cotes lohnWaterson The King's servants V Trinity College, Cambridge. 
 
 1634 
 
 I Trinity College, Dublin. 
 V ] 
 
 _Mr. P. A. Daniel 
 In the Stationers' Registers is this entry :— 
 
 Master ^John^' Entred for his Copy vnder the hands of Sir Henry Herbert and master Aspley 
 Waterson warden a Tragicomedy called the tivo noble kinsmen by John ffletcher and William 
 
 Shakespeare 'J " 
 
 On the title-page, where the play is called simply " The Two Noble Kinsmen," it is saixi to hav-e been 
 " Presented at the Blackfriers .... with great applause " and to have been " Written by the 
 
 memorable Worthies of their time ; { Z. ^vlSam IhaSpe^t . } G-'-" ^^^ '^ ^^^ ""^^ '^''''''' 
 evidence connecting the play with Shakspere. 
 
 Much has been written on the conclusions to be derived from an examination of the play itself (see 
 Spalding's •■ Letter on Shakspeare's Authorship of The Two Noble Kinsmen, '' first prmted m 1S33, and 
 republished by the New Shakspere Society in 1876; Hickson's paper m 1847. reprmted in he New 
 Shakspere Society's Transactions, 1874, Part I.; Furnivall's Introduction to the 'Leopold 5 m/»/,,. , 
 Littledale's Introduction to the play edited by him for the New Shakspere Society, 1 art II.. 1885 . 
 and Boyle's paper on " Massinger and The Two Noble Kinsmen " in the New Shakspere Society s Trans- 
 actions, 1880-5, Part II.). Prepared by a study of Fletcher's style, the student will be in a position to 
 form an independent opinion on this difficult question of authorship. 
 
 The story of Palamon and Arcite had been frequently dramatised and acted. A play by Edwards 
 with that title was performed before Queen Elizabeth in 1566. A new play called palamon and 
 arsett " was brought out on September 17, i594. by Henslowe for " my Lord Admeralle and my Lorde 
 chamberlen men" at Newington, and repeated in the following two months [Diary, pp. 41, 43-4)- ^o 
 copy of either of these plays is known to exist. 
 
 The literary consideration of this play must include a comparison with Chaucer's Knightes Tale. 
 
 25 
 
A NEW WAY TO PAY OLD DEBTS 
 
 u 
 
 
 
 I. 
 
 
 
 II. 
 
 
 
 III. 
 
 
 
 IV. 
 
 
 V. 
 
 
 CHARACTERS. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 r 
 
 
 I 
 
 2 
 
 3 
 
 ' 
 
 2 
 
 3 
 
 I 
 
 2 
 
 3 
 
 I 
 
 2 
 
 3 
 
 I 
 
 411 
 
 Wellborn 
 
 
 
 104 
 
 
 67 
 
 29 
 
 24 
 
 26 
 
 
 4 
 
 10 
 
 ... 
 
 40 
 
 
 107 
 
 100 
 
 Tapwell... . 
 
 
 
 72 
 
 
 
 
 
 
 
 
 
 
 28 
 
 
 
 227 
 
 Allworth 
 
 
 
 39 
 
 27 
 
 2 
 
 
 17 
 
 
 76 
 
 3 
 
 I 
 
 8 
 
 
 42 
 
 12 
 
 50 
 
 Order ... . 
 
 
 
 
 16 
 
 13 
 
 
 18 
 
 
 
 
 
 
 2 
 
 
 I 
 
 38 
 
 Amble ... . 
 
 
 . .. 
 
 
 9 
 
 6 
 
 
 20 
 
 
 
 
 
 2 
 
 
 
 I 
 
 119 
 
 Furnace ... . 
 
 
 . ... 
 
 ... 
 
 43 
 
 19 
 
 
 51 
 
 
 
 
 
 
 4 
 
 
 2 
 
 10 
 
 Watchall 
 
 
 
 ... 
 
 2 
 
 3 
 
 
 5 
 
 
 
 
 
 
 
 
 
 150 
 
 Greedy ... . 
 
 
 
 
 
 21 
 
 
 
 
 
 67 
 
 
 24 
 
 28 
 
 
 10 
 
 702 
 
 Overreach . 
 
 
 
 ... 
 
 
 14 
 
 73 
 
 
 46 
 
 
 176 
 
 60 
 
 106 
 
 
 54 
 
 173 
 
 298 
 
 Marrall... . 
 
 
 
 
 
 2 
 
 75 
 
 30 
 
 76 
 
 
 28 
 
 4 
 
 5 
 
 28 
 
 
 50 
 
 251 
 
 Lovell ... . 
 
 
 
 
 
 
 
 ... 
 
 
 43 
 
 42 
 
 6 
 
 87 
 
 
 
 73 
 
 I 
 
 "All" ... . 
 
 
 
 
 ... 
 
 
 
 
 
 
 
 
 
 I 
 
 
 
 7 
 
 1ST Creditor 
 
 
 
 
 
 
 
 
 
 
 
 
 7 
 
 
 
 6 
 
 2ND Creditor 
 
 
 
 
 
 
 
 
 
 
 
 
 6 
 
 
 
 I 
 
 3RD Creditor 
 
 
 
 
 
 
 
 
 ... 
 
 
 
 
 1 
 
 
 
 12 
 
 WiLLDO 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 13 
 
 25 
 
 Froth 
 
 
 9 
 
 
 
 
 
 
 
 
 
 
 iG 
 
 
 
 265 
 
 Lady Allworth . 
 
 
 
 C5 
 
 19 
 
 
 25 
 
 
 
 29 
 
 12 
 
 55 
 
 
 
 60 
 
 17 
 
 Woman 
 
 
 
 
 3 
 
 
 13 
 
 
 
 
 
 I 
 
 
 
 
 14 
 
 Chambermaid 
 
 
 
 
 7 
 
 
 7 
 
 
 
 ... 
 
 
 
 
 
 
 118 
 
 Margaret ... . 
 
 
 
 
 
 
 
 
 
 48 
 
 I 
 
 
 
 61 
 
 S 
 
 2822 
 
 
 224 
 
 1G2 
 
 17G 
 
 177 
 
 210 
 
 148 
 
 119 
 
 397 
 
 94 
 
 2S8 
 
 iGi 
 
 157 
 
 509 
 
 2479 
 
 Actual Number of Lines 
 
 210 
 
 145 
 
 141 
 
 148 
 
 210 
 
 148 
 
 104 
 
 329 
 
 77 
 
 251 
 
 iGo 
 
 141 
 
 415 
 
EVENINGS WITH SHAKSPERE. 
 
 187 
 
 SUGGESTIONS FOR DISCUSSION. 
 
 1. Fletcher wrote in July-August, 1625, nearly all the first two acts of A New Way to Pay Old Debts. 
 
 2. Massinger meant the character of Sir Giles Overreach to be a true picture for all time of that 
 
 wilful selfishness which mistakes the inveteracy of its purposes for their rectitude. 
 
 3. In tragedy Massinger was second only to Shakspere, and in the higher comedy not inferior to 
 
 Ben Jonson. 
 
 EARLIEST KNOWN EDITION. 
 
 Date. Printer. Publisher. Acted by 
 
 1633 E. P. Henry Seyle The Queen's servants 
 
 Present Owner. 
 British Museum. 
 
 The following entry occurs in the Stationers' Registers : — 
 
 1632. November 10. 
 
 Master Seile Entred for his Copy vnder the hands of Sir Henrv Herbert and Master Aspley 
 
 warden 
 
 Idem. Entred for his Copy vnder the same handes a Comedy called A new way to pay old 
 
 Dcbtes by Phillip Massinger TJ** 
 
 There is no external evidence to determine the date of this play. On the title-page of the 1633 
 edition it is said to have " beene often acted at the Phoenix in Drury-Lane." Sir Henry Herbert's 
 term of office began in 1623. If it is true that Fletcher wrote part of it, the date of its composition 
 must be not later than 1625, the year of Fletcher's death. 
 
 25 * 
 
CHAPTER X. 
 Ube Elisabctban Dramatists, 
 
 The web of our life is of a mingled yarn, good and ill together." 
 
 All's Well that Ends Well, IV. iii. ^3- 
 
 IN the previous pages reference has so often been made to per- 
 sonal incidents in connection with the Elizabethan dramatists, 
 that it is desirable to have at hand some record of the story of 
 their lives. This chapter, however, pretends to afford neither new 
 facts nor re-arrangement of old ones; the reader who seeks for 
 full information is referred to the Introductions to the editions of 
 the various authors' works and to other well-known biographical 
 sources.^ I give only a bare outline sufficient to show the student 
 the main facts in the life of each of the writers whose work has 
 been brought under consideration. 
 
 In writing about these authors, it is impossible to be correct, as 
 often their history is shrouded in impenetrable obscurity : identifi- 
 cation, even, is not always possible. In such cases I have been 
 obliged to give the least improbable theory. The orthography of 
 their names presents another difficulty. In the period in which 
 they lived spelling was not a fixed science. In Chapter IX. may be 
 
 1 For information about the Oxford men reference should be made to Bliss's 
 1813-20 edition of Wood's Athena Oxonienses and Fasti Oxonienses. Full details con- 
 cerning the Cambridge men who died before 1609 will be found in Athenac dintabrigienses 
 by C. H. and T. Cooper, 1858, 1861. The 1812 Biographia Dnvnatiea is very useful. 
 The Dictionary of National Biography, at present only in the letter F, is invaluable. 
 
EVENINGS WITH SHAKSPERE. l8g 
 
 seen many instances of the variety of ways in which it was per- 
 missible to spell proper names. 
 
 Concerning the name of the greatest figure in the drama of that 
 time, the literary world has now and then been greatly disturbed, 
 and occasionally controversy about it has raged hotly. Although I 
 have adopted the poet's own form, I think that those who are not 
 satisfied with that should, considering the latitude allowed in his 
 day, be allowed to indulge their fancy unmolested. I will go so far 
 as to admit that those who represent the name otherwise than as I 
 have given it are not necessarily devoid of all moral principles, and 
 that one may write " Shakspeare," or even "Shakespeare," or any 
 other erratic form, and yet be an affectionate parent, a dutiful child, 
 a loving partner, a faithful friend — in fact, may fulfil all the other 
 duties of citizenship in a most exemplary manner. 
 
 In reference to the five authentic signatures of the poet it has 
 been said by one' who is an unsurpassed authority on all points 
 connected with Shakspere's history that the signature on the deed 
 in the Guildhall, London, "is unquestionably Shakspere " (p. 20); 
 that on the mortgage deed now in the British Museum " the form 
 of Shakspere cannot in this instance be admitted with anything like 
 certainty " (p. 22). Of the first signature on the will it is said " that 
 it was originally Shakspere may be safely concluded " (p. 22). Of 
 the second it is declared ** that here we should read Shakspere " 
 (p. 23) ; and in reference to the third it is said " that the character 
 
 1 J, O. Halliwell-Phillipps. Nciv Lamps ov Old? A fcio additional Words on the 
 Momentous Question respecting the E and the A in the name of our National Dramatist. Second 
 Edition. 1880. 
 
 The world of letters has now to lament the loss of this loving student of Shak- 
 spere. His laborious investigations recorded in many a volume form a perpetual monu- 
 ment to his worth. He died on January 3rd, 1S89. 
 
I go EVENINGS WITH SHAKSPERE. 
 
 following the letter k is the then well-known and accepted contraction 
 for es " (p. 24). But it is added that " its situation in this signature 
 is peculiar and difficult of explanation." On the monument over 
 his grave the name is " Shakspeare." In the Church Registers^ the 
 birth- and death-records of the poet and his family have the form 
 " Shakspere." In the light of these statements it is important for 
 those students who believe in the personality of the man of Strat- 
 ford to adopt the spelling which he himself favoured rather than 
 introduce that which has been called "the important central e,'' 
 but which is really nothing more than a printer's device, especially 
 as upon the highest authority we are told that "the choice of 
 the pronunciation of Shakespeare's name is of course a question 
 independent of the form in which it should be printed. The general 
 instinct seems to be adverse to the ancient orthoepy of Shaxpere, 
 and the main reason against the prudence of adopting the short 
 form is that it might encourage the name to be so spoken. There 
 can be little doubt that the poet was generally called Shaxpere or 
 Shaxper in the provinces, but certainly not always. In the earliest 
 known document respecting any member of the poet's family, one 
 which refers to property at Snitterfield near Stratford-on-Avon, the 
 name of his grandfather is given as Shakespere, showing the first 
 syllable to be long.'"-^ But students who wish to be accurate will 
 not be influenced by any question of supposed euphony or of pretti- 
 ness of appearance, and instead of following a popular delusion, 
 they will accept the way in which the poet wrote it rather than the 
 fashion in which somebody else printed it. 
 
 If early printed copies arc allowed to be authorities for the 
 
 1 The entries are not contemporaneous with the events, but are copies made some 
 few years afterwards. " Halliwcll-rhiUipps, Op. cit. pp. 13, 14, 
 
EVENINGS WITH SHAKSPERE. igi 
 
 spelling of personal names " Rare Ben's " surname must be written 
 "Johnson," for thus it appears in the 1601 Every Man in his Humour. 
 The name of the literary partner of Fletcher is given as " Baymont " 
 in the earliest known edition of Philaster, and afterwards it appears 
 as " Beamont." The author of The Virgin-Martyr is described on 
 the title-page of the 1622 edition as " Messenger." In short, 
 printers' spelling of that period is the most uncertain guide that 
 can be taken. The various ways in which the names of many of 
 the Elizabethan dramatists have come down to us are familiar to 
 students of the literature of the age. 
 
 The names that follow are given in the order in which their 
 work is considered in Chapter IX. 
 
 •umilKam SFjaksperc. 
 
 The day of William Shakspere's birth is unknown. On the 
 26th of April, 1564, he was baptized in the Church of the Holy 
 Trinity, Stratford-on-Avon, and from the fact that it was then 
 common to baptize children when only a few days old, and in 
 deference to the tradition that he died on the anniversary of his 
 birth, it has been generally agreed to look upon the 23rd of April as 
 his birth-day. This was the date according to the Old Style ; if 
 transferred into modern reckoning, it would be May 3rd. It is 
 matter of conjecture only that he was born in the house in Henley 
 Street, which is now pointed out as the birth-place. In 1556 the 
 present block consisted of two separate houses. The easternmost, 
 that which now contains the Museum and Library, was bought in 
 that year by John Shakspere, who was living and carrying on busi- 
 ness, as a glover and sort of general dealer, somewhere in Henley 
 Street at least as early as 1552. It may have been in 1557 that 
 
ig2 EVENINGS WITH SHAKSPERE. 
 
 John Shakspere married Mary Arden, of Wilmecote, near Stratford. 
 In 1558 Joan was born, and probably died soon after.^ In 1562 
 Margaret was born; she died in 1563. In 1564 WiUiam was born. 
 
 In 1575 his father bought other property in Stratford, part of 
 which was, almost certainly, the other portion of the block referred 
 to. After tradition had fixed upon the house, it of course took the 
 largest upstair apartment and called it the room where William first 
 saw light. There is positive evidence that in 1597 John Shakspere 
 had the land on the western side of the block. - 
 
 It seems that it was the custom for boys to begin school-life at 
 the age of seven. Probably therefore, although there is no direct 
 evidence on the matter, William went to the Stratford Free Grammar 
 School in 1571, the year in which his father, having for three years 
 previously served the office of High Bailiff or Mayor, was elected 
 Chief Alderman. The course of instruction at such a school is 
 shown in Professor Baynes's papers on "What Shakespeare learnt 
 at School.''' 
 
 About 1578 John Shakspere began to get into money-difficulties.'^ 
 At this period many plays were acted at Stratford by various com- 
 panies of actors, who performed in the hall under the schoolroom of 
 the Grammar School. The boy Shakspere doubtless saw some of 
 
 1 The fifth child born in 1569 was also named Joan. 
 
 ■^ Much information in detail about all these matters is given in Mr. Halliwell- 
 Phillipps's Outlines and in Mr. Joseph Hill's Shakespeare's Birthplace and Adjoining 
 Properties. 1885. 
 
 » Eraser's Magazine, November, 1879; January and May, iSSo. 
 
 * In 1592 " Mr. John Shackcspere" is amongst those reported to the Council by the 
 Commissioners for the county of Warwick " for not comminge monethlie to the Churche 
 according to hir Majesties lavves," and that he had absented himself "for feare of 
 processe for debtte." Calendar of State Papers. Domestic. 1591— 1594- P- 290: and 
 Halliwell-l'hillipps's Outlines, Vol. II.. pp. 245— G. The latter gives very full " Annals " 
 of the poet's father, which arc of great interest. 
 
EVENINGS WITH SHAKSPERE. 193 
 
 them. But nothing is known of what he did as a lad or when he 
 left school. 
 
 In 1582 he married (it is surmised) Anne Hathaway of Shottery, 
 near Stratford. But there is no conclusive proof of this. Shak- 
 spere's grand-daughter, Elizabeth, whose second husband was Sir 
 John Barnard, mentions in her will "the daughters of her kinsman 
 Thomas Hathaway;" and it is known that some Hathaways lived at 
 Shottery. It was not till 1836 that the marriage-bond was discovered 
 in the Worcester Registry by Sir Thomas Phillipps. In the words 
 of this deed, the contracting parties were ''William Shagspere one 
 thone partie, and Anne Hathwey, of Stratford in the dioces of 
 Worcester." The omission of Shottery in this document is of no 
 import, as it would be included in the general title of Stratford. But 
 the difficulty of identifying Shakspere's wife has been increased by 
 the Rev. T. P. Wadley's recent discovery in the Bishop's Register 
 at Worcester, of an entry, dated 1582, which refers to a marriage- 
 license being granted " inter Willielmum Shaxpere et Annam 
 Whateley de Temple Grafton."' Their first child, Susanna, was 
 baptized on May 26th, 1583; and on February 2nd, 1585, their twin 
 children, Hamnet and Judith, were baptized. 
 
 Guesses have been plentiful in reference to Shakspere's move- 
 ments about this period.^ As he was afterwards so mixed up with the 
 
 1 Whateley might easily be a miscopying of Hathaway. The crux in the case is 
 Temple Grafton, a village some few miles from Stratford. 
 
 = In The Contemporary Review for April, i88g, Dean Plumptre has revived the almost 
 forgotten idea that about this time Shakspere was one of a company of players that the 
 Earl of Leicester had taken to the Netherlands, and that he was the " Will, my lord of 
 Lesters jesting plaier," by whom Sir Philip Sidney sent a letter in 1586 to his father-in- 
 law, Secretary Walsingham. (See the Shakespeare Society's Papers, Vol. I., 1844, and 
 "Was Shakespeare a Soldier? " in Thoms's Three Notelets on Shakespeare, 1865.) 
 
 In the ' Cambridge Bible ' Ecclesiastes, the Dean has a very interesting essay on the 
 parallelism between the thoughts expressed by the writer of the Sacred Book and those 
 which may be assumed to be the outpouring of Shakspere's own soul. 
 
 26 
 
194 EVENINGS WITH SIIAKSPERE. 
 
 Burbages, the most plausible theorj^ is, that in a subordinate capacity 
 he became attached in 1587 to the Queen's servants, then acting at 
 Stratford,^ having as their leader James Burbage, who had been one 
 of the Earl of Leicester's players, and that with them he travelled to 
 London. 
 
 By 1592 he had, either as writer or actor, or both, excited the 
 wrathful jealousy of Robert Greene.^ In 1593 Ventts and Adonis 
 was printed by Richard Field, a former townsman of Stratford, whom 
 Shakspere knew and, on that account probably, employed. 
 
 In December, 1594, he was acting with the Lord Chamberlain's 
 servants before the Queen at Greenwich, and in the entry of pay- 
 ments his name comes between those of Kemp and Richard Burbage. 
 This is the earhest record of his association with a company of 
 actors. His histrionic connections before this date are all guess- 
 work. Mr. Halliwell-Phillipps says (Outlines, Vol.1, p. no) "it 
 would appear not altogether unlikely that the poet was one of Lord 
 Strange's actors in March, 1592;^ one of Lord Pembroke's ■* a few 
 months later ; and that he had joined the company of the Earl of 
 Sussex, in or before January, 1594."* 
 
 In 1596 Shakspere's only son, Hamnet, died when eleven and a 
 half years old, and was buried at Stratford on the nth of August. 
 
 In the same year, no doubt through his son's influence, John 
 Shakspere received a grant of arms from the Heralds' College. 
 
 ^y ^597 William must have been in flourishing circumstances, as 
 
 1 See 1821 Variorum, Vol. II., p. 151. 
 
 ' See Green's Groats-worth of Wit, bought with a Million of Rcpixuntancc, 1596. This 
 is the earliest copy known. It was reprinted in 1813 by Sir Egerton Brydges, and 
 in 1874 by the New Shakspere Society in Shakspere Allusion-Boohs. Greene died in 
 September, 1592. 
 
 » This is because they played Henry VI. (see p. 63). 
 
 * This is because they played 'I itus Andyonicus (sec p. 59). 
 
EVEMXGS WITH SHAKSPERE. 1 95 
 
 in that year he became the possessor of the largest house in Stratford, 
 the " Great House " that had belonged to the Cloptoni family for a 
 long period, and which had become known as " New Place " some 
 time before it came into the possession of Shakspere, who bought it, 
 in bad condition, from William Underbill for " sixty pounds sterling." - 
 Mere fragments of the foundations of the original house now remain. 
 It has been thought incredible that, by the unaided results of his 
 everyday calling, he could have raised himself to the social position 
 he enjoyed at that time. There is a tradition, to which however it 
 is not necessary to attach much credence, that Lord Southampton, 
 to whom he had dedicated Venus and Adonis and Lucrece, had given 
 him ;riooo, a gift which in those days w^ould have been extraordinarily 
 munificent. From this period there is evidence that in the midst of 
 his literary successes he was not unmindful of his duty to his family, 
 for from time to time he invoked the aid of the law to recover small 
 sums of money due to him for various reasons. 
 
 In 1599 heraldic impalement of arms for his mother with those 
 granted to his father was allowed. When the Globe theatre was 
 built in that year Shakspere, as shown by a document of later date, 
 was one of "the partners in the profittes " of that house. 
 
 In 1601 Shakspere's father died at Stratford, and was buried on 
 the 8th September. 
 
 1 See Stow's Survey of London, ed. 1633, pp. 89, 292, 573-4, for notice of Sir Hugh 
 Clopton, the builder of "the great stone arched Bridge at Stratford upon Avon," who 
 was Sheriff of London in i486 and Lord Mayor in 1491. 
 
 * It came again to the Cloptons through Sir Edward Walker, who bought it in 1675 
 from the trustee of Lady Barnard, Shakspere's grand-daughter. Sir Edward's daughter 
 married Sir John Clopton, who about the year 1700 pulled down the house and erected 
 another building on its site, which in its turn was destroyed in 1759 by the Rev. Francis 
 Gastrell, into whose possession it had passed in 1756, and who, annoyed by the visits of 
 pilgrims to the poet's death-place, left Stratford and pulled down the house to avoid 
 paying rates for it. 
 
 26* 
 
196 EVENINGS WITH SHAKSPERE. 
 
 In TJic Return from Parnassus, a University play written in 1601,' 
 Shakspere's superiority as a dramatic writer is fully recognised,' 
 and in 1603 his name occurs in a license granted by James I. to 
 certain actors to play at the Globe and elsewhere. His means were 
 now increasing fast, and he added to his estate much real property 
 at Stratford. 
 
 On June 5th, 1607, his eldest daughter, Susanna, now twenty- 
 four years of age, married Dr. John Hall, a medical practitioner in 
 the town.' 
 
 As a result of this alliance Shakspere became a grandfather in 
 1608, the year in which his mother died. She was buried at Strat- 
 ford on September 9th. 
 
 In December, 1609, when the Children of the Chapel left the 
 Blackfriars Theatre, it is said that their places were taken by " men 
 players," among whose names occurs that of '' Shakspeare."^ It is 
 difficult, however, to believe that at that time he was really engaged 
 in acting. 
 
 After this, except in connection with Stratford affairs, but little 
 is known about him till 1616, when he executed his will a short time 
 before his death at New Place on April 23rd in that year. He was 
 buried in the chancel of his parish church. 
 
 1 See Arber's Reprint. 
 
 '^ Act IV. Scene 5. " Few of the vniuersity pen plaies well, they smell too much 
 of that writer Quid, and that writer Metamorphosis, and talke too much of rroscrpina and 
 luppitcy. Why heres our fellow Shakespeare puts them all downe, I and Ben lonson too. 
 O that Ben lonson is a pestilent fellow, he brought vp Horace giuing the Poets a pill, but 
 our fellow Shakespeare hath giuen him a purge that made him beray his credit." 
 
 '^ He kept detailed accounts of his cases ; and after his death some of these, trans- 
 lated from the Latin, were published under the title of Select Observations on English 
 Bodies, or Cures both Empericall and Historicall performed upon very eminent Persons in 
 desperate Diseases. He records the symptoms and treatment of illnesses of himself, his 
 wife, his daughter, the poet Drayton and other well-known people. 
 
 * For a copy of the document sot; Halliwcll-i'hillipps's Outlines, Vol. I. p. 2yi. 
 
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ig8 EVENINGS WITH SHAKSPERE. 
 
 In his will he mentions by name his daughter Judith, his 
 daughter Susanna Hall, his grand-daughter ("neece") Elizabeth, 
 his sister Joan Hart and her three sons, his son-in-law Dr. Hall, 
 and several persons outside his family. 
 
 In 1670 in the person of his grand-daughter, then Lady Barnard, 
 Shakspere's lineal descendants came to an end. 
 
 Jobn Xglg. 
 
 From indirect evidence it is thought that Lyly, "plebeii filius,'" 
 was born in 1554, in Kent. He went to Magdalen College, Oxford, 
 in 1569, and took his B.A. in 1573 and M.A. in 1575. The first part 
 of his great work, Euphues,^ was published in 1579. In that year he 
 was incorporated M.A. of Cambridge. He seems to have expected to 
 have been made Master of the Revels upon the death of Sir Thomas 
 Benger in 1577. But Edmund Tylney was appointed in 1579, and 
 held the office till 1610 (see p. 177). Probably about 1583 Lyly began 
 writing comedies. All his early plays were acted by the choir-boys 
 in their schoolroom at St. Paul's. In 1589 he was taking part in the 
 Marprelate controversy. In Athenae Cantabrigicnses it is said that 
 upon different occasions between 1593 and 1601 Lyly represented 
 Aylesbury and Appleby in parliament. In December, 1597, he 
 wrote a pathetic letter to Secretary Cecil expressing his disappoint- 
 ment at not receiving the posts to which he had been looking 
 forward. - 
 
 In 1598, as one of the leaders of comedy, he is described in 
 
 1 This popular work is now easily accessible to the student, as it is in Arber's 
 excellent series of Reprints. 
 
 '•' See Calendar of State Papers. Domestic. 1595—1597, p 551 Lyly's earlier com- 
 munications on the same subject are given by l-"airholt and by Arbor, 
 
EVENINGS WITH SHAKSPERE. IQQ 
 
 Meres's comprehensive list as '' eloquent and wittie lohn Lilly " 
 (see p. 9). 
 
 In 1599 "John Lilly" was committed to the Tower "on suspicion 
 of helping Gerard, the Jesuit, out of the Tower." ' 
 
 The date of his marriage is unknown. He had three children : 
 John, born in 1596, died in the following year; John, born in 1600 ; 
 and Frances, born in 1603. 
 
 Lyly died in 1606, and was buried at St. Bartholomew-the-Less, 
 London. 
 
 Lyly's plays are The Woman in the Moon {1583) ; Campaspe (1584) ; 
 Sapho and Phao (1584) ; Endymion {15S5) ; Gallathea (1585) ; Midas 
 (1592) ; Mother Bomhie (1594) ; Love's Metamorphosis (1601). These 
 were all pubhshed separately. Blount, in 1632, issued all but the 
 first and the last in one volume. From then no collected edition 
 appeared till Fairholt's two volumes in 1858. 
 
 Henry Morley's article on " Euphuism" {Quarterly Review, April, 
 1861) should be studied in connection with Lyly's work. 
 
 Fleay gives " Annals of the Career of John Lyly " in Shake- 
 speariana, Vol. IV., 1887. 
 
 Cbristopbcc /Iftarlowc. 
 
 Kit Marlowe, the son of a shoemaker, was born in 1564. He 
 was baptized in the Church of St. George-the-Martyr, Canterbury, 
 on the -zSth February in that year. In 1578 he was at the King's 
 School in that city. This he left in 1579 and went to Corpus Christi 
 College," Cambridge, becoming B.A. in 1583 and M.A. in 1587. 
 
 1 Calendar of State Papers. Domestic. 1598 — 1601, pp. 253-4. 
 
 2 Then called Bene't College. 
 
200 EVENINGS WITH SHAKSPERE. 
 
 It is possible that Tamhurlaine, which at once brought him fame, 
 was written before he left the University. At first he wrote for the 
 Lord Admiral's company, ' by whom Faustus was acted (see p. 67) ; 
 but when in 1589 they were ordered "to forbere playinge," he wrote 
 for the Earl of Pembroke's servants,- who played Edward II. 
 (see p. yy). 
 
 In 1593 he came to an untimely end, being killed in a quarrel.' 
 He was buried at Deptford on June ist. 
 
 Meres says that " our tragicall poet Marlow for his Epicurisme 
 and Atheisme had a tragicall death" (see p. 9). This charge, cor- 
 roborated by Greene's references* and the unsupported testimony 
 of a man hanged at Tyburn in 1594, was frequently repeated by 
 Marlowe's contemporaries ; but it is inconsistent with the not 
 irreverent spirit of Faustus. 
 
 Marlowe's plays arc Tamhurlaine, in two parts {15S6-7Y; Faustus^ 
 
 1 Known also as the Earl of Nottingham's servants. 
 
 2 They also acted The True Tragedy (see p. 69) and The Tixming of a Shreiv (see p. gj). 
 These facts must be borne in mind in an endeavour to fix the authorship of these plays. 
 (See Fleay's edition of Edward II., pp. 12-13.) 
 
 => This is usually described as a tavern-brawl, and, very much to Marlowe's dis- 
 advantage, is looked at from the point of view of to-day. But here, and in the careers 
 of some of Marlowe's associates, allowance must be made for the differences in social 
 life then existing. 
 
 * Groats-ivorth 0/ Wit (see p. 194), p. 29, and Epistle to Perimcdcs. 
 
 '• See Nash's Preface to Greene's Menaphon, 15S9. This, of which there was an 
 edition in 1587, forms one of Arber's Reprints. 
 
 Henslowe has various entries of a confusing character concerning " Tamber came," 
 "tamberlen," &c. (see Diary, pp. 25-82). 
 
 « This play has been edited by Dr. W. Wagner (1877) in "The Eondon Series of 
 English Classics," and (with Greene's Friar Bacon) in the " Clarendon Press Series " by 
 Professor A. W. Ward (1878). It is almost needless to say that both editions are indis- 
 pensable to the student (see p. C7). It is said that the note given on p. 67 recording 
 "adycyons to Fostus" in 1597 is a forgery (see Mr. Henry B. Wheatley's Notes on the 
 Lijc of "John Payne Collier, 1884, p. Ci). 
 
EVENIXGS WITH SH/IKSPERE. 201 
 
 {1588) ; Jeii' of Malta' {1589) ; Edward 11." {1502); Massacre at Paris' 
 {1592). With the exception of Ediaard II., played by Lord Pem- 
 broke's servants, all these were probably often acted by the Lord 
 Admiral's men.* 
 
 Dido, acted by the Chapel children, was left incomplete, and was 
 finished by Nash. The poem Hero and Leaudcr was written only in 
 part by Marlowe, and continued by Chapman. 
 
 Marlowe also wrote other poems. His works in collected form 
 were published by Pickering in three volumes in 1826. They were 
 edited by Dyce in three volumes in 1850, and a one-volume edition 
 was published by Routledge in 1S58, and reprinted since. There is 
 also a cheap undated volume under the editorship of Colonel Cun- 
 ningham. Mr. A. H. Bullen's three-volume edition was published 
 in 1885. 
 
 1 The earliest known edition is 1633. Henslowe has many notes abput the per- 
 formance of a play with this title. The first is on February 26th, 1592, by "my lord 
 Stranges mene." 
 
 2 Very useful and most desirable helps in the study of this play, and other parts of 
 Marlowe's work, are to be found in the editions by Mr. F. G. Fleay in " Collins' Series " 
 (1877), and by Mr. O. W. Tancock in the " Clarendon Press Series" (iSSo). 
 
 Whilst thankful for the editions mentioned in the foregoing notes, students have a 
 right to grumble at not receiving more. Not reckoning Shakspere, the Elizabethan 
 drama, of which the literary world professes to be so proud, is represented in the 
 Clarendon Press Series by three plays, and in the Pitt Press Series by The Tao Noble 
 Kinsmen alone. This is not a creditable record for great English Universities. 
 
 In this department of literature the Clarendon Press has given us nothing since 
 1880 (except the Parnassus plays and the second edition of Prof. Ward's book in 1887), 
 and the London Series nothing since 1877, the year in which the only one of these plays 
 was published in Collins' Series. The only play issued by the Pitt Press was in 1875. 
 
 => It has been supposed that this is referred to by Henslowe first under the name 
 of "the guyes" (Diary, p. 30), then as "the Gwies " (p. 36), and afterwards as "the 
 masacer" (p. 36 et seq). 
 
 * See title-pages of 1590 Tamhiiylaine, 1604 Faustiis, and the undated Massacre at 
 Paris. 
 
 27 
 
202 EVENINGS WITH SHAKSPERE. 
 
 " Annals of the Career of Christopher Marlowe," compiled by 
 Mr. Fleay, may be found in Shahcspcariana, Vol. II., 1885. 
 
 Marlowe and Shakspere were born in the same year. In 1593, 
 when Marlowe died, Shakspere's work was insignificant. If a com- 
 parison of the two writers should be made this fact must be put in 
 the forefront of the consideration. 
 
 A movement is now on foot to commemorate Marlowe's service 
 to dramatic literature. 
 
 IRobcrt ©rccnc. 
 
 The date of Greene's birth, which took place at Norwich, is 
 unknown. As he went to St. John's College, Cambridge, in 1575, 
 and took his B.A. in 1579, it may be set down about 1560. Before 
 taking his M.A., in 1583, he travelled much on the Continent. He 
 was incorporated M.A. at Oxford in 1588. The idea that he was 
 the Robert Greene appointed one of the Queen's chaplains in 1576 
 may, of course, be dismissed. Indeed, there is no authority for 
 beheving that he was ever ordained. In one of his works, dated 
 1585, he is called a "student in Phisicke."' It is thought that he 
 married Elizabeth Taylor in 1586. It is quite certain that he early 
 deserted his wife and that he led an unusually wild life. He met 
 with a most miserable death in London " in a shoemakers house 
 neerc Dow-gate," on September 3rd, 1592, and was buried the 
 following day " in the New-churchyard- neere Bedlam," which was 
 
 1 Title-page of Planetomachia. 
 
 * For a notice of this ground, given by Sir Thomas Rowe in 1569 " to be a place 
 for buriall of the dead, to such Parishes in London as wanted Churchyards," see Stow's 
 Survey 0/ London, ed. 1633, pp. (j2, 175, 587. 
 
EVENINGS WITH SIIAKSPI-RE. 203 
 
 then situated in Moorfields. He left a very touching and repentant 
 letter addressed to his wife. 
 
 Meres, in 1598, refers to Greene's merits as a poet, places him 
 amongst "the best for comedy," and also alludes to the manner of 
 his death (see pp. 8, 9). 
 
 Greene's known plays are Orlando Furioso, said to have been 
 acted by Lord Strange's men in 1592 (see Henslowe's Diary, p. 21), 
 and, as an instance of Greene's bad faith, to have been sold by the 
 author first to the Queen's servants and then to the Lord Admiral's 
 company; Friar Bacon, acted by Lord Strange's men (see p. 73) 
 and by the Queen's servants (see title-page of 1594 edition); James 
 IV.; Alphonsns. The exact dates of these are not known. A 
 Looking Glass for London and England was written in conjunction 
 with Lodge, and acted by Lord Strange's men in 1592 (see Hens- 
 lowe's Diary, p. 23). Georgc-a-Grcen, the Pinner of Wakefield, acted 
 by the servants of the Earl of Sussex,' was once thought, on slender 
 evidence, to have been written by Greene, but there is now con- 
 siderable doubt about its authorship. 
 
 Greene's dramatic works and poems were edited by Dyce in 
 1831 in two volumes. A one-volume edition (with Peele's works) 
 containing Dyce's editorial matter was first published by Routledge 
 in 1861. 
 
 Greene wrote many prose-works," the best known of which are 
 the Groats-worth of Wit (see p. 194) and Pandosto or The Hystorie 
 of Dorastus and Faicnia, which supplied Shakspcrc with the story of 
 The Winter's Tale (see p. 177). In some of them he has left much 
 that is autobiographical. 
 
 1 See title-page of 1599 edition and Henslowe's Diuiy, pp. 31-3, where it is entered 
 under each section of its title. '^ Dyce gives a full list. 
 
 27 * 
 
204 EVENINGS WITH SIIAKSPERE. 
 
 Greene's works were collected by Dyce in 1828 in two volumes. 
 Other editions were published in 1829 and 1839. 
 
 The student of biography will find many interesting things about 
 Greene's personal characteristics recorded by Chettle, Harvey,' and 
 Nash. Much of it is quoted by Dyce. 
 
 Greene has been greatly blamed for his disparaging references 
 to Shakspere, but in his justification it must be remembered that in 
 1592 Shakspere had done nothing worthy of note, and there was 
 scarcely any promise of the rich harvest that was to come. Greene's 
 treatment of Shakspere was undoubtedly illiberal, but he could not 
 be expected to look onwards with prophetic eye and, although there 
 should be no palliation of his general immoral record, it is wrong to 
 condemn him for the thought, not unreasonable then, that University 
 men had a monopoly of dramatic writing, or for the failure to com- 
 prehend that the literary attainments of himself and fellows would 
 be of indifferent service in their own field of work when compared 
 with native genius aided by the keen observation of ever watchful 
 intelligence. 
 
 Greene's career, ending with death at the age of 32, is a most 
 saddening instance of a life of great literary possibilities frittered 
 away by the wildest debauchery. 
 
 (3 cor lie ipcclc. 
 
 l'"iuni an allusion in a MS. at Oxford it ap})cais that George 
 
 Peelc, son of James Peele,- Cleik at Christ's Hospital, was born in 
 
 ' Collier reprinted Harvey's " Toure Letters" in Misallaiicous Tracts 1S70. 'i'hc 
 lliird Letter is in the New Shakspere Society's Shakspere Allusion-Books, 1874. 
 ■' See note by I\Tr. John IL Ingram in 77k' Athcituum, July zi\d, iSSi. 
 
EVEMXGS WITH SHAKSPERE. 205 
 
 1558.' The place of his birth" and the details of his Hfe are un- 
 certain. In 1572 he entered at Pembroke College,"' Oxford, going 
 afterwards to Christ Church, and took his B.A. in 1577 and M.A. in 
 1579. Thence he went to London, and became one of the well- 
 known literary set of whom it was said they "spend their wits in 
 making plaies." In 1583 he makes an allusion to his wife, but her 
 identity has not been discovered. Peele was about this time much 
 engaged in the production of plays and pageants for festive and 
 public occasions. Some of these doubtless were of his own com- 
 position. After a time he was presumably leading as abandoned a 
 life, and thereby reduced to the same straits, as Greene, whose 
 appeal* to him seems to have been without any good influence. 
 As a poet and as one of "our best for Tragedie" Meres (see pp. 8, 9) 
 in 1598 has reference to Peele, whose death, which he records, took 
 place about 1596. 
 
 Peele's plays are TJie Arraignment of Paris (printed in 15S4 and 
 acted by the Children of the Chapel) ; possibly 1 he Battle of Alcazar'" 
 (1592), acted by the Lord Admiral's servants; Edward 7.*^ (1593) ; 
 The Old Wives' Tale (printed in 1595, had been acted by the Queen's 
 servants) ; Kini^ David (see p. 83). Sir Clyomon and Sir Clamydes 
 
 1 See Plays and Poems of Greene and Peele, ed. Dyce, 1883, p. 324. 
 
 - Some elaborate theories have been founded upon the assumption tliat he was a 
 native of Devonshire. 
 
 3 Then called Broadgates Hall. 
 
 * See Groats-iivrth of Wit. New Shakspere Society Reprint, p. 30. 
 
 " It is supposed that this play is mentioned by Henslowe under such titles as 
 " mulomorco," " mulamulluco," &c. (Diary, p. 21), and " Stewtley " (p. 83). With 
 this play should be read The Famous History of the Life and Death of Captain Thomas 
 Stukely, 1605, reprinted in Simpson's School of Shakspere, and which Simpson thought 
 belonged to the Lord Chamberlain's Company. 
 
 •■ Henslowe (Diary, p. 55) has, on August 2(jth, 1595, an entry of a new play, which 
 he calls " longe shanke." 
 
206 EVENLXGS WITH SHAKSPERE. 
 
 (acted by the Queen's servants and printed in 1599) has been attri- 
 buted to Peele. There are also extant several poems by Peele 
 covering the period from 1585 to 1595. 
 
 Editions of his collected works were issued by Dyce in 1828 in 
 two volumes, of which there was a second edition in 1829, with a 
 third volume added in 1839. The works of Greene and Peele have 
 also been issued together (see p. 203). There is a two-volume edition 
 of Peek's works edited by Mr. A. H. Bullen in 1888. 
 
 J3cn 5 one on. 
 
 It is almost certain that Ben Jonson was born in London in 
 January, 1573, a month after the death of his father, who was a 
 minister. Upon very insufficient evidence it has been concluded 
 that, after being nearly three years a widow, his mother married a 
 master-bricklayer.^ After receiving a small amount of private 
 teaching, the boy was sent to Westminster School at the time when 
 Camden was one of the masters. It is doubtful if Jonson was ever 
 at College.- In early life he served with the English forces in the 
 
 1 From many later references it is known that in some way Ben was mixed up with 
 the trade of his reputed step-father. See Henslowe's letter in Memoirs of Edward AUcyn, 
 Shakespeare Society edition, pp 50-1 ; allusions in Dekker's Satiro-iiiastix, pp. 108, 159, 
 i«9, in Hawkins's reprint in The Origin of the Euglish Drama, Vol. III. ; The Return from 
 Parnassus, ed. Arber, p. 13 ; Calendar of State Papers. Domestic. 1611-1618, p. 512 (January 
 10, 1618). 
 
 « Drummond says ("Conversations," Section XIII.) "He was Master of Arts in 
 both the Universities, by their favour, not his studie." But there must be some mistake 
 about this. His O.xford M.A. in 1G19 was by creation, not incorporation, thus showing 
 that at that date he had no other degree, and there is no reconl of his afterwards re- 
 ceiving a degree from Cambridge. Jonson after his visit to Drummond was back in 
 London in April, 1G19. The Oxford degree was conferred on July 19th. Jonson, in his 
 dedication of The Fox (1607), addressing the two Universities, speaks of " the bounty of 
 your act." This, which has been thought to be an acknowledgement of the bestowal of 
 
EVEMNGS WITH SHAKSPERE. 20y 
 
 Netherlands, but apparently only for a short time. He married 
 probably about 1592, but it was not a happ\- union. In his poems 
 he refers to his wife and children. 
 
 There is great uncertainty about his movements till 1597, when 
 he was engaged with Henslowe {Diary, pp. 80, 106, 116, 255-6). 
 
 In 1598 Meres included " Beniamin lohnson " in the list of those 
 who are " our best for Tragedie " ' (see p. 9). This was probably in 
 reference to his literary powers, but in the same year he killed 
 Gabriel Spencer, one of the actors in Henslowe's company (see 
 Diary, p. iii). For this he was tried- at the Old Bailey, found 
 guilty, and, escaping capital punishment by virtue of "benefit of 
 clergy,"^ was branded as a felon and sent to prison, where he 
 became a Roman Catholic* In 1599 he was again working for 
 Henslowe^ {Diary, pp. 155-6) in conjunction with Dekker and 
 Chettle and "other gentellman."*"' Soon after this he quarrelled 
 with Alarston and Dekker, when much fierce recriminatory writing 
 
 1 He must have earned this position through the patchwork he had done for 
 Henslowe. In this year he was working with Porter and Chettle (Diary, p. 131) at Hot 
 Anger soon Cold, a play now lost. 
 
 ^ See The Atlienaum, March 6, 27, June 19, 26, 1SS6. 
 
 * This is referred to by Dekker (Op. cit. p. 107), where Asinius says to Horace (Ben 
 Jonson) " thou . . . read'st as legibly as some that have been sav'd by their neck- 
 verse." 
 
 ^ " Thereafter he was 12 yeares a Papist." 
 
 ^ Page of Plymouth, the play then written by Jonson and Dekker, is lost. Its story 
 is known (see Shakespeare Society's Papers, Vol. II., 1845). 
 
 " Probably Marston. This was on Robert II. 
 
 degrees, refers to the performances of the play at Oxford and Cambridge and his grati- 
 tude to " the two famous Universities for their love and acceptance shown to this poem 
 in the presentation." 
 
 Perhaps Ben, who was not deficient in self-assurance, thought the degrees should 
 have been his de jure, like the student in Arts who, having failed to get a degree, re- 
 quested the editors of Crockford, 18SS, to insert his name with " B.A.d.j." after it. 
 
208 EVENINGS WITH SHAKSPERE. 
 
 followed. In 1601 Henslowe paid Jonson 40s. for additions to The 
 Spanish Tragedy^ {Diary, p. 201), and in 1602 there was another 
 pa}-ment for further additions, and for a play aLout Richard III., 
 concerning which nothing is now known. 
 
 From 1603 Ben, well qualified by previous experience,- was the 
 leading spirit of those "merry Meetings at the Mermaid,"^ in 
 Cheapside, which had been established about then by Sir Walter 
 Raleigh, and which gathered together all the wits of the time in 
 the social prototype of the modern club. 
 
 In 1605 Jonson voluntarily joined Chapman and Marston, who 
 were in prison for writing a play* which gave offence at Court, 
 because it was supposed to contain "something against the Scots." 
 Soon after this he was concerned, as a loyal Roman Catholic, in 
 laying bare the intentions of the Guy Fawkes conspirators.'^ 
 
 For many years little is known of his personal movements. 
 About 1610 " he was reconciled with the Church, and left of to be 
 a recusant." For part of the time that Sir Walter Raleigh was 
 imprisoned in the Tower, Jonson acted as his secretary, and in 1613 
 went to France in charge of Sir Walter's eldest son. In June, 
 1616, when the king was entertained by the " new Company of 
 Merchant Adventurers,""^ representatives of trades were presented 
 
 1 The play is printed in Hazlitt's Dodslcy, with the added parts indicated. 
 
 * "The Mermaid" is mentioned in the 1601 Every Man in his Humour. Although 
 Jonson did not limit his patronage to that establishment (see an ode in Herrick's 
 Hespi-rides and Calendar of State Papers. Domestic. Addenda. 1623-1C25, p. 27S) he 
 never sank to the low life of Greene and Peele. 
 
 ' See " Mr. Francis Beaumont's Letter to Ben Jonson " [The Works of Beaumont and 
 Flctehcr, ed. Darley, Vol. II., p. 710). 
 
 ' Eastward Ilo ! acted by the Children of the Revels. 
 
 '■' ^nQ Calendar of State Papers. Domestic. 1603-1610, p. 245. 
 
 " In Stow's Survey of London, ed. 1633, p. 618, these are called "New French 
 Merchants Adventurers." The old Merchants Adventurers were incorporated by 
 i:dward IV. 
 
EVENINGS WITH SHAKSPERE. 209 
 
 to his Majesty "and spake such language as Ben Jonson putt in 
 theyre mouthes " {Calendar of State Papers. Domestic. 1611-1618, 
 P- 375)- James I. now granted him a life-pension of 100 marks. 
 In the same 3'ear Jonson brought out the first volume of his 
 " Works," an unusual title to be then applied to plays, and one of 
 which much fun was made. In 1618 he walked to Scotland, and 
 amongst many visits paid one to William Drummond, who has left 
 notes' of their conversations. In 1621 there is a record that "Ben 
 Jonson's pension is increased from 100 marks to 200/."-; but after- 
 events seem to show that the order was not carried into effect. It 
 is said that at this time he was offered a knighthood, which he de- 
 clined ; but he accepted as more remunerative the reversion of the 
 Mastership of the Revels after Sir George Bucke and Sir John 
 Astley.^ He never held it, however, as Sir John outlived him. 
 
 It was probably about this time that his library, containing 
 many books and MSS., was destroyed by fire. In 1625 he had an 
 attack of paralysis, from which he never quite recovered, although 
 he was well enough to write and to receive, upon the death of 
 Middleton in 1628, the appointment of historian to the City of 
 London, with which was a salary of 100 nobles. In this year he 
 was unjustly accused of being the author of some political verses 
 which gave great offence.* In 1631 Charles I. granted his petition 
 
 1 Reprinted by the Shakespeare Society in 1S42, and in Vol. III. of Jonson's 
 Works, 1870, edited by Cunningham (see p. 211). 
 
 2 See Calenday of State Papers. Domestic. 1619-1623, p. 303. In this volume there 
 are several other interesting references to Jonson. 
 
 * There were at a time several potential holders of this office. In 1622 the next 
 reversion was granted to William Painter. 
 
 * See Calendar of State Papers. Domestic. 1628-1629, p. 360. From his examina- 
 tion on this charge, we learn that he ordinarily wore at his girdle a dagger with a white 
 haft. 
 
 28 
 
210 EVENINGS WITH SIIAKSPERE. 
 
 to have his pension turned from marks into pounds/ and for some 
 time he was still busy with his pen, often in preparing public 
 pageants. But when •' Jonson was old in years, feeble in body, and 
 poor in purse"- he offended Inigo Jones, the architect and surveyor 
 of the king's works, with whom he had been engaged in producing 
 various gorgeous masques represented at Court. There had been 
 an earlier quarrel with Jones, whose influence now was sufficient to 
 get others appointed in the place of Jonson, who satirised his 
 opponent in a play^ in 1633, but who wrote nothing more of im- 
 portance. He died on August 17th, 1637, ^^^ three days after was 
 buried in Westminster Abbey. 
 
 Ben Jonson's plays are Every Man in his Humour* (acted by the 
 Lord Chamberlain's servants in 1598) ; Every Man but of his Humour 
 (by same in 1599); The Case is Altered (by the Children of the 
 Chapel in 1599) ; Cynthia's Revels (by same in 1600) ; The Poetaster'^ 
 (by same in 1601) ; Scjanus (by the Lord Chamberlain's servants in 
 1603) ; The Fox (by the King's servants in 1605) ; The Silent Woman 
 (by the Children of the Revels in 1609) ; The Alchemist (entered in 
 the Stationers' Registers in 1610) ; Catiline (acted by the King's 
 servants in 1611) ; Bartholomew Fair (by the Lady Elizabeth's 
 servants in 1614) ; The Devil is an Ass (by the King's servants in 
 1616) ; The Staple of News (by the same in 1625) ; The New Inn 
 
 1 The order is printed in full by Whalley, The ]Voihs 0/ Den Jonson, 1756, Vol, I., 
 pp. Iviii.-lxi. 
 
 2 Notwithstanding his pension, he was applying to persons for money-help. His 
 salary as "the Citties Chronologer" had been stopped in November, 1631. It was 
 renewed in 1634. ' A Tale of a Tub. 
 
 * At p. 99 it should have been stated that on the title-page of the 1601 edition the 
 author's name is given as " Ben. Johnson." An excellent edition of this play has been 
 edited by Mr. Henry B. Wheatley in the " London Series of English Classics,"" 
 
 » Written to ridicule Marston and Dekkcr. 
 
EVENINGS WITH SIIAKSPERE. 211 
 
 {" never acted, but most negligently played " by the same in 1629) ; 
 The Magnetic Lady (acted at Blackfriars in 1632) ; A Tale of a Tub 
 (acted at the same place in 1633). The Sad Shepherd is unfinished. 
 
 Besides these plays, Jonson wrote many masques ' and poems of 
 various sorts, and some prose, including his Discoveries^ and an 
 English Grammar. 
 
 Collected editions of Ben Jonson's works were published in 1616 
 (Vol. I.) and 1631 (Vol. II.), 1640 (2 vols.), 1641 (2 vols.), 1692, 1716 
 (6 vols.), 1756 (Whalley's in 7 vols.), 181 1 (Coleman's edition, pub- 
 lished by Stockdale in 4 vols., including plays of Beaumont and 
 Fletcher), 1816 (Gifford's in g vols.), 1838 (Barry Cornwall's), re- 
 issued by Routledge in 1861, 1875 (new edition of Gifford's by 
 Cunningham in 9 vols.), 1S70 (three-volume edition of latter). 
 
 "Ben Jonson; Annals of his Career," by Mr. F. G. Fleay, in 
 Shakespeariana, Vol. I., 1883-4, should be studied. 
 
 The student should consult Mr. J. A, Symonds' book on Ben 
 Jonson in the 'English Worthies' series, 1886. 
 
 In The Nineteenth Century for April and May, 1888, Mr. Swin- 
 burne has articles on Ben Jonson. 
 
 5obn /iRarston. 
 
 As there is considerable doubt about the identity of Marston 
 the dramatist, the date of his birth is entirely a matter of specu- 
 lation. Most probably he is the John Marston who was born at 
 Coventry about 1575, who took his B.A. at Oxford in 1594, and 
 married a daughter of the Rev. William Wilkes, chaplain to James I. 
 
 1 Special study should be given to these. See a Note by Prof. C. H. Her ford 
 (Academy, June 29, 1889, pp. 452-3). 
 
 * See an article by Mr. Swinburne in The Fortnightly Review, October, 18SS. 
 
 28* 
 
212 EVENINGS WITH SIIAKSPERE. 
 
 In 1607 **he retired to prepare for clerical life. He was appointed 
 to the living of Christchurch [in Hampshire] . He resigned his 
 living in 1631 and died in 1634"* i'^ Aldermanbury, London, and 
 was buried in the Temple Church. 
 
 In literary circles Marston was first known by the name of 
 William Kinsayder.- His earliest productions were some Satires, 
 published in 1598. These excited the admiration of that general 
 literary idolater, Meres, who refers to Marston, " the Author of 
 Pigmalions Image, and certain Satyres," as being "very profitable" 
 (see pp. 7, 8). It is supposed that in 1599 Marston had negotiations 
 with Henslowe {Diary, p. 156). If it is correct that the entry of 
 September 28th of that year refers to Marston, it is probable that 
 he was the " other gentellman " (see p. 207) working in the same 
 month ^ with Dekker, Jonson, and Chettle at "a playe calld Robart 
 the Second, Kinge of Scottes tragedie." Soon after with Dekker, 
 he was quarrelling with Jonson. A reconciliation took place a little 
 later on, for in 1604 Marston dedicated The Malcontent to Ben, and 
 when in 1603 Marston and Chapman were in prison for writing 
 Eastward Ho !, Jonson chose to go into confinement with them. 
 Not long after this Marston changed his profession. 
 
 Some of the plays attributed to Marston arc conjoint produc- 
 tions. Most, if not all, of his own plays were written for the 
 Children's Companies. The plays with which he has been credited 
 are Antonio and McUida (1602); Antonio's Revenge (1602); The Mal- 
 
 1 Miss Emma Phipson in The Acadaiiy, June iG, iSSS, p. 417. 
 
 * See Dedication to The Scouygc of Villainy and The Ketuin from riiiiuissiis (ed. Arber, 
 p. 12), where there are also "censures" of the following dramatists: Lodge, Marlowe, 
 Jonson, Shakspcre (see p. 196), and Nash. 
 
 8 On the later date there was great confusion about the name of " the new poete." 
 
EVENINGS WITH SIIAKSPERE. 213 
 
 content (1604, written partly by Webster and acted by the King's 
 servants); Eastward Ho! (1605, with Chapman and Jonson); The 
 Dutch Courtezan {160^); Parasi taster {1606) ; Sophouisba {1606); What 
 You Will (1607) and (?) The Insatiate Countess (1613). 
 
 The 1633 edition of his plays does not include The Malcontent, 
 Eastward Ho!, or The Insatiate Countess. In the case of the first two 
 the reason is clear. The last is probably not by him. 
 
 In 1856 Marston's works were issued in three volumes with an 
 introduction by J. O. Halliwell [Phillipps] . In 1887 Mr. A. H. Bullen 
 edited an edition in three volumes. 
 
 There are some points of interest in Mr. Fleay's two articles on 
 " Shakespeare and Marston " in Shakespeariana, Vol. I., 18S3-4. 
 
 Of the non-dramatic life of all the Elizabethan dramatists there 
 is perhaps most uncertainty about that of Thomas Heywood ; yet 
 he seems to have been the most prolific writer' and the most en- 
 thusiastic actor^ of them all. He was a native of Lincolnshire, 
 but the dates of his birth and death are unknown ; they may be 
 put down at 1576 and 164S. He speaks of "the time of my 
 residence in Cambridge," but he did not take any degree. In 1596 
 he was connected as a writer with Henslowe (see Diary, p. 78) to 
 whom in 1598 he bound himself as a covenant-servant,'' and by the 
 
 1 Some years before he had finished writing he said that he had had "either an 
 entire hand, or at the least a main linger " in two hundred and twenty plays. 
 
 2 His Apology for Actors, first published in 161 2 and reprinted by the Shakespeare 
 Society in 1841, is an eloquent defence of the calling. 
 
 = Henslowe {Diayy. p. 260) thus notes the transaction, similar ones to which he 
 recorded at pp. 256-9. In one of these the actor was to receive 5/- a week for one year 
 
214 EVENINGS WITH SIIAKSPERE. 
 
 following February he had also written two plays ' for the company 
 {Diary, pp. 140, 143-5), both of which are lost, as are also The 
 London Florentine and Like quits Like, which he wrote with Chettle 
 in 1602 and 1603 (Diary, pp. 229-30). In 1602 he was writing with 
 Wentworth Smith ^ and also doing a little patchwork for Henslowe 
 {Diary, pp. 238-40). In the same year he was also writing with 
 Dekker and Webster' {Diary, pp. 242-3) and alone* {Diary, pp. 244, 
 246). These plays are not now known. In 1603, after writing with 
 Chettle and by himself {Diary, pp. 247, 249), his name is found as 
 one of nine *' servants to the Queen " receiving a theatrical license 
 {Calendar of State Papers. Domestic. Addenda. 1623-1625, p. 530). 
 
 Heywood's extant plays,^ which number about twenty, date from 
 
 1 IVay tvithout Blows and Love ivitJiout Strife and Joan as good as my Lady. 
 
 * " albeiie galles." 
 
 ^ Lady Jane, in which they were assisted by Chettle and Smith. Christmas comes but 
 once a Year was written by the four dramatists without the help of Smith. These plays 
 were for " my Lorde of Worsters players." 
 
 * The Blind Eats many a Fly, written also for the Earl of Worcester's servants. 
 
 ^ The 1607 Fair Maid 0/ the Exchange gives its dramatis ferscn^s in groups in the way 
 in which the characters are arranged in Chapter IX. of this book, showing how sets of 
 parts may be taken by the performers. See also Fulwell's Like Will to Like 156S, 
 Preston's Cambyses 1570, Woodes' Conflict of Conscience 1581, and Muccdorus 159S (foolishly 
 attributed by some to Shakspere). These are all reprinted in Hazlitt's Dodsley. 
 
 and 6/8 for the other. This was about the usual payment for those thus hiring them- 
 selves. 
 
 Md. that this 25 of marche 1598, Thomas Hawoode came and hiered hime 
 seallfe with me as a covenante scarvante for ij yeares, by the Recevinge of ij 
 syngell pence, acordinge to the statute of Winchester, and to begine at the 
 daye above written, and not to playe any wher publicke abowt London not 
 whille thes ij yeares be exspired, but in my howsse : yf he do, then he dothe 
 forfette unto me, by the Recevinge of thes ij'', fortie powndes, and wittnes to 
 this Antony Monday W'*'. Borne 
 
 Gabrell Spencer Thoms Dowton 
 
 robakt sliawe rlciiakd jonnes 
 
 RiLiiARi) Allevn. 
 
EVENINGS WITH SHAKSPERE, 215 
 
 Edicard IV. in 1600 to perhaps The Wise Woman of Hogsdon in 
 1638. Edicard IV. states on its title-page that it had been " played 
 by the Right Honorable the Earle of Derbie his seruants." The 
 1611 Golden Age, the 1617 Woman Killed with Kindness, the 1631 
 Fa-ir Maid of the West, the 1637 Royal King and Loyal Subject, and 
 the 1655 Fortune by Land and Sea (written with William Rowley) all 
 mention performances by the Queen's servants,^ but it is not known 
 to what particular companies these allude, as the references may be 
 to the first performances, and the dates of these are uncertain. 
 
 Heywood also worked with Richard Brome," and wrote many 
 poems. ^ Some of his plays w^ere issued by the Shakespeare Society 
 (1842-1851), and a complete edition was published by Pearson in 
 six volumes in 1874. 
 
 ffrancis JiSeaumont aiiD Jobn ^flctcbcr. 
 
 Of the family history of these two writers, whose names have 
 an inseparable literary union, more is known than about that of 
 most of their fellows. 
 
 Beaumont, the third son of Francis Beaumont, a judge of the 
 Common Pleas, was born, probably at Grace Dieu in Leicestershire, 
 in 1584.* In 1597 he went to Pembroke College,^ Oxford. As he 
 took no degree it is presumed that he left Oxford on account of his 
 father's death in 1598, although his departure could not have been 
 
 1 These were the actors previously under the patronage of the Earl of Worcester. 
 » The Late Lancashire Witches. Brome's works were published in 3 vols, in 1873. 
 ' See p. 120 for a reference to some. 
 
 * In this year a Government Commission recommended that Beaumont's paternal 
 grandmother "should be restrained of her liberty, as a recusant and great favourer of 
 Papists" (CakmUr of State Papers. Domestic. 1581-1590, p. 185). 
 
 * Then called Broadsates Hall. 
 
2l6 EVENINGS WITH SHAKSPERE. 
 
 on account of money-difficulties. In 1600 Beaumont became a 
 student of the Inner Temple. Upon his entrance to literary life he 
 became very intimate with Ben Jonson/ and wrote a few things 
 before the literary partnership with Fletcher began about 1607. In 
 1613 he married Ursula Isley of Sundridge in Kent, by whom he 
 had two daughters. Soon after his marriage he seems to have given 
 up writing. He died on March 6th, 1616, and was buried in West- 
 minster Abbey. 
 
 Fletcher was born in December, 1579. His father, who then 
 held the living of Rye in Sussex, became Dean of Peterborough in 
 1583, Bishop of Bristol in 1589, Bishop of Worcester in 1593, and 
 Bishop of London in 1595. From the latter position he was sus- 
 pended by Queen Elizabeth because he married a second time. 
 He died in 1596. 
 
 It is thought that the son John went to Cambridge at the age of 
 twelve, but there is no record of any degree having been conferred 
 upon him. There is no reason for thinking that the Fletcher men- 
 tioned by Henslowe in 1596 {Diary, p. 78) was the poet. In addition 
 to his work with Beaumont he wrote with some other dramatists. - 
 The nature of the partnership of Beaumont and Fletcher is an 
 interesting subject for investigation. 
 
 After Beaumont's death Fletcher wrote many plays to which 
 special attention should be given by those who, guided by con- 
 siderations of style, wish to form an estimate of the extent to which 
 he may have been concerned in the plays of which he has been 
 
 1 See Poems upon The Fox and others. 
 
 ^ After his death some of his work received additions from other hands. His 
 Hterary connections with Shakspere, WilHam Rowley, Middleton, Massinger, and Shirley 
 would form the subject of a curious and, perhaps, profitable enquiry. 
 
EVENINGS WITH SHAKSPERE. 2iy 
 
 thought to have been part-author.* He died in 1625, and was 
 buried at St. Saviour's, Southwark, on the 29th of August. 
 
 Very few early copies of the plays of Beaumont and Fletcher 
 exist. About fifty plays are usually ascribed to them. Of these 
 there are only four editions known anterior to Beaumont's death,^ 
 and four others that were printed between that time and the date of 
 Fletcher's death. ^ There is evidence, however, that other plays 
 had been licensed or acted before the death of Beaumont.* It is, 
 therefore, exceedingly difficult, if not impossible, to arrive at a 
 final conclusion about those plays that should be allotted to them 
 separately and those in which they were jointly concerned. 
 
 The plays of Beaumont and Fletcher were published in collected 
 form in 1647, 1679, 1711 (7 vols.), 1750 (10 vols.), 1778 (10 vols.), 
 1812 (14 vols., edited by Weber), 1839 (2 vols., edited by Darley), 
 1843 (II vols., edited by Dyce), and in 1859, and after. Barley's 
 edition was issued by Routledge. 
 
 5obn mcbstcr. 
 About the details of Webster's life there is great uncertainty. 
 
 1 John was not the only Uterary member of the family. His uncle and his cousins, 
 Phineas and Giles, were all able writers. 
 
 •^ The 1607 Woman-Hater (acted by the Children of Taul's), the 1613 Knight of the 
 Burning Pestle (see p. 157), the 1615 Cupid's Revenge (acted by the Children of the Revels), 
 and the 1616 Scornful Lady (acted at Blackfriars). 
 
 3 The 1619 King and No King (acted by the King's servants at the Globe, see p. 153), 
 the 1619 Maid's Tragedy (acted at Blackfriars), the 1620 and 1622 Philaster (acted by the 
 King's servants at the Globe and at Blackfriars, see p. 147), and the 1621 Thierry and 
 Theodoret (acted at the Blackfriars). 
 
 * Mention of the performance of two of these (The Maid's Tragedy and The Captain) 
 will be found on p. 103. In reference to the others much information, extracted from 
 the Office-book of Sir Henry Herbert, Deputy Master of the Revels, is given in the 1821 
 Variorum, Vol. IH., pp. 224-34. 
 
 29 
 
2l8 EVENINGS WITH SHAKSPERE. 
 
 It has been surmised that he was born about 1575. In 1598 (?) and 
 1601 Henslowe has entries about a now lost play^ by Webster 
 (Diary, pp. no, 202-4). In 1602 he was working at a play- with 
 Munday, Drayton, Middleton "and the Rest" {Diary, p. 221), and 
 at another-"' with Dekker, Drayton, Middleton, and Munday {Diary, 
 p. 222). Both these are lost. With Chettle, Dekker, Hey wood, 
 and Smith he was also engaged in the same year (see p. 214). 
 
 Nothing is known in detail of Webster's movements or mode of 
 life. 1650 has been set down as about the time of his death. 
 
 Webster's known plays are The White Devil (1612, acted by the 
 Queen's, previously the Earl of Worcester's, servants) ; The Duchess 
 of Malfi (acted by the King's servants, see p. 165) ; The DeviVs 
 Law-case (1623, acted by the Queen's servants) ; Appius and Virginia 
 (acted before 1639 at the Cockpit). With Dekker he wrote West- 
 ward Ho ! (acted before 1605 by the Children of Paul's) ; Northward 
 Ho ! (acted by the Children of Paul's and printed in 1607) ; Sir 
 Thomas Wyatt* (acted by the Queen's servants and printed in 1607); 
 A Cure for a Cuckold and The Thracian Wonder (first printed in 166 1) 
 were attributed to him and William Rowley. Webster's part in 
 The Malcontent has already been referred to in connection with 
 Marston (see p. 213). 
 
 Much of Webster's writing must have been lost, for little has 
 come down to the present time except the few plays mentioned. 
 These were edited by Dyce in 1830 (4 vols.) and by Hazlitt in 
 
 1 The Guise (see the Dedication of The Devil's Law-case). 
 
 ' Casar's Fall. The inclusion of Webster in this entry is suspected to be a forgery 
 See p. 61 of Mr. Wheatley's book mentioned at p. 200. 
 
 » " too harpes." The two plays were for the Lord Admiral's servants, 
 * A later form of Lady Jane (see p. 214). 
 
EVENINGS WITH SHAKSPERE. 2I9 
 
 1857 (4 vols.)- Dyce's edition in a single volume was published by 
 Routledge in 1S61, and reprinted since. 
 
 Mr. Fleay, in Shakcspeaviana, Vol. L, 1883-4, writes on " John 
 Webster; Annals of his Career;" and in The Nineteenth Century, 
 June, 1886, there is an article on Webster by Mr. Swinburne. 
 
 Ipbilip /Iftassingcr. 
 
 Arthur Massinger, the poet's father, was in high and confidential 
 service^ in "the noble family of the Herberts."" Philip was born 
 at Salisbury in 1584. In 1602 he went to Oxford, which he left in 
 1606 without a degree and came to London. If he then began 
 writing for the stage, amongst the MS. plays which ended their 
 existence in Warburton's kitchen-oven must have been all Massin- 
 ger's early ones, as the first existing dramatic reference to any is in 
 1620. It seems that this is very likely, for about 1613-5 he .was in 
 money-difficulties, and was, with others, borrowing small sums from 
 Henslowe." Nothing more is known of the details of Massinger's 
 hfe. Some of his literary work was done in alliance with Dekker and 
 some with Fletcher. In 1639 he died, and was buried at St. Saviour's, 
 Southwark, probably in the same grave with Fletcher. 
 
 There is no edition known of any play by Massinger of an earlier 
 date than 1622, when The Virgin-Martyr (acted by the servants of 
 the Revels) was printed (see p. 171). In writing this he had the 
 assistance of Dekker. The plays of which he seems to have been sole 
 
 1 See Calcudar of State Papers. Domestic. 1595-1597, pp- 4S9, 497, for references to 
 negotiations carried on by him between the Earl of Pembroke and Lord Burghley. 
 ^ See Dedication of The Bondman. 
 ' Massinger, ed. Cunningham, n.d., pp., xi., xii. 
 29 * 
 
2^0 EVENINGS WITH SHAKSPERE. 
 
 author are The Duke of Milan (1623, acted by the King's servants) ; 
 The Bondman (acted at the Cockpit 1623) ; The Rcnegado (acted at 
 the Cockpit 1624) > '^^^'^ Parliament of Love (acted at the Cockpit 
 1624) > ^^^^ Spanish Viceroy^ (acted in 1624) ; The Roman Actor (acted 
 by the King's servants in 1626) ; The Great Duke of Florence (acted 
 by the Queen's servants in 1627) ; The Maid of Honour (printed in 
 1632, but supposed to have been acted in 1628) ; The Picture (acted 
 by the King's servants in 1629); Minerva's Sacrifice'^ (acted by the 
 King's servants in 1629) ; The Emperor of the East (acted by the 
 King's servants in 1631) ; Believe as you List" (acted by the King's 
 servants in 1631) ; The Unfortunate Picty^ (acted by the King's 
 servants in 1631) ; The City Madam (acted by the King's servants in 
 1632) ; A New Way to Pay Old Debts ^ (printed in 1633) > ^^^^ 
 Guardian (acted by the King's servants in 1533) ; Cleandcr^ (acted by 
 the King's servants in 1634) > ^ Very Woman (acted by the King's 
 servants in 1634) 5 ^^^^ Orator^ (acted by the King's servants in 1635) ; 
 The Bashful Lover (acted by the King's servants in 1636) ; The 
 Unnatural Combat''^ (printed in 1639); The King and the Subject^ 
 (acted by the King's servants in 1638) ; Alexius^ (acted by the King's 
 servants in 1639); The Fair Anchoress of Pausilippo (acted by the 
 Kings servants 1640). Besides some of those mentioned above as 
 lost, it is known "* that Warburton's cook destroyed The Forced Lady, 
 The Noble Choice, The Wandering Lovers, Philenzo and Hippolita, 
 Antonio and Vallia, The Tyrant, Fast and Welcome, The Woman's Plot. 
 These must have been all early plays. 
 
 * Now lost. The titles of these lost plays are obtained from Sir Henry Herbert's 
 Office-book (see p. 217). 
 
 * The only known copy of this 1631 edition was found in 1S44. 
 
 * Perhaps it would be right to put this amongst Massinger's early plays, or at all 
 events before 1623, as it is not mentioned in Sir Henry Herbert's book. 
 
 * Gifford's Massini;cr, Vol. I. p. clxvii. 
 
EVENINGS WITH SHAKSPERE. H.'Zt 
 
 The Fatal Dowry (of which Field was part-author) and The Old 
 Law (written partly by Middleton and William Rowley) were both 
 written before 1622. 
 
 Massinger's plays were edited in 1751 (4 vols.), 1761 (4 vols. 
 edited by Coxeter), 1779 (4 vols, edited by Monck Mason), 1805 
 (4 vols.), 1813 (4 vols, edited by Gifford) and in 1840 in a one-volume 
 edition, with Ford's works and containing Gifford's notes, of which 
 there have been later reprints. An edition in one volume, edited by 
 Col. Cunningham, was issued about 1872. 
 
 In The Fortnightly Revieiv, July i88g, there is an article on 
 Massinger by Mr. Swinburne. 
 
 In the plan of work presented in this book there is no opportunity 
 afforded for the separate reading and study of the plays of any 
 writers except those of whose lives I have given a sketch. But as 
 considerable attention should be given to many other workers, I 
 append a few biographical notes about them, and also add some 
 information concerning all those who may fairly be counted as con- 
 tributors to the Elizabethan Drama. The term is used to include 
 many works written years after the death of the queen whose name 
 is employed to designate this particular branch of literature. This 
 must be so, or many of Shakspere's plays would fall outside the 
 expressive phrase. But there should be some limit to the time it 
 should cover. The dramatic authors of whom I give notes were all 
 alive in Elizabeth's reign, although in some cases their writing was 
 over when she was on the throne, and in others their work had not 
 begun. 
 
 At first sight it will seem strange that only the names of many 
 Elizabethan plays have survived, and this will occur most pro- 
 
222 EVENINGS WITH SHAKSPERE. 
 
 minently in connection with the plays referred to in Hcnslowe s 
 Diary. But in explanation, it is merely necessary to remember 
 that the actors thought it opposed to their interests that the 
 plays should be printed because they desired to retain a stage- 
 monopoly in them, and also wished that those who wanted to 
 become acquainted with the plays should do so only at the theatre. 
 It may, perhaps, be taken for granted that when a play in course 
 of performance appeared in printed form, the issue was an 
 evidence of its popularity and of the smartness of a printer or pub- 
 lisher to profit by the prevailing taste. In self-defence an author 
 would afterwards sanction, and perhaps superintend, the publication 
 of an edition in order to correct the errors of a former issue. 
 
 5ol3u JBale. Samuel 2)anicl. 
 
 3o\m 1l3c\j\vooCt. HDcnvK Cbcttlc. 
 
 IRicbavO :EC>vvavD0. /ifticbacl 2)rarton. 
 
 ^Fjonias %c(iQC, Ubomas masb. 
 
 trboniae Gachvillc. Cbomas /iRiDMcton. 
 
 Bntbon^ /llbuiiOag. Q:boina5 Dchl^er. 
 
 ^bonias XoDoc. 3o\m dfovD. 
 
 (Beorgc Gbapman. 3anic6 Sbirlcg. 
 
 Some study should be given to the work of John Bale, the 
 author of Kyug Johan,^ which is a link between the moralities and 
 that form of historical play which, worthily attempted by Marlowe, 
 found its most able exponent in Shaksperc. 
 
 John Bale was born in 1495 at Cove in Suffolk. He went to 
 Jesus College, Cambridge, and became B.D. in 1529. Edward VI. 
 made him Bishop of Ossory in Ireland. In Mary's reign he retired 
 
 1 I'rintud by the Camden Society in i8j8. 
 
EVENINGS WITH SHAKSPERE. 223 
 
 to the Continent ; but returning upon Elizabeth's accession, was made 
 Canon of Canterbury in 1560. He died in 1563, the year before 
 Shakspere was born. He wrote several dramatic pieces.^ 
 
 The works of John Heywood, who was born about 1497,' deserve 
 a place in a Shakspere Society's scheme of study, because his inter- 
 ludes are the bridge between the Moralities and that style of English 
 Comedy which found a crude expression in Ralph Roister Doister^ 
 and its advanced development in the work of John Lyly. 
 
 It seems that John Hey\vood went to Oxford entering at Pem- 
 broke College (see p. 205), but there is no record of his degree. He 
 became a great favourite at Court in the reigns of Henry VHI. and 
 Mary. On November loth, 1558, there was a " grant of lease for 
 40 years to John Heywood, of the Manor of Bolmer and other lands 
 in Yorkshire, at the rent of 30/. for his life, and 51/. 105. for the 
 rest of the term." (Calendar of State Papers. Domestic. 1547 — 
 1580, p. 112). When Elizabeth came to the throne, Heywood went 
 abroad and did not return to England. His works were very pop- 
 ular and were often printed. The first collected form was issued in 
 
 1 God's Promises is reprinted in Hazlitt's Dodshy. There is a full list of Bale's works 
 in Athcnae Cantahrigicnses. 
 
 2 There is a letter from John Heywood to Lord Burghley, in which he calls attention 
 to his age as 78, in 1575 (Calendar of State Papers. Domestic. Addenda. 1566-1579,9. 
 482^. The date of his death is unknown ; but this shows that it has been usually placed 
 too early. 
 
 2 The discovery of this play in 1818 dislodged Gammer Gurton's Needle from the 
 place of honour as the first regular English Comedy. It was reprinted in 1S18, 1821, 
 in 1830 in The Old English Drama, by the Shakespeare Society in 1847, in Hazlitt's 
 Dodsley, and in Arber's series. It was written by Nicholas Udall, an O.xford man, who 
 became head-master of Eton and of Westminster. Its date of composition is 1551 at 
 the latest. It was thus entered in the Stationers' Registers : 
 1566. July 22—1567. July 22. 
 
 hackett Recevyd of Thomas hackett for his lycense for pryntinge of a play 
 intituled Ravf Rdyster Duster &e. iiijd 
 
224 EVENINGS WITH SHAKSPERE. 
 
 1562. The British Museum has a copy of the 1566 edition. His 
 best known Interlude is The Four P.P.,^ a rhymed controversy 
 between a Palmer, a Pardoner, a 'Pothecary, and a Pedlar. Hey- 
 wood wrote other plays and many epigrams. His Proverbs are a 
 very interesting collection of familiar expressions woven in verse. 
 They were much used by Shakspere and other later writers. Mr. 
 Julian Sharman edited them in a pleasant volume in 1874. 
 
 Richard Edwards, born in 1523, went to Oxford in 1540, enter- 
 ing at Corpus Christi College. He took his B.A. in 1544 and M.A. 
 in 1547. In 1561 he was master of the children or singing-boys of 
 the Chapel Royal. It is not unlikely that his play acted in 1565 by 
 the children of the Chapel was his Damon and Pythias,^ the only play 
 which has survived. In September, 1566, his Palamon and Arcite, 
 (see p. 185) was played before the Queen upon her visit to Oxford. = 
 Edwards died in the following month. His poetical merits, recog- 
 nised by Elizabethan writers, were not overlooked by Meres, who 
 classed him among " the best for comedy" (see p. 9). 
 
 Thomas Legge is included in this list as the author of Richardiis 
 Tertius (see p. 87). He was born in Norwich about 1536. He entered 
 at Corpus Christi College, Cambridge, in 1552, but in 1555 went to 
 Trinity. He took his B.A. in 1557 and M.A. in 1560. He was a 
 distinguished member of the University, and was created LL.D. 
 in 1575. In the Calendar of State Papers. Domestic. 1547 — 1580, 
 pp. 625, 635; 1581 — 1590, pp. 26, 43, 72, there are records of Legge 
 in connection with University-matters in 1579, 1581, 1582. About 
 this time Legge was much harassed on account of his religious 
 
 1 Reprinted in Hazlitt's Dodsley. 
 
 » See Stow's Chronicle, ed. 1631, p. G60. 
 
EVENINGS WITH SHAKSPERE. 225 
 
 opinions, and was even imprisoned. Some of the charges brought 
 against him are curiously absurd (see AtJicnac Cantabrigienses, 
 Vol. II. p. 455). He was Vice-Chancellor in 1587 and 1593. 
 
 He wrote also a dramatic version of the Destruction of Jeru- 
 salem (see p. 59) no copy of which exists. This was probably in 
 Latin. It is not known if he wrote any plays in English. The 
 watchful Meres found out his merits, and placed him amongst those 
 " best for Tragedie" (see p. 9). He died in 1607, and was buried 
 in Caius College Chapel. 
 
 In the course of study, it will not be right to ignore the dramatic 
 position of Thomas Sackville, who is known as the author of the 
 first English Tragedy. He was born in 1536, in Sussex. His 
 paternal grandmother was great-aunt to Queen Elizabeth. When 
 about fifteen, he went to Oxford, which he soon left for Cambridge, 
 where however he took no degree. In 1558 he was an active mem- 
 ber of the House of Commons. His tragedy of Gorbodiic,^ sometimes 
 known as Ferrcx and Porrcx, was first published in 1565 ; but had 
 been acted some years previously. After writing this he gave but 
 littletime toliterature, and devoted himself to the publicservice. Only 
 a little of his verse has come down to us. In 1567 he was created 
 Lord Buckhurst. Having served the State in various capacities," he 
 
 1 Hawkins included this in The Origin of the English Drama, 1772. It was also re- 
 printed by the Shakespeare Society in 1847. The first edition erroneously stated that 
 Norton was part-author. It was thus entered in the Stationers' Register^ : 
 1565. July 22 — 1566. July 22. 
 
 gieifeth Receved of Wylliam greifeth for his lycense for pryntinge of a 
 Trugilic of aoRBODuc n'ho'C iij actes were Wrctten by Thomas kortos 
 and the laste by Thomas Sackvyle, &c. iiijd 
 
 * He was deputed to convey to Mary Stuart the sentence of her death, a message 
 which he bore with consummate delicacy. 
 
 30 
 
226 EVENINGS WITH SHAKSPERE. 
 
 was sent, in 1587, on a diplomatic mission to the Netherlands, when 
 the Earl of Leicester was there commanding the English forces. 
 
 If it is true that Shakspere was there at the time (see p. 193), 
 the visit of Lord Buckhurst becomes one of peculiar interest, as then 
 in companionship with Leicester would be the mature statesman 
 who had written a dignified tragedy— the first of its kind in the 
 English language — and the young man of three-and-twenty who, 
 destitute then of all literary promise, attained a place unrivalled in 
 the world's history as the creator of dramas in which the brightest 
 humour, the most tender pathos, and the deepest tragedy were alike 
 to find a delineator who could present them in language for which no 
 fitting adjective has yet been found. 
 
 In 1591 Lord Buckhurst was elected Chancellor of the University 
 of Oxford, of which he was then incorporated M.A. In 1594 he was 
 one of the Commissioners at the trial of Dr. Lopez,' " the Original 
 of Shylock" (see p. loi), who was hanged at Tyburn for supposed 
 complicity in the plot to poison the queen. Meres, of course, 
 included him amongst "our best for Tragedie" (see p. 9). In 1599 
 Lord Buckhurst, after the death of Lord Burghley, was made Lord 
 High Treasurer, and as such was the president of the tribunal 
 before which Essex and Southampton were tried in 1600. After 
 James's accession, Lord Buckhurst, who was then created Earl of 
 Dorset, continued to serve his country in high office. He died in 
 1608 " while sitting at the Council Table in Whitehall." " 
 
 Anthony Muxday, the son of a London draper, was born in 
 
 1 In the Calendar of State Papers. Domestic. 1591-1594 there is much in reference to 
 Lopez, who, having been chief physician to Leicester (see Lodge's Illustrations of 
 British History, S-c, in the Reinn of Elizabeth, Vol. II., p. 224), became in 1586 domestic 
 physician to Elizabeth. 
 
 " The edition of his works published in 1S59 is accompanied by a full memoir. 
 
EVENINGS WITH SHAKSPERE. 227 
 
 1553.1 In October, 1576, he was apprenticed to John Aldee, a 
 stationer, - but soon showed a disincHnation for setthng down in 
 quiet business-ways. To see hfe he took the usual Continental 
 travel. He came back to England in 1581, and was actively 
 engaged in giving evidence in the trials of English Jesuits, who were 
 soon after executed. Upon this subject he wrote some pamphlets. 
 The very miscellaneous character of his writings shows that he was 
 one of the most versatile of the Elizabethan authors. His John a 
 Kent and John a Cumber,^ written in 1595, should be read in connection 
 with Greene's Friar Bacon. In December, 1597, and January, 1598, 
 with Drayton he was paid for writing Mother Redcap* (Henslowe's 
 Diary, pp. 106-7, ii7)j of which nothing is now known. In February, 
 1598, he wrote by himself The First Part of Robin Hood^ {Diary, 
 p. 118), which was acted by the Lord Admiral's servants, and printed 
 in 1601. In the composition of The Second Part of Robin Hood,^ 
 written in the same month, he was assisted by Chettle {Diary, 
 p. 119). In June, 1598, he was working with Wilson, Chettle, and 
 
 1 This is gathered from the statement over his tomb (see Stow's Sui'vcy of London, 
 ed. 1633, p. 869). 
 
 « This was the title given to those who were engaged in issuing books either by 
 printing or selling. The term, applied now only to " the dealer in the raw material of 
 books," has an interesting etymology. 
 
 » Printed by the Shakespeare Society in 1851. It is prefaced by a memoir of the 
 writer and a full list of his works. The tract about the 1582 execution is included in the 
 volume. 
 
 * Collier is in error in saying that " Henslowe's Diary is the only source of inform- 
 ation respecting any such piece." Creede was licensed to print it on IMarch 10, 1595, 
 and it was entered to Pavier on August 14, 1600. 
 
 6 Known also as The Don'nfall of Robert, Eati of Huntington. In November, 1598, 
 Chettle was paid for making additions to it {Diary, p. 139). It is reprinted in Hazlitt's 
 Dodsley. 
 
 6 Acted by the Lord Admiral's servants, it was printed in 1601 as The Death of 
 Robert, Earl of Huntington. It is in Hazlitt's Dodsley. 
 
 30* 
 
228 EVENINGS WITH SHAKSPERE. 
 
 Drayton at The Funeral of Richard Cceur de Lion {Diary, pp. 124-5), 
 a play now lost. In July, 1598, with Hathway he wrote Valentine 
 and Orson {Diary, p. 128). This has not come down to us. In 
 August, 1598, he began "a comodey for the corte " {Diary, p. 131), 
 but it seems not to have been finished ; but in the same month he 
 wrote Chance Medley in conjunction with Wilson, Chettle or Dekker, 
 and Drayton {Diary, p. 132). The name only of this play is at present 
 known. In this very busy year, when he was also deviser of the 
 city-pageants, Meres endorsed contemporary opinion by placing him 
 amongst "the best for comedy," adding that he is "our best 
 plotter"- (see p. 9). In October, 1599, he was engaged upon Sir 
 John Oldcastle " with Drayton, Wilson, and Hathway {Diary, p. 158). 
 In January, 1600, he and the same writers produced Owcfi Tudor 
 {Diary, p. 163), now lost. In June, 1600, with Drayton, Hathway, 
 and Dekker, he wrote another lost play, Fair Constance of Rome 
 {Diary, pp. 171-2). In October and November, 1601, as mentioned 
 at p. 183, he was concerned with Chettle, Drayton, and Smith upon 
 a lost play or plays dealing with events of the reign of Henry VIII.'' 
 {Diary, pp. 202-4). I" May, 1602, he and Dekker were engaged on 
 another lost play, which Henslowe calls " Jeffte " or " Jeffa" {Diary 
 pp. 220-4). In the same month it is recorded that it took Munday, 
 
 » This excited the ridicule of Ben Jonson (see The Case is Altered, I., i. Gifford has 
 an interesting note about this satirical passage). 
 
 " Acted by the Lord Admiral's servants, printed in 1600, and ascribed to Shakspere 
 as some cofiics had his name on the title-page. In 1602 Dekker made some additions to 
 a play with this title [Diary, pp. 237, 239), but it is uncertain whether they were to this or 
 to a second part which was in contemplation when this was written. It was included 
 in the 1664 Shakspere Folio. Sir Walter Scott reprinted it in Ancient British Drama, 
 1810. 
 
 » Thomas, Lord Cromn'cll (see p. 105), attributed to Shakspere belonged to the Lord 
 Chamberlain's servants. 
 
EVENIh'GS WITH SIIAKSPERE. 229 
 
 Drayton, Webster,' Middleton, " and the Rest," to write a play on 
 Ccrsa/s Fall {Diary, pp. 221-2), and his services were required, with 
 those of Dekker, Drayton, Middleton, and Webster for a play, which 
 appears in the Diary (p. 222) as " too harpes." Both these plays 
 are now unknown. From July to September, 1602, Antony the 
 poet, who probably was Munday, was writing a play called The 
 Widow's Charm " {Diary, pp. 224-6). Henslowe's last note about 
 Munday is in December, 1602, when he seems to have been sole 
 author of a play which is called " the seeat at tenes " {Diary, p. 228). 
 The alterations in the 1618 edition of Stow's Sun'ty of London, 
 bringing it up to date, were made by Munday. He died in August, 
 1633- 
 
 The dates of the birth and death of Thomas Lodge are said to be 
 1556 and 1625. His father became Lord Mayor of London. The 
 son went to Oxford, entering at Trinity College about 1573. He 
 took his B.A. in 1577. One of his earliest services to the Drama 
 was his Defence of Poetry, Music, and Stage Plays,^ which was 
 suppressed directly it was issued. It was written in reply to 
 Gosson's School of A base, ^ I579- Lodge wrote other prose-works, the 
 best known of which is Rosalynde,'" printed in 1590, and containing 
 the story which Shakspere used in As Yon Like It. Lodge's only 
 
 1 The insertion of Webster's name is said to be a forgery. At least, I presume this 
 is the entry to which Mr. Henry B. Wheatley refers at p. 61 of Notes on the Life 0/ John 
 Payne Collier. 1884. 
 
 » This has been thought to be The Puntan, ascribed to Shakspere in the 1664 Folio. 
 It was first printed in 1607, and had been acted by the children of Paul's. Its author was 
 stated to have been W.S. It was reprinted in Ancient British Drama, 1810. 
 
 ^ Reprinted by the Shakespeare Society in 1853. The edition includes his Alarum 
 against Usurers, which contains a further contribution to the controversy. 
 
 * Reprinted by the Shakespeare Society in 1841, and in Arber's series. 
 
 ' Reprinted in Hazlitt's Shakespeare's Library. 
 
230 EVENINGS WITH SHAKSPERE. 
 
 known plays are A Looking Glass for London and England,^ written 
 with Greene (see p. 203), and The Wonnds of Civil War,^ of which he 
 is the sole author. He wrote much other verse, both lyrical and 
 satirical. Lodge's reference to a play of Hamlet, mentioned at p. 135, 
 is in Wifs Misery, 1596. In 1598 Meres considered him one of 
 "the best for Comedy (see p. 9). Later on he took a foreign 
 medical degree, and through this was incorporated M.D. at 
 Oxford in 1602. He not only practised medicine, but wrote one or 
 two works thereon. Dated March 9th, 1606, there is a note in 
 reference to Lodge in the Calendar of State Papers. Domestic. 
 1603 — 1610, p. 298. 
 
 George Chapman was born near Hitchin, in 1559. It is very 
 doubtful if he was at either University. At all events, he took no 
 degree. His earliest published poems are of the year 1594. On 
 February 12th, 1596, his Blind Beggar uf Alexandria^ was brought out 
 by Henslowe {Diary, p. 64). In May, 1598, Chapman was engaged 
 upon a play, the name of which is not given {Diary, pp. 123-4). I^ 
 June he began The Will of a Woman, of which nothing is now known. 
 In the autumn of the same year he wrote The Fountain of Neio 
 Fashions {Diary, pp. 135-6), now lost. At p. 137 of the Diary there 
 is an entry which seems to connect him about this time with Ben 
 Jonson. Meres, in 1598, not only placed him amongst the best for Tra- 
 gedy and Comedy, but gave him a special position with Marlowe, on 
 
 1 Acted in 1592 (see Henslowe's Diary, p. 2^5). 
 
 ' Reprinted in Hazlitt's Dodslcy. It was acted by the Lord Admiral's servants. 
 
 = Acted by the Lord Admiral's servants. Printed in 1598. It has recently come 
 into prominent notice, as Mr. P. A. Daniel's familiarity with Elizabethan literature 
 enabled him at once to say that some extracts, said to come from an unknown play by 
 Shakspere, were from this play. (See Academy, September 22, 1888, p. 1S7, and October 
 6, p. 224). 
 
EVENINGS WITH SIIAKSPERE. 23 1 
 
 account of the excellence of his poetry. In January, 1599, he wrote 
 a tragedy (Diary, p. 141), of which not even the name has survived. 
 From January to July, 1599, he was at work upon TheWorld Runs on 
 Wheels {Diary, pp. 143, 145, 153-4)- This has not come down to the 
 present time, unless it is that now known as All Fools^ In the 
 latter month there is a note about "a pastrall tragedie" he was 
 writing {Diary, p. 154). Then he seems to have given himself for a 
 time to his celebrated translation of Homer. In 1605 he was in 
 prison with Marston and Jonson for writing Eastward Ho! - (see 
 p. 208.) After this period his plays followed one another with great 
 rapidity. In some of his dramatic writing he was associated with 
 Shirley. Some of his plays were destroyed by Warburton's cook 
 (see pp. 219-20). Chapman also wrote many poems and translations. 
 Recent critics consider him to be the poet referred to by Shakspere 
 in the Sonnets^ (Ixxviii — Ixxxvi.) Chapman died in London in 1634, 
 and was buried in St. Giles's. 
 
 Chapman's plays were issued in three volumes in 1873. There 
 is a cheap edition of his complete works (1874-5), edited by Mr. 
 R. H. Shepherd, and with an essay by Mr. Swinburne. 
 
 Samuel Daniel, who was born near Taunton in 1562, went to 
 Oxford in 1579, entering at Magdalen Hall, but took no degree. 
 He issued some excellent sonnets in 1592. About this time he 
 became the tutor of William Herbert, * whose name is so intimately 
 
 1 Printed in 1605, when it was said to have been " Tresented at the Black Fryers, 
 And lately before his Maiestie." 
 
 * He seems also to have been in troulile about his Byron's Coiispinicy. 
 
 * But see under Daniel. 
 
 * Born April 8, 1580. His^father, the Earl of rembroke, having married, as his 
 first wife, CatherineTsisterof Lady Jane Grey, was thus allied to the royal houses of both 
 
232 EVENINGS WITH SHAKSPERE. 
 
 associated with that of Shakspere. In 1593 Daniel wrote Cleopatra^ 
 (see p. 163). His only other drama, Philotas, was published in 1605. 
 From 1594 to 161 1 he wrote many historical poems (see p. 63), and 
 from 1604 to 1615, several Court Masques. On January 30th, 1604, 
 when the King issued a warrant authorising the formation of a com- 
 pany to be called the Children of the Revels to the Queen, Daniel was 
 appointed to superintend the presentation of their pieces, and none 
 were to be performed without his approbation and allowance,^ On 
 the occasion of the marriage of Lord Roxburgh to Mrs. Drummond 
 in 1614 Daniel "wrote a pastoral, solemn and dull" {Calendar of 
 State Papers. Domestic. 1611-1618, p. 223). In the following year 
 he was instrumental in procuring Royal sanction to the appointment 
 of "a company of youths to perform comedies and tragedies at 
 Bristol, under the name of the Youths of Her Majesty's Royal 
 Chamber of Bristol" {Op. cit. pp. 294, 549). In Daniel's case the 
 complimentary expressions which Meres used in 1598 (see pp. 8, 9) 
 were the echo of the views of many critics of the time. Daniel died 
 near Beckington in Wiltshire, in 1619. 
 
 Daniel's collected works were published in 1602, and his complete 
 
 ^ Dedicated to the Countess of Pembroke. 
 "^ See English Drama and Stage, p. 41. 
 
 England and France. His mother, the Earl's third wife, was Sir Philip Sidney's sister. 
 She translated from the French a play on the subject of Cleopatra. William Herbert 
 who " became a nobleman of New coll. in Lent Term 1592, " succeeded to the Earldom 
 in 1601. He was then in disgrace and was imprisoned by the Queen. (For full references 
 to this, see Mr. Thomas Tyler's Introduction to the 1885 Facsimile of Shakspere's 
 Sonnets.) On August 30, 1605, during the King's visit, William and his brother Philip 
 were " created Masters of Arts" at Oxford. The 1623 Folio was dedicated to them. 
 William was elected Chancellor of the University in 1626. On April 10, 1630, " Wm. 
 Earl of Pembrok died of an Apoplexie at Baynard's Castle" [The Obituary of Richard 
 Smith, issued by the Camden Society in 1840). 
 
EVENINGS WITH SHAKSPERE. 233 
 
 works in 1623, and in two volumes in 1718, and privately printed 
 in three volumes in 1885, edited by the Rev. Dr. Grosart. 
 
 Notwithstanding the claims of Chapman to be considered the 
 rival poet of Shakspere (see p. 231), I think a strong case might be 
 made out for Daniel. His connection with William Herbert, the 
 W.H. of the Sonnets; hisgreat contemporary reputation; "the proud 
 full sail of his great verse ; " ihe close resemblances in style which 
 Daniel's Sonnets bear to Shakspere's own ; and the 1604 appoint- 
 ment, ^ are all points that cannot be lightly ignored. 
 
 Henry Chettle, the son of Robert Chettle, a London dyer, was 
 born probably in 1561. He was first brought into contact with the 
 world of letters by being apprenticed to Thomas East, a stationer," 
 in 1577. He took up his freedom of the Stationers' Company on 
 October 6th, 1584. He then probably worked as a journeyman- 
 printer. About 1587-8 he was sent to Cambridge on the business 
 of the Company, and received six shillings for his expenses. (Arber's 
 Transcript, I., 528.) In 1591 with WiUiam Hoskins he printed, for 
 Nicholas Ling and John Busby, a sermon by Henry Smith, minister 
 of St. Clement Danes, and " The bayting of Dyogenes " was licensed 
 to him alone on September 17th of that year. But he soon gave up 
 this part of book-production, and in 1592 he edited Green's Groats- 
 worth of Wit,^ and in the same year he wrote Kind-Harts Drcamc' 
 which has a reference to it. Soon afterwards he became mixed up 
 
 1 This has been made the subject of one of those detestable Hterary forgeries which 
 so harass the Shakspere student (see ColUer's Shakespeare, ed. 1S58, Vol. I., p. 173 ; 
 Shakespeare Society's Papers, Vol. IV., pp. 157-8; and Mr. Wheatley's John Payne 
 Collier, p. 56). 
 
 2 See p. 227. At p. 150 of Henslowe's Diary is an entry of the year 1599, in which he 
 palled himself stationer. = See p. 194. 
 
 * Reprinted by the Percy Society, and in 1S74 by the New Shakspere Society. 
 
 31 
 
234 EVENINGS WITH SHAKSPERE. 
 
 with the Harvey and Nash controversy. In February, 1598, he was 
 helping Munday in TAg Second Part of Robin Hood (see p. 227). In 
 March with Drayton, he was working at a play the name of which 
 Henslowe gives very imperfectly, and during the next few months 
 with Drayton and Dekker at a play concerning the reign of Henry I., 
 with Drayton, Dekker, and Wilson at plays which we may call Earl 
 Godwin and his Three Sons, Sir Pierce of Exton, and The Black Bat- 
 man of the North {Diary, pp. 120-6). Nothing is now known of these. 
 In June with Wilson, Munday, and Drayton he was writing The 
 Funeral of Richard Coeur de Lion (see p. 228). In July he seems to 
 have been engaged single-handed at A Woman's Tragedy, now lost 
 {Diary, p. 127). In August his co-workers were Porter and Ben 
 Jonson (see p. 207), and in the same month with Wilson he was 
 writing Catiline's Conspiracy, also lost {Diary, pp. 132-3), which has 
 to be said of a play apparently on the subject of Brute the mythical 
 king of Britain and his descendant Bladud ; while in August, 
 September, and October he was writing with Day's assistance 
 {Diary, pp. 131, 133-4, 136-2). In November he gave some extra 
 touches to a play by Munday (see p. 227), and by himself began a 
 lost comedy called 'Tis No Deceit to Deceive the Deceiver {Diary, 
 pp. 139-40). In this year the easily-satisfied Meres considered him to 
 be one of " the best for Comedy amongst us" (see p. 9). In February, 
 1599 he wrote "Troyes Revenge, with the tragedy of polcfeme" {Diary, 
 pp. 145-9). In March he was working with Porter at a play which 
 Henslowe calls "the Spensers" (Djar_y, pp. 146-9). On April 7th occurs 
 the first entry about a play in which he was engaged on the subject 
 of Troilus and Cressida (sec p. 167). In the same month he was 
 working upon Sir Placidas {Diary, pp. 149-50). In August he was 
 writing with Dekker The Stepmother's Tragedy {Diary, pp. 154-5, 157). 
 
EVENINGS UrrH SHAKSPERE. 235 
 
 Nothing is now known of any of these plays written in this part of 
 1599. In September he was at work with Dekker, Ben Jonson, and 
 perhaps Marston (see p. 207). Patient G/issil,^ written with Dekker 
 and Haughton was begun at the end ofthe year (Diary, pp. 158,96,162), 
 when alone Chettle wrote The Orphan's Tragedy {Diary, pp. 93, 160, 201), 
 and The Arcadian Virgin with Haughton (Diary, p. 161). The last 
 two plays are lost. In February, March, and April, 1600, he was at 
 work upon Damon and Pythias- {Diary, pp. 93, 165-6, 168-9). ^^ 
 March also he was engaged with Dekker, Haughton, and Day upon 
 The Seven Wise Masters {Diary, pp. 165-6). These plays are un- 
 known. About the same time, alone, he was writing The Wooing of 
 Death {Diary, p. 169) and, with Dekker and Day, The Golden Ass, 
 Cupid and Psyche (Diary, p. 170). These works have not survived. 
 In May he was part-author with Day in The Blind Beggar of 
 Bethnal Green^ {Diary, p. 171). In March, 1601, he was sole author 
 of All is not Gold that Glisters {Diary, p. 185), and in April and May 
 with Dekker he was writing King Sebastian of Portugal^ {Diary, pp. 
 186-8). Both are lost. In June of the same year we meet with the 
 first of the entries connecting Chettle with a play or plays on some 
 incidents in the reign of Henry VIII. (see p. 183). In November he 
 began Too Good to be True, which he finished in the January follow- 
 ing with Hathway and Smith {Diary, pp. 204, 206-7), and in the 
 latter month {Diary, p. 218) he was " mendinge " The Proud Woman of 
 A tttwerp, which, had been written by Day and Haughton {Diary, p. 193). 
 
 1 Printed in 1603, and reprinted by the Shakespeare Society in 1841. 
 
 » There is extant an earUer play with this title (see p. 224), 
 
 » Printed in 1659, ^^^ ^^o^ included in Day's works. 
 
 * Sir Henry Herbert in 1630 refused to license Massinger's play on this subject, 
 " because itt did contain dangerous matter." He adds " I had my fee notwithstandinge, 
 which belongs to me for reading itt over, and ought to be brought always with the 
 booke" (1821 Vai'ionim, Vol. IH., pp. 229-31). 
 
236 EVENINGS WITH SlJAKSPERE. 
 
 In March, 1602, he undertook to write only for the Lord 
 Admiral's Company {Diary, p. 219). In May he was working with 
 Smith on Love Parts Friendship {Diary, p. 220) and by himself on 
 Tobias {Diary, pp. 220, 222-3). In July he began A Danish Tragedy 
 {Diary, p. 224). The last five plays are not extant. In September, 
 1602, he was writing a now lost pla}^ Robin Goodfellow, for " my 
 Lorde of Worsters players" {Diary, p. 239). In this there was no 
 breach of the undertaking of the previous March, as both the com- 
 panies were under the management of Henslowe. Also in September, 
 Henslowe notes {Diary, pp. 225-6) that Chettle was working with 
 Robinson at a tragedy called " Femelanco." But nothing is known 
 either of play or coadjutor. In October and November he was 
 working with Dekker, Hey wood, Smith, and Webster (see p. 214). 
 At the end of the year and in the beginning of 1603 Chettle was at 
 work upon his play Hoffmaii^ {Diary, p. 229), and engaged in writing 
 with Heywood^ (see p. 214). In May he seems to have been en- 
 gaged with others in a play " wherein Shores wiffe is writen " (see 
 p. 87). Notwithstanding this prolific work, Chettle was always in 
 needy circumstances. This may be seen from various entries in 
 Henslowe's Diary. He was dead before 1607. 
 
 Michael Drayton was born at Hartshill in Warwickshire in 1563, 
 It has been thought that he went to Oxford, but he took no degree. 
 He was the author of much well-known historical verse (see pp. 40, 
 yy, 89). In most laudatory terms he is mentioned several times by 
 Meres, who in this case was expressing the opinion of his contem- 
 poraries. Meres also considered him to be one of " the best for 
 
 1 Printed in 1631. Reprinted in 1853, with an introduction by H. B. L. 
 ' See also Diary, pp. 230-1. 
 
EVENINGS WITH SHAKSPERE. 237 
 
 Tragedie" (see p. 9). It is unfortunate that none of the plays of 
 which he was sole author have come down to the present time. 
 We know from Henslowe that at least from 1597 to 1602 he was 
 busily engaged in dramatic writing. In December, 1597, and 
 January, 1598, he was working with Munday at Mother Redcap (see 
 p. 227). In the following months he was writing with Chettle and 
 Dekker and Wilson and Munday (see pp. 234, 228). In June, July, 
 and August, with Wilson and Dekker he wrote three plays, now lost: 
 " the made manes mores," " haneball and hermes, other wisse 
 called worsse feared then hurte," and " perce of winschester" 
 {Diary, pp. 126-9, 131, 133). He was also engaged in August with 
 others upon Chalice Medley (see p. 228). Towards the end of the 
 year he wrote with Dekker The First Civil Wars in France and 
 " Connan prince cornwell," both of which are lost {Diary, pp. 134, 
 136-7, 141). In January, 1599, he wrote by himself " Willm 
 Longsword" or " Wm longberd " {Diary, pp. 95, 142). These 
 plays are unknown. In October and December, 1599, and January, 
 1600, he was writing with Munday, Wilson, and Hathway ' (see 
 p. 228). In June they were joined by Dekker (see p. 228). In 
 1601 Drayton was concerned in the Cardinal Wolsey plays (see 
 p. 183). In May, 1602, he was at work with several others at plays 
 called Ca:sar's Fall and " too harpes " (see p. 218). Professor Ward 
 {English Dramatic Literature, Vol. I., p. 463) says that The Merry 
 Devil of Edmonton" attributed to Shakspere has also been ascribed 
 to Drayton. Drayton died in 1631, and was buried in Westminster 
 Abbey. His works in complete form were published in folio in 
 
 1 Part of this work was on Sir John Oldcastlc. 
 
 2 Published anonymously in 1608. It had been acted by the King's servants at the 
 Globe. It is reprinted in Hazlitt's Dodsley. 
 
238 EVENINGS WITH SHAKSPERE. 
 
 1748, and in four volumes in 1753. It is of interest to know that 
 Drayton when "labouring of a Tertian" was under the medical 
 care of Shakspere's son-in-law, Dr. Hall, who cured him by a far 
 less liberal administration of drugs than he commonly used. 
 
 Thomas Nash, the son of a minister, was born at Lowestoft in 
 1567. He took his B.A. at Cambridge in 1586. In the Public 
 Record Office there is a collection of Latin poems on Ecclcsiasticus, 
 xli. One of these is by Nash. These were written by scholars of 
 St. John's (see Calendar of State Papers. Domestic. Addenda. 1580- 
 1625, p. 166). 
 
 Probably in 1587 he wrote the preface to Greene's Menaphon,^ 
 making special reference to Marlowe's Tamhnrlaine. About this 
 time he was an active contributor to the Marprelate controversy, to 
 which he brought the full force of his literary powers, and aided by 
 the dislike of Puritanism which the dissipation of, at all events, his 
 early life encouraged, his writings were of an exceedingly vigorous 
 character. In 1592 he issued his Pierce Penilesse,^ which became 
 exceedingly popular as a clever picture of the manners of the time 
 and as an appeal for a more general and liberal recognition of 
 scholarship. 
 
 Nash's only known dramatic production is Suuniicr's Last Will 
 and Testament,^ which, containing disparaging references to Greene's 
 Groatsworth of Wit, shows that the friendly relations which existed 
 between him and Greene in 1587 had ceased. The converse had 
 
 * The earliest known edition is 1589 (see p. 200). 
 
 ' Reprinted by the Shakespeare Society in 1S42, and by Collier in Miscdhuicous 
 Tracts. It is supposed to contain a reference to Shakspere's i Henry VI. Its connecting 
 link with A Yorkshire Tragedy is referred to at p. 133. 
 
 • Reprinted in Hazlitt's Dodsley, It was acted by one of the Children's companies. 
 
EVEXIXGS WITH SHAKSPERE. 239 
 
 happened, at least on Nash's part, in his quarrel with Harvey, to 
 whom he apologised in 1593 for the attack made upon him in the 
 Marprelate discussion/ Nash finished Dido, which Marlowe had 
 left incomplete at his death in 1592. The Isle of Dogs, a lost play, 
 which Nash wrote in 1597 for the Lord Admiral's servants, brought 
 both actors and author into trouble. The players were suppressed 
 and the writer imprisoned (see Henslowe's Diary, pp. 94, 98-9, 
 258-9). Nash is one of those whom Meres thought to be " the best 
 for Comedy "2 (see p. 9). He was dead by 1601. 
 
 It is conjectured that Thomas Middleton was born in 1570, 
 and that he went to Cambridge. He wrote a large number of plays 
 and pageants. 3 In May, 1602, he was working with several other 
 dramatists at CcBsafs Fall and at ''too harpes " (see p. 218). In 
 October and November he was waiting for Henslowe {Diary, pp. 
 241, 227-8,) a play, which is now lost, in which Henslowe thought 
 the Earl of Chester* was a prominent person. In December he 
 added a prologue and epilogue to Greene's Friar Bacon (see p. y2>)' 
 In 1604 he was writing with Dekker {Diary, p. 232). He wrote a 
 large number of plays, in some of which he was helped by William 
 Rowley. His earlier plays were acted by the Children of Paul's 
 and the Children of the Revels. Middleton's possible connection 
 
 1 In Harvey's Third Letter (see p. 204) there is much referring to Nash, 
 
 2 Meres has also references to Nash in connection with the Harvey dispute and 
 with The Isle of Dogs (see Shakspere Allusion-Boohs, p. 164). The latter is of great interest", 
 as it fixes the identity of Nash as Greene's " Young Juvenal " in the Groatsworth of Wit 
 {Op. cit. p. 30). 
 
 3 A musical allegory for a civic feast in 1622 is preserved in MS. in the Public 
 Record Office (see Calendar of State Papers. Domestic, 1619-1623, p. 379). 
 
 * But not unlikely this is Middleton's play, The Mayor of Quinborough, in which 
 Rainulph, monk of Chester, presents the dumb-show. 
 
240 EVENINGS WITH SHAKSPERE. 
 
 with Macbeth (sec p. 155) should be investigated. In 1620 he was 
 appointed Chronologer to the City of London, a post in which he 
 was succeeded by Ben Jonson (see p. 209). Middleton's pohtical 
 references in A Game of Chess, 1624, will form an interesting subject 
 of study (see Calendar of State Papers. Domestic. Addenda. 1623- 
 1625, p. 329). He died in 1627. 
 
 Middleton's works were edited by Dyce in five volumes in 1840, 
 and by Mr. A. H. Bullen in 1885 in eight volumes. " Thomas 
 Middleton : Annals of his Career," by Mr. Fleay, is to be found in 
 Shakespeariatia, Vol. I., 1883-4. ^^^- Swinburne had an article on 
 Middleton in The Nineteenth Century, January, 1886. 
 
 It has been thought that Thomas Dekker was born about 1570. 
 Beyond the fact that he was born in London, nothing is known of 
 his early life. The note in Henslowe's Diary (p. 71) that he was 
 paid on December 20th, 1597, for "adycyons to Fostus" is a forgery 
 (see p. 200). In January, 1598, he was writing a play for Henslowe 
 called Phaeton'^ {Diary, pp. 117-8). In February Henslowe advanced 
 money to get Dekker out of the Counter^ {Diary, p. 118). In March 
 Dekker supplied Henslowe with a piece called " the treplesetie of 
 cockowlles " {Diary, p. 119), and with Drayton and Chettle wrote 
 Henry I. (see p. 234). Shortly afterwards, with Drayton, Chettle, 
 and Wilson, he was at work at the plays mentioned on p. 234. In 
 June, July, and August he was engaged with Wilson and Drayton 
 
 1 Now lost. On December 14, 1600 (Diary, pp. 173-4), further payment was made 
 for it. Part of this play may have been used by Dekker in The Sun's Darling, a masque 
 which he wrote with Ford about 1624. 
 
 » There were three debtors' prisons of this name. That witli wliich Dekker was 
 familiar was in the Poultry. Another was in Wood Street. The third was in South- 
 ward, a part of the Parish Church of St. Margaret (see Stow's Survey of London, ed, 
 Ifi33. p. 454) 
 
EVENINGS WITH SIIAKSPERE. 24 1 
 
 (see p. 237). In the latter month he was, perhaps, at work with 
 Wilson and Munday (see p. 228). In the last four months of the 
 year he was working with Drayton (see p. 237). The foregoing 
 work excited the admiration of Meres, who in that year placed 
 Dekker amongst the "best for Tragedie " (seep. 9). In January, 
 1599, he wrote a play intended to be an introduction to The First 
 Civil Ways in France {Diary, p. 142). A few days after he had been 
 paid for this he was arrested at the instance of the Lord Chamber- 
 lain's servants, when Henslowe lent money for his release {Diary, 
 p. 143). On April 7th he received the first payment for plays about 
 Troilus and Cressida (see p. 167). In May he wrote by himself 
 Orestes" Furies {Diary, p. 151), but it is now lost. His play The Shoe- 
 maker's Holiday was written in July, 1599, when it was mentioned 
 by Henslowe {Diary, p. 154) under the name of Ihe Gentle Craft, 
 the second part of its title.' About the same time he wrote a play 
 with Chettle (see p. 234), and in August he seems to have been sole 
 author of a lost play known as Bear a Brain {Diary, p. 155). In 
 the same month he was writing with Ben Jonson (see p. 207) and 
 others. In November and December he received payments for 
 "the hole history of Fortunatus"- {Diary, pp. 159-61). In Decem- 
 ber, with Chettle and Haughton, he was working at Patient Grissil 
 (see p. 235). Nothing is known of Truth's Supplication to Candle- 
 light {Diary, pp. 95, 163), which was the unaided production of 
 Dekker in January, 1600, or of "the Spaneshe Mores tragedie," 
 which in February he wrote with Haughton and Day {Diary, p. 165). 
 In March he was at work with Chettle, Haughton, and Day (see 
 
 1 It was printed in 1600. 
 
 * Dekker's Old Fortunatus was printed in 1600. Its relation to the play with a 
 somewhat similar name acted in 1596 (see Diary, p. 64) is uncertain. Extra payment 
 for it may have been made on September 6, 1600 [Diary, p. 173). 
 
 32 
 
242 EVENINGS WITH SHAKSPERE. 
 
 p. 235). A little later he was writing with Day and Chettle (see 
 p. 235), and in June with Drayton, Hathway, and Munday (see p. 
 22S). In April and May, 1601, he was at work with Chettle (see 
 p. 235). Satiro-mastix, acted in 1601 by the Lord Chamberlain's 
 servants at the Globe, is of great interest in connection with his 
 quarrel with Jonson (see p. 206). In January, 1602, he did some 
 patchwork for Henslowe {Diary, p. 207). In May he and Munday 
 were working together (see p. 228), and both of them with Drayton, 
 Middleton, and Webster (see p. 218). Dekker's play A Medicine for 
 a Curst Wife, begun in July {Diary, pp. 224-5, 238, 240), has been 
 lost. In August, September, November, and December he did a 
 little "mendinge'' {Diary, pp. 236, 239, 227, 39). In October and 
 November he had been engaged with Chettle, Haywood, Smith, 
 and Webster (see p. 214). In 1604 he was writing with Middleton 
 {Diary, p. 232). In addition to these coadjutors mentioned by 
 Henslowe, Dekker wrote with Massinger (see p. 219). He was 
 certainly one of the most fluent of the Elizabethan writers. Besides 
 his many plays he wrote much other prose and verse. He died 
 probably about 1638. 
 
 His own extant plays, edited by Mr. R. H. Shepherd, were pub- 
 lished in four volumes in 1873. Mr. Fleay has compiled lengthy 
 "Annals of the Career of Thomas Dekker" {Shakespearian a. Vol. II. 
 1885). Mr. Swinburne has an article on Dekker in The Nineteenth 
 Century, January, 1887. 
 
 John Ford, the son of a magistrate, was born in 15S6, at 
 Ilsington in Devonshire. He entered at the Middle Temple in 
 1602, and may thus have seen the performance of Ticel/th Night 
 which took place there in that year, (see p. 129). His earliest 
 
EVENINGS WITH SHAKSPERE. 243 
 
 literary productions were not of a dramatic character. His first 
 plays, written with Dekker and Webster, are lost. The plays of 
 which he was sole author date from 1628 to 1638. It is supposed 
 that he died in 1640. 
 
 Ford's plays were edited by Weber in 181 1 in two volumes, by 
 Gifford in 1827 in two volumes, and by Dyce in three volumes in 
 1869. A one-volume edition (with Massinger's works) was pub- 
 lished in Moxon's series, and afterwards by Routledge in 1865. 
 Mr. Swinburne has an article on Ford in The Fortnightly Review, 
 July, 1 87 1. 
 
 James Shirley was born in London in 1596. He went to 
 Oxford, and afterwards to Cambridge, and was ordained, holding 
 for a short time a living in Hertfordshire. This he soon gave up, 
 as he became a Roman CathoHc. He then devoted himself to 
 teaching, and wrote some books on English and Latin Grammar. 
 His first play was published in 1625. From that time to the closing 
 of the theatres in 1642 he wrote many plays. As an author he 
 seems to have been slightly connected with Fletcher and Chapman. 
 He died in 1666. 
 
 Shirley's works were edited in six volumes by Dyce (wath Gifford's 
 notes) in 1833. This edition was reviewed in The Quarterly Review 
 for April, 1833. There is an article on Shirley in The Gentleman's 
 Magazine, May, 1880. 
 
 For convenience of reference, some of the foregoing information 
 is summarised in the following tabic. 
 
 32 
 
244 
 
 EVENINGS WITH SHAKSPERE. 
 
 Bale, John 
 
 Heywood, John 
 Edwards, Richard 
 Legge, Thomas ... 
 Sackville, Thomas 
 Munday, Anthony... 
 
 Lyly, John 
 
 Lodge, Thomas ... 
 Peele, George 
 Chapman, George... 
 Greene, Robert 
 Chettle, Henry ... 
 Daniel, Samuel 
 Drayton, Michael ... 
 Marlowe, Christopher 
 Shakspere, William 
 Nash, Thomas 
 Middleton, Thomas 
 Dekker, Thomas ... 
 Jonson, Ben 
 Marston, John 
 Webster, John 
 Heywood, Thomas 
 Fletcher, John 
 Beaumont, Francis 
 Massinger, Philip... 
 
 P'ord, John 
 
 Shirley, James 
 
 Born. 
 1495 
 1497 
 1523 
 1536 
 1536 
 1553 
 1554 
 I006 
 1558 
 1559 
 1560 
 1561 
 1562 
 1563 
 1564 
 1564 
 1567 
 1570 
 1570 
 1573 
 1575 
 1575 
 1570 
 1579 
 1584 
 1584 
 1586 
 1596 
 
 University. 
 Cambridge! 
 O.xford 
 Oxford 
 Cambridge 
 Cambridge^' 
 
 O.xford 
 Oxford* 
 Oxford 
 
 M.A. 
 
 1544 
 1557 
 
 1573 
 1577 
 1577 
 
 Oxford 
 
 
 Oxford 
 
 
 
 Cambridge 
 
 15S3 
 
 Cambridge 
 
 15S6 
 
 Cambridge 
 
 
 
 Oxford 
 
 1594. 
 
 Cambridge 
 
 
 
 Oxford 
 
 
 Oxford 
 
 
 
 1575 
 
 1579 
 
 Cambridge 1579 1583° 
 
 15S7 
 
 1619" 
 
 Cambridge' 
 
 Died. 
 
 Aged. 
 
 1563 
 
 68 
 
 1576 
 
 79 
 
 1566 
 
 43 
 
 1607 
 
 71 
 
 1608 
 
 72 
 
 1633 
 
 80 
 
 1606 
 
 5J 
 
 1625 
 
 69 
 
 1596 
 
 3S 
 
 1634 
 
 75 
 
 1592 
 
 32 
 
 1606 
 
 45 
 
 1619 
 
 57 
 
 1631 
 
 68 
 
 1593 
 
 29 
 
 1616 
 
 52 
 
 1600 
 
 33 
 
 1627 
 
 57 
 
 16SS 
 
 6S 
 
 1637 
 
 64 
 
 1634 
 
 59 
 
 1650 
 
 75 
 
 I64S 
 
 72 
 
 1625 
 
 45 
 
 1616 
 
 32 
 
 1639 
 
 55 
 
 I64O 
 
 54 
 
 1666 
 
 70 
 
 The //<i/iis in the above table indicate some considerable degree of uncertainly. 
 
 1 Became B.D. in 1529. 
 
 2 Created LL.D. in 1575. 
 
 3 Created M.A. of Cambridge on the visit of the French Ambassador in reference to the 
 Queen's talked of marriage with the Due d'Anjou. Sackville entered lirst at Oxford, of which 
 he was incorporated M.A. in 1592, after his election as Chancellor in 1591, when his opponent 
 was the Earl of Essex. 
 
 4 Incorporated M.D. in 1602. 
 
 5 Also M.A. of Oxford by incorporation in 1588. 
 C Uy creation at Oxford. 
 
 7 Was at Oxford first. 
 
EVENINGS WITH SHAKSPERE. 245 
 
 Fragments only are known of the lives of XPilpian dfulwell, ©corge 
 Mbctstoiic, iTbomas IFajD, IDcnrv? iportcr, TimiUiani H^auflbton, IRobert 
 liUlilson, IRicbarD 1l3atb\va\^, 5obn Dav?, Samuel ■|Ro\vlc^\ IClilliain 1Ro\vlcs» 
 (5C0VQC Mllkins, Csnl tlounicur, H-latbanicl dfielD. But something of 
 the unassisted dramatic writing of each' has survived to the present 
 time. 
 
 Ulpian Fulwell was born in 1546. In 1578 he entered at 
 St. Mary's Hall, Oxford, but took no degree. His interlude Like 
 Will to Like was published in 1568 and again in 1587. It is re- 
 printed in Hazhtt's Dodsley. 
 
 The only known play by George Whetstone is Pvouios and 
 Cassandra, printed in 1578 (see p. 145). In 1584 he took part in the 
 controversy about dramatic performances by writing a short work 
 objecting to "the use of stage-plays on the Sabbath-day, and the 
 abuse of them at all times." He wrote an elegy on the death of 
 Sir Philip Sidney, which is preserved in the Public Record Office 
 (see Calendar of State Papers. Domestic. 1581-1590, pp. 387-8). 
 
 Nothing is known of the dates of the birth and death of Thomas 
 Kyd. It has been thought that he died about 1594. There is no 
 evidence as to his career. Thomas Hey wood refers* to him as the 
 author of The Spanish Tragedy, which was entered in the Stationers' 
 Registers on October 6th, 1592. This play, which w^as sometimes 
 called Jeronimo, was often referred to by contemporary writers, and 
 it was often acted (see Henslowe's Diary, p. 21 et seq.) and printed. 
 
 1 Except Hathway. I have included him because he was not only very busy for 
 Henslowe, but is mentioned by Meres. 
 
 - Apology for Actors, 1G12. Shakespeare Society edition, p. 45. 
 
246 EVENINGS WITH SHAKSPERE. 
 
 Henslowe notes (pp. 201, 223) that Ben Jonson made additions to 
 it in 1601-2. There is also The First Part of Jeronimo, pubhshed 
 anonymously, of which Kyd is supposed to be the author. His 
 other known play is Cornelia.^ Malone (1821 Variorum, Vol. II., 
 pp. 316, 372) would bring Kyd into close connection with Shakspere, 
 for, prompted by Farmer, he thought that Kyd wrote The Taming of 
 a Shrew (see p. 97), and suspected him to be the author of the lost 
 Hamlet (see p. 135) and of the 1594 Leir (see p, 149). Meres has 
 an extra good word for Kyd, whom he not only ranks amongst the 
 masters of tragedy (see p. 9), but whom he seems to have thought 
 the English counterpart of Tasso (see p. 8). 
 
 Of Henry Porter nothing definite is known. In December, 
 1596, he was working for Henslowe {Diary, p. yy). In May, 1598, 
 he wrote a play called Love Prevented {Diary, p. 124), of which 
 nothing is now known. In August he was writing with Chettle and 
 Ben Jonson (see p. 207). In December and in the following February 
 he received payments for the second part of The Two Angry Women 
 of Abington^ {Diary, pp. 141, 145-6), In the latter month he under- 
 took to write for Henslowe only. In March he was writing with 
 Chettle (see p. 234). At p. 94 of the Diary are some vague records 
 of money-transactions between Porter and Henslowe in 1599, and 
 at p. 261 is a curious note about the indebtedness of the writer to 
 the manager. 
 
 In Shakespeariana, Vol. III., 1886, Mr. Flcay, under the title of 
 
 • The three plays are reprinted in Hazlitt's Dodsley. 
 
 « Henslowe has no entry of a first part. The only play known by this name was 
 printed twice in 1599. Its title-page says it had been acted by the Lord Admiral's 
 servants. It was reprinted by the Percy Society and in Hazlitt's Dodsley, and is in a 
 recently-issued volume of the ' Mermaid ' Scries of old plays. 
 
EVENINGS WITH SHAKSPERE. 247 
 
 "Annals of the Career of Henry Porter," ^ives a chronicle of the 
 entries which refer to him in Hcnslowe's Diary. 
 
 William Haughton was working for Henslowe in November, 
 1597 {Diary, p. 104). In the early part of 1598 he wrote A Woman 
 will have her 117//,' the only extant play of which it is certain that 
 he was sole author {Diary, pp. 119, 122). In 1599 he seems to have 
 written a lost play, The Poor Man's Paradise {Diary, p. 155). To- 
 wards the end of the year he was engaged with Dekker and Chettle 
 upon Patient Grissil (see p. 235), with Day upon John Cox and 
 Thomas Merry {Diary, pp. 95, 158-9; 92-3, 160-1), and with Chettle 
 alone (see p. 235). In February, 1600, he was working wnth Dekker 
 and Day (see p. 241), and in March the three were joined by Chettle 
 (see p. 235). Part of this month Haughton spent in the Clink 
 prison, said by Stow to be " for such as should brabble, fra}', or 
 breake the peace " {Survey of London, ed. 1633, p. 449). In the 
 latter half of the month he was engaged upon a play that had the 
 title at least of Sackville's tragedy {Diary, pp. 166-7). I" April he 
 was writing The English Fugitives {Diary, p. 16S), now lost. In 
 May he received a small advance for a play which never got much 
 beyond its title of The Devil and Jiis Dam {Diary, p. 169), but in the 
 same month Henslowe paid £7 to Haughton and " M^ Pett " for 
 Strange News out of Poland {Diary, p. 170). This is all that is known 
 either of play or joint-author. About the same time Haughton 
 began another play, of which the name is uncertain {Diary, p. 171). 
 In December, 1600, and January, 1601, he had something to do 
 with a play concerning Robin Hood {Diary, pp. 174-5). In January, 
 
 1 Known also as Englishmen for my Money. Editions were issued in 1616, 1626, and 
 1631. It is reprinted in 'I he Old English Drama, 1830, and in Hazlitt's Dodsley. 
 
248 EVENINGS WITH SHAKSPERE. 
 
 February, March, and July he was associated with Day in the series 
 of plays connected with The Blind Beggar of Bethual Green {Diary, 
 pp. iSo, 1S3-4, 186, 188, 194-5), of which only the first part, written 
 by Chettle and Day, is now known (see p. 235). In April, May, 
 August, and September, with Day and Smith, he was writing a lost 
 play, The Conquest of the West Indies {Diary, pp. 185-6, 196-7, 199). 
 From May to November, with Day, he wrote The Six Yeomen of the 
 West {Diary, pp. 188-9), ^^'^'^ ^ P^^Y ^" which The Proud Woman of 
 Antwerp and Friar Rush were conspicuous {Diary, pp. 193-4, 201, 
 203-4). In July and September {Diary, pp. 195, 199, 200) Henslowe 
 paid Day and Haughton for a play which is called "the 2 pte of 
 Thome Dowghe," but it is not known to what this refers. In 
 October Haughton was associated with Hathway and Smith in a 
 play or plays called The Six Clothiers {Diary, pp. 202-3, 213), and in 
 September, 1602, he was at work upon " a playe called Cartwryght" 
 {Diary, p. 225) ; but these plays are lost. 
 
 In Shakespeariana, Vol. III., 1886, Mr. Fleay gives "Annals of 
 the Careers of W. Houghton, (sic) Wadeson and Pett," in which 
 are some ingenious suggestions about some of Haughton's plays 
 having been printed with titles other than those given to them by 
 Henslowe. 
 
 There is considerable uncertainty about the identity of Robert 
 Wilson, who, in conjunction with Drayton, Dekker, and Chettle, 
 was working for Henslowe from March to August, 1598 (see pp. 234, 
 237), and with Munday, Drayton, and Hathway on Sir John Oldcastle 
 and Owen Tudor in 1599 a"*^ ^^^o (see p. 228). He seems to have 
 been the sole author in 1599 (jf a play about Henry Richmond. 
 The Cobbler's Prophecy, printed in 1594, was written by Robert 
 
EVENINGS Wiril SIIAKSPERE. 249 
 
 Wilson. In 1598 Meres included Wilson among "the best for 
 comedie" (see p. g) and spoke of him as "our wittie Wilson, who, 
 for learning and extemporall witte in this facultie [cxtemporall 
 verse], is without compare or compeere '' (Shakspere Allusion-Books, 
 p. 164). He may have been the " R. W." the author of The Three 
 Ladies of London, 1584 and 1592, and that " plesant and statelie 
 morrall" The Three Lords and Three Ladies of London, 1590, which 
 were reprinted by the Roxburghe Club in 1851 and in Hazlitt's 
 Dodsley. But when the earliest date of the plays is compared with 
 the date at which Wilson began writing for Henslowe, this looks 
 doubtful. There was another " R.W." amongst the dramatists: 
 Robert Wilmot, in 1591, altered Tancred and Gismunda,^ a play 
 which having been written by Gentlemen of the Inner Temple was 
 acted by them before Queen Elizabeth in 1568. Wilmot, as a poet, 
 is highly spoken of by Edward Webbe in A Discourse of English 
 Poctric, 1586 (ed. Arber, p. 35). It has been sought to show that 
 the dramatist who wrote for Henslowe was Robert Wilson, one of 
 the leaders of the Queen's players in 1583. But of this there is no 
 evidence. 
 
 Richard Hathway, whom Meres in 1598 considered to be one 
 of "the best for comedy" (see p. 9), wrote for Henslowe in that 
 year {Diary, pp. 122-3). He worked with Munday, Drayton, and 
 Wilson (see p. 228), with Smith and Haughton (see p. 248), with 
 Smith and Chcttlc (see p. 235), with Day and Smith {Diary, pp. 
 228, 230-1, 245-8), with Rankins {Diary, pp. 97, 174-5. 183-6). 
 None of his individual writing has come down to the present time, 
 nor any dramatic production of his last-named helper, although 
 
 1 Reprinted in Hazlitt's Dodsley. 
 
 35 
 
250 EVENINGS WITH SHAKSPERE. 
 
 there is extant a volume of Satires by Rankins dated 1587, a form of 
 literature for which Meres gave him praise (see p. 8). In the book 
 {The Mirror of Monsters) Rankins had written against the stage. 
 
 John Day is said to have been some time at Caius College, 
 Cambridge, but he took no degree. In 1598 he was working with 
 Chettle for Henslowe (see p. 234). In 1599 he was writing with 
 Haughton (see p. 247). In January, 1600, he was at work upon a 
 play which Henslowe describes insufficiently as " the etalyan tragedie 
 of " {Diary, p. 163). In February he was associated in 
 
 authorship with Dekkcr and Haughton (see p. 241), and in March 
 with Chettle, Dekker, and Haughton (see p. 235), and soon after 
 with Dekker and Chettle (see p. 235), and with Chettle only in May 
 and June (see p. 235). During nearly the whole of 1601 he was 
 working with Haughton (see p. 248) ; part of the time they were 
 joined by Smith. In 1602 The Bristol Tragedy^ was "written by 
 himeselffe" {Diary, pp. 220-2). From November to the following 
 March he was working with Smith and Hathway (see p. 249), and 
 in May, 1603, he was writing with Chettle (see p. 87). After this 
 Day left Henslowe, and wrote for other companies." His works 
 were privately printed by Mr. Bullen in 1880. Mr. Fleay's "Annals 
 of the Career of John Day" {Shakespcariana, Vol. II., 1885) should 
 be consulted. 
 
 If the titular distinction was not a necessary qualification in the 
 recipient of the bounty, it may be to this writer that a grant in 
 reversion "of a Poor Knight's room in Windsor" was made on 
 
 1 This has been supposed to bo the Kame as The Fair Maiil of Biistol, printed 
 in 1605. 
 
 * His Parliament oj Bees is printed in a voUime of the ' Mermaid ' Series of old 
 plays. 
 
EVENINGS WITH SHAKSPERE. 25 1 
 
 November 25th, 1611 {Calendar of State Papers. Domestic. 1611-1G18, 
 P- 93)- 
 
 The earliest notice of Samuel Rowley is in 159S, when he was 
 one of the Lord Admiral's men acting for Hcnslowe {Diary, p. 120). 
 Many of the entries in the Diary show that when he had gained 
 Hcnslowe's confidence, he was the intermediary for payment be- 
 tween manager and author. In November, 1599, he engaged him- 
 self as a covenant-servant (see p. 213) to Henslowe {Diary, p. 260). 
 By December, 1601, Henslowe thought the actor might be trusted 
 to write, first of all in conjunction with another' {Diary, p. 205) 
 and then by himself {Diary, p. 226), for payments were made to 
 him as an author. But of these plays nothing is now known. The 
 Noble Soldier, an extant play credited to Samuel Rowley, was 
 entered in the Stationers' Registers as a production by Dekker. 
 No part-authorship has been alleged in When You See Me You Know 
 Me,"- of interest in connection with Shakspere"s Henry VIII. (see 
 Suggestion i on p. 183) and the burning of the Globe Theatre. 
 
 As nothing is known of the unaided work of the other writers 
 who were engaged for Henslowe, it is not necessary to say anything 
 about either of them except Wentworth Smith, who has been 
 frequently mentioned in the preceding pages. He may have been 
 the reviser of Locrine (sec p. 89) and the author of Thomas, Lord 
 Cromivell (see p. 105) and of The Puritan (see p. 229). 
 
 William Rowley, to whom, with Shakspere, The Birth of Merlin 
 was attributed (see p. 181), is known as the sole author of a 
 
 1 He was also a conjoint author in other plays. It is said (see p. 67) that he and 
 William Bird were paid for " adicyones in Docter Fostes" on November 22, 1G02. 
 « First printed in 1G05. Edited by Karl Elze in 1874. 
 
 33* 
 
252 EVENINGS WITH SHAKSPERE. 
 
 few plays,' and also to have been concerned with several other 
 dramatists. 1607 is the earliest date of a play in which he was 
 concerned, when The Travels of Three English Brothers was written 
 with Day and Wilkins. He wrote also with Thomas Heywood (see 
 p. 215), with Fletcher (see p. 216), \\\t\\ Webster (see p. 218), with 
 Middleton (see p. 239), and perhaps with Dekker and Ford, Some 
 of his plays in MS. were destroyed by Warburton's servant (see 
 p. 219). Nothing certain is known about his life. Rowley referred 
 to by Meres (see p. 9) was Ralph Rowley (see Athcnae Cautabrigieiises, 
 Vol. II.). William Rowley, the dramatist, may have been the actor 
 of that name who was connected with the Prince's servants, formerly 
 the Lord Admiral's men. 
 
 The connections of George Wilkins with Pericles are referred 
 to at p. 159. The Miseries of Enforced Marriage, the only play that 
 he is known to have written, is reprinted in Hazlitt's Dodslcy. The 
 earliest edition, 1607, states that it was acted by the King's servants. 
 
 Cyril Tourneur, whose problematical share in Tiinon of Athens 
 is mentioned at p. 151, has had the honour of having his small con- 
 tributions to dramatic literature edited in two volumes by Churton 
 Collins (1878), included with the slight quantity of his other poetical 
 matter. The Revenger's Tragedy, acted by the King's servants and 
 printed in 1607, is also to be found in Hazlitt's Dodslcy. 
 
 Mr. Swinburne wrote an article on Tourneur in The Nineteenth 
 Century, March, 1887. 
 
 Nathaniel Field, born in 1587, was the son of a London 
 minister. He became one of the Children of tiic Chapel, and was 
 
 • Two arc reprinted in Hazlitt's DuiLlcy. 
 
EVENINGS WITH SHAKSPERE. 253 
 
 also an author J He helped Massinger in writing The Fatal Dowry, 
 and was in money-difficulties with him (see p. 2ig). Two plays — 
 A Woman is a Weathercock, acted by the Children of the Revels and 
 printed in 1612, and A mends for Ladies, acted by the Prince's servants 
 and the Lady Elizabeth's, published in 1618 — are known to have 
 been written by Field." There is extant a letter which he wrote to 
 the Preacher at St. Mary Overy's in 1616, in which he "remon- 
 strates against his condemnations from the pulpit of all players. 
 Though, like other trades, that of actors has many corruptions, it 
 is not condemned in Scripture, and being patronized by the King, 
 it is disloyal to preach against it" {Calendar of State Papers. Domestic. 
 1611-1618, p. 419). In i6ig he is associated with the King's servants 
 in a theatrical license. 
 
 Field's name occurs in the 1623 Folio as one of the principal 
 actors in the plays therein given. He died in 1632, aged about 45. 
 
 1 There was a Nathaniel Field, Fellow of New College, Oxford, known to have 
 written Latin verses (see Hazlitt's Dodslcy, Vol. XV., p. 417). 
 
 * Both are reprinted in Hazlitt's Dodslcy, and in a volume in the ' Mermaid ' Series. 
 
CHAPTER XL 
 Ubc lEbitions ot Sbal^spere's Morfts* 
 
 Small have continual plodders ever won 
 Save base authority from others' books." 
 
 Love's Labour's Lost, I. i. 86-7. 
 
 FROM the lists in Chapter IX. it will be seen that much of 
 Shakspere's work was printed separately before the collected 
 edition of the plays appeared in 1623. I give the information here 
 in another form, that the student may see conveniently the order of 
 publication and what plays were printed in any particular year. 
 A separate list is given of the poems, ' and of the foundation-plays 
 of 2-and3/fcn;7 VI.,^ John,* and The Taming of the Shycn',' as 
 contemporary opinion seems to have credited him with some share 
 in their authorship. 
 
 1 Venus and Adonis 1593 i594 ^59<^ i599 1602(2) 1C17 1620 
 *Lucme i594 ^SQS i^oo 1607 161G 
 
 The Sonnets ^^°0 
 
 2 The Contention i594 ^^°° ^^^^ I t 
 
 3 The True Tragedy i595 ^^oo 1619 i 
 
 * The Troublesome iGii 1622 
 
 Jiaigne ^^ 
 
 ' The Taming 0/ 5 1607 
 
 a Shrew -'■^ * 
 
 * Taking the British Museum Calaloauc of Eady Printed Books as my authority, I staled on 
 p. 119 that there were two 1O16 c.lilions of Lucece. Hut the entry in the Catalogue g.v.ng one ol tliat 
 year with the imprint of J. G. for John Stafford is a mistake. That was published in 1655. The 
 British Museum 1O16 copy is the same as that in the Bodleian. 
 
 i With I'liiclci in one volume. 
 
EVENINGS WITH SIIAKSPERE. 255 
 
 10 
 
 H 
 
 
 CT. 
 
 ^^^ 
 
 
 
 M 
 
 vO 
 
 
 M 
 
 00 
 
 
 
 
 
 
 
 
 M 
 
 
 
 m 
 
 
 
 
 CO CO CO ^-^ . oj 
 
 o o o o, — S 
 
 M ^ M .| 
 
 O 1:14 
 
 O 4, I" 
 
 ^~. O ,— , 00 OS 
 
 MOM 00 "C t^ 
 
 v_^ H " MM rt " 
 
 O O O O O o ^« 
 
 O O O O O o C«S 
 
 M ^ ^ ^ ^ ^ ^ M aj'O 
 
 0^ *i c 
 
 mm c ^ 
 
 MM 3 5 
 
 CO CO CO 00 - -g 
 m m m Jo 
 
 m Jl/ '^ 
 
 om 
 
 id 
 
 .^ C;^^ fe;c<^ ^ MMh. a:;!i;o^'^^ 
 
2:;6 EVENINGS WITH SHAKSPERE. 
 
 Mr. Fleay's tables of the Quartos' should also be consulted. 
 The Othello is the only one in which there is any attempt at division 
 of acts or scenes. 
 
 As it is of interest to see how these early editions set forth their 
 authorship, they are here arranged in that way. Of the plays that 
 have a suspicion of Shakspere's part-authorship I have included 
 those which are put forward in this book for study. The two 
 syllables of the full surname were often hyphenated, 
 (i) Anonymous. 
 1591 Troublesome Raignc. 1599 Edward III. 
 
 1594 Contention. 1600 Titus Andronicv.s. 
 
 1594 A Shrew. 1600 Contention. 
 
 1595 True Tragedy. 1600 True Tragedy. 
 
 1596 Edward III. 1600 Henry V. 
 
 1596 A Shrew. 1602 Henry V. 
 
 1597 Richard II. 1607 A Shrew. 
 
 1597 Richard III. n.d. Romeo and Juliet." 
 
 1597 Romeo and Juliet. 1608 Henry V. 
 
 1598 I Henry IV. 1609 Romeo and Juliet. 
 
 1599 Romeo and Juliet. 1611 Titus Andronicus. 
 
 (2) W. S. 
 
 1595 Locrine. 1602 Thomas, Lord Cromwell. 
 
 1613 Thomas, Lord Cromicell. 
 
 (3) W. Sh. 
 
 161 1 Troublesome Raigne. 
 
 1 New Shakspere Society's rnvisactions, Part I., 1S74, and ShakiSpeaie Manual, 
 pp. 139-50. He confuses the businesses of printer and publisher. These were almost 
 invariably quite distinct. I'ublishers not owning printing-plant did not of course print 
 books, but occasionally a printer sold retail the book he had printed, e.g. Kid printed 
 and sold Tourneur's Reveitf^er's Trafiedy. 
 
 • Some copies have " W. Shakespeare." 
 
EVENINGS WITH SHAKSPERE. 
 
 257 
 
 1599 I Henry IV. 
 
 1600 Merchant of Venice (Roberts). 
 1604 I Henry IV. 
 N.D. Romeo and Juliet. ' 
 1608 I Henry IV. 
 
 1598 Richard II. 
 
 1598 Richard III. 
 
 1600 Midsnmmer-Nighfs Dream (2) 
 
 1600 Merchant of Venice (Heyes). 
 
 1600 Much Ado about Nothing. 
 
 1600 2 Henry IV. 
 
 ito2 Richard III. 
 
 1602 Merry Wives. 
 
 1603 Hamlet. 
 
 1604 Hamlet. 
 
 1605 Richard III. 
 1605 London Prodigal. 
 
 (4) W. Shakspeare. 
 1608 Yorkshire Tragedy. 
 
 (5) William Shakspeare. 
 1608 Lear (" Pide Bull"). 
 
 (6) W. Shakespere. 
 1598 Love's Labour s Lost. 
 
 (7) W. Shakespeare. 
 1613 I Henry IV. 
 161 9 Merry Wives. 
 1 6 19 Yorkshire Tragedy. 
 16 1 9 Pericles. 
 1622 Troublesome Raigne. 
 
 1622 I Henry IV. 
 
 (8) William Shakespeare. 
 
 1605 Hamlet. 
 
 N.D. Hamlet. 
 
 1608 Richard II. (2). 
 
 1608 L^ar. 
 
 1609 Pericles (2). 
 
 1609 Troilus and Cressida (2). 
 161 1 Llamlet. 
 
 161 1 Pericles. 
 
 1612 Richard III. 
 161 5 Richard II. 
 
 1619 TF/zo/^ Contention. 
 1622 Richard III. 
 
 1 Some copies are anonymous. 
 
 1622 0//!^//0. 
 
 34 
 
258 EVENINGS WITH SHAKSPERE. 
 
 (g) John Fletcher and WiUiam Shakspeare. 
 
 1634 Two Noble Kinsmen. 
 
 (10) Wilham Shakespear and WilHam Rowley. 
 
 1662 Birth of Merlin. 
 
 In the First FoHo it is said that readers had been " abus'd with 
 
 diuerse stolne, and surreptitious copies, maimed, and deformed by 
 
 the frauds and steahhcs of iniurious impostors, that expos'd them." 
 
 It is clear that this refers to only some of the earlier editions,' as 
 
 for some of the plays the editors of the Folio printed from the 
 
 Quartos. Probably we shall never know the exact relation of the 
 
 Quarto and Folio versions in the cases where there is a discrepancy 
 
 of text. In some of these cases, notwithstanding the statement of 
 
 the Folio-editors, the Quarto-readings are obviously better. The 
 
 question is further complicated by the way in which it is known 
 
 that unauthorised copies were often obtained. An imperfect form 
 
 of shorthand was in existence," and those who practised it were 
 
 employed by enterprising printers or publishers to take notes of a 
 
 popular play during its performance. But with the system, crude 
 
 as it then was, it would not be possible to accurately record the 
 
 spoken words. ^ Further divergence from the author's expressions 
 
 1 Probably all of them were sold at sixpence each ("^ee Preface to Tioilus and 
 Cressida). The Sonnets sold at fivepence. Nowadays the original Quartos \ary much 
 in price. Lately 2 Henry IV. fetched ^225. 
 
 « In 1558 Dr. Timothy Bright published his " Charactery. An Arte of Shorte, 
 Swift, and Secrete Writing by Character." Peter Bales's book, The Writing Schoole- 
 master, was entered in the Stationers' Registers on December i, 1589, and published the 
 following year. It consists of three parts, the first of which is " The arte of Brachy- 
 graphie ; that is to write as fast as a man speakcth, treatably writing but one letter for a 
 word, &c." The Art of Stenograph ie was entered on April 19, 1C02. 
 
 » In contemporary literature there are allusions to the wrongs which the Eliza- 
 bethan playwrights suffered from this practice (see Webster's Devil's Law-case, IV., ii., 
 and a note by Collier to a passage about Bales's system in Nash's bummer's Last IVill and 
 Testament in Ilazlitt's Dodsley, Vol. VIII., p. 41). 
 
EVENINGS WITH SIIAKSPERE, 259 
 
 would take place through this mode of procuring a play, as doubt- 
 less, then as now, the actors often deviated in small ways from the 
 written copy with which they had been provided. 
 
 The literary value of the Quartos is often estimated by the 
 reputation of their printers and publishers.' I give such notes 
 about them as I have been able to obtain. These notes will prove 
 of further interest to the Shakspere-student, who will be glad to 
 know as much as possible about those who had the responsibility of 
 mechanically presenting the author's thoughts to after-generations 
 and who have in too many instances by their careless work provided 
 us with puzzles of interpretation which unfortunately are often 
 insoluble, but for which, perhaps, we ought not to be unthankful, 
 considering the occupation they have afforded to many, with the 
 consequent result of directing a close attention to the text. The 
 biographical notes, such as they are, will be welcomed for the third 
 reason that they throw light on that absorbingly interesting history 
 of book-publication, with which every Englishman should be familiar, 
 and in connection with which he should closely study Milton's 
 Areopagitica. 
 
 1 Occasionally the name of printer or publisher is absent from the title-page. In 
 non-dramatic books the printer's name in some cases was stated for the first time, and 
 sometimes repeated, in the colophon. This I have not always had the opportunity of 
 examining. 
 
 With all their vices, the Stationers were often modest enough to obscure their 
 identity under the guise of initials, which, well known no doubt to their contemporaries, 
 not seldom prove harassing to nineteenth-century searchers. Even Mr. P. Z. Round m 
 his Introduction (iS86) to the Facsimile of the First Quarto of Pcrides suggests that 
 T. P., the printer of Wilkins's novel, was Pavier, whereas it was Thomas Purfoot. 
 Following Collier's hint, Mr, Fleay in the Tables referred to at p. 256 calls W. W. (the 
 printer of Love's Labour's Lost and other Quartos), Waterson instead of White. There 
 were stationers of the name of Waterson, but not with W. as an initial. Richard 
 Waterson was made free on December 7, 1555- "Sim. Waterson, bookseller, died" 
 March 16, 1635. "John Waterson, once a bookseller, died " February 10, 1656. Simon 
 (see p. 63) had been made free on August 14, 1583 ; John (see p. 165) on June 27, 1620. 
 
 34* 
 
26o EVENINGS WITH SIIAKSPERE. 
 
 My authorities have been Herbert's edition of Ames's Typo- 
 graphical Antiquities, Arber's Transcript of the Stationers'' Registers, and 
 the British Museum Catalogue of Early Printed Books. ^ 
 
 An examination of the "devices" on the title-pages will reveal 
 much that is both curious and attractive. In the absence of specified 
 names they are unfortunately useless for determining by what 
 printers or publishers books with deficient imprints were issued. 
 Looking no further than the Facsimile Quartos published by Mr. 
 Quaritch under the superintendence of Dr. Furnivall, it will be seen 
 that the same device is on the ' Roberts ' Merchant of Venice in 1600, 
 the 1608 Henry V., the second 1608 Lear, and The Whole Contention 
 in iGig.'^ No more can be said than that at a particular date a 
 printer or publisher was in possession of a certain device.^ Some 
 interesting observations on devices will be found in Dr. Furness's 
 edition of Lear, p. 357, and in Mr. P. A. Daniel's Introduction to 
 the Facsimile " Pide Bull " Lear, pp. iv., v, * 
 
 This is the place where I should repair an injustice I did to 
 Mr. Arber at p. 11 in reference to the varieties of type in which he 
 
 ^ Since this chapter was written I have seen an announcement of TIw Eaiiicr 
 Histoiy of English Bookselling, with a chapter on " Bookselling in the Time of Shake- 
 speare." The book itself I have not seen. 
 
 ■ Having been Richard Jones's, this device may have belonged to Roberts (who 
 had the reverse initials of its former possessor) in 1600 (in which case the device on 
 A Midsummcy-Night's Dream of that year must be that of its unnamed publisher), but 
 considering the course of his career it could not have been his in 1619, when with the 
 business it might have passed to William Jaggard. It, however, points to Roberts as 
 the printer of the editions of Henry V. and Lear referred to above. 
 
 '•' The same device was used for Skialctheia printed by Roberts for Ling in 159S, for 
 the earlier 1608 Richard II. printed by White for Lawe, for Hannay's Songs and Sonnets 
 printed by Haviland for Butter in 1622, and for the 1630 Othello printed by Matthews 
 for Hawkins. 
 
 * Anyone interested in the question of printers' devices will be well repaid by a 
 careful investigation of Vol. II. of the Rev. T. T. Dibdin's Bibliogniphical Decameron. 
 
EVENINGS WITH SHAKSrERE. 261 
 
 printed the entries from the Stationers' Registers. I had over- 
 looked a statement, placed in Volume I. between matter quoted 
 from the Company's Records, in which he explains various points 
 in the typography of his Transcript. Here it will be sufficient to 
 say that in the entries which are to be found in Chapter IX. all 
 contractions are printed in full and the names of all members of 
 the Stationers' Company are printed in Clarendon type. I ought 
 also to have said that he has many cross-references which are most 
 helpful, and also very useful but incomplete alphabetical lists of 
 printers and publishers, and that a fifth (the index) volume " is 
 [October 15th, 1888] far advanced." In its absence I have had 
 from the Transcript to make my own index of the Shakspere- 
 stationers. This, which involved a considerable expenditure of 
 time, I shall be happy to place at the disposal of anyone who 
 wishes to pursue the interesting enquiry with more detail. A few 
 general observations will render many of the statements in the 
 notes much clearer. ' 
 
 Before the Royal Charter of Incorporation was granted to the 
 Stationers' Company in 1556 there had been, with a continuous 
 history from 1545, an association of those engaged in the work of 
 producing books, who had formed themselves,- with the sanction of 
 the civic authorities, into a guild, the members of which paid a 
 groat quarterly as a subscription. In the time of Edward \T. the 
 Booksellers (Publishers), who bought the books from the printers in 
 I Those who are desirous to know more I refer to Mr. Arber's lucid Introductions, 
 and to many documents he has printed in the volumes mentioned. 
 
 - At various periods there are indications that the craft was an organised body long 
 before this. Arber (Vol. I., p. xxiii.) quotes a petition in 1403 to the Mayor and Alder- 
 men of the City of London from " the Craft of Writers of Text-letter, those commonly 
 called ' Limners,' and other good folks, citizens of London, who were wont to bind and 
 to sell books " and (Vol. IV., p. xxiv.) other documentary evidence in reference to the 
 earlier fraternity. 
 
262 EVENINGS WITH SHAKSPERE. 
 
 sheets, were able to exact such terms that the printers had difficulty 
 in making a bare living. The Charter, which was necessary in 
 order that there should be a central control over the issue of books, 
 placed the publishers in a still better position. A successful effort, 
 however, was made by which, from 1558 to 1582, Royal Patents 
 were issued to certain printers for the issue of defined classes of 
 books,' but this of course inflicted a grievance upon those who 
 were unprivileged, and gave rise to much dissatisfaction amongst 
 many of the London printers. 
 
 When the Company received its Charter the management was 
 vested in a Master and two Wardens. The Mastership was a post 
 of honour, to which it "does not seem that any particular duties 
 were attached. The Wardens were the responsible and representa- 
 tive officers of the Company. Through them its transactions were 
 accomplished. - 
 
 In 1559, on account of the number of " vnfrutefull, vayne and 
 infamous bokes and papers," Elizabeth ordered that nothing 
 should be printed without special permission, in which episcopal 
 sanction was to be a prominent feature, and the entry of publica- 
 tions, which at first was only a cash-receipt, as stated at p. 12, 
 became a concession of copyright,'' and the names in the entries 
 so freely quoted in Chapter IX. are commonly those of the repre- 
 sentative of the Bishop of London or of the Master of the Revels 
 with one or both of the Wardens.* This mode of sanction con- 
 
 1 It seems that tlicre was no necessity to liave these enteretl in tlie Registers. Tlie 
 Patents were ^'radually absorbed by tlie Company. 
 
 '' The Court of Assistants was not defined in the Charter. It seems to have been 
 formed later as an executive body. 
 
 ' Sometimes the authority was granted by the full Court of Assistants. The 
 changes in the amount paid for entering books will have been noticed in Chapter IX. 
 
 * In some classes of books spjcial licensjri were required. 
 
EVENINGS WITH SHAKSPERE. 263 
 
 tinued till the Long Parliament in 1640, when the Star-Chamber, 
 which exercised a considerable jurisdiction in matters concerning 
 book-production, was abolished. Then it came to be recognised 
 that the merits of a book were to be judged after its issue. 
 
 In 1560 the Stationers' Company had obtained such a reputation 
 that the Lord Mayor included it amongst the Livery Companies of 
 the City of London, ' some of its members being thereby permitted 
 to wear a certain dress on all state-occasions, and its order of pre- 
 cedence in all civic functions was allotted. 
 
 The Freedom of the Company, without which its exclusive 
 rights could not be exercised, was conferred (i) by Apprenticeship,^ 
 (2) by Patrimony,'' (3) by Redemption.-' At the discretion of the 
 authorities other persons were admitted as Brethren, and these 
 enjoyed only a small part of the Freemen's privileges. As by a 
 general order of 1556 it was required that apprentices should be at 
 least twenty-four years of age upon the receipt of the freedom, it 
 will be possible to estimate the ages of many of the Elizabethan 
 stationers.^ Certain cf the Freemen were admitted into a small 
 
 1 This seems to have been a restitution of ancient rights. 
 
 ^ The fee then payable was three shillings and fourpence. The earliest record of 
 apprenticeship is in January, 1555, and the latest in June, 1605. Some were apprenticed 
 merely to obtain the freedom. An express stipulation was often made that the apprentice 
 was not to be taught any of the work connected with the issue of books. Up to 157S a 
 master receiving an apprentice had to pay sixpence upon presenting him to the Court of 
 Managers. After that date the fee was half-a-crown. Many employers were fined for 
 not presenting an apprentice at the time of his entering. 
 
 3 Some who were entitled to their freedom by patrimony qualified also by ap- 
 prenticeship. 
 
 ■» This was at the discretion of the governing body, who varied the fee, which in 
 some cases was not much higher than that payable after apprenticeship. Peter Short, 
 the printer of the 1598 i Hciny IV. and other quarto plays, became free by redemption. 
 
 5 This cannot be done in all cases, as some were apprenticed at an age when this 
 rule would not apply. Munday (see p. 227) was 23 when he was apprenticed. In no 
 case could the apprenticeship be for less than seven years. 
 
264 EVENINGS WITH SHAKSPERE. 
 
 inner set called the Livery. The Company also from their own 
 number appointed a Renter and an Assistant-Renter (who acted 
 somewhat as sub-treasurers under the Wardens) and a Court of 
 Assistants, forming with the Master and Wardens the governing 
 body of the Company. A Star-Chamber decree in 1566 directed 
 the Compan)^ to choose certain of their members to be known as 
 Searchers, who amongst other duties had to discover books of which 
 the Chamber disapproved. The decree defined the destination of 
 such books and the punishments to be awarded to their producers.^ 
 The records of the Company from 1571 to 1576 are lost. 
 
 In the few years succeeding 1577 there was great trouble in the 
 printing-trade. There were too many engaged in the work for it 
 to be profitable," and efforts were made to control by Act of Par- 
 liament the number of books issued, and of the apprentices by 
 whom the ranks of the workmen were recruited. The Patents 
 which had been in force for nearly twenty years were felt to be a 
 great hardship, and the unprivileged printers, to defend themselves, 
 issued pirated editions with the name of the patentee upon them.^ 
 The consideration of the grievance was referred to a Commission, 
 which introduced reforms, some of the results of which were that 
 the patentees gave up their profits in certain books'* "for the 
 
 1 Fines inflicted for various forms of "breaking of orders" were imposed with the 
 strictest impartiahty. Scarcely a member of the Company escaped. It is only fair to 
 the later Stationers to say that if the entry of the fines had been continued in detail 
 they would probably have had a record equal to their predecessors. 
 
 - In 1577 the London printers, journeymen and all, numbered about 175. 
 
 3 Roger Ward in 1582 printed 10,000 copies of a school-book which had been 
 licensed to John Day. The proceedings of the Star-Chamber in this matter are given 
 by Mr. Arber in Vol. II., pp. 753-69. It is interesting to note that to favour the journey- 
 men-printers no edition of a book except a few school-books and others was allowed to 
 exceed 1250. In most instances the issue was smaller. 
 
 ♦ Amongst others Tottell, who had the monopoly of the Law-books, gave up 
 " Romea and Julictta" (sec p. 91). 
 
EVENINGS WITH SHAKSPERE. 265 
 
 reliefe of the poore of the saide Companie," and the unprivileged 
 printers were allowed to print books of which the original owner 
 did not care to issue another edition, and on paying sixpence in the 
 pound on the cost of production they were permitted to print books 
 which had been long out of print. • The number of apprentices 
 was also limited by authority. The existence of secret presses was 
 another difficulty.- To prevent recourse to these, official lists of 
 the number of authorised presses in London were issued from time to 
 time.'' Much in reference to the customs of the journeymen-printers 
 is quoted by Mr. Arber in Vol. III., pp. 21-25, and in Vol. IV., pp. 
 13-20, and concerning those engaged in the book-trade generally, 
 will be found most interesting extracts from The Schollcrs Purgatory, 
 written and printed by Wither in 1625. 
 
 In 1637 the Star-Chamber decreed that no printing should be 
 done except in London and at the Universities. More than fifty 
 years before, the Stationers' Company, desiring to monopolise the 
 whole of English printing, had endeavoured to prevent Cambridge 
 taking any part in the work. But the days of restriction were over, 
 for although the 1637 edict was re-affirmed in the order of the 
 Lords and Commons of the 14th June, 1643, the following year 
 heard the trumpet-blast of Milton, in which he was careful to avoid 
 the charge of "introducing license, while he opposed licensing," 
 and which settled for ever that only over the circulation of books 
 
 1 This will explain a note made to many an entry in the Registers. A note was 
 often added to the effect that the concession was granted for one edition only. 
 
 - A few of these were engaged about this time in bringing out some of the Mar- 
 prelate pamphlets (see pp. 198 and 238). 
 
 * Arber prints lists that were made in 1583, 1615, and 1636. That of 1615 allotted 
 the number of presses (in 14 cases two, in 5 one) that the master-printers were allowed. 
 The last gives the succession of the master-printers from an early time, but, compiled 
 long after the events which it chronicles, its dates are often inaccurate, 
 
 35 
 
266 EVENINGS WITH SHAKSPERE. 
 
 could supervision be tolerated by a free and enlightened people. 
 Englishmen of to-day owe much of their literary freedom to Milton's 
 manly, outspoken plea for a diversity of reading which cannot be 
 cramped by a fear of meeting with unaccepted views, and for his 
 eloquent and cogent argument that literature would be brought low 
 and perhaps be lost sight of altogether if great thinkers, with either 
 actual or potential reputations, were to have their works subjected 
 to the censorship of a small body of paid licensers, whose caprices 
 would be readily aroused and whose judgements might be easily 
 warped. Milton's magnificent appeal still has force to kindle into 
 enthusiasm all who read it. 
 
 This outline of the constitution of the Stationers' Company and 
 of some of the incidents of its history will, if borne in mind, make 
 the following notes ^ intelligible without repetition of many details 
 that would otherwise be necessary. 
 
 The figures in brackets after the names of the plays refer to the 
 lists on pp. 256-7, and thus show the way in which the editions 
 of each printer and publisher had their authorship described. The 
 books I mention as having been issued by these members of the 
 Company are nearly always limited to those to which reference has 
 been made in the foregoing pages. I have not as a rule said in the 
 notes anything about the Register-entries of the Quartos. All these 
 can be seen in Chapter IX. To facilitate reference the pages arc 
 given after the figures in brackets. 
 
 1 I have not encumbered these notes with frequent references to authorities. Those 
 who wish to verify the statements can easily do so, as the information in Typogvaphical 
 Antiquities is given under the names of the Stationers, and the full Tables of Contents in 
 the volumes of Mr. Arber's Transcript group the references according to years, and an 
 almost trustworthy alphabetical list of Printers and Publishers is given in the British 
 Museum Catalogue, 
 
EVENINGS Wiril SIIAKSPERE. 
 
 267 
 
 James TRobcrts. 
 
 1600 Titus Andronicus (i), p. 59. 
 1600 A Midsnvnner-N igltt's Di'cam (S) ,p.Ss- 
 1600 The Merchant of Venice (two), (7 and 
 8), p. loi. 
 
 1604 Hamlet (8), p. 135. 
 
 1605 Hamlet (8). 
 
 There is no record of James Roberts's 
 apprenticeship. His freedom was obtained 
 on June 27th, 1564. 
 
 He received apprentices from 1567 to 
 1602. His first was not made free till 
 1596. The last, whom he promised "to 
 putt to schole till he can wryte and 
 reade," was "dismissed out of the Com- 
 pany" "for disobedience and takinge 
 wages within his prentiship." Some of 
 them had been passed over to Roberts 
 to serve the last part of their time which 
 had been begun with other Stationers. 
 
 Many publications were entered to him 
 from 1569 to 1606. Amongst the earliest 
 was "The Death of Lucryssia" (see p. 
 119). In 1589 he and Richard Watkins 
 received a twenty-one years' patent for 
 printing "Almanacks and Prognostica- 
 tions," because they had bestowed much 
 care on this kind of publication. In 1594 
 Charlwood's copyright of thirty or forty 
 books of a very general character was 
 transferred to Roberts, who in the fol- 
 lowing year was ordered to desist from 
 printing a school-book, and then entered 
 his first play. In 1599 he, a privileged 
 printer, availed himself of the "sixpence 
 in the £ " arrangement. Troilus and Cies- 
 sida, with a deferred order, appears against 
 his name in 1603 (see p. 167). One of his 
 books in 1604 had this proviso: if it 
 " shalbe thought fytt to be printed Then 
 Master Robertes shall haue the Woork- 
 
 PUBLISHERS. 
 
 5obn Ibarrfson. 
 
 1594 Lucrece, p. 119. 
 
 1596 Venus and Adonis, p. 118. 
 
 1598 Lucrece. 
 
 1600 Lucrece, 
 
 1607 Lucrece. 
 When John Harrison received his free- 
 dom on August 19th, 1556, he paid three 
 shillings and fourpence in lieu of giving a 
 breakfast to the other members of the 
 Company, which had been the earlier 
 custom. 
 
 He received many apprentices between 
 1559 and 1604, less than half of whom 
 passed to their freedom. One bound in 
 1576 for nine years was to " serue the 
 first vj yeres of his apprentiship with 
 Jhon Symon bookebynder in consideracon 
 that the same Jhon shall teache him his 
 occupacon." One in 1579 was " neuer 
 to be made free for he hath runne awaye 
 iij. tymes" ; and in 1592 one was trans- 
 ferred to another stationer, having served 
 four and a half years out of ten, two of 
 which were then remitted. 
 
 From 1556 to iGiomany books, in which 
 were included Latin and Greek works, 
 were entered to him. In 1579, as one of the 
 officers of the Company and in conjunc- 
 tion with the Queen's printer, he received 
 license to issue a Latin translation of the 
 Bible and commentary. The translation 
 had been made by Emanuel Tremillius, 
 an English \ersion of one of the Psalms 
 from which was included by King James 
 in his Essayes in Poesie, reprinted in Arber's 
 series. It is interesting to note that he 
 and Bishop in 1580 had the copyright of 
 of Calvin's Commentaries, a book which 
 Mary had placed in the Royal Interdict 
 of 1555, and that they passed over the 
 
 35 
 
j68 
 
 E:VENINGS Wrlll SIIAKSPERE. 
 
 PRINTERS. 
 
 3amc3 IRobcrts (Continual). 
 manship of the printing for the Company 
 and be paid for his woork." 
 
 When he became a master -printer is 
 uncertain. He was not the possessor of 
 a press in 1583. In 1578 he was one of 
 six who apologised to the Wardens and 
 Assistants for having made complaints ; 
 they promised not to offend again. Before 
 August, 1594, he had married Charlwood's 
 widow. He was fined two shillings and 
 eightpence "as appereth 27 Augiisti 1596. 
 intey ordinanconcs Jiuius libri." This comes 
 in the part which Mr. Arber did not re- 
 ceive permission to print. In the same 
 year Roberts was taken into the Livery 
 with a fee of twenty shillings. In 1597 
 he was one of the three " chozen to goo 
 to dynner to my lord Maiours feast," 
 which then and for many years after was 
 held on October 29th. In 1602 he paid 
 £^ to escape serving the office of Renter. 
 In 160S his business was sold to William 
 Jaggard, to whom in 1615 the copyright 
 of several books that had belonged to 
 Roberts was transferred. 
 
 The 1600 Titus Andronicus Roberts 
 printed for Edward White, one of the 
 editions of The Merchant of Venice (con- 
 ditionally entered to him in 1598) for 
 Ileyes in 1600, Hamlet (which had been 
 entered to him in 1C02) in 1G04 and 1G05 
 for Ling. He also printed for Simon 
 Waterson Daniel's Cleopatra in 1594 with 
 Edward Aldee, Kyd's Cornelia in 1594 for 
 Ling and Busby, in 1595 a poem by 
 Chapman for Richard Smith, Drayton's 
 Mortimcriados for Matthew Lownes in 
 1596, Euphucs in 1597 for Gabriel Cawood, 
 for Edmond Mattes in 1598 Marston's Tj^'- 
 maliun's Image and his Scourge of Villainy 
 in 1599 for Busby, the well-known antho- 
 
 PUBLISHERS. 
 3obn Ujavrison (Continual). 
 part on Galatians to Thomas Purfoot 
 senior in 1581. 
 
 Soon after his enfranchisement Harri- 
 son's name appears in a list of the mem- 
 bers who had to bear their share of the 
 expenses of the Bridewell, and also in 
 a subscription-list of "The benevolence 
 gyven towardes our corperation." In 
 1558 he was fined for printing a ballad 
 without license, and also in 1560 for 
 opening his shop on Sunday. In 1562 
 he was fined a shilling because " he Re- 
 vyled Brodehed with vnsemely Wordes." 
 His adversary was fined three shillings. 
 About this period he was one of twenty 
 who were fined for selling the works 
 of Nostradamus. With a fee of fifteen 
 shillings he was received into the 
 Livery in 1564, and in the same year 
 with eighteen other booksellers, of 
 whom the Senior Warden was one, he 
 was fined for keeping his shop open 
 on St. Luke's Day. In 1565 he was 
 fined with several others "for Stechen 
 of bookes which ys contrary to the 
 orders of this howse, &c." In 1568 
 and 1570 he served the offices of Junior 
 and Senior Renter. In 1573 he was 
 Junior Warden. After this he often 
 acted as one of the auditors of the Com- 
 pany's accounts, and in 1576 and at other 
 times he was one of the Searchers. In 
 1577 he signed the complaint about privi- 
 leged printers. In 1578 and 1580 he was 
 Senior Warden, and was appointed to the 
 Mastership in 1583, filling the post again 
 in 158S and 1596. Between 1584 and 
 1594 his name often appears as one of 
 the Court of Assistants. In 1586 one of 
 the members was fined five shillings " for 
 diuersc vndecent spechcs by him vsed 
 
EVENINGS Win! SHAKSPERE. 
 
 269 
 
 PRINTERS. 
 
 5amcs "IRobcrtS (Continued). 
 logy, England's Helicon, in 1600 for John 
 Flasket, and Drayton's Barons' Wars for 
 Ling in 1603. In 1605 he printed one 
 of Greene's prose-works for Ling. He 
 printed, probably in 1593, Peirs Gavcston 
 (see p. 77) for Ling and Busby. 
 
 Roberts's work was done "at his house 
 in Barbican," probably at the " signe of 
 the Haulfe Eagle & Keye," which had 
 been Charl wood's place of business. This 
 device is on Roberts's 1600 Midsummcr- 
 Ni,!7ht's Dream. 
 
 Q:boma9 Greece. 
 
 1594 The Contention (i), p. 65. 
 
 1595 Locrinc (2), p. 89. 
 
 1598 Richard III. (8), p. 87. 
 
 1599 Romeo and Juliet (i), p. 91. 
 
 1600 Henry V. (i), p. 117. 
 1602 Richard III. (8). 
 
 1602 TheMcrry Wivesof Windsor {S), p. 11^. 
 
 1602 Henry V. (i). 
 
 1605 Richard III. (8). 
 
 1605 The London Prodigal (8), p. 127. 
 
 1612 Richard III. (8). 
 
 On October 7th, 1578, Thomas Creede 
 was admitted to the freedom of the Com- 
 pany by Thomas East, to whom he was 
 probably apprenticed in the time of which 
 the Registers are lost. 
 
 From 1594 to 1602 he received a few 
 apprentices, concerning one of whom in 
 1595 it is said "Thomas Creede pi'omis- 
 ethe to enter into bond in xl'i not to 
 teache Joliii Wilkynson the arte of prynt- 
 inge and to bring in his Indenture, to 
 make the bonde by." In the same year 
 he was fined half-a-crown for breaking 
 the order concerning the presentation of 
 apprentices at the time of enrolment. 
 
 PUBLISHERS. 
 
 5obn Ibai-rison (Continual). 
 against master harrison assistant of this 
 cumpanye." 
 
 Venus and Adonis and the 1594 Lucrece 
 were printed by Field ; but Harrison em- 
 ployed Short in 1598, his son in 1600, 
 and Okes in 1607 for his other editions 
 of Lucrece. Harrison published the 1577 
 edition of Holinshed's Chronicles, and 
 with others the 1587 edition. 
 
 His place of business was "at the 
 signe of the white Greyhound in Paules 
 Church-yard," where the 1593 Venus and 
 Adonis was to be sold, although Harri- 
 son's name does not appear in the 
 imprint. 
 
 B5vvarD Mbitc 
 
 i6co Titus Andronicus (i), p. 59. 
 161 1 Titus Andronicus (i). 
 
 Edward White, the son of a mercer 
 of St. Edmundsbury, was apprenticed to 
 William Loble for seven years from 
 Michaelmas, 1565. The record of his 
 freedom is lost. 
 
 From 1576 to 1604 he received many 
 apprentices, the first of whom was his 
 brother Andrew, who was made free in 
 1584. Another of his apprentices was 
 John Wright, who was concerned in the 
 publication of Shakspere's Sonnets. Not 
 many of the others took up their freedom. 
 White was fined in 1589 for not present- 
 ing one of them. After the record of one 
 enrolment it is said : " This apprentise 
 must serue this terme with Edmond 
 Holland haberdasher vsinge the trade of 
 bookbinding, and not to be accoumpted 
 for any of master White number of 
 premises that he may haue by the 
 ordonnances." 
 
270 
 
 EVENINGS WITH SHAKSPERE. 
 
 PRINTERS. 
 "Cbomas CrCCbC (Continued). 
 After his enfranchisement the earliest 
 notice about him in the Registers is in 
 1593. From then to 1609 many books 
 were entered to him, for several of which 
 from 1596 to iCoohetook advantage of the 
 " sixpence in the / " concession. Mothcy 
 Redcap (see p. 227) was licensed to him in 
 1595. In 1596 he received the copyright 
 of Kind-Harts Dreame (see p. 233), which 
 had been licensed to William Wright in 
 1592. Of one book in 1597 it was said : 
 " This copie to be alwaies printed for 
 Nicholas Linge by the seid Thomas Creede 
 as often as it shalbe printed." Of a book 
 that had been licensed to John Wolfe in 
 1597, Creede in 1598 was to have "the 
 alowance thereof, leavinge out the dis- 
 course toucliinge the queue of Scottcs by him 
 crossd out." To one of Creede's entries 
 this note was added: "This cannot be 
 alowed to hym because it is in Contro- 
 uersye"; and on some other occasions 
 the entry was made conditionally upon 
 authority being obtained before the work 
 was printed. 
 
 Creede probably worked as a journey- 
 man for some time. He was not owning 
 a printing-press in 1583. In 1599 he was 
 one of fourteen unprivileged printers who 
 received notice that books which they had 
 issued were to be burned in Stationers' 
 Hall. Marston's Pygmalion and The 
 Scourge of Villainy were amongst those 
 marked for destruction. In the 1615 
 allotment of presses Creede was per- 
 mitted to have one. Between this and 
 1620 he sold his business to Bernard 
 Alsop and Thomas Fosset. 
 
 Creede printed the 1594 Contention for 
 Millington, Richard III. in 1598 and 1G02 
 for Wise, and in 1605 and 1G12 for Lawe, 
 
 PUBLISHERS. 
 ]E^wal•^ "CClbitC (Continued). 
 Many books were licensed to Edward 
 White between 1577 and 161 2, the year 
 in which he died. In 1578-9 and again 
 in 1594 he sinned, and was sinned against, 
 in the matter of appropriation of ballads. 
 On one of the occasions his offence is 
 described as "without lycence and yt 
 being an vndecent ballat." In 1580-1 
 the usual form of license is varied by the 
 expression " Tollerated vnto him." In 
 1 581 he entered a ballad about Troilus 
 and Crcssida (see p. 167). In 1582, in the 
 case of a medical book by Peter Levens, 
 the entry has the addendum, "And the 
 said Edward hathe vndertaken to beare 
 and discharge all troubles that male arise 
 for the printinge thereof." In 1584 one 
 of his licenses had this note : " provided 
 ALWAIES that yf yt belonge alreadye to 
 anie other man or be collected out of 
 anie book alredy extante in printe in 
 English That then this licence to be 
 voyd " ; and in 1586 a similar notice is 
 appended to the entries of some ballads 
 and books, forty-eight of which he en- 
 tered in one month. In 1592 he appro- 
 priated The Spanish Tragedy (see p. 245), 
 which belonged to Abel Jeffes, having 
 been entered to him on October 6th but 
 not paid for at the time, and Jeffes had 
 taken Arden of Fevcrsham (attributed to 
 Shakspere and several times reprinted, 
 edited in 1887 by Mr. Bullen, and in 
 1 888 by Drs. Warnke and Proescholdt), 
 which was the property of White, who 
 had entered it on April Sth. It was 
 therefore decided that the copies of both 
 should be forfeited for the benefit of the 
 poor, and a fine of ten shillings in each 
 case was inflicted. In 1594 White entered 
 the unknown Lciie Chronicle (see p. 149) 
 
EVENINGS WITH SHAKSPERE. 
 
 271 
 
 PRINTERS. 
 
 Ubomas Crecfec (Continued). 
 the 1599 Romeo and Juliet for Burby, 
 Henry V. in 1600 for Millington and 
 Busby and in 1602 for Pavier, the 1602 
 Merry Wives for Johnson, and the 1605 
 London Prodigal for Butter. In 1593 he 
 printed one of Greene's prose-works for 
 William Ponsonby. In 1594 for William 
 Barley he printed Lodge's Looking Class, 
 and reprinted it in 1598 for Barley and 
 in 1602 for Pavier. In 1594 he also 
 printed The True Tragedy of Richard the 
 Third for Barley, in 1595 an edition of 
 Nash's Pierce Penilesse (see p. 133) for 
 Ling and W. W.'s translation of Menii- 
 chmi (see p. 71), in 1598 Lyly's Mother 
 Bomhie for Burby and Greene's James IV. 
 and The Famous Victories (seep. 117) for 
 both of which he had received licenses 
 in 1594, in 1599 Sir Clyomon (see p. 205) 
 and Greene's Alphonsus, in 1604 two edi- 
 tions of Marston's Malcontent for Aspley, 
 in 1606 Chapman's Monsieur D'Olive for 
 William Holmes, and in 161 2 The Merry 
 Devil of Edmonton for Johnson. 
 
 In 1595 Creede was " dwelling in 
 Thames streete, at the signe of the 
 Katheren-wheele.nearetheoldeSwanne." 
 In 1600 he was " in the Old Chaunge, at 
 the Eagle & Childe, neare Old Fish- 
 streete." 
 
 William Mbitc. 
 
 159S Love's Labour's Lost (6), p. 79. 
 1600 The True Tragedy (i), p. 69. 
 iGoS Richard II. (Two), (S), p. 81. 
 1613 I Henry IV. (2), p. 107. 
 
 The date of William White's appren- 
 ticeship is lost. As his freedom on April 
 loth, 1583, was obtained through Mis- 
 
 PUBLISHERS. 
 ESwarS "CClbite (Continued). 
 and Peele's King David (see p. 83) ; in 
 1596 a ballad about Romeo and Juliet (see 
 p. 91). On June 25th, 1600, is this entry : 
 "YT IS ORDERED touchiuge a Disorderly 
 ballad of the wife of Bathe, printed by 
 Edward aldee and william white and 
 sold by Edward white : That all the 
 same ballates shalbe brought in and 
 burnt And that either of the printers for 
 theire Disorders in printinge yt shall pay 
 vs. A pece for a fine. And that master 
 white for his offence and Disorder in 
 sellinge it shall pay xs. for a fine .xxs. 
 And ther imprisonment is respited till 
 another tyme." In 1603, as appears by 
 the following note, a heavy fine was 
 inflicted upon him: " vx is ordered 
 that master Edward White shall pay 
 vjli- xiijs. iiijd. for a fine for that he 
 had. vc. of the bookes of basilicon Doron 
 of the second ympression Disorderly 
 printed by Edward Aldee and hath sold 
 the same number so that they cannot 
 be taken beinge forfayted by thordon- 
 nances. vj'i- xiijs. iiijd. 
 
 And being to indure imprisonment for 
 the jame by thordonnances . his ympri- 
 sonment is respyted to the further order 
 of the Company." This was about King 
 James's book on the attributes of Kings, 
 of which the first edition, consisting of 
 only seven copies, had been printed in 
 Edinburgh in 1599. The second was 
 printed in London in 1603. Edward 
 White was with others fined concerning 
 it in April, 1603. 
 
 In 1585 Edward White and fi%-e others 
 petitioned the Queen to deter and punish 
 those who had printed the books for 
 which John Day had received a patent, 
 and to which, after Day's death. White 
 
272 
 
 EVENINGS WITH SIIAKSPERE. 
 
 PRINTERS. 
 
 ■CdilUain tClbitC (Continued). 
 tress Jugge, he was doubtless apprenticed 
 to John Jugge, who died before White's 
 time was out. 
 
 He has a record of only three appren- 
 tices. Of the first in 1595 it is said : 
 "Provided .a.lw.mes, and yt is ordered 
 and the said william white agreeth that 
 this apprentize at any time duringe his 
 apprentiship shall not be put to learne 
 the arte of printinge." In 1603 the last, 
 Bernard Alsop, was a transfer who after- 
 wards succeeded to Creede's business. 
 
 From 1588 to 161 5 many books were 
 licensed to him, the earlier ones in con- 
 junction with Gabriel Simpson, a fellow- 
 apprentice with whom he was in 
 partnership and who had received his 
 freedom on the same day. In 1599 he 
 received The Spanish Tragedy from Jeffes 
 (see p. 270). OnOctober i6th,i6oo,White 
 entered " A booke Called the lettinge of 
 Humours blood in the head vayne ivith a 
 newe moriseo Daunced by Seven Satyres 
 vppon the bottome of Diogkxes tubbe," 
 for buying which many booksellers were 
 fined in the following March. In 1600 
 and 1603 he took advantage of the " six- 
 pence in the £ " arrangement. 
 
 On August i8th, 1595, White and 
 Simpson were "fined at Ten Shillinges 
 for printinge part of a book of master 
 Broughtons without aucthoritie. And 
 they are ordered to bringe the leaucs 
 printed into the hall and not to precede 
 with the printinge of the Residue till they 
 have aucthoritie for it. Also their Im- 
 prisonment is Referred over till further 
 order be taken. They agree to pay this fine 
 the next court daie. xs. paid vj^- viij'l' 
 and the rest remitted." 
 
 In 1599 White was included with 
 
 PUBLISHERS. 
 3E6war6 tClbitC (Continued). 
 and his co-signatories considered they 
 were entitled. In 1588 he was elected into 
 the Livery, the fee for which had then be- 
 come twenty shillings. Afterwards he was 
 one of the Court of Assistants. In 1589 he 
 was fined one shilling " for none attend- 
 ance on my Lord maiour vpon Allhallowen 
 day." Some of his transactions soon after 
 are thus chronicled: "Item Receaued 
 by thhandes of John wolf for a qua- 
 terne of the shorte Dyctyonaryes menconed 
 in the last Accoumpte, whiche quarterne 
 he soulde to Edwarde white xijs. iiijd. " 
 and "Item, Receaued of Edwarde White for 
 half a C of shorte Dictionaries xxiiijs.viijd." 
 In 1593 he and Abel Jeffes had to pay 
 £1 los. for confiscated books. In 1594 
 he was one of the three " chosen to goo 
 to my lord Maiours feast." In 1599 he 
 was fined one shilling for being late on 
 the day for election of the Company's 
 officers. He was made Junior Warden 
 in 1600. On February 22nd, 1604, his 
 son was admitted to the freedom by pa- 
 trimony, and on June nth the father 
 was fined one shilling " for beinge absent 
 this Day at the Court . beinge reasonably 
 warned thereunto." About this time he 
 paid ;^io " for his Dispensacon from the 
 second vnderwardenship." In 1606 he 
 became Senior Warden. After his death 
 in 1G12 his widow retained some interest 
 in the business till 1624, when she trans- 
 ferred some copyrights to Edward Aldee. 
 Her son had received some previously 
 and had assigned them to Pavier and 
 Wright in 1620. 
 
 White's edition of Titus AnJronicus in 
 1600 was printed by Roberts. In 1582 
 and 1588 White published some of Mun- 
 day's pamphlets, all of which perhaps 
 
EVENINGS WITH SIIAKSPERE. 
 
 273 
 
 PRINTERS. 
 
 "CUliUlam TiClbitc {Continued). 
 Creede and the other twelve printers 
 whose books were then destroyed (see 
 p. 270). In 1600 he was in trouble about 
 printing the ballad of The Wife of Bath 
 (seep. 271), in 1603 he offended by print- 
 ing a book belonging to John Harrison, 
 and in 1607 he entered a book which was 
 soon discovered to belong to somebody 
 else. William White seems not only to 
 have been a partner with Simpson, but 
 about the time of Simpson's death to 
 have bought the business that had be- 
 longed to Richard Jones and William 
 Hill; and soon after 1615, when he had 
 received permission to work one press, 
 to have passed the business on to his son 
 John, who was made free on May 17th, 
 1614. 
 
 William White printed Love's Labouy 's 
 Lost for Burby, the 1600 True Tragedy 
 for Millington, the two 1608 editions of 
 Richard II. and the 1613 i Henry IV. for 
 Lawe. After printing The Spanish Tragedy 
 in 1599 without a publisher's name, he 
 printed it in 1602 for Pavier. In 1616 
 he printed Englishmen for my Money (see 
 p. 247), which had been entered to him in 
 1601. 
 
 Whilst White was in partnership with 
 Simpson they were " at the White 
 Horse in Fleet Lane, over against Sea- 
 coal-lane." Afterwards, when working 
 by himself, he was "dwelling in Cow- 
 lane." 
 
 PUBLISHERS. 
 ]Ei>wav& "CUbltC (Continued). 
 were printed by Charlwood, the prede- 
 cessor of Roberts. In 13S4, 1587, 1588, 
 1599, he issued some of Greene's prose- 
 works, most of which were printed by 
 John Wolfe. His 1594 edition of Friar 
 Bacon was probably printed by Adam 
 Islip (see p. 73). Edward Aldee printed 
 for him the undated editions of Marlowe's 
 Massacre at Paris and of Kyd's Spanish 
 Tragedy. In 1592 and 1608 he published 
 the English Faustus-history printed re- 
 spectively by Thomas Orwin and John 
 Windet,and in 1596 Edward Aldee printed 
 for him an edition of that popular antho- 
 logy. The Paradise of Dainty Devices, col- 
 lected by Richard Edwards (see p. 224). 
 He probably published the 1599 Ki7ig 
 David (see p. 83). With Ling he issued 
 a medical work for Lodge in 1G03 and 
 a poem by Drayton in 1604, which latter 
 Aldee printed. 
 
 Edward White had " his shoppe at the 
 little North doore of S. Paules Church, 
 at the signe of the gunne." 
 
 •Hicbolas TLim. 
 
 1603 Hamlet (with Trundell) (8), p. 135. 
 
 1604 Hamlet (8). 
 
 1605 Hamlet (8). 
 
 1607 The Taming of a Shreii> (i), p. 97. 
 
 Nicholas Ling, the son of a parchment- 
 maker of Norwich, was apprenticed to 
 Henry Bynneman for eight years from 
 Michaelmas, 1570. He received his free- 
 dom on January 19th, 1579. 
 
 From 1582 to 1604 he had several ap- 
 prentices. Concerning one in 1585 it is 
 said : " Provided alwaies and yt is 
 agreed that yf the said nicholas linge 
 shall Departe with Any of his shoppes 
 
 36 
 
274 
 
 EVENINGS WITH SIIAKSPERE. 
 
 Dalentfne Sinimcs. 
 
 1597 Richard II. (i), p. 81. 
 
 1597 Richard III. (i), p. 87. 
 
 1598 Richard II. (8). 
 
 1600 The Contention (i), p. 65. 
 
 1600 Much Ado about Nothing (S), p. 103. 
 
 1600 2 Henry IV. (8), p, iii. 
 
 1604 I Henry IV. (7), p. 107. 
 
 1607 The Taming of A Shrew (i), p. 97. 
 
 161 1 The Troublesome Raigne (3), p. 95. 
 
 Valentine Simmes, the son of an Oxford 
 " Sherman " (see 2 Henry VI., IV. ii. 141), 
 was apprenticed to Henry Sutton for 
 eight years from Christmas, 1576. Sutton 
 died before the time was up, and Simmes 
 was made free on March 8th, 1585, by 
 Joan Sutton, the widow. 
 
 There is a record of only four appren- 
 tices for him between 1594 and 1GQ4. 
 
 In 1594, the date of his first book- 
 entry, he had " Graunted vnto him the 
 printinge of master Latymers sermons 
 but yt is referred to the consent of most 
 voyces, whether he shall print yt for the 
 stock, or generally for the parteners, or 
 for the wholle companye that will laye 
 on paper prouided that he is to paie vjd 
 in the li to thuse of the poore accordinge 
 to the order." Between that date and 
 iGio he had several books licensed to him, 
 of which five were by the " sixpence in 
 the £" arrangement. In the early part 
 of 1596, Bynneman's widow gave Simmes 
 the residue of the copyrights which had 
 belonged to her husband. Ling's master. 
 
 In 1595, for printing a school-book to 
 which he was not entitled, Creede had 
 his press and the sheets seized. He was 
 fined one shilling in 1598 "for printinge 
 a thinge disorderly," and in the following 
 
 PUBLISHERS. 
 micfJOlas ling (Continued). 
 That then he shall putt out this Appren- 
 tice to some of ye cumpanie at ye Discre- 
 tion and appointment of the master and 
 Wardens for the tyme beinge." One 
 entered in 1597 was "putt away for vn- 
 truth and mysbehavior and neuer to be 
 made free." It was said of one in 1602 
 that he was " never bound gone away 
 and neuer to be free." One of his 
 apprentices was John Helme. 
 
 Between 1582 and 1607 many books 
 were entered to Ling. His first was in a 
 conjoint entry with Charlwood, the pre- 
 decessor of Roberts, with whom Ling was 
 associated in the production of Hamlet. 
 In 1584, on the same day that Calvin's 
 Commentary on the Epistle to the Philip- 
 pians (see p. 267) was licensed to him, he 
 was fined for printing it without order. 
 It is possible that for a short time Ling 
 may have had a press, perhaps on hire 
 from Mistress Bynneman ; for not only 
 is there this reference— which by itself 
 need not be taken literally, — but he is 
 said to have printed the 1598 Rosalynde 
 and the 1600 Every Man out of his Humour. 
 In 1590 Rosalynde (see p. 125) was entered 
 to him and Busby. Ling and Millington 
 on May 17th, 1594, entered The Rich Jew 
 of Malta, a ballad on which had been 
 entered by Danter in the same month. 
 In 1597 he entered, and afterwards edited 
 and enlarged, the book of which Meres's 
 Wits Treasury (seep. 9) is the second part. 
 In 1594 Ling was fined three shillings 
 and fourpence " for ofl'endinge in buyinge 
 and dispersinge of psahnes Disorderly 
 printed." He and Creede were asso- 
 ciated by authority in 1597 (seep. 270). 
 Ling was received into the Livery in 
 1598, when the fee had become £2. In 
 
EVENINGS WITH SHAKSPERE. 
 
 275 
 
 PRINTERS. 
 
 Ualcntinc Simmee (Continued). 
 year he was in trouble with Creede and 
 others (see p. 270). In 1601 he had to 
 pay three shillings and fourpence "for 
 pryntinge A prochimacon formerly printed 
 for the Crowne office whiche he hathe 
 nowe this tyrae printed without Alowance 
 or entrance;" and in 1603 for printing 
 "a ballad belongingeto mistresaldee" he 
 was fined thirteen shillings and four- 
 pence ; and in the same year, perhaps 
 alluding to this ballad, is this note : " yt 
 IS ORDERED that he shall presently bring 
 into the hall to be vsed according to the 
 ordonance in yat behalf . Thirtie bookes 
 of the 'u'clshbate . and all the ballades that 
 he hath printed of the Traitours lately 
 Arrayned at Winchester, also yt is or- 
 dered that he shall pay xiijs iiijd for a 
 fine for printing the same book and 
 ballad without Licence. And not to I 
 meddle with printing or selling any of I 
 the same bookes or ballades here- 
 after." A small fine "for breakinge 
 order "was inflicted upon him in 1604, | 
 and in 1610 is this entry in reference to j 
 Dekker's Shoemaker's Holiday : " It is | 
 agreed that Valentyne Symms shall haue 
 theworkmanshipp of the printinge thereof 
 for the vse of the sayd John wrighte 
 duringe his lyfe, yf he haue a printinge 
 house of his owne." After his trouble- 
 some career his business seems to haue 
 passed to Richard Badger, although six 
 of his books were transferred to Edward 
 Griffin in 1619. 
 
 Simmes printed the editions of Richard 
 II. and Richard III. in 1597 and 159S for 
 Wise, The Contention in 1600 for Milling- 
 ton, Much Ado and 2 Henry IV. for Wise 
 and Aspley, i Henry IV. in 1604 for La we, 
 the 1607 A Shrew for Ling, and The 
 
 36 
 
 publishers. 
 ■fl^icFjoIas ling (Continued). 
 1601 he was one of twenty-eight book- 
 sellers fined half-a-crown each " for their 
 Disorders in buyinge of the bookes of 
 humours lettinge blood in the vayne beinge 
 newe printed after yt was first forbydden 
 and burnt." This volume of Satires by 
 Samuel Rowlands had been licensed to 
 William White in 1600 (see p. 272). In 
 April, 1603, with Edward White and 
 others, he was fined about the King's 
 book (seep. 271). This was a bad time 
 for Ling, concerning whom and two 
 others on December 5th of the same 
 year it was " ordered that they shall pay 
 X3. A pece for their fines for printinge a 
 booke called the wondcrfull yere without 
 Aucthoritie or entrance, contrary to 
 thordonnances for pryntinge. Also that 
 they shall forbeare and neuer hereafter 
 entermedle to printe or sell the same 
 book or any parte thereof. Also that 
 they shall presently bringe into the hall 
 to be vsed accordinge to thordonnance in 
 yat behalf so many of the said bookes 
 as they or any to their vse haue left in 
 their handes. And their ymprisonment 
 for this offence is respited till further 
 Consideracon and order herein be 
 had." In the following year he was 
 ffned /"lo for an offence unnamed, or 
 perhaps for declining to take office. He 
 was probably dead in 1607 when some 
 of Shakspere's plays, which he had re- 
 ceived from Burby, were transferred to 
 Smy thick (see p. 79). 
 
 The editions of Hamlet in 1604 and 
 1605 and probably that in 1603 (seep. '^55) 
 were printed by Roberts, and the 1607 
 A Shrew by Simmes. Ling published in 
 15S2 a book for Munday which John 
 Charlwood printed, in 1590 with Busby 
 
276 
 
 EVENINGS WITH STIAKSPERE. 
 
 PRINTERS. 
 
 Ifalcntinc Simincs (Continued). 
 Troublesome Raigiie in 161 1 for Helme. 
 For Aspley he printed A IVartiing for 
 Fair Women in 1599, and Marston's 
 Malcontent in 1604. In 1599 he printed 
 one of Chapman's plays, in 1600 he 
 printed Sir John Ohlcastle for Pavier, in 
 1604 Faiistus for Thomas Bushell, and in 
 1604 and 1606 some of Ben Jonson's 
 Masques for Blount and Thorp, for the 
 latter of whom he printed Chapman's 
 Gentleman Usher in 1606. He printed 
 the undated Patterne of peynfull aduenturcs 
 " for the Widow Newman " (see p. 159). 
 
 Simmes in 1595 was "dwelling in 
 Adling street, at the signe of the white 
 Swan, neare Bainards castel." 
 
 TRicbarD jfielD. 
 
 1593 Venus and Adonis, -p. 118. 
 
 1594 Venus and Adonis. 
 1594 Lucrece, p. 119. 
 1596 Venus and Adonis. 
 
 Henry Field, a tanner of Stratford-on- 
 Avon, with whom John Shakspere had 
 been officially brought into contact, sent 
 two of his sons into business as stationers. 
 Richard was apprenticed for seven years 
 from Michaelmas, 1579, when "It is 
 agreed yat this Apprentis shall serue ye 
 first . vj. yeresof hisapprentiship withye 
 said vautrollier to learne ye art of print- 
 ingc . and ye vijtli ycre with ye said . 
 g. bisshop." 
 
 Richard, having been made free on 
 February Cth, 1587, by George Bishop, 
 took a few apprentices from 15S9 to 
 1G04, one of whom was his brother 
 Jasper. 
 
 From 1588 to 1623, sometimes under 
 
 PUBLISHERS. 
 IWicbolas ling (Continued). 
 he issued some of Greene's prose-works, 
 one of which Thomas Orwin was em- 
 ployed to print, in 1594 Kyd's Cornelia 
 printed by Roberts and in 1595 an edi- 
 tion by himself without printer's name 
 and one of Nash's Pierce Penilesse which 
 Creede printed and with Burby another 
 book by Nash in 1599, by himself and 
 with Edward White and John Flasket 
 he published several of Drayton's works 
 from 1596 to 1606, to print some of 
 which Roberts and Short were em- 
 ployed, in 1600 he issued Every Man out 
 of his Humour, Kemps nine daies tcvndcr 
 (see p. 155) printed by Edward Aldee, 
 and, with Burby and Heyes, England's 
 Parjiassus, a popular book of poetical 
 quotations. In 1605 and 1607 he pub- 
 lished some of Greene's prose-works, 
 one of which has Roberts's initials as 
 printer. Probably about 1593, for in that 
 year it was entered to them (see p. 77), 
 Ling and Busby published Dray ton's P(?/)s 
 Gaveston, which was printed by Roberts. 
 At first Ling was living "in Paules 
 Churchyarde, at the signe of the Mare- 
 maide " in Knightrider Street, formerly 
 his master's place of business ; but from 
 1591 to 1600 his shop is simply said to 
 be "at the West end of Paules" or "at 
 the little West doore of Ironies," which 
 he probably took when Busby left it ; 
 but in 1604 he had moved to a " shoppe 
 vnder Saint Dunstons Church in Fleet- 
 street," near, if not at the actual place, 
 where Busby had gone. 
 
EVENINGS WITH SHAKSPERE. 
 
 277 
 
 PRINTERS. 
 IRlCbarS aficl^ (Continued). 
 the name of Ricardo del Campo, he 
 printed a large number of books, among 
 which were many French, Latin, and 
 high-class books, as Vautrollier, whose 
 widow Field married in 1588, and to 
 whose business he succeeded, had a 
 patent for Latin and school-books. 
 Field in 1594 entered a book on the 
 "sixpence in the £" arrangement. 
 
 In 1589 he was fined ten shillings for 
 having "printed a booke Contrary to 
 order," and half-a-crown for not pre- 
 senting an apprentice at time of enrol- 
 ment. He was received into the Livery 
 in 1598, paying a fee of £2 ; and in the 
 same year, and again in 1604, was chosen 
 one of the three to represent the Com- 
 pany at the Lord Mayor's feast. In 
 1599 he was in trouble with Creede and 
 others (see p. 270). In 1604 (when he 
 paid £10 to escape acting as Renter) 
 he was one of the Court of Assistants, 
 and in the next year was Junior Warden, 
 In 1611 and 1613 he was Senior Warden . 
 At the official allowance of presses in 
 1615, Field was permitted to work two. 
 He was Master of the Company in 1619 
 and 1622. About 1625 he was dead, and 
 Mistress Field sold the business to 
 George Miller (to whom she transferred 
 many of her husband's copyrights on 
 April 3rd, 1626) and Richard Badger 
 (a native of Stratford-on-Avon), who 
 seems also to have had an interest in 
 the business which had been Simmes's. 
 Field probably printed all the above- 
 named editions of Shakspere's poems for 
 Harrison (see p. 269). Without pub- 
 lisher's name. Field printed in 1589 
 (Puttenham's) The Arte of English Poesie, 
 interesting to Shakspere-students, being, 
 
 PUBLISHERS. 
 
 Sampson Clarhc 
 
 1591 The Tvoublesome Raigne (i), p. 95. 
 
 The record of Sampson Clarke's ap- 
 prenticeship is amongst the lost papers of 
 the Stationers' Company. When he was 
 made free on March 26th, 1583, his spon- 
 sors were George Buck and William 
 Browne. 
 
 A few apprentices served under him 
 between 1587 and 1596. Of two in the 
 last of those years it is said, "yt is 
 ORDERED that these twoo apprentises 
 alowed to Sampson clerk shall not be 
 putt to pryntinge bookeselling or any 
 faculty perteyninge to the Art of 
 Stationers." 
 
 Only a few books were entered to him 
 from 1583 to 1589. An entry in 1587 is 
 accompanied by this note: "Which as 
 Master Hartwell certyfyithe by his 
 hande to the written Copie . my Lordes 
 \ grace of Canterbury is content shall 
 passe without anie thinge added to yt 
 before it be pervsed." 
 
 Clarke was one of the booksellers 
 against whom Edward White and others 
 petitioned in 1585 (see p. 000). He was 
 admitted into the Livery in 1598 with a 
 fee of £2. 
 
 In 1584 Clarke employed Thomas East 
 to print a prose-work by Lodge. The 
 name of the printer of the 1597 Trouble- 
 some Raigne is not given, but the device 
 on the title-page is apparently that of 
 Thomas Orwin, who printed Greene's 
 Menaphon for Clarke in 15S9. 
 
 In 1584 Clarke had "his shop by Guyld 
 Hall." In 1589 he was " behinde the 
 Roy all Exchange," where he was still in 
 business in 1591. 
 
278 
 
 EVENINGS WITH SHAKSPERE. 
 
 PRINTERS. 
 
 1Ricbart« dFicl& (Continued). 
 as Mr. Arber, in the Introduction to the 
 Reprint in his Series, says, an "original 
 and clever book on Poetry, Rhetoric, and 
 Good Manners" in Elizabeth's time. In 
 1594 he printed for William Ponsonby a 
 poem by Chapman. 
 
 In 1589 Field was "dwelling in the 
 black -Friers, neere Ludgate," where 
 Vautrollier had carried on business. 
 
 5ohn Banter. 
 
 1597 Romeo and Juliet (i), p. 91. 
 
 John Danter, the son of an O.xfordshire 
 weaver, was apprenticed from Michael- 
 mas, 1582, to John Day for eight years, 
 one of which was remitted. Day died 
 in 1584 (see p. 271). On April 15th, 
 1588, Danter was "put ouer to the said 
 Kobert Eobinson fromhensforthe vntill 
 the feast of Sainct michas tharchangell 
 in Anno 1589. And then to be made free 
 And where there is another yere moore 
 then to comme of his prentiship : that 
 yere beinge the Eight yere conteined in 
 his Indenture is frely Remitted by the 
 consent of mistres Day alias Stone." He 
 received his freedom on September 30th, 
 1589. 
 
 When his only- recorded apprentice 
 was made free in 1602, Danter then paid 
 the entrance-fee, as his pupil "had serued 
 out his prentiship without presentment." 
 
 Between 1591 and 1596 several books 
 were entered to Danter, amongst them 
 being The Repentance of Robert Greene, 
 which was published by Burby in 1592 
 without printer's name. In 1594 he 
 entered a play and a ballad about Titus 
 Andronicus (see p. 59), and a ballad about 
 
 PUBLISHERS. 
 
 ITbomas Ibexes. 
 
 1600 The Merchant of Venice (8), p. 101. 
 
 The date of Thomas Heyes's original 
 apprenticeship is lost. On January 8th, 
 1580, he was transferred to William 
 Lownes, on account of the death of John 
 Sheppard, his first master, and was made 
 free on March 31st, 1584. 
 
 Between 1589 and 1601 there is a re- 
 cord of only three apprentices serving 
 under him. 
 
 The few books entered to him were all 
 from 1600 to 1602, when his entries were 
 made in conjunction with Short. 
 
 In 1 601 he was fined with Ling and 
 others about Rowlands' book (see p. 275), 
 and the following year was received into 
 the Livery, paying a fee of £2. In 1605 
 he was dead. His son Lawrence (see 
 p. loi) was made free of the Company 
 on November 7th, 1614. 
 
 The Merchant of Venice published by 
 Thomas Heyes was printed by Roberts. 
 Also in 1600 Heyes was one of the pub- 
 lishers of England's Parnassus {see -p. 276). 
 
 Thomas Heyes's place of business was 
 "in I'aules Church-yard, at the signe of 
 the Greene Dragon." 
 
 lUlilliani Xcafte. 
 
 1599 Venus and Adonis, p. 118. . 
 
 1599 The Passionate Pilgrim, p. 120. 
 
 1602 Venus and Adonis (two). 
 The entry of William Leake's appren- 
 ticeship is in the lost portion of the 
 Company's Registers. His master was 
 probably Francis Coldock, by whom he 
 was made free on October 6th, 1584, the 
 day of Henry Chettle's enfranchisement 
 
EVENINGS WITH SIIAKSPERE. 
 
 279 
 
 PRINTERS. 
 
 5obn Bantcv (Continued). 
 The Jew of Malta, He entered Green's 
 Groatsu'orth of Wit in 1596, in which year 
 it was printed by Creede. On the " six- 
 pence in the £" arrangement he then 
 printed two books, one of which had 
 belonged to Day, his former master. 
 
 During his apprenticeship Danter and 
 some others got into trouble through 
 printing a grammar, to the copyright of 
 which they had no claim. They were to 
 " henceforth be dysabled to prynte other- 
 wise then as Journemen in pryntinge, 
 and shall never hereafter keepe any 
 printinge house to their or any of their 
 owne behoof." This stringent order was, 
 so far as Danter at least was concerned, 
 relaxed in 1591, when he and Chettle 
 were allowed to become partners with 
 WiUiam Hoskins. In 1593, when he 
 entered Greene's Orlando Furioso, which 
 in the following year was put over to 
 Burby, " Prouided alwaies, and yt is 
 agreed that soe often as the same booke 
 shalbe printed . the saide John Danter to 
 haue thimpryntinge thereof," a warrant 
 was issued for him ; and in 1596 his 
 press, man, "j forme" and "j heape " 
 were brought to the hall; and in 1597 
 an order went forth that his "presses 
 and I'res shalbe defaced and made 
 vnserviceable for pryntinge;" and this 
 in the year when, on September 6th, a 
 book was entered to Burby, " Reservinge 
 the Workmanship of the printing at all 
 tymes to the said John Danter." He 
 was dead before October Gth, 1600. 
 
 The 1597 Romeo and Juliet has no 
 name of publisher. In 1592 and 1596 
 Danter printed two of Nash's books. 
 He only printed for Burby the 1594 
 Orlando Furioso, and in the same year 
 
 PUBLISHERS. 
 XClilliam IcaftC (Continued). 
 
 From 1588 to 1604 half-a-dozen ap- 
 prentices entered under him. 
 
 From 1592 to 1602 he was busy in 
 issuing books. In the earlier year it is 
 said of one that it is "to be translated 
 into Englishe, and after pervsed and 
 lawfullye allowed before it be put to 
 printe." As he was never the owner of 
 a press, the entry in 1602 crediting him 
 with printing a book by the " sixpence in 
 the £" arrangement is probably a mis- 
 take. There are no entries of books to 
 him after 1602, except one in 1614 in con- 
 junction with others. In 161S he appears 
 as an officer of the Company. 
 
 In 1585 Leake was one of the alleged 
 offenders against Edward White and 
 others (see p. 271). He was fined four- 
 pence in 1586 for opening his shop " con- 
 trary to order on the 19 (? 18) of October 
 beinge holyday." In 159S he joined the 
 Livery, paying a fee of £2, and in 1600 
 he was chosen one of the three " to 
 goo to my lord maiors feast." He was 
 amongst the twenty-eight booksellers 
 who were fined in 1601 (see p. 275). In 
 1602 several books were transferred to 
 him from Gabriel Cawood. In 1604 he 
 paid /lo rather than serve the office of 
 Renter, and in the same year he was 
 Junior Warden and again in 1606, acting 
 as Senior Warden in 1610 and 1614. In 
 1617 he passed over a large number of 
 books to Barrett (see p. 105). In the 
 following year he was Master of the 
 Company. 
 
 Leake's editions of Venus and Adonis 
 were issued w/thout printer's name. The 
 1599 Passionate Pilgrim was printed by 
 someone whom William Jaggard em- 
 ployed. Leake published in iGoi the two 
 
28o 
 
 EVENINGS WITH SHAKSPERE. 
 
 PRINTERS. 
 
 3obn IDantcr (Continued). 
 he printed Lodge's Wounds of Civil Way 
 without name of pubUsher ; but from 
 the place at which it was to be sold, 
 obviously for Thomas Gosson, the father 
 of the publisher of Pericles. In 1595, for 
 Ralph Hancocke and John Hardie, he 
 printed Peele's Old Wives' Tale. 
 
 Danter carried on his business " dwell- 
 ing in Hosier Lane neere Holburne 
 Conduit." 
 
 peter Sbort. 
 
 1594 The Taming of A Shrew (i), p. 97. 
 
 1595 The True Tragedy (i), p. 69. 
 
 1596 The Taming of A Shreiv (i). 
 1598 Lucrece, p. 119. 
 
 1598 I Henry IV. (i), p. 107. 
 
 Peter Short, on March ist, 1589, be- 
 came a member of the Stationers' Com- 
 pany by Redemption, for which he paid 
 si.K shillings. 
 
 Amongst the four apprentices whose 
 enrolment under him is recorded from 
 1592 to 1602 was Richard Badger from 
 Stratford-on-Avon, who bought a share 
 in the business which had belonged to 
 his fellow-townsman Field. For keeping 
 one of his apprentices " vnpresented 
 aboue thappointed tyme " Short was 
 fined one shilling in 1602. 
 
 From 1591 to 1602 he entered a toler- 
 ably large number of publications, among 
 which were many music-books. His first 
 entries were with I^ichard Yardley, with 
 whom he was for a short time in part- 
 nership. In 1595 a license was granted 
 to him for " the prentize Indentures to be 
 printed for the Companie of Merchant 
 tailours." For unlawfully printing these 
 another stationer was lined in December, 
 
 PUBLISHERS. 
 
 ■CmUliam Icaftc (Continued). 
 
 parts of Robin Hood in which Munday and 
 
 Chettle were concerned (see p. 227), and in 
 
 1606-7, 1609, and 1613 editions of £»/)/n/i'S. 
 
 In 1599 Leake was "at the Greyhound 
 in Paules Churchyard," which may pos- 
 sibly have been the place of business of 
 Harrison, from whom he received the 
 copyright of Venus and Adonis (see p. 118). 
 William Welby was publishing there in 
 1609. From 1606 Leake was " dwelling 
 in Paules Churchyard, at the Signe of 
 the Holy Ghost," a house formerly occu- 
 pied by Gabriel Cawood. 
 
 The William Leake who was made 
 free on July 22nd, 1623, and admitted to 
 the Livery in 1628, and who in 1639 pub- 
 lished editions of Philaster and of A King 
 and No King, copyrights of which, with 
 that of Othel!o,\\ere transferred to him in 
 that year, was probably the son of the 
 first-named William Leake, and is thus 
 referred to in The Obituary of Richard 
 Smyth on February 12th, 1673, " Old 
 Wm. Leake, stationer wthin Temple Barr 
 in Fleet Street, buried." 
 
 5obn :fi3ii9bB. 
 
 1600 Henry V. (with Millington) (i), p. 117. 
 
 When John Busby, the son of a Lon- 
 don cordwainer, was enrolled as an ap- 
 prentice to Oliver Wilkes for nine years 
 from Michaelmas, 1576, the following 
 note was added: " Memor.vndum yt is 
 agreed yat this apprentice abouenamed 
 shall serve his whole apprentishood with 
 Andrewe mansell Draper exercisinge 
 tharte of a Stacioner." Busby was made 
 free on November 8th, 1585. 
 
 Almost at once an apprentice was trans 
 
EVENINGS WITH SHAKSPERE. 
 
 281 
 
 PRINTERS. 
 peter Sbort (Continued). 
 1596. In 159S to one of his entries is 
 appended a memorandum saying, " pro- 
 vided that this entrance shall not be 
 effectuall if any other haue Right to this 
 booke by any former entrance ; " and to 
 another, entering with others the works 
 of Josephus, "To be translated out of 
 French into Englishe . and to be their 
 Copie to printe, bringinge better and 
 sufficient aucthoryty for yt first and 
 before they print yt. " Towards the 
 end of his printing career Short entered 
 books with Heyes. 
 
 In 1598 he was received into the Livery 
 with a fee of £2, and in the year follow- 
 ing he was one of the fourteen concerned 
 in the trouble referred to under Creede's 
 name. In 1601 he was one of the three 
 who "went to my Lord maiours feast." 
 At some time (the date given in the 1636 
 "Succession of the Master - printers " 
 must be wrong) Short seems, with John 
 Windet, to have come into possession 
 of Henry Denham's business. In 1603 
 Short was dead, and Humphrey Lownes 
 took on the widow and the business. 
 
 Short printed A Shrciii for Burby, The 
 True Tragedy for Millington, Lucrcce for 
 Harrison, and i Henry IV. for Wise. In 
 1595 he printed Daniel's Civil Wars for 
 Simon Waterson (see p. 63) and the 
 Countess of Pembroke's Antony for 
 William Ponsonby, in 1598 Drayton's 
 England's Hcroical Epistles for Ling and 
 Meres's Palladis Tatnia for Burby, in 
 1599 Daniel's Cleopatra, and in 1600 a 
 work by Marlowe for Walter Burre. 
 
 Whilst partner with Yardley, and 
 when working by himself. Short was 
 "dwelling on Bread Street hill, at the 
 Signe of the Starre." 
 
 PUBLISHERS. 
 9obn JBusbS (Continued). 
 fcrred to him from Ling. The only other 
 of whom there is a record entered in 1598. 
 From 1590 to 1614 several publications 
 were entered to him. The earliest were 
 with Ling (see p. 274). In 1595 he re- 
 ceived " by assignement from Elizabeth 
 wynnyngton wydowe of John Wynnyng- 
 ton Staconer Deceased Three copies" 
 which were "supposed to haue belonged 
 to the said John wynnington .... pro- 
 VYDED ALWAiES that yf the said Elizabeth 
 marrie againe to any of the Companie . That 
 then she shall haue their copies againe 
 as in her former estate pkovyded alwaies 
 that yf yt shall appere that these copies 
 did apperteyne to any other man and not 
 to the said Wynnyngton That then the 
 said John Busby shall haue no Interest 
 to them or any of them by force of this 
 entrance. ' ' Ini 599, with J ohn Oxenbridge, 
 Busby entered Hey wood's Edward IV., 
 but before publication in 1600 he trans- 
 ferred his share to Humphrey Lownes. 
 In 1602 he had somewhat similar deal- 
 ings with The Merry Wives of Windsor 
 (seep. 113). In 1606 to him and Trun- 
 dell a comedy was entered, "provided 
 that they are not to printe yt tell they 
 bringe good aucthoritie and licence for 
 the Doinge thereof." With Nathanael 
 Butter he entered Lear in 1607 (see p. 149) 
 and Heywood's Lncrece in 1608 (see p. 
 119). 
 
 The 1600 Henry V. was printed by 
 Creede. Although Ling and Busby had 
 entered Lodge's Rosalynde, it was pub- 
 lished by Busby and Thomas Gubbin 
 in 1590, when Thomas Orwin printed it. 
 Busby published other of Lodge's books, 
 employing various printers. He pub- 
 lished in 1592 Nash's Pierce Penilesse 
 
 37 
 
282 
 
 EVE SINGS WITH SHAKSPERE. 
 
 XLbomns ipurfoot. 
 
 1622 Richard III. (S), p. S7. 
 1622 I Henry IV. (7), p. 107. 
 
 Thomas Purfoot, an original member 
 of the Stationers' Company, around 
 whose name gathers much of the greatest 
 interest in connection with the history 
 of printing, apprenticed his son Thomas, 
 who printed some of the Shalispere 
 Quartos, to Richard ColHns for seven 
 years from Midsummer, 1584, and ad- 
 mitted him to the freedom of the 
 Company on October 8th, 1590, "per 
 patronagium." 
 
 He has only one enrolment of an 
 apprentice, and then the following note 
 was added: "Memorandum that the 
 said Thomas purfoote hath promised that 
 yf his father hereafter Require to haue 
 an Apprentise alowed vnto him . Then 
 he shall" haue this apprentise of his sons 
 putt ouer vnto him in stede thereof." 
 
 Before 1606 there are only two entries 
 of books to him, the first of which was 
 with Blovver. From then he had licenses 
 for several publications. Twenty books 
 that had belonged to his father, who was 
 dead in 161 5, were transferred to him 
 in that year. Amongst these was in- 
 cluded " The Imprintinge of the breifes 
 of all letters pattentes viider the great scale 
 of England for Causualties and losses by sea 
 and by lande." This had originally been 
 granted to his father in 1.5S7, and from it 
 many licenses arose. 
 
 In 1591 the newly- enfranchised son 
 was "licensed by ye Company, vppon 
 ye Archbishops letter to succeede his 
 father;" but in 1599 he received the 
 censure of the Company because he had 
 
 PUBLISHERS. 
 5obn JBusb^ (Continned). 
 printed by Abel Jeffes, and probably in 
 1593 Peele's Honour of the Garter, the 
 printer of which was " the Widdowe 
 Charlewood " whom Roberts married. 
 In 1594 with Ling he published Kyd's 
 Cornelia, in 1598 he issued Marston's 
 Scourge of Villainy (both printed by Ro- 
 berts), a book by Dekker in 1609, and 
 with others an edition of Drayton's 
 Poly-Olbion in 161 3. 
 
 In 1592 Busby's shop was " neere to 
 the West doore of Paules." In 1596 he 
 seems to have been in business "in S. 
 Dunstan's churchyard in Fleet-street, at 
 the little shop next Cliffords Inne." 
 The 1600 Henry V. was to be sold " in 
 Carter Lane, next the Powle head," 
 which doubtless was Busby's house then, 
 as Millington's place of business is stated 
 in those books of which he was sole 
 publisher. 
 
 Busby had a son (see p. 137) who was 
 made free on June 15th, 1607, and who 
 acted as Renter in 1630. 
 
 lUlilliam Jonce. 
 
 1602 Thomas, Lord Cromiccll (2), p. 105. 
 
 There were two contemporary stationers 
 named William Jones. One, a printer and 
 always so distinguished in the Registers, 
 was enfranchised on July 5th, 1596, and 
 farmed Blower's business from the latter's 
 widow. The publisher was the son of a 
 Northamptonshire yeoman, and was ap- 
 prenticed to John Judson for nine years 
 from Michaelmas, 157S, becoming free on 
 October 19th, 1587. 
 
EVENINGS WITH SIIAKSPERE. 
 
 :83 
 
 PRINTERS. 
 "Cbomas ipurfOOt (Continued). 
 "betaken himself to another vocation," 
 and had been " disorderly and obstinate." 
 On September 3rd, 1604, he was fined a 
 crown, half of which he paid the following 
 April. Then, as will be seen abo\-e, he 
 seems to have mended his ways. In 
 1615 he was authorised to work two 
 presses. In 1617 he was one of the 
 three " appointed to goe to my lord 
 Mayours feast." He was Renter in 
 1620, Junior Warden in 1629, and Senior 
 Warden in 1634. ^^ 1^35 ^^ "^^'^^ °"^ 
 of the Referees "for Considering the 
 Complaintes of the Jorneymen Printers," 
 and in 1637 he was one of the twenty 
 whom the Star-Chamber allowed to be 
 Master-Printers. 
 
 Purfoot printed his two Shakspere 
 plays for Lawe. Thomas Purfoot, either 
 father or son, printed Marston's Dutch 
 Courtezan for John Hodgets in 1605, and 
 his Parasitaster for William Cotton in 
 1605, and the Pericles novel for Butter 
 in 1608. 
 
 The father in 1567 was printing "in 
 Paules Churcheyarde, at the Signe of 
 the Lucrece." In 1580 his press was 
 "in Newgate Market, within the new 
 Rents, at the Signe of the Lucrece." In 
 1581 he had a shop, where he was selling 
 books, " without Newgate, ouer against 
 Saint Sepulchers Church;" but went 
 on printing till 1591 at least in Newgate 
 Market, and in 1598 his press is described 
 as being "in St. Nicholas Shambles 
 within the newe Rents." 
 
 PUBLISHERS. 
 Xailliam Jones (Continued). 
 
 There is a record of three apprentices 
 being entered to him from 1590 to 1600. 
 
 Many books were entered to him from 
 1590 to 1618, when he died. His widow 
 then transferred Mucedorns and another 
 book to John Wright. In 1590 one was 
 licensed "provided alwaies that if it 
 laufully belonge to any other man. Then 
 this entrance to be void." Of one in 
 1597 it is said : " This entrance is condy- 
 cionall that no other man haue Right to 
 the seid booke." 
 
 In 1594 he was fined sixteen pence, 
 probably for some such offence as Mil- 
 lington's connected with a psalm-book. 
 He paid £2 as his fee when elected to 
 the Livery in 1604, and in the following 
 year he was one of the three " appointed 
 to goo to my Lord Maiours feaste." 
 
 Jones published Marlowe's Edward II. 
 in 1594 and 1598 (see p. 77), and in 1594 
 a book by Nash which Danter printed, 
 Lyly's Woman in the Moon in 1597, Chap- 
 man's B//«i Beggar of Alexandria in 1598 
 (entered to him in that year " vppon Con- 
 dicon thatt y t belonge to noe other man ") , 
 and Mucedorns in 1598, 1610, 161 3, and 
 161 5, the last of which was printed by 
 Okes. 
 
 All the time that William Jones was in 
 business as a publisher he was " dwelling 
 at the Signe of the Gun, neere Holburne 
 Conduict." 
 
 Z7 
 
284 
 
 EVENINGS WITH SHAKSPEKE. 
 
 PRINTERS. 
 
 lumiam JagcjaiC). 
 
 1599 The Passionate Pilgrim, p. 120. 
 1612 The Passionate Pilgrim. 
 
 William Jaggard, described at the time 
 of his apprenticeship and for some time 
 after as J agger, was the son of a barber- 
 surgeon of London. He was apprenticed 
 to Henry Denham for eight years from 
 Michaelmas, 1584, and was made free on 
 December 6th, 1591. His brother John, 
 apprenticed in the same year to Richard 
 Tottell, obtaining his freedom in 1593, 
 became a publisher and, after having 
 been elected into the Livery in 1602, 
 was Junior Warden in 1619. 
 
 William received a few apprentices 
 from 1595 to 1604, one of them being 
 Thomas Cotes, the printer of the Second 
 Folio. 
 
 From 1595 to 1622 William Jaggard 
 had licenses for a large number of pub- 
 lications. In 1608 he availed himself of 
 the "sixpence in the £" arrangement. 
 In the same year, when Heywood's 
 Britain's Troy (see p. 120) was entered 
 to him, the following note was added : 
 "Provided that yf any question or 
 trouble growe hereof . Then he shall 
 answere and discharge yt at his owne 
 Losse and costes." 
 
 On October 23rd, 1600, he and Blower 
 were fined " for printinge without licence 
 and contrary to order, a little booke of 
 Sir Anthony SiiERLLEifs voiage And also 
 that they shall presently accordinge to 
 thordynance in yat behalf, forfayt and 
 bringe into the hall all the said bookcs 
 so printed. And their Imprysonment for 
 this offence is Referred ouer to another 
 tyme" (see p. 252). Jaggard paid his 
 
 PUBLISHERS. 
 
 SnDrew lUisc. 
 
 1597 Richard II. (i), p. 81. 
 
 1597 Richard III. (i), p. 87. 
 
 1598 Richard II. (8). 
 1598 Richard III. (8). 
 
 1598 I Henry IV. (i), p. 107. 
 
 1599 I Henry IV. (7). 
 
 1600 Much Ado about Nothing (with Asp- 
 
 ley) (8), p. 103. 
 1600 2 Henry IV. (with Aspley) (S), p. iii- 
 1602 Richard III. (8). 
 
 Andrew Wise, a Yorkshire yeoman's 
 son, described at the time of his enrol- 
 ment as Wythes, was apprenticed to 
 Henry Smith for eight years from Lady 
 Day, 1580, and re-apprenticed twelve 
 months after for the same period to 
 Thomas Bradshaw, by whom he was 
 made free on May 26th, 15S9. 
 
 From 1591 to 1598 three apprentices 
 entered under him. 
 
 His name appears in connection with 
 a few books only from 1596 to 1601, In 
 1595 a fine of forty shillings, which was 
 reduced to five shillings, was inflicted 
 upon him about a sermon which was 
 licensed to him in the following year. 
 The preacher of the sermon said, in the 
 dedication of the authorised edition, " as 
 much diuersitie as there is betweene 
 yuorie and woode : so much there is 
 betweene that Sermon which was first 
 once preached, and that which was after- 
 ward twise printed." 
 
 Wise was fined with Ling and others 
 in iGoi (see p. 275), and after being fined 
 four shillings about Dasilicon Doron (see 
 p. 271) his apparently small stock-in-trade 
 was transferred to Lawe (see p. 81). 
 
 Wise employed Simmes to print his 
 
EVENINGS WITH SHAKSPERE. 
 
 285 
 
 PRINTERS. 
 "CUilUam Sagijarb (Continued). 
 share on the 7th of the following Sep- 
 tember. From 1600 to 1623 he was 
 Printer to the City of London. Having 
 bought Roberts's business, he received 
 nine of his copyrights in 1615, and was 
 in that year officially allowed to work 
 two presses. The 1623 Folio, printed by 
 his son Isaac, who succeeded to his busi- 
 ness, was issued partly at his charges. 
 
 The 1599 Passionate Pilgrim, published 
 by Leake, does not seem to have been 
 printed by Jaggard's press, but by some- 
 one employed by him. He printed A 
 Woman Killed with Kindness for John 
 Hodgets in 1607, ^^^ ^^ iScg, without 
 publisher's name, Heywood's other book 
 referred to above. William Jaggard 
 probably worked at Roberts's place of 
 business (see p. 269). 
 
 TRalpb JSlower. 
 
 1608 A Yorkshire Tragedy (4), p. 133. 
 
 Ralph Blower, the son of a Shropshire 
 husbandman, was apprenticed to Richard 
 Tottell for seven years from October ist, 
 158-. Tottell, who was "Amerced ac- 
 cording to thordenances for keping this 
 Apprentise two yeres vnpresentid," made 
 him free on November 3rd, 1594. 
 
 From 1595 to 1600 Blower had three 
 apprentices. The first was " discharged 
 from his master to serue out of this Com- 
 pany." The second died in 1600, when 
 another was allowed in his place. 
 
 Blower entered a great many books 
 from 1595 to 1614. In 1602 he was 
 licensed " to printe, all billes and pet icons 
 that are hereafter to be printed for the poore 
 prisoners of the Gatehouse at Westminster, 
 
 PUBLISHERS. 
 Hn^l•C\V tCliSC (Continued). 
 two Quartos of Richard II. and his 1597 
 Richard III., Short for the 1598 and 
 Stafford for the 1599 i Henry IV., and 
 Creede for the 1598 and 1602 Richard III. 
 Simmes printed Much Ado and z Henry 
 IV. for Wise and Aspley. In 1594 Wise 
 issued a book by Nash. 
 
 Wise, during the whole time he was in 
 business, had " his shop in Paules church 
 yard at the signe of the Angel." 
 
 c:boma5 /iRillington. 
 
 1594 The Contention (i), p. 65. 
 
 1595 The True Tragedy (i), p. 69. 
 1600 The Contention (i). 
 
 1600 The True Tragedy (i). 
 
 1600 Henry V. (with Busby) (i), p. 117. 
 
 Thomas Millington, the son of an Ox- 
 fordshire husbandman, was apprenticed 
 to Henry Carre for eight years from St. 
 Bartholomew's Day, 1583, and was made 
 free on November 8th, 1591. 
 
 Of one of his three apprentices be- 
 tween 1594 and 1598, a note was made 
 that he was "gone from his master and 
 neuer to be free." 
 
 Books were entered to Millington from 
 
 1594 to 1603. In the first of those years 
 with Ling he entered The Rich Jew of 
 Malta, and in the same year he received 
 licenses for a book and ballads on the 
 subject of the murder of Beech by Merry, 
 the book possibly being the play written 
 by Day and Haughton (see p. 247) In 
 
 1595 one that had received the authority 
 of one of the wardens was licensed to 
 him " Provided that before the printinge 
 
j86 
 
 EVEMXGS WITH SHAKSPERE. 
 
 PRINTERS. 
 IRalpb JBIOWCV (Continued). 
 Luili^iiie, Newgale, bothe the Countcys in 
 London, The Counter in Southtvark, The 
 Clink, the Marshallsea, The hinges benche 
 and White Lyon, provided that they be 
 lawfull to be printed and apperteine to 
 no other man by former entrance." In 
 1603 he printed on the "sixpence in the 
 £ " system. In 1614 to him and Leonard 
 Snodham a law-book was " Entred (by 
 the license of the Company to print one 
 Impression of 1500 for master Ash pay- 
 ing to the Company at the finishing 
 thereof either xs, or one quartern of 
 bookes)." 
 
 In 1599 Blower was one of those in 
 trouble with Creede (see p. 270), and in 
 1600 he was fined with William Jaggard 
 (see p. 284). In 1615 he was allowed one 
 press by authority. Blower and George 
 Shaw bought Thomas (not Henry, as 
 given in the 1636 succession-list) Scar- 
 let's business, but afterwards bought out 
 Shaw. Blower's wife, who survived him, 
 let the business to William Jones, the 
 printer. 
 
 Blower printed the 1608 Yorkshire 
 'Tragedy for Pavier. He had printed 
 other things for him in 1602 and 1605, 
 and also an edition of Edward Webbe's 
 Trauailes ; but, considering the date of 
 his enfranchisement, obviously not in 
 1590, as commonly thought. Blower 
 had dealings with Pavier in 161 5 about 
 Scoggin's Jests. 
 
 Blower's printing press was doubtless 
 worked at the establishment formerly 
 occupied by Scarlet, which probably was 
 "at the Flower de Luce, ouer against 
 the Castle without Flcctbridge," 
 
 PUBLISHERS. 
 
 Ubomas flOilUngton d'ontinuctl). 
 thereof he get Master Cawoodes hande 
 for further warraunt." In 1603 he had a 
 conjoint license with Burby. 
 
 In 1594 he had to pay four pence as a 
 fine " for a. psalmcbook the counterfet leaf 
 taken out." In 1596 and 1597 he was 
 fined small amounts for offences against 
 the rules of the Company (see p. 155), 
 one of them being a wrong done to 
 Creede. But in 1603, after he had 
 authority for Chettle's England's Mourn- 
 ing Garment, which Simmes printed for 
 him, Lawe appropriated it, and was fined 
 for doing so. It had been entered to 
 Millington in these words : " This book is 
 not to be entred to any but hym, nor to 
 hym neither vnles he bring my Lord 
 graces hand or my Lord of Londons 
 hand, for Aucthoritie." 
 
 Millington's editions of The Contention 
 in 1594 and 1600 were printed respec- 
 tively by Creede and Simmes and those 
 of The True Tragedy in 1595 and 1600 
 respectively by Short and William White. 
 Creede printed for Millington the 1600 
 Henry V. and also Middleton's pageant 
 of the entry of the King in 1603. 
 
 Millington had "his shop vnder saint 
 Peters Church in Cornhil." 
 
 Cutbbcit Ji3iuln\ 
 
 1594 The Taming of a Shretc (i), p. 97. 
 1596 Edward in. (i), p. 93. 
 1596 The Taming of a Shrew (i). 
 
 1598 Love's Labour's Lost (6), p. 79. 
 
 1599 Romeo and Juliet (i), p. 91. 
 1599 Edward in. (i). 
 
 Cuthbert Burby, the son of a Bedford- 
 
EVENINGS WITH SHAKSPERE. 
 
 287 
 
 muuam Stansbg. 
 
 N.D. Hamlet (8), p. 135. 
 
 William Stansby, the son of an Exeter 
 cutler, was apprenticed from Christ- 
 mas, 1590, for seven years to John 
 Windet, by whom he was made free on 
 January 7th, 1597. 
 
 The dates of his licenses extend from 
 161 1 onwards. The first entry to him 
 postponed printing for further authority, 
 and a few months later the book was 
 entered to him and Eld. In the same 
 year he received the copyrights of a 
 large number of books that had belonged 
 to his master. An entry of three books 
 reads thus: "and are ordered and ap- 
 poynted alwayes hereafter to bee printed 
 to the vse of the common stocke of the 
 parteners in the Privileges &c. And it 
 is granted that william Stanesby shall 
 alwayes have the workmanshippe of the 
 printinge thereof to that vse from tyme 
 to tyme when the same shall be ordered 
 and appoynted by the master and war- 
 dens to be printed." In 1626 the largest 
 assignment of books up to that time 
 recorded in the Registers was made to 
 him by Snodham's widow. 
 
 Stansby in 1615 received permission 
 to work two presses. He was one of the 
 three " to goe to my lord Mayors feast " 
 in 1628. He was dead in 1639. His 
 widow then transferred his copies to 
 Richard Bishop. 
 
 If the Hamlet which Stansby printed 
 for Smythick is of the date 1607, it was 
 the earliest known work on which he 
 was engaged. From 1608 to 1630 he 
 printed several of Greene's and Dray- 
 ton's works for Smythick, who received 
 
 PUBLISHERS. 
 Cutbbcrt iBin-bv (Continued). 
 shire husbandman, was apprenticed to 
 William Wright for eight years from 
 Christmas, 1583. He received his free- 
 dom on January 13th, 1592. 
 
 From 1592 to 1603 several apprentices 
 were entered to him. The first, a trans- 
 fer from Humphrey Lownes, had his 
 " indenture cancelled and this apprentise 
 neuer to be free." The same was also 
 said of the second. In the case of the 
 third it is said "his Indentures were 
 neuer sealed and the said Apprentise is 
 discharged and Dismissed." The fourth 
 shared the same fate as the first two. 
 For not presenting one of them Burby 
 was fined half-a-crown in 1593. Of one 
 in 1598 there is a " Me.mor.\ndum that 
 the said Cuthbert Burbye hath promised 
 never to putt this apprentise to the 
 Stacioners trade nor printinge." For 
 one made free in 1603 the presentment- 
 fee was paid at the time of enfranchise- 
 ment and Burby was fined ten shillings. 
 
 His record of licenses is from 1592 to 
 1602. Concerning some Sermons by 
 Henry Smith (see p. 233), some of which 
 Burby entered in 1595, it was ordered in 
 1599, when Short printed them for him, 
 " that they may sell out this imp'ssion 
 which they haue last printed (whereof 
 they haue about a thousand left vnsold) 
 at xxJ- the booke : And that all Imp'ssions 
 thereof after this, they shall sell at ij shetes 
 a penny and not aboue." In 1597 a 
 book was entered to him " vppon con- 
 dicon that yt be no other mans copie, 
 and that vpon the translatinge thereof . 
 he procure it to be Aucthorised and 
 then Doo shew it at the hall to the 
 mastre and wardens so aucthorised." 
 Patient Grissil (see p. 235), entered to 
 
288 
 
 EVENINGS WITH SIIAKSPERE. 
 
 PRINTERS. 
 tClilUam Stansb^ (Continued). 
 his freedom on the same day as Stansby ; 
 Ilcro and Lcandcr in 1613 for Blunt and 
 Barrett, Ben Jonson's Folio for Richard 
 Meighen, the 1620 Silent Woman for John 
 Browne, in 1622 Bacon's History of King 
 Henry VII. for Matthew Lownes and 
 Barrett, Lyly's Comedies in 1C32 for 
 Blunt, and apparently an edition of 
 Meres's Palladis Tamia in 1634. 
 
 As Stansby became a master- printer 
 in succession to Windet, to whom he 
 had been apprenticed, his work was 
 doubtless carried on at his master's last 
 recorded place of business, " at Pauls 
 wharf, at the signe of the Crosse- 
 keyes. ' ' 
 
 Simon Stafford. 
 
 1599 Edward III. (i), p. 93. 
 
 1599 I Henry IV. {7), p. 107. 
 
 1611 Pericles (8), p. 159. 
 On May 7th, 1599, Simon Stafford 
 was sworn and admitted a freeman 
 of the Stationers' Company, " beinge 
 orderly putt oucr from the Companye 
 of Drapers." 
 
 The Registers contain the record of 
 one apprentice serving his time with 
 Stafford. 
 
 From 1599 to 1G14 he was busy at 
 publications of a miscellaneous character. 
 Twice he took advantage of the " si.\- 
 pence in the £ " arrangement, and in one 
 year two old copies were entered to him. 
 In 1604 a school-book was entered to 
 him, " vppon this condicon that he shall 
 neuer prynt the A. D. C. with yt to the 
 hinderance either of the prymmcr or the 
 spelling . A. B.C. yf he doo contrary here- 
 
 PUBLISHERS. 
 Cutbbcrt aSurbie (Continued). 
 him in 1600, was not published till 1603, 
 and then it did not bear his name in the 
 imprint, but it was issued, if not from 
 his place of business, from a shop ne.\t 
 door. In the same year Every Man in his 
 Humour and Nash's Summer's Last Will 
 and Testament were both entered to him 
 and Walter Burre, but both were issued 
 without his name, although he had an 
 interest in them (see p. 99). 
 
 Iri 1598 Burby was received into the 
 Livery, paying the fee of £2. In i6or 
 he was fined with Ling and others (see 
 p. 275) ; and in 1602, the year in which 
 he was one of the three who " went to 
 my lord Maiours feast," he had to pay 
 twenty shillings for "A fine for print- 
 ings the Englishe scholemasti.r without 
 alowance." 
 
 The editions of A Shreiv which he pub- 
 lished in 1594 and 1596 were printed by 
 Short, the 1596 Edward III. has no prin- 
 ter's name, but for the 1599 edition he 
 employed Stafford, Love's Labour's Lost 
 WES printed by William White and the 
 1599 Romeo and Juliet by Creede. Burby 
 in 1592 issued two of Greene's prose- 
 works, one of which was printed by 
 Thomas Scarlet, who printed Lyly's 
 Mother Bombie for him in 1594 (for his 
 1598 edition he employed Creede), and 
 tke other probably by Danter, to whom 
 it was entered (see p. 27S). In 1593 he 
 published the Wagner-book (see p. C7), 
 which Jeffes printed. In 1594 Danter 
 printed Greene's Orlando Furioso and 
 Wilson's The Cobbler's Prophecy for him. 
 For the 1599 edition of Orlando Furioso 
 he employed Stafford, who printed in the 
 same year Gcorge-a-Greenc for him. In 
 1594 he published a book by Nash which 
 
EVENINGS WITH SHAKSPERE. 
 
 289 
 
 PRINTERS. 
 Simon Stafiorb (Continued). 
 vnto Then this entrance to be void." 
 His connection with the 1605 Leir is 
 mentioned at p. 149. On June 30th, 
 1613, he entered "a ballad called the 
 sodayne Bnrninge of the ' Globe ' on the 
 Bankside in the Play tynie on Sahit Peters 
 day last 1613." The next entry in the 
 Registers is to Edward White of A 
 dole/ill ballad of the generall oiierthrowe of 
 the famous theater on the Banhsyde, called 
 the ' Globe,' cSr. by wili.iam Parrat 
 (see p. 183). 
 
 In 1596 Stafford's name appears over 
 Gabriel Simpson's in an entry in the 
 Registers. For printing books before 
 having the freedom of the Stationers' 
 Company he came into conflict with the 
 Star-Chamber, and about March, 1598, 
 his printing - apparatus was seized. 
 Against this he appealed, and his "goods 
 & stuffe " were re-delivered to him in 
 March, 1599. His admission in the fol- 
 lowing May put an end to the contro- 
 versy, and then he started business " by 
 meanes of the Lady Stafford." In 1614 
 he sold his business to George Purslowe, 
 who in 1615 received official permission 
 to work one press. 
 
 Stafford printed Edward III. for Burby, 
 and I Henry IV. for Wise. He printed 
 George-a-Greene and Orlando Fiirioso for 
 Burby in 1599, Dekker's Old Fortunattts 
 for Apsley, and Summer's Last Will and 
 Testament for Walter Burre in 1600, and 
 the 1605 Leir for John Wright. 
 
 At one time of Stafford's work he was 
 described as " dwelling on Adling Hill." 
 In 1607 he was said to be "dwelling in 
 the Cloth-fayre, neere the Red Lyon." 
 
 PUBLISHERS. 
 
 Cutbbcrt 36urb^ (Continued). 
 Scarlet printed. He employed Adam 
 Islip to print Lodge's Wit's Misery in 
 1596 and Short for Meres's Palladis Tamia 
 in 1598. In 1599 he and Ling published 
 a work by Nash without printer's name. 
 Burby 's first place of business was " at 
 the middle shop in the Poultry, vnder 
 Saint Mildreds Church." From 1594 
 to 1599 he had "his shop at the Royall 
 Exchange." In 1604 he was "in Paul's 
 Church Yard, at the Signe of the 
 Swanne." 
 
 ^Tbomas ^borpc. 
 
 1609 The Soincts, p. 121. 
 
 Thomas Thorpe, frequently described 
 in the Registers as Throp, was the son 
 of a Middlesex " Inholder " (Innkeeper: 
 see Minsheu's Guide into the Tongues, 
 1627). He was apprenticed to Richard 
 Wilkins for nine years from Midsummer, 
 1584, and admitted a freeman on Feb- 
 ruary 4th, 1594. 
 
 His brother Richard was apprenticed 
 to Martin Ensor in 1596, but did not 
 become free. 
 
 Thomas Thorpe's entries in the Regis- 
 ters range from 1G03 to 1618. In the 
 first of those years, with Aspley, he 
 entered a book which had, only a short 
 time before, been entered to another. 
 With Aspley he also entered in 1604-5 
 Marston's Malcontent and Eastward Ho, 
 but his name does not appear in the im- 
 print of either. 
 
 Thorpe employed Eld to print the 
 Sonnets. In 1605 he published Ben 
 Jonson's Sejanus (transferred to him 
 
 38 
 
290 
 
 EVENINGS WITH SHAKSPERE. 
 
 5obn Ibarrfson. 
 
 1600 Lvcrece, p. 119. 
 
 The fondness of the Harrison family 
 for the Christian name of John makes it 
 difficult occasionally to identify the per- 
 son to whom reference is made in the 
 Registers, There were four contempo- 
 rary stationers named John Harrison. 
 The most noted of the name was the 
 publisher of the 1594 Lucrece (see p. 2C7). 
 He had a brother with the same Chris- 
 tian name (Traiiscnpi, U., 32, 716), who 
 was apprenticed to him in 1561, made 
 free in 15C9, who passed into the Livery 
 in 1585, paid £5 in 1599 to avoid acting 
 as Renter, was one of the Court of 
 Assistants in 1603, and Junior Warden 
 in 1612. He was a prominent member 
 of the Company, publishing books at the 
 Golden Anchor in Paternoster Row, 
 and had two sons, Philip and Josias, 
 who were made free respectively in 1603 
 and 1605, 
 
 The printer of the iCoo Lvcrece was a 
 son of the eldest John Harrison, who 
 made him free by patrimony on July 9th, 
 1599. 
 
 Books were entered to him from iCoo 
 to 1603. For one in 1602 he availed 
 himself of the "sixpence in the £" 
 arrangement, showing that, differing 
 from his father and uncle, he was carry- 
 ing on the business of a printer. He 
 was dead before February, 1604. In that 
 month an apprentice entered to him in 
 1601 was on that account transferred to 
 his father, and in the following year was 
 passed on to Humphrey Lownes. His 
 only other apprentice was "discharged 
 by order and neuer to be made free." 
 
 This John Harrison bought Thomas 
 
 PUBLISHERS. 
 
 Uboinas Uborpc (Continued). 
 from Blunt) printed by Eld and Chap- 
 man's All Fools, in 1606 one of Jonson's 
 Masques and Chapman's Gentleman's Usher 
 both printed by Simmes, in 1607 Mar- 
 ston's What you Will printed by Eld and 
 Jonson's Fox, in 1608 Chapman's Byron's 
 Conspiracy printed by Eld (Thorpe's name 
 is also on the 1625 edition which Okes 
 printed), in 1609 another of Jonson's 
 Masques, in 1610 Histrio-Mastix (see p. 
 167), and a book by Nash in 1613. 
 
 Thorpe carried on his business "at the 
 Tygers head in Paules Church-yard," 
 which he probably took from Aspley, 
 where he was probably succeeded by 
 Lawrence Lisle. 
 
 5ol3n Sm^tbicR. 
 
 N.D. Romeo and Juliet (i), p. 91. 
 N.D. Hamlet (8), p. 135. 
 1G09 Romeo and Juliet (i) 
 iGn Hamlet (8). 
 
 John Smy thick, the son of a London 
 draper, was apprenticed for nine years to 
 Thomas Newman from Christmas, 1589, 
 and admitted to the freedom by Mistress 
 Newman on January 7th, 1597. 
 
 Smythick has a record of three appren- 
 tices from 1597 t-O iGoi. Of the first it is 
 said : " gone awaie and neuer to be made 
 free," and, at the time of the enrolment 
 of the last, Smythick was " to bring in 
 Ihindcnture of his former Apprentise to 
 be cancelled." 
 
 Smythick's book-entries e.xtend from 
 1597 to 1G18. In 1C05 one was in con- 
 junction with John Jaggard. In 1C07 he 
 
EVENIXGS WITH SIIAKSPERE. 
 
 291 
 
 PRINTERS. 
 
 5obn •fljavrieon (Continual). 
 Judson's printing-plant on February 4th, 
 1600. As in the earlier part of his career 
 Judson had been in partnership with 
 John Windet, and that then their place 
 of business was " in Adling street, at the 
 signe of the White Beare, neere Bay- 
 nards castle," it is probable that Judson 
 continued there at the expiration of the 
 partnership, when Windet went to the 
 Cross Keys at Paul's Wharf (see p. 2S8), 
 and that Harrison continued to work 
 the press in the same place as Judson. 
 
 It is said that in 1606 his business was 
 in the possession of Lionel and George 
 Snodham ; but there is much confusion 
 about the Christian names of these sta- 
 tioners and about the dates. Lionel, not 
 obviously a relation of the printer of the 
 1616 Lucrece, was apprenticed in 1597 ; 
 but there is no record of his freedom. 
 A John Snodon was made free in 1613. 
 In one place in the Transcyipt he is 
 described as L. Snodham. 
 
 On June 25th, 1600, another John 
 Harrison was made free by the father 
 of Philip and Josias. He passed through 
 the various stages of honour in the Com- 
 pany, becoming Master in 1638. 
 
 There was also a John Harrison ap- 
 prenticed in 1564. 
 
 i6og The Sonnets, p. 121. 
 
 1609 Troilus and Cressida (two), (8), p. 167. 
 
 George Eld, the son of a Derbyshire 
 carpenter, was apprenticed for eight 
 years from Christmas, 1592, to Robert 
 Bolton, by whom he was made free on 
 January 13th, 1600. 
 
 PUBLISHERS. 
 30(311 Sinv;tbiCf! (Continued). 
 received several books which had be- 
 longed to Ling (sec p. 79). 
 
 In 1601 Smythick was fined with Ling 
 and others (see p. 275), and with Ling 
 and one other in 1603 (see p. 275), not 
 paying till April, 1605, In 1614 and 
 again in 1628 he was one of those who 
 represented the Company at the Lord 
 Mayor's dinner. In 1625 he was Renter, 
 in 1631 Junior Warden, in 1635 Senior 
 Warden and one of the Court of Assist- 
 ants, and Master in 1639. 
 
 Of Smythick's four Shakspere quartos, 
 the undated Hamlet printed by Stansby 
 is the only one which bears a printer's 
 name. From 1608 to 1637 Smythick 
 published books by Drayton, and from 
 161 1 to 1630 books by Greene, employing 
 Stansby to print several of them. From 
 1609 to 1634 he issued at least four edi- 
 tions of Lodge's Rosalynde, and in 1635 
 Okes printed for him Ben Jonson's Cati- 
 line and Beaumont and Fletcher's Knight 
 of the Burning Pestle. 
 
 In 1599 Smythick sold his books "at 
 his shop in Fleetstreete, neare the Temple 
 Gate," or, as it is described in 1600, 
 " within Temple Barre," but afterwards 
 had ' ' his shop in Saint Dunstanes Church- 
 yard, in Fleetestreete vnder the Dyall," 
 which probably had been Ling's place of 
 business. 
 
 Smythick was one of the four at whose 
 charges the first Folio was printed. 
 
 38 
 
2^2 
 
 EVEXINGS WITH SHAKSPEKE. 
 
 PRINTERS. 
 
 ©corge Elb (CouHnued). 
 
 He received two apprentices in 1604, 
 for keeping one of whom " vnpresented 
 contrary to order" he was fined one 
 shilHng, 
 
 From 1605 to 1623 many books were 
 entered to him. In 161 1 he entered a 
 pubhcation with Stansby, and in 1615 
 one with WilHam White. From 1617 
 he was in partnership with Miles Fletcher. 
 The first book entered to them conjointly 
 had been assigned to them by its previous 
 owner " by a bill of sale vnder his hand 
 and seale." Fletcher, upon Eld's death, 
 having paid "a valuable consideracon " 
 "for the other moitie" of the business, 
 was, after petition to the Archbishop of 
 Canterbury, appointed "a master printer 
 in the roome or place of the said George 
 Eld," who died in 1624. On November 
 13th, 1G64, it is recorded in The Obituary 
 of Richard Smyth that " Mr. Miles Flesher, 
 printer, died this morning, being well at 
 7 of ye clock ; buried at Butolph's, Alders- 
 gate, Novem. 17." 
 
 Eld seems also at one time to have had 
 the business which had been held by 
 William White in partnership with 
 Gabriel Simpson (see p. 272), whose 
 widow, having had a stationer also for 
 her second husband, took Eld for her 
 third. In 1615 Eld was allowed to have 
 two presses at work. 
 
 The Sonnets were printed for Thorp, 
 and Troilus and Cnssida for Bonian and 
 Walley. Eld printed Daniel's IViilotas 
 for Simon Waterson and Ben Jonson's 
 Sejanus for Thorp in 1O05, the 1C06 Return 
 from Parnassus for John Wright, for whom 
 he printed Marlowe's Faustus in 1609 and 
 161 1, in 1G07 Marston's What You Will 
 for Thorp, the Northward IIo of Dckkcr 
 
 PUBLISHERS. 
 
 •Uailiam Hsplcg. 
 
 1600 Much Ado about Nothing (with Wise), 
 
 (8), p. 103. 
 1600 2 Henry IV. (with Wise), (8), p. in. 
 
 William Aspley, the son of a Cumber- 
 land clerk, was apprenticed to George 
 Bishop for nine years from February 5th, 
 1588, and admitted a freeman on April 
 nth, 1597. 
 
 There is no record in the Registers of 
 any of his apprentices, but it is known 
 from The Obituary of Richard Smyth that 
 one who was entered under him did not 
 become a stationer, for in August, 1663, 
 " Sim. Burton, an oyleman wth out Al- 
 gate, sometime prentice to Mr. Aspley, 
 bookseller, died." 
 
 Between 1598 and 1616 there are many 
 book-entries to Aspley. The first of them 
 was a comedy, and was followed by many 
 other plays. Of a book entered to him 
 in 1599 it is said: "provided that yf it 
 Conteine any thinge offensive to thEstate 
 of England Then this entrance to be void." 
 Several of his entries were with other 
 publishers, among them, besides Wise 
 being Thorp, Blunt, Barrett, and Butter- 
 In 1610 Aspley became owner of a twelfth 
 part of Camden's Britannia. 
 
 In 1626 Aspley was Renter and one of 
 the Court of Assistants in 1630. In 1632 
 and 1633 he was Junior Warden, in 1635 
 one of the Court of Assistants, in 1637 
 Senior Warden, and Master in 1640, in 
 August of which year " Wm. Asply, 
 bookseller, died." 
 
 The 1600 editions of Much Ado and 
 2 IIcn)y IV. were prmted by Simmes, 
 who also in 1599 printed for Aspley A 
 
EVENINGS WITH SIIAKSPERE. 
 
 293 
 
 PRINTFRS. 
 Oeorgc TBlt (Continued). 
 and Webster, Tourneur's Reocn^ci^'s Tra- 
 gedy and Tlie Puritan (entered in 1607 as 
 The Puritan Widow— see p. 229), Chap- 
 man's Byron's Conspiracy for Thorp, and 
 Middleton's Trick to Catch the Old One for 
 Henry Rockett in 1608 and the latter 
 again in 1616 for Thomas Langley, one 
 of Chapman's Masques in 1613 for George 
 Norton, in 1617 an edition of Lyly's 
 Euphues for Barrett and Johnson, and 
 for the latter The Merry Devil of Edmonton 
 in 1617, and Field's Amends for Ladies for 
 Matthew Walbanke in 1618. 
 
 Eld's house was " in Fleete-lane at the 
 signe of the Printers-Presse." In 1621 
 he was said to be " dwelling in Little- 
 Britaine." 
 
 Cbomas SnoObam. 
 
 1613 Thomas, Lord Cromiccll (2), p. 105. 
 
 1616 Lucrccc, p. iig. 
 Thomas Snodham, whose name ap- 
 pears in the Registers also as Snoden, 
 Snodam, and Susden, was the son of a 
 London draper, and was apprenticed to 
 Thomas East for nine years from Mid- 
 summer, 1595, and by him made free on 
 June 2Sth, 1602. 
 
 Scarcely anything was entered to him 
 before 1609, when an assignment was 
 made to him of sevei'al high-class books, 
 the copyrights of which had belonged to 
 his master, who was then dead, and who 
 had bequeathed the business to Snod- 
 ham. In i6ii several of East's music- 
 books were passed over to Snodham and 
 two others. A large transfer of copies 
 that had been Welby's was made to him 
 in 1618 (see p. 93), in which year " halfe 
 a Booke " was assigned to him. His last 
 
 PUBLISHERS. 
 
 •Cinilliam HsplCg (Continued). 
 Warning for Fair Women, which Richard 
 Simpson included in his School of Shah- 
 spcrc as it was a play acted by the Lord 
 Chamberlain's servants. In 1600 Aspley 
 published Dekker'sOW Fortunatus^rmieA 
 by Stafford, in 1604 two editions of Mar- 
 ston's Malcontent printed by Simmes, in 
 1605 Eastward Ho, and in 1607 Chapman's 
 Bussy d'Ambois. Aspley 's name appears 
 on some of the 1609 copies of the Sonnets. 
 Aspley, who had " his shop in Paules 
 Church-yard, at the signe of the Tygers 
 head," which Thorp probably took when 
 Aspley moved to the sign of the Parrot, 
 was one of the four who bore the expense 
 of printing the First Folio. 
 
 5obii ^TvimOell. 
 
 1603 Hamlet (with Ling), (8), p. 135. 
 
 John Trundell, the son of a Hertford- 
 shire yeoman, was apprenticed to Ralph 
 Hancock for eight years from Midsum- 
 mer, 15S9, and was made free by him on 
 October 29th, 1597. 
 
 There were several entries of books to 
 him from 1603 onwards, several of which 
 were in conjunction with other stationers, 
 including Busby, Butter, and Gosson. 
 In 1605 he entered the book about 
 Gamaliel Ratsey, which contains (see 
 Halliwell-Phillipps's Outlines, Vol. I., pp. 
 299, 300) an unmistakeable reference to 
 Shakspere, mentioning Hamlet, with the 
 publication of which Trundell had been 
 connected two years before. Another 
 book in the same year was entered to 
 him "yf he gett sufficient Aucthoritie . . . 
 And shewe his aucthority to the wardens 
 
294 
 
 £r£A7.VGS WITH SHAKSPERE. 
 
 PRINTERS. 
 
 "Cbomas Sno6bam (Continucil). 
 entry was in 1623, and soon after that 
 time he died ; for in 1626 his widow 
 transferred a large number of copies to 
 Stansby (see p. 287). 
 
 A torn page of the Registers shows 
 that in 1605 Snodham was one of the 
 "suters to be in master wryghtes priui- 
 ledg." In 1615 he was allowed to have 
 two presses. In 1618, and again in 1622, 
 he was one of the three who represented 
 the Company at the Lord Mayor's feast. 
 A late record, which is a deficient author- 
 ity at least in the matter of dates, says 
 his business passed to George Wood and 
 William Lee. 
 
 The 1613 Thomas, Lord Cromwell Snod- 
 ham probably printed for John Browne, 
 to whom it was assigned in 161 1. The 
 1616 Lucrece was printed for Jackson. 
 In 1612 Snodham printed Ben Jonson's 
 Alchemist for Walter Burre, and for John 
 Budge a poem by Chapman, whose 
 Revenge of Bussy d'Ambois he printed for 
 Helme in 1613, and in the same year 
 Marston's Insatiate Countess for Thomas 
 Archer, in 161 5 Speed's Description of 
 England and Wales for John Sudbury 
 and George Humble, and one of Mun- 
 day's pageants in 1623. 
 
 Thomas Snodham probably printed 
 "in Aldersgate streete, over against the 
 signe of the George," which was East's 
 latest place of business. 
 
 IKlicbolas ©hcs. 
 
 1607 Lucrece, p. 119. 
 
 1622 Othello (8), p. 143. 
 Nicholas Okes was the son of a London 
 horner." (Cotgrave gives " Corneur : A 
 
 PUBLISHERS. 
 5obn 'Cvun^C^ (Continued). 
 Then yt is to be entred for his copy Or 
 yf any other bringe the Aucthority. yet 
 it is to be the said John Trundelles copy ; " 
 and of another it was said that it was 
 "to be staid for John Trundel till he 
 bringe further aucthority for yt ; " and 
 in after years there were somewhat 
 similar deferred orders. In 1614 one 
 was licensed to him "with this Caution 
 that if any exceptions be taken he shall 
 stand to the perrill thereof himself." In 
 1623 he assigned some books to John 
 Wright. 
 
 But few of Trundell's published works 
 are extant. He issued without date No- 
 body and So7nebody, v^hich had been entered 
 to him in 1606, and which is given by 
 Simpson in The School of Shakspere. In 
 1614 he published Cooke's City Gallant, 
 which is reprinted in Hazlitt's Dodsley, 
 and in 1617 A Fair Quarrel by Middleton 
 and William Rowley. Westward for Smelts, 
 which he issued in 1620, has been often 
 thought to have supplied Shakspere with 
 part of the story of Cymbeline. But as it 
 was licensed to Trundell in the year he 
 published it, and no earlier edition is 
 known, it should be removed from the 
 fanciful list of sources to which it has 
 been imagined Shakspere was indebted. 
 
 Trundell carried on business "at his 
 shop in Barbican, at the signe of No- 
 body." 
 
 IRofler Jachson. 
 
 1G16 Lucrece, p. 119. 
 Roger Jackson, the son of a Yorkshire 
 yeoman, was apprenticed for eight years 
 from Midsummer, 1591, to Ralph New- 
 
EVENINGS WITH SHAKSPERE. 
 
 295 
 
 PRINTERS. 
 Wcbolas OftCS (Continued). 
 Horner; a winder of a Home" ; but here 
 it most probably signifies "one that 
 works in horn, and sells horn," or, as in 
 the Promptorium Parvulorum, a "home 
 maker.") He was apprenticed to Wil- 
 liam King for eight years from Lady 
 Day, 1596; but on December 5th, 1603, 
 was admitted to his freedom by Field. 
 
 From 1C07 onwards many books were 
 entered to him. His first venture was 
 printing "an old copye" on the "six- 
 pence in the £" arrangement. A book 
 entered to him in 161 2 was soon after 
 "put out by order of A court," and 
 then entered to Waterson. 
 
 There is a record that Okes was ad- 
 mitted a Master-Printer on April 19th, 
 1606. Most likely this meant that he 
 was allowed to take the place of John 
 Harrison (seepp. 290, 292). At the grant- 
 ing of presses to the Master-Printers in 
 1615, Okes received permission to have 
 one. After having succeeded to the busi- 
 ness which Lionel and George Snodham 
 had taken from John Harrison (see p. 291), 
 he took John Norton as a partner, who 
 is said to have paid him £70 for the 
 share of the business then acquired. 
 
 The printing of the 1607 Lucrece by 
 Okes for John Harrison is accounted for 
 by the fact that he was in possession of 
 the business formerly held by Harrison's 
 son, who had printed the previous edi- 
 tion. The 1622 Othello was printed for 
 Thomas Walkley. Okes printed one of 
 Ben Jonson's Masques in 1609 for Bonian 
 and Walley, works by Webster in 1612 for 
 William Welby and in 161 3 for Thomas 
 Archer and in 1623 (see p. 165) for John 
 Waterson, in 1612 liey\Noo<\'s Apology for 
 Actors, at the end of which is a letter from 
 
 PUBLISHERS. 
 
 tRoilCV 3acl!90n (Continued). 
 
 berry, who made him free on August 20th, 
 
 1599- 
 
 Richard Gosson, brother of the pub- 
 lisher of the 1609 Pericles, was appren- 
 ticed to him in 1604. 
 
 Beginning in 1603, he entered many 
 books, amongst which were several 
 sermons. 
 
 Jackson employed Snodham to print 
 Lucrece in 1616. In 1602, with John 
 North, who had been a fellow-appren- 
 tice, he published a prose-work about 
 Greene, 
 
 Jackson's shop was " neere the Con- 
 duit in Fleet-street." 
 
 ^bomae jfisbcr. 
 
 1600 A M idsummer-N ight' s Dream (8), p. 85. 
 Thomas Fisher was one of twelve who, 
 paying three shillings and fourpence each, 
 were on June 3rd, 1600, " Sworne and 
 admitted ffreemen of this Companye by 
 Translation hither ffrom the Companye 
 of the Drapers, by Consent of bothe 
 Companies, Accordinge to the Consti- 
 tutions of the Citie." 
 
 In 1602 an enrolment of an appren- 
 tice to him is supplemented by this note : 
 " Thapprentise gone away. And thin- 
 dentures neuer sealid and a newe Ap- 
 prentise alowid in stede of him." Of 
 the successor it is said: "The sealing 
 of these Indentures to be stayed for a 
 tyme." 
 
 Fisher was fined with Ling and others 
 in 1601 (see p. 275). 
 
 Marston's /4«/oh/o and Mellida was pub- 
 lished by Fisher in conjunction with 
 
296 
 
 EVEXLXGS WITH SIIAKSPERE. 
 
 PRINTERS. 
 
 "Wicbolas Oftcs (Continued). 
 the author to him (see p. 120), in 1C15 an 
 edition of Muccdorus for Wiliam Jones, 
 an edition of Greene's Groatswoith of Wit 
 for Henry Bell in 1621, in 1623 Daniel's 
 Cleopatra and his complete works both 
 for Simon Waterson, The Duchess of Malfi 
 in 1623 for John Waterson, Chapman's 
 Byron's Conspiracy in 1625 for Thorp, for 
 Smythick in 1655 Jonson's Catiline and 
 The Knight of the Burning Pestle by Beau- 
 mont and Fletcher, and in 1637 Hero and 
 Leander for Leake's son. 
 
 Okes probably worked his press at iirst 
 at Harrison's place (see p. 291). 
 
 Okes had a son John, who was made 
 free on January 14th, 1627. In 1636 
 they were together "dwelling in Little 
 St. Bartholomewes." 
 
 Bugustine /Iftattbcws. 
 
 1622 The Troublesome Raigne (7), p. 95. 
 
 Augustine Matthews was admitted to 
 the Freedom of the Company on May 9th, 
 1615. 
 
 At first he was not the actual possessor 
 of printing-plant, as in one place it is 
 said that he " farmed his printing house 
 of John White," the son of William 
 White (see p. 273), and in another place 
 that he had his business "by composicon 
 from White." 
 
 Beginning about 1619, he printed a 
 great many books. One was entered to 
 him in 1622, "provided it Doth not 
 preiudice any other mans Copie." 
 
 In 1637, in 3- "ote about authorised 
 printers, occurs this: " Augustine : Ma- 
 thewes . he was taken reprinting of ye 
 holy table. Marraaduke Parsons hath 
 
 PUBLISHERS. 
 
 "Cbomas jFisbcr (Continued). 
 
 Matthew Lownes in 1602. Antonio's 
 
 Revenge in the same year bears Fisher's 
 
 name only in the imprint. 
 
 Fisher had his " shoppe at the Signe 
 of the White Hart, in Fleetestreete." 
 The Marston plays, with Fisher's device, 
 were sold at Lownes's place of business. 
 
 /Iftattbew Xavve. 
 
 1604 I Henry IV. (7), p. 107. 
 
 1605 Richard III. (8), p. 87. 
 1608 Richard II. (two), (8), p. Si. 
 1608 I Henry IV. (7). 
 
 1612 Richard III. (8). 
 
 1613 I Henry IV. (7). 
 1615 Richard II. (8). 
 1622 Richard III. (8). 
 1622 I Henry IV. (7). 
 
 Matthew Lawe was admitted with 
 Fisher and others from the Drapers' 
 Company on June 3rd, 1600 (see p. 295). 
 
 The Registers contain the record of 
 one apprentice he had in 1603. 
 
 From 1600 there are entries of many 
 publications to him ; but very few be- 
 tween 1606 and 1614, and between 1616 
 and 1623. A large number of his publi- 
 cations consisted of sermons. 
 
 In 1601 and 1603 he was joined with 
 Ling and others in fines (see p. 275) ; 
 and in the latter year it was " ordered 
 that he shall presently pay xxs for a fine 
 for printinge contrary to order A book 
 called Englandcs mowrning garment beinge 
 Thomas Millingtons copie. And that he 
 shall bring into the hall as forfayted by 
 thordonnance all such numbers of the 
 said bookes as now remayne in his 
 handcs vnsold which he say are 100. 
 
EVENINGS WITH SHAKSPERE. 
 
 297 
 
 PRINTERS. 
 
 Bugustinc /Ifiattbcws (Continued). 
 long had his presse and priuledg made 
 over to him and is most fitt to be in his 
 Roome ; " and about this time " pauper " 
 appears after his name in the Registers. 
 
 Matthews printed the 1622 Troublesome 
 Raigne for Dewe, for whom in the same 
 year he printed A Fair Quarrel by Mid- 
 dleton and WiUiam Rowley, in 1623 
 John Grismand employed him for Web- 
 ster's Devil's Laiv - case, for Richard 
 Hawkins he printed Philaster and A King 
 and No King by Beaumont and Fletcher 
 in 1628 and 1630 and Hero and Leander 
 in 1629, George Wilkins's Miseries of 
 Enforced Marriage in 1629 for Richard 
 Thrale, Massinger's Renegado for John 
 Waterson in 1630, in 1631 a work by 
 Drayton for William Lee and A IVotnan 
 will have her Will (see p. 247) for Thrale, 
 and in 1635 works by Beaumont and 
 Fletcher without publishers' names. 
 
 PUBLISHERS. 
 ^attbCW Xawc (Continued). 
 he brought in . 3 quarterns or there- 
 aboutes. and vs of the fine is gyven back 
 to him." And he was also fined with 
 Wise, from whom he then received a 
 transfer of copyrights (see p. 81). In 
 1604 he was fined two shillings " for 
 opening his shop on a holy Day con- 
 trary to order, and for nonne apperance 
 on the quarter Day," and in the next 
 year he was fined half-a-crown for dis- 
 obedience. In 1610 he was one of the 
 three who "went to my Lord Maiours 
 dynner." In 1617 he acted as Renter. 
 
 Lawe seems to have almost entirely 
 confined his dramatic publications to 
 the Shakspere-quartos. More of his are 
 in existence than any other bookseller's. 
 
 Lawe throughout his business-career 
 had " his shop in Paules Church-yard, 
 neare vnto S. Augustines gate, at the 
 signe of the Foxe." 
 
 PUBLISHERS. 
 
 ^bomas ipavicr. 
 
 1602 Henry V. (i), p. 117. 
 
 1608 Henry V. (i). 
 
 1608 A Yorkshire Tragedy (4), p. 133. 
 
 1619 The Whole Contention (8), p. 65. 
 
 1619 A Yorkshire Tragedy (7). 
 
 1619 Pericles (7), p. 159. 
 
 Thomas Pavier came over from the 
 Drapers' to the Stationers' Company on 
 June 3rd, 1600 (see p. 295). 
 
 He at once got into a publishing busi- 
 ness, and for the next twenty years at 
 least had licenses for many publications, 
 of which several, perhaps most, were 
 
 ballads. Two months after he received 
 his freedom a dozen copies were entered 
 to him at once (see p. 117). In 1602 he 
 had an assignment from Millington (see 
 p. 59). In 1605 he entered a ballad about 
 Ratsey (see p. 293), and in the same year 
 obtained some copies through a bill of 
 sale. In 1620 with John Wright he had 
 a large assignment from Edward White 
 (see p. 67), the son of the publisher of 
 Titus Andronicus. 
 
 In i6oi Pavier was fined with Ling and 
 others (see p. 275), and in 1602 a fine of 
 thirteen shillings and fourpence, reduced 
 
 39 
 
EVENINGS WITH SHAKSPERE. 
 
 PUBLISHERS. 
 "Cbomas pavier (Continued). 
 
 to six shillings and eightpence, was im- 
 posed upon him "for causinge Edward 
 aldee to print " a book contrary to order, 
 and in the following year he offended 
 about the second edition of Basilicon 
 Doron (see p. 271). In 1604, the year in 
 which he was received into the Livery 
 with a fee of £2, he was, probably for 
 declining to take an office, fined forty 
 shillings, ten of which were remitted. 
 In 1605 Pavier's name occurs with 
 Snodham's in a torn entry (see p. 294). 
 In 1619 he was one of the Court of 
 Assistants, and in 1622 Junior Warden. 
 
 Pavier employed Creede to print the 
 1602 Henry V., Blower to print the 1608 
 Yorkshire Tragedy. In the case of the 
 others no printer's name is given. At 
 
 artbur 
 
 1602 The Merry Wives of Windsor (8), 
 p. 113. 
 
 1619 The Merry Wives of Windsor (7). 
 
 On May 3rd, 1594, the Court of Assist- 
 ants passed the following resolution : 
 " WHEREAS Arthur Johnson son of 
 Thomas Johnson of parkhall in the 
 county of Derby husbandman hath 
 serued ij yeres with William yong 
 Draper Vsinge the trade of bookselling 
 and thereby should in tyme be free of 
 the Company of drapers yf Remedy to 
 the contrary should not be Provided, 
 and is put ouer to Robert Dexter a freman 
 of this Company, yt is therfore thought 
 mete and ordered by a Court holden this 
 Day that to thcnd he may be free of this 
 Company, the said Robert Dexter shall 
 Receaue hym to be his apprentise for vij 
 yeres from mydsomer next." Johnson 
 was made free by Dexter on July 3rd, 1601. 
 
 p. 133 I have given T. P. as the printer 
 of the 1619 Yorkshire Tragedy ; he was 
 the publisher. In 1600 Pavier published 
 Sir John Oldcasile printed by Simmes, in 
 1602 Lodge and Greene's Looking Glass 
 which Creede printed and Kyd's Spanish 
 Tragedy which was printed by William 
 White, in 1605 the same author's (see 
 p. 245) Jeronimo, and in 1610 Thomas 
 Heywood's // you Know not Me, You 
 Know Nobody, the copyright of which 
 was Butter's. 
 
 Pavier carried on business " at his shop 
 in Cornhill, at the signe of the Cat and 
 Parrets neare the Exchange," otherwise 
 described as "at the entring into the 
 Exchange." It was in Cornhill "ouer 
 against Popes head alley." 
 
 Jobnson. 
 
 There is a notice of one apprentice he 
 received in 1602. 
 
 His first entry in the Registers is in 
 connection with The Merry Wives of 
 Windsor (see p. 113). From that date 
 to 1621 he was very busy. In 1606 one 
 of his copies had the frequent deferred 
 order attached to it, and in that year 
 with Busby he received a transfer from 
 Trundell. In 1614 he had from Samuel 
 Macham a large assignment of Dr. 
 Hall's books, which in the following year 
 were transferred to Henry Fetherstone. 
 
 The 1602 Merry Wives was printed by 
 Creede. The 1619 edition has no printer's 
 name. Smythick's device is on the title- 
 page, but Smythick was not a printer. 
 In 1607 Johnson published Middleton's 
 Phoenix printed by Edward Aldee, and in 
 1608, 1612, and 1G17 editions of The Merry 
 Devil of Edmonton (seep. 237), which were 
 
EVENINGS WITH SIIAKSPERE. 
 
 299 
 
 PUBLISHERS. 
 
 Hrtbuv 3obnson (Continued). 
 
 printed respectively by Henry Ballard, 
 Creede, and Eld. On October 22nd, 
 1607, the latter play had been entered to 
 Johnson, and not to Joseph Hunt and 
 Thomas Archer as stated in Hazlitt's 
 Dodsley and elsewhere. 
 
 In 1602 Johnson had "his shop in 
 
 Powles Church yard, at the signe of the 
 Flower de Leuse and the Crowne," where 
 he was succeeded by Francis Burton, but 
 from 1608 to 1617 he was "dwelling at 
 the signe of the White-horse in Paulas 
 Church-yard, ouer against the great 
 North doore of Paules." 
 
 Denrs (Bossotu 
 
 1609 Pcyidcs (two) (8), p. 159. 
 
 Henry Gosson received his freedom on 
 August 3rd, 1601, "per patrimonium," 
 through his mother " Alice Gosson Late 
 Wyfe of Thomas Gosson," a stationer 
 who had been made free in 1577 after 
 serving an apprenticeship to the elder 
 Purfoot. 
 
 In 1604 an apprentice was entered to 
 Henry Gosson. 
 
 An entry of one of his books in 1603 
 said that it was "to be staied and not 
 entred to any but hym when he hathe 
 Aucthority for it." He entered no more 
 books till 1606, but from that time he 
 was continually entering publications, 
 mostly ballads, and many of them the 
 works of John Taylor, the water-poet. 
 With John Wright he entered two books 
 
 in 1608. In 1610 a work by John Day 
 was entered to Gosson. Probably this 
 was a lost play. Joseph Hunt, with whom 
 a conjoint entry was made in 1613, had 
 been also associated with Henry Gosson's 
 father (see p. 97). From 1618 to 1623 
 Henry Gosson at times entered books 
 with Trundell, and seems to have been 
 in business till 1636. 
 
 Henry Gosson carried on his business 
 " at the signe of the Sunne in Pater- 
 noster row," where his father had been. 
 
 Thomas Gosson had two other sons, 
 Edward and Richard. Edward was ap- 
 prenticed to Roberts in 1601, becoming 
 free in 1607, when he was described as 
 Edmund. Richard was apprenticed to 
 Jackson in 1604, but does not seem to 
 have received his freedom. 
 
 5obn 
 
 1609 The Sonnets, p. 121. 
 John Wright, the son of a Northamp- 
 tonshire yeoman, was apprenticed to 
 Edward White for eight years from Mid- 
 summer, 1594, and was made free on 
 June 28th, 1602. The note "per pati'i- 
 monium," accompanying the record of his 
 enfranchisement, must be an error. He 
 
 was not the son of William Wright, who 
 probably died about 1605 (see p. 294). 
 
 His brothers Cuthbert and Edward 
 became stationers. Cuthbert was ap- 
 prenticed in 1603 to Felix Kingston, and 
 became free in 1610. Edward was ap- 
 prenticed to John in 1604, and received 
 his freedom in 161 1. 
 
 39* 
 
300 
 
 EVENINGS WITH SHAKSPERE. 
 
 PUBLISHERS, 
 
 3obn Wrigbt (Cont 
 John Wright's first entry was the trans- 
 action about Lear in 1605 (see p. 149). 
 In 1608 he entered books in conjunction 
 with Gosson. In 1610 he was associated 
 with Simmes (see p. 275), and in the same 
 year he had an assignment of two books 
 from Thomas Busshell (see p. 67). He 
 entered a book with Busshell in 161 3 and 
 with his brother Edward in 1615. In 
 1G18 the widow of William Jones, the 
 publisher, assigned Mucedoyus (see p. 214) 
 to him. In 1620 to Pavier and him there 
 was an assignment of books from his old 
 master's son (see p. 67), and in 1623 both 
 singly and with his brother Cuthbert he 
 received copyrights from Trundell. The 
 Obituary of Richard Smyth contains this 
 statement: "John Wright, bookseller, 
 in ye Old Bayly, buried" May nth, 
 1658. 
 
 The Sonnets were printed by Eld em- 
 ployed through Thorp. Wright published 
 
 ed). 
 in 1605 the Leir Chronicle History, which 
 according to the condition in the entry 
 (see p. 149) was printed by Stafford, in 
 1606 The Return from Parnassus which 
 Eld printed, in 1607 The Travels of Three 
 Ene,lish Brothers written by Day, Wilkins, 
 and William Rowley (see p. 252), six edi- 
 tions of Faustus between 1609 and 1631, 
 two of which Eld printed, the others have 
 no printer's name as is the case with the 
 four editions of Mucedonis which Wright 
 issued between 1619 and 1634. 
 
 Wright's place of business was de- 
 scribed in 1605 as "his shop at Christ 
 Church dore, next Newgate-Market," in 
 1606-12 it is merely "at Christ Church 
 gate" or " neere Christ Church doore," 
 and in 1616 it is " his shop without New- 
 gate, at the signe of the Bible." These 
 may all refer to the same house. In 
 1647 he was "at the Kings Head in the 
 old Bay ley." 
 
 matbanael JButter. 
 
 1605 The London Prodigal (8), p. 127. 
 
 1608 Lear (two) (5 and 8), p. 149. 
 
 Nathanael Butter, the son of Thomas 
 Butter, a stationer, was made free " fer 
 patritnonium" on November 20th, 1604, 
 by his mother, then Mistress Newberry, 
 who had carried on for a time the busi- 
 ness of her first husband. 
 
 Nathanael's first license was in 1604, 
 and a great many books published by 
 him between that date and 1640 are ex- 
 tant. In 1605 he was interested in a 
 play about the events of the reign of 
 Henry VIII. (see p. 183) and in some of 
 the literature about Calverley's Yorkshire 
 
 tragedy (see p. 133). In 1612 one of his 
 entries is accompanied by the condition : 
 "PKOUiDED that the sheetes be severally 
 broughte to master Doctor Mokett to 
 viewe as they are printed." This was a 
 book giving the reasons which prompted 
 some one to leave the Church of Rome 
 for the Church of England. Some of 
 Butter'sbooks were entered with Trundell 
 (1607), Busby (two in 1608), and Aspley 
 (161 3). One of his books in the latter 
 year was The travails of Sir Anthony 
 Sherley, one of the three brothers the 
 story of whose journeyings was drama- 
 tised by Day, Wilkins, and William 
 
EVENINGS WITH SHAKSPERE. 
 
 301 
 
 PUBLISHERS. 
 
 IHatbanicl 3Butter (Continued). 
 
 Rowley (see pp. 252, 284, 300). Many 
 of Butter's entries were of a serial pub- 
 lication, in the form of a newspaper, 
 which was called by various names, such 
 as "A Currant of newes," "The cer- 
 taine newes of this weeke," or "The 
 Affaires of the world, for this present 
 weeke." The earliest of the entries is 
 dated June 7th, 1622, and on October 
 loth, 1623, the first of a second series of 
 fifty was begun. 
 
 Nathanael Butter served the office of 
 Renter in 1629, and was one of the Court 
 of Assistants in 1633. On February 
 22nd, 1664, "Nath. Butter, an old 
 stationer, died very poore." 
 
 The London Prodigal was printed by 
 Creede. Butter employed Edward Aldee 
 in 1606 to print Dekker's Seven Deadly 
 
 Sins of London (reprinted in Arber's series), 
 and published other works by Dekker in 
 1609 and 1630; in 1608 the Pericles 
 novel printed by Purfoot, the first part 
 of Heywood's // You Know not Me, You, 
 Know Nobody in 1606, 1608, 1613, 1623, 1632, 
 and the second part in 1606 and 1609, 
 the 1630 and 1638 editions of Heywood's 
 Lucrece which had been licensed to him 
 and Busby in 1608 (see p. 116), and 
 Samuel Rowley's When You See Me You 
 Know Me in 161 3 and 1632 (see p. 251). 
 In 1616 Butter employed Field to print 
 Chapman's "Homers Odisses 24 bookes," 
 having also issued "The Iliads of Homer 
 Prince of Poets" in an edition without date. 
 Butter carried on his business "in 
 Pauls Church-yard at the signe of the 
 Pide Bull neere S' Austins Gate." 
 
 Milliam 3i6arrctt. 
 
 1617 Venus and Adonis, p. 118. 
 
 William Barrett, the son of a Lincoln- 
 shire yeoman, was apprenticed for eight 
 years from Christmas, 1597, to Bonham 
 Norton, who in June of the following 
 year was fined eighteenpence because he 
 had bound Barrett "without firste pre- 
 sentinge him accordinge to the orders of 
 this Companie." Barrett was made free 
 on January 21st, i6o6. 
 
 From 1607 to 1624 he was fairly busy 
 without much intermission, entering 
 books by himself and in conjunction 
 with others. One in 1608 was a deferred 
 license. Some books he entered with 
 Aspley (1607) and Blunt (1610-12). With 
 the latter in 161 1 he entered The delightfull 
 history of the witty knighte Don Quisuote 
 
 (see p. 157) ; Blunt seems to have been 
 the publisher of it. In 1617 he had a 
 large assignment of copyrights from 
 Leake (see p. 105), many of which he 
 passed on to Parker in 1620 (see p. 118), 
 in which year one book was licensed to 
 him, " PROuiDED that if hereafter it be 
 found to belong to any other man, that 
 then he to giue him satisfaction for the 
 same." 
 
 In 161 3 Barrett was one of the three 
 "appointed to goe to my Lord Mayours 
 to Dinner." 
 
 Barrett and Blunt issued editions of 
 Hero and Leander in 1609 and 161 3, the 
 latter of which Stansby printed ; and in 
 1617 an edition of Euphues was printed 
 for Barrett by Eld, and sold by Johnson. 
 
302 
 
 EVENINGS WITH SHAKSPERE. 
 
 PUBLISHERS, 
 
 ■CUilliam JBavrctt (Continued). 
 In 1622, with Matthew Lownes, he pub- 
 lished Bacon's History of King Hexry 
 the Seventh, which Stansby printed for 
 them. 
 
 The Hero and Leander in which Barrett 
 was concerned was "sold in Pauls 
 Church-yard, at the signe of the Blacke 
 Beare." 
 
 Jobn Ibelnie. 
 
 161 1 The Troublesome Raigne (3), p. 95. 
 
 John Helme, the son of a London 
 tailor, was apprenticed to Ling for nine 
 years from February 2nd, 1599, and was 
 made free on June 15th, 1607. 
 
 He was publishing books from 1607 to 
 1616. Two were entered with young 
 Busby. Helme was dead in 1620. 
 
 The 161 1 Troublesome Raigne was printed 
 
 by Simmes. In 1608 Helme published 
 plays by Day and by Middleton, in 1613 
 Chapman's Revenge of Bussy D'Ambois 
 which Snodham printed, and with others 
 Drayton's Poly-Olbion which was printed 
 by Humphrey Lownes. 
 
 Helme had "his Shop in Saint Dun- 
 stons Church-yard in Fleetestreet." 
 
 IRicbarD asonian. 
 
 1609 Troilus and Cressida (two with 
 Walley) (8), p. 167. 
 
 Richard Bonian, the son of a Middle- 
 sex yeoman, was apprenticed to Richard 
 Watkins for eight years from Christmas, 
 1598; but was re-entered to Simon 
 Waterson for eight and a half years 
 from Midsummer, 1599. He was made 
 free on August 6th, 1607. 
 
 His record of book-entries extends 
 only from 1607 to 161 1. Most of them 
 were with Walley. For The Case is A Itered 
 (1609) Sutton's name was added in the 
 entry less than six months after the first 
 
 register, and the edition bore Sutton's 
 name only. 
 
 The editions of Troilus and Cressida 
 were printed by Eld. About 1607 Bonian 
 published Middleton's Your Five Gallants, 
 In 1609 Bonian and Walley published Ben 
 Jonson's Masque of Queens printed by 
 Okes, a poem by Chapman printed by 
 Humphrey Lownes, and perhaps in the 
 same year Fletcher's Faithful Shepherdess. 
 
 Bonian and Walley had their place of 
 business "at the spred Eagle in Paules 
 Church -yeard, ouer against the great 
 North doore." 
 
 Ibcnrg MallcB. 
 
 1609 Troilus and Cressida (two with 
 
 Bonian) (8), p. 1O7. 
 As there is no record of Henry Wal- 
 ley's apprenticeship, it is probable that 
 
 his freedom, obtained on December 5th, 
 
 1608, came by patrimony, as there were 
 
 earlier stationers of the name of Walley. 
 
 Henry Walley's entries of books are 
 
EVENINGS WITH SHAKSPERE. 
 
 303 
 
 PUBLISHERS. 
 Ibcnrie 'CClalle^ (Continued). 
 only in the years 1608 and 1C09, and 
 each time with Bonian. 
 
 After this time he probably became a 
 permanent official of the Company. It 
 is known that he was clerk of the 
 Company in 1635 (see Calendar of State 
 
 Papers. Domestic. 1635, p. 205 and 
 Arber's Transcript. IV. 24) and in The 
 Obituary of Richard Smyth it is recorded 
 that on April 30th, 1660, "Mr. Walley, 
 once clerk of Stationers' Hall, died in 
 ye country." 
 
 5obn iparher. 
 
 1620 I'enns and Adonis, p. 118. 
 
 John Parker received his freedom on 
 March ist, 1617. 
 
 For many years he was an active 
 member of the Company. In 1620 he 
 received a large assignment from Barrett 
 (see p. 118). 
 
 Parker was one of the Livery in 162 1, 
 
 and one of the Court of Assistants in 
 1637. He was Senior Warden in 1645, 
 during an agitation for a reform of the 
 Company. On July 30th, 1648, "Mr. 
 John Parker, stationer, died." 
 
 In 1623 he published an edition of 
 Euphues, which John Beale printed. 
 
 Ubomas mamicv. 
 
 1622 Othello (8), p. 143. 
 Thomas Walkley took up his freedom 
 on January 29th, 1618, and did a large 
 business on to 1640, publishing, amongst 
 other things, Beaumont and Fletcher's 
 A King and No King in 1619 (see p. 153) 
 and 1625, Philaster in 1620 and 1622 
 
 (see p. 147), Ben Jonson's Love's Triumph 
 and Massinger's Picture in 1630, both 
 printed by John North. 
 
 The Quarto of Othello was printed by 
 Okes and sold by Walkley, " at his shop, 
 at the Eagle and Child, in Brittans 
 Bursse." 
 
 G:bomas 2)e\vc, 
 
 1622 The Troublesome Raigne (7), p. 95. 
 
 Thomas Dewe became free of the 
 Company on March 5th, 162 1. 
 
 One work entered to him in 1622 was 
 " pRouiDED it belong to noe other man." 
 
 In 1624 he was received into the 
 Livery. 
 
 He published in 1622 Cooke's City 
 Gallant and A Fair Quarrel by Middleton 
 and William Rowley, both of which he 
 
 had received from Trundell the year 
 before (see p. 294). The latter was 
 printed by Matthews, whom he had also 
 employed for The Troublesome Raigne. In 
 the same year Dewe issued, with others, 
 the second part of Drayton's Poly-Olbion. 
 He probably took Helme's business. 
 Not only did they both publish The 
 Troublesome Raigne, but their books were 
 issued from the same place (see p. 302). 
 
304 EVENINGS WITH SHAKSPERE. 
 
 The First Folio. ^ 
 
 On November 8th, 1623, an entry was made in the Stationers' 
 Registers of a book, the thoughts and phrases of which have 
 become a part of the Hves of EngHsh-speaking people to a greater 
 extent than those of any volume published before or since, if the 
 Authorised Version of the Bible and the Book of Common Prayer 
 be excepted. Published seven years after the author's death, and 
 three months after his widow died, this volume ^ includes all the 
 plays, except Pericles, which are named in the lists at the beginning 
 of this chapter, but in some cases in a very different form, and in 
 addition is the earliest authority for i Henry VI. ,^ The Comedy of 
 Errors, The Two Gentlemen of Verona, As You Like It, Twelfth Night, 
 Julius Ccrsar, All's Well that Ends Well, Measure for Measure, Macbeth, 
 Antony and Cleopatra, Coriolanus, Tinton of Athens, Cymheline, The 
 Tempest, The Winter's Tale, Henry VIII. 
 
 If the scheme of work recommended at pp. 18-19 be divided 
 into two equal parts, it will be seen that of the plays in the first 
 part only three had to wait till the Folio for their first publication,"* 
 whilst in the second half there are thirteen. This can scarcely 
 be a matter of chance, and the explanation of it might form an 
 interesting subject for enquiry. ^ 
 
 1 Much interesting detail about this and the succeeding editions will be found in a 
 series of articles by Mr. J. Parker Norris in Vols. II.— V. of Shakcspcariana. 
 
 " It was sold at £1. The price is now much higher. At Mr. George Daniel's sale a 
 copy sold for £ji^. 
 
 3 In the entry called The Third Tart. 
 
 ■• Taking for granted that there are no earlier editions to be discovered. 
 
 " On p. 1G3 I have in Suggestion i put the question forward as one for discussion. 
 
EVENINGS WITH SIIAKSPERE. 
 
 Isaak Jaggard. 
 
 The entry of the Folio in the Registers is thus worded : 
 1623 November 8. 
 Waster Blounte Entred for their Copie vnder the hands of Master 
 Doctor WoRRALL and Master Cole warden Master 
 William Shakspeers Comedyes, Histories, and Tragedyes 
 soe manie of the said Copies as are not formerly 
 entred to other men. viz'- vijs. ' 
 
 Tlic Tempest 
 
 The tii)o gentlemen of Vevona 
 Measure for Measure 
 The Comedy of Errors 
 As you like it 
 Airs well that ends well 
 Twelfe night 
 The ii'inters tale 
 
 COMEDVES. 
 
 Histories 
 
 The thirde parte of Hesky ye siXT 
 Henry the eight 
 
 Tragedies. 
 
 CORIOLANUS 
 
 TiMON of Athens 
 
 Julius Cusar 
 
 Mack BETH 
 
 Anthonie and Cleopatra 
 
 Cymbelixe 
 The title-page of the book has simply the words : " Mr. William 
 Shakespeare's Comedies, Histories, & Tragedies. Published accord- 
 ing to the True Originall Copies. London Printed by Isaac 
 laggard, and Ed. Blount. 1623." A large portion of the page is 
 taken up with the author's Portrait, concerning which some lines 
 by Ben Jonson are placed opposite. The book was dedicated "To 
 
 t From the number of plays entered, it looks as if the sum should have been eight 
 shillings. 
 
 40 
 
3o6 E]-EXI.\GS WITH SIIAKSri^RE. 
 
 the Most Noble And Incomparable Paire of Brethren . William 
 Earle of Pembroke, &c., Lord Chambeilaine to the Kings most 
 Excellent Maiesty. And Philip Earle of Montgomery, &c., Gentle- 
 man of his Maiesties Bed-Chamber. Both Knights of the most 
 Noble Order of the Garter, and our singular good Lords." ^ The 
 dedication, in which the plays are called "these trifles," is signed 
 by the Editors, John Heminge and Henry Condell, who had been 
 fellow-actors with Shakspere. They also give an address "To the 
 great Variety of Readers," in which reference is made to the earlier 
 editions as " stolne, and surreptitious copies, maimed, and de- 
 formed"-; but these are said to have been " cur'd " and made 
 " perfect." 
 
 The plays printed for the first time, the editors say, are presented 
 " as he conceiued the," and so little alteration had been made in 
 writing that they " scarse receiued from him a blot in his papers." 
 The public are counselled, with much vehemence, to buy the book and 
 well to read it "againe, and againe" ; and then, in words suitable to 
 the present days, they say : if "you doe not like him, surely you are 
 in some manifest danger, not to vnderstand him." P'^ollowing this 
 are some commendatory verses by Ben Jonson, L. Digges, T. M., 
 and Hugh Holland. The Table of Contents, called "A Catalogve," 
 and " The Names of the Principall Actors in all these Playes," 
 come next.^ 
 
 In the book itself, in which the i)lays are printed in the order 
 
 unfortunately adopted by the " Globe" and by most modern editors, 
 
 there are some peculiarities of pagination which should be noticed. 
 
 At the end of the last play the volume is said to have been 
 
 1 See pp. 231-2. 
 
 * See pp. 222, 25S. 
 
 « The order of this prL-Hminary matter is not the same in all copies. 
 
EVENINGS WITH SHAKSPERE. 307 
 
 "Printed at the Charges of W. Jaggard, Ed. Blount, I. Smith- 
 weeke, and W. x\spley." There are none of the poems in the Foho. 
 There is no division of Acts or Scenes in 2 Hoiiy VI., 3 Henry VI., 
 Troilus and Cressida, Romeo and Juliet, Tiuion of Athens, ov Antony 
 and Cleopatra. All the others have some division of Acts or of Acts 
 and Scenes. The arrangement, which is not Shakspere's, is capable 
 of improvement.^ 
 
 The Second Folio. 
 
 This, published in 1632, contains the same plays as the 1623 
 edition, but with some slight alterations in the text. 
 
 The Third Folio. 
 
 This is the name by which the editions of 1663 and 1664 are 
 known. Some errors in the preceding editions are corrected, and 
 some fresh ones made. The 1664 copies have the plays of the 
 other folios and Pericles, and also the following, now looked upon 
 as doubtful or pseudo-Shaksperian plays ■.—The London Prodigal 
 (see p. 127), Thomas, Lord Cronnvell (see p. 105), Sir John Oldcastle, 
 (see p. 228), The Puritan Widow (see p. 293), A Yorkshire Trai^edy 
 (see p. 133), and Locrine (see p. 89). 
 
 The Fourth Folio. 
 
 This, issued in 1685, has the same matter as the Third Folio, 
 from which it differs mainly in adopting a more modern spelling. 
 It removed the final "e" in the author's name. 
 
 1 See New Shakspere Society's Transactions, 1877-9, Tart I. and iS?o-2, Part I. 
 The subject, as a whole, is worth investigation. 
 
 40 * 
 
3o8 EVENIXGS WITH SIIAKSI'ERE. 
 
 Rowe's Edition. 
 
 There was no new edition till 1709, when appeared in 8vo "The 
 Works of Mr. William Shakespear : in Six Volumes. Adorn'd with 
 Cuts. Revis'd and Corrected, with an Account of the Life and 
 Writings of the Author. By N. Rowe, Esq." This contains the 
 doubtful plays of the Third Folio, and is the first of the editions 
 with explanatory matter. The poems are not included, but for the 
 first time there are lists of the dramatis persona:. In 1710 a book 
 purporting to be a supplement to Rowe's edition was published with 
 the title— "The Works of Mr. William Shakespear. Volume the 
 Seventh. Containing Venus & Adonis, Tarquin & Lucrece And His 
 Miscellany Poems. With Critical Remarks on his Plays, &c., to which 
 is Prefix'd an Essay on the Art, Rise and Progress of the Stage in 
 Greece, Rome and England." Rowe issued a second edition of his 
 work in 1714, then in eight volumes. The other volume, which 
 was without Rowe's authorit}', was then published as "Volume the 
 Ninth." 
 
 Rowe, born in 1673, was intended for the Bar, but, being a man 
 of means, devoted himself to literature, writing several plays and 
 poems. He also filled several Government offices. He died in 171S, 
 and was buried in Westminster Abbey. 
 
 Pope's Edition. 
 
 The next Editor of Shaksperc was Alexander Pope, who in 1725 
 brought out in quarto " The \\'orks of Shakespear. In Six Volumes. 
 Collated and Corrected by the former Editions. By Mr. Pope." 
 This has only the First b'olio plays, which the Editor dealt with 
 
EVENINGS WITH SIIAKSPERE. ^OQ 
 
 freely in the way of alteration and excision. He reprinted Rowe's 
 Life of the Poet, added a preface of his own, and gave the locality 
 of the scenes. Pope's edition, which brought out a supplemental 
 volume similar to Rowe's, reached a second edition in 1728, a third 
 in 173T, a fourth in 1735, a fifth in 1766, and a sixth in 1768. These 
 were not published in the same form as the first. 
 Pope was born in 1688, and died in 1744. 
 
 Theobald's Edition. 
 
 Lewis Theobald, a prolific play-writer, was induced to enter the 
 field of Shaksperian editing by a desire to rescue the text of the 
 plays from the emendations of Pope. His first venture was a small 
 book in 1726, with an examination of Pope's version of Hamlet. In 
 revenge, Pope gave Theobald a place in The Dunciad. In 1733 came 
 " The Works of Shakespeare : in Seven Volumes. Collated with 
 the Oldest Copies, and Corrected ; With Notes, Explanatory, and 
 Critical : By Mr. Theobald." The Editor's preface dealt with 
 various matters of Shaksperian criticism. He emended freely, his 
 most successful venture being the "babbled of green fields" 
 {Henry V., II. iii. 17). The edition was very popular, and was re- 
 printed in 1740, 1752, 1757, 1762, 1767, 1772, and 1773. 
 
 Theobald, who was born about 1692, was a barrister in early life. 
 He died in 1744. 
 
 Hanmer's Edition. 
 
 Sir Thomas Hanmer issued in 1744, in quarto, " The Works of 
 Shakespear. In Six Volumes. Carefully Revised and Corrected by 
 the former Editions, and Adorned with Sculptures designed and 
 
3IO 
 
 EVEXIXGS WITH SIIAKSPERE. 
 
 executed by the best hands." Hanmer's name did not appear, but 
 the edition was at once recognised as his. It had, of course, some 
 extra emendations, a short preface, a glossary, and inckided some 
 of the introductory matter of previous editions. It was pubhshed 
 again in 1747, 1750-1, 1760, 1770-1, in differing sizes and number 
 of vohnnes. 
 
 Sir Thomas, who was born in 1677, became Speaker of the 
 House of Commons in 1713, and died in 1746. 
 
 Warburton's Edition. 
 
 William Warburton was a great friend of Pope. In 1747, three 
 years after Pope's death, he issued in 8vo "The Works of Shake- 
 spear in Eight Volumes. The Genuine Text (collated with all the 
 former Editions, and then corrected and emended) is here settled ; 
 Being restored from the Blunders of the first Editors, and the 
 Interpolations of the two Last ; with a Comment and Notes, Critical 
 and Explanatory. By Mr. Pope and Mr. Warburton." In addition 
 to mucli of the matter given by other editors, there was a new 
 preface, a quantity of reckless emendations, and a list of the plays 
 in an order of merit. The edition evoked much adverse criticism 
 in books, which are interesting to the curious. The edition was 
 reprinted in another form in the same year. 
 
 Warburton, who was born in i6g8, disliking the bar, was or- 
 dained in 1723, and became Dean of Bristol in 1757, and Bishop of 
 Gloucester in 1760, where he died in 1779. 
 
 Johnson's Edition. 
 The great lexicographer was the next who essayed to correct the 
 
EVENINGS WITH SIIAKSPERE. 31I 
 
 plays of Shakspere. Having begun in 1745 with a Review of 
 Hannier's Edition, he put forth in 1765 in 8vo "The Phiys of 
 William Shakespeare, in Eight Volumes, with the Corrections and 
 Illustrations of Various commentators ; To which are added Notes 
 by Sam. Johnson." His preface deals with the previous editions, 
 and to some of their introductory matter he adds many of the 
 notes of the other commentators in the form adopted by later 
 editors. He altered the order of printing the plays, but it is not 
 known on what system. The edition was reprinted in 1768. 
 
 Dr. Samuel Johnson was born in Lichfield in 1709. He died in 
 1784, and was buried in Westminster Abbey. 
 
 Capell's Edition. 
 
 Edward Capell, who was born in 1713, soon after 1736 became 
 Deputy-Inspector of Plays. Upon the death of his father he 
 inherited a large fortune. In 1758 he prepared, with Garrick, an 
 abridgement of Antony and Cleopatra for acting purposes, following 
 in 1767 with " Mr. William Shakespeare his Comedies, Histories, 
 and Tragedies, set out by himself in quarto, or by the Players his 
 Fellows in folio, and now faithfully republish'd from those Editions 
 in ten Volumes octavo; with an Introduction: Whereunto will be 
 added, in some other Volumes, Notes, critical and explanatory, and 
 a Body of Various Readings entire."' In his Introduction he pays 
 particular attention to the quartos, and gives a list of those then 
 known, with their imprints. He improved the descriptions of 
 the scene -localities and the stage - directions. Capell made a 
 further contribution to Shaksperian criticism by his three volumes 
 of Notes pubhshed after his death, which took place in 1781. He 
 
312 
 
 EVEXIXGS WITH SIIAKSPERE. 
 
 had a large collection of the quartos, which he left to Trinity 
 College, Cambridge. 
 
 Steevens's Edition. 
 
 George Steevens was born in 1736. His principal service to 
 Shaksperian study was the publication in 1766 of "Twenty of the 
 plays of Shakespeare, Being the whole Number printed in Quarto 
 During his Life-time, or before the Restoration, Cohated where 
 there were different Copies, and Publish'd from the Originals, By 
 George Steevens, Esq : In Four Volumes." As this work can still 
 be obtained without much difficulty, and may be the most accessible 
 form in which many may be able to see the early editions, the list 
 is here given in the two sections of before and after the Folio, and 
 arranged in the order of study recommended : 
 
 161 1 Til us Andvoniciis. 
 1 6 19 WJwle Contention. 
 1 61 5 Richard II. 
 
 1600 Midsummer-Night's Dream (Roberts). 
 
 1612 Richard III. 
 
 1 597 Romeo and Juliet. 
 
 1609 Romeo and Juliet. 
 
 161 1 Troublesome Raigne. 
 
 1600 Merchant of Venice (Roberts). 
 
 1600 Much Ado about Nothing. 
 
 1 61 3 I Henry IV. 
 1600 2 Henry IV. 
 16 1 9 Merry Wives of Windsor. 
 
 1608 Henry V. 
 
 1609 Sonnets. 
 161 1 Hamlet. 
 1622 Othello. 
 1605 Leir. 
 
 1 60S Lear. 
 
 1609 Troilus and Cressida. 
 
 162,1 Love's Labour's Lost. \ 16^,1 Taming of the Shrew. 
 
 1630 Merry Wives of Windsor. 
 
 These were of great service, as the lulitor collated them with such 
 other (luarlos as he was able to obtain. In 1773 Steevens issued in 
 
EVEMXGS WITH SHAKSPERE. 313 
 
 8vo "The Plays of William Shakspeare. In Ten Volumes. With 
 the Corrections and Ilkistrations of Various Commentators ; To 
 which are added Notes by Samuel Johnson and George Steevens." 
 It followed with some slight departures the lines of its predecessors. 
 The deviations consisted in adding some personal information 
 about the poet and his family, and a list of translations from the 
 Classics which were in existence in Shakspere's time. In 1778 a 
 second edition was published, " Revised and Augmented." It 
 included Malone's "Attempt to ascertain the order in which the 
 plays attributed to Shakespeare were written." Isaac Reed in 1785 
 edited a third edition, which was little more than a reprint. In 
 1703 Steevens issued a fourth edition in fifteen volumes. This con- 
 tained much more prefatory matter than his previous editions, 
 including, for the first time, extracts from the Stationers' Registers, 
 with the well-known essays by Farmer on Shakspere's learning, 
 and by Malone on the history of the Stage. It had also a glossary 
 prepared by Reed. Steevens's text was preferably that of the 
 Second Folio. He died in 1800, and lies buried in Poplar Chapel, 
 London. - 
 
 Reed superintended the fifth edition in 1803 and the sixth in 
 1813, each in twenty-one volumes. In the editions for which 
 Reed was responsible the principal alterations were in the quantity 
 of notes. 
 
 Malone's Edition. 
 
 Edmond Malone's Shaksperian work has had a more enduring 
 fame than that of any of the other editions of the eighteenth 
 century. Like many of his fellow-workers, he was called to the 
 bar ; and, like them, he gave up its practice upon coming into 
 
 41 
 
314 EVEXIXGS WITH SIIAKSPERE. 
 
 possession of wealth. His first contribution to Shaksperian litera- 
 ture was in 17S0, when he issued two volumes as a Supplement to 
 the edition by Johnson and Steevens. These contained notes, the 
 Poems and Sonnets, and the doubtful plays from the 1664 Folio. 
 The Supplement received an additional volume in 1783, and in 1790 
 appeared in 8vo. : " The Plays and Poems of William Shakspeare, 
 in Ten Volumes; Collated verbatim with the most authentick Copies, 
 and revised : with the Corrections and Illustrations of various 
 Commentators ; to which are added, an Essay on the Chronological 
 Order of his Plays ; an Essay relative to Shakspeare and Jonson ; 
 a Dissertation on the three Parts of King Henry VI. ; an Historical 
 Account of the English Stage ; and Notes ; By Edmond Malone." 
 In it he printed much of the editorial matter of his predecessors, 
 and added fresh information on dramatic subjects and valuable 
 illustrative notes to the text. Malone rendered valuable service in 
 helping to expose the forgeries of Samuel Ireland and his son 
 William Henry, who pretended to have discovered not only docu- 
 ments referring to Shakspere in his own handwriting and in that of 
 some of his contemporaries, but a lost play by the poet called 
 Vortigern and Rowena} 
 
 Malone was born in 1741, and lived till 1812, when, having 
 accumulated large stores of fresh information on the Elizabethan 
 drama, he constituted James BoswcU, the son of Dr. Johnson's 
 biographer, his literary executor, who, in 1821, brought out in 
 twenty-one volumes the edition known as "the 1821 \^ariorum," or 
 " Boswell's Malone," which has been the resort of every other 
 Editor down to the present day, and who has found it a treasurc- 
 
 1 The literature evoked by these frauds is named in tlic Bihliographcr's Manual 
 under the title of " Ireland Forgeries and Controvtrsy." 
 
EVEMXGS WITH SHAKSrERE. 315 
 
 house of unrivalled illustration on the dramatic times and obscurities 
 of Shakspere. 
 
 Between Rowe's edition and this later issue there were other 
 editions, mostly following Steevens's text ; but of these and of the 
 countless editions that have succeeded that of 182 1 it is not neces- 
 sary to say much in detail. Boydell's venture in nine Folio volumes 
 in 1802 presented the text of Shakspere printed in a style of excel- 
 lence previously unattempted. " The Story of the Boydell Shake- 
 speare" is told at length in Vol. IV. of Shakespcariana, 1887. Chalmers, 
 who believed in the Ireland -forgeries, issued an edition in nine 
 volumes in 1805. In 1807 a Folio Reprint of the 1623 Edition was 
 issued.^ The Rev. William Harness, to whom after-generations owe 
 a debt of gratitude for founding a Triennial Prize at Cambridge, 
 which has recently produced two books for which Shakspere- 
 students are grateful,- edited an eight-volume edition in 1825. 
 S. W. Singer was responsible for a ten-volume edition in 1826, with 
 later issues of which W. Watkiss Lloyd's Essays were incorporated. 
 Valpy, in 1832-4, issued an edition in fifteen volumes. Charles 
 Knight's Pictorial Edition in eight volumes, having much explana- 
 tory matter, came out in 1843, and his National Edition in six 
 volumes in 1851-2. John Payne Collier's first edition in eight 
 volumes, an excellently printed book, was completed in 1844, ^^^<^ 
 re-issued in six volumes in 1858. One useful feature in it is, that he 
 gives the actual words of the title-pages of the Quartos. Collier's 
 
 1 For some references to this, see NoUs and Queries, 1S53 and 1S65. In addition 
 to the reprints mentioned at p. 46, Day and Son pubHshed in 1866 a photo-Htho- 
 graphic facsimile under the direction of Howard Staunton. 
 
 2 The Rev. H. P. Stokes's Chronological Order of Shakespeare's Plays, 1S77, and T-uv 
 Essays on the First Qmrto Edition of Hamlet by Messrs. C. H. Herford and W. H. Widgery, 
 1S80. 
 
 41* 
 
3i6 EVEMXGS WITH SIIAKSPERE. 
 
 work in the elucidation of Shakspere- obscurities was enormous; 
 but it is unfortunately marred by that inexplicable taste for literary 
 forgery which he at one time developed, and which has left a deplor- 
 able tamt upon all his research that has not been verified by other 
 workers. His dealings with the text of Shakspere, dating from his 
 Notes and Emendations, and with the documents to which he had 
 access, have provoked a considerable literature. The student who 
 wishes to investigate this painful but interesting episode in literature 
 will find enough to satisfy in a consideration of the books named 
 under " Shakespeariana-Collier Controversy" in the Bibliographers 
 Manual} 
 
 Our kinsfolk in the United States, who have been such ardent 
 students of Shakspere, often putting those in the old country to 
 shame, were represented in 185 1-6 by an excellent' edition by the 
 Rev. H. N. Hudson in three volumes. The Rev. Alexander Dyce 
 issued a valuable edition in six volumes in 1857. Howard Staunton's 
 three-volume edition, with Gilbert's illustrations, which contain much 
 of the Spirit of the Shakspere-life, was first published in 1858-60. 
 Charles and Mary Cowden-Clarke, who have been loving students 
 of the poet, edited a four-volume edition in 1864. Begun in 1S53, 
 and ended in 1865, the sixteen-volume Folio edition of J. O. Halliwell 
 [Phillipps] surpassed all its predecessors in the wealth of comment 
 it supplied upon biographical, archaeological, and kindred points. 
 Richard Grant White, an acute American scholar, completed in 
 186G his twelve-volume edition; and at the same time the editors 
 
 1 Articles on the subject will be found in Bhukwood's Magazine, August, September, 
 and October, 1853, Edinburgh Review, April, 1856, Quarterly Review, January, 1859, 
 Eraser's Magazine, January, February, and May, i860. The investigation should be aided 
 by Dr. Ingleby's Shakspere Controversy and Mr. H. B. Wheatley's book, referred to at 
 p. 200. 
 
EVENINGS Wiril SHAKSPERE. 317 
 
 of the ' Cambridge ' Shakespeare issued their carefully-collated text 
 in nine volumes, with footnotes showing, of the conjectural emen- 
 dations that have been suggested, all those that are the least worthy 
 of notice. The last great edition of the complete works, excepting 
 the ' Henry Irving ' Shakespeare, which is not quite completed, is 
 that which comes from across the Atlantic, edited in twenty volumes 
 by W. J. Rolfe. Both these are pleasant and helpful, and have 
 distinctive characteristics. One-volume editions, of which the 
 'Globe' and the 'Leopold' are most useful to the student, are 
 innumerable, as are also the editions of separate plays which have 
 been, and are constantly being, issued. As many of these are de- 
 sirable helps, I append a list, including the other plays of the scheme 
 of study, and giving the prices, to save the enquirer much trouble. 
 Some are of value even to the advanced scholar, and others are of 
 service only to the merest beginner. But in their notes or intro- 
 ductions they all contain something of use or interest. Additions 
 are doubtless intended to be made in several of the series. 
 
 Members of Shakspere-Societies who wish for a copy they can 
 freely mark cannot do better than get the plays published by Ward 
 and Lock at a penny each. They are fairly well printed on tolerable 
 paper, and have a good text. Not only are they convenient for 
 carrying in the pocket and for recording notes for critical purposes, 
 but they will also be found exceedingly useful upon those occasions 
 of reading when much expurgation is required. The secretary 
 should, in as many copies as may be necessary, score through all 
 the parts that have to be left out. If each member will read from 
 a copy so marked, many an uncomfortable pause will be avoided. 
 
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 Titus Androni 
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 Twelfth Night 
 Two Gentleme 
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 — a 
 
CHAPTER XII. 
 Zhc Bctors ot 5bal?spcrc'5 UUnc, 
 
 A fellowship in a cry of players." 
 
 Ilamlct, III. ii. 2S9. 
 
 NOT later than the early part of the thirteenth century the 
 English clergy, fearing that the people would become de- 
 moralised by the frivolities of the itinerant mummers, proscribed 
 the entertainments and excommunicated the performers. As there 
 was then the beginning of a national dramatic instinct, this course 
 failed in its intention. So the religious authorities determined to 
 rival that which they could not suppress, and by way of competition 
 instituted the Sacred Drama, in which they themselves were the 
 actors. This, which formed a welcome entertainment to the pjeople 
 and supplied the clergy with a ready method of instruction, became 
 very popular, and held its ground till it was succeeded by the 
 Morality, a form of drama in which impersonated Virtues and 
 Vices took the places of scriptural or ecclesiastical characters; and 
 this in turn was superseded by the Interlude and Chronicle-History, 
 the immediate precursors of the vigorous and multiform Elizabethan 
 drama, with which still existed occasional forms of the older stage- 
 representations. 
 
EVENIXGS WITH SIIAKSPERE. 32 1 
 
 As institutions other than the monasteries were founded for the 
 promotion of learnin.^:, the regular acting of plays extended to 
 universities/ colleges, and schools. From the middle of the six- 
 teenth century till after Shakspere's time, plays were often acted at 
 Oxford and Cambridge and by the law-students at the Inns of 
 Court.- The trade-guilds also had dramatic representations of 
 their own. For a long period the singing-boys and scholars in 
 abbeys and priories had acted plays.'' There was considerable 
 outside discontent at the amount of time which was taken from 
 school-work and devoted to acting.* In addition to the two prin- 
 cipal companies of children — those of St. Paul's Cathedral-School 
 and of the Chapel Royal— the children of Westminster (Jonson's 
 school-fellows) and the children of Windsor occasionally played at 
 Court. These boy-actors became so popular that they were serious 
 rivals to the professional men-players. Shakspere, by the words of 
 Rosencrantz, gives one view of them. " The tragedians of the city" 
 had to become strolling companies because there was " an aery of 
 children, little eyases, that cry out on the top of question, and are 
 most tyrannically clapped for 't : these are now the fashion."^ 
 Some more information will be given about them under their re- 
 
 1 Poloniushad played Julius Caesar in the University [Hamlet, III. ii. 103-9). 
 
 « At Clement's Inn Master Shallow had played Sir Dagonet in Arthur's Show 
 (2 Henry IV., III. ii. 299), and the earliest reference to Tivelfth Night is the record of its 
 performance in the Middle Temple Hall (see p. 129). 
 
 3 The earliest date is 1378. The practice at Westminster still survives. 
 
 ^ 'They make all their scholars play-boys! Is't not a fine sight to see all our 
 children made interluders ? Do we pay our money for this ? We send them to learn 
 their grammar and their Terence, and they learn their play-books!" (Ben Jonson's 
 Staple of News, III. ii.) 
 
 5 See the whole passage, Hamlet, II. ii. 341-79. and the comments thereon in the 
 Preface to the Clarendon Press edition of the play. 
 
 42 
 
322 EVEXIXGS WITH SII AKSPERE. 
 
 spective titles. Many of the best known plays, especially Lyly's, 
 were first acted by these boy-players, some of whom afterwards 
 passed into the men's companies. This partly accounts for the 
 excellence of many of the Elizabethan and Jacobean actors. 
 
 From the time of Edward IV. there are records that bands of 
 professional players were recognised by Court authority, ^ and con- 
 temporaneously several noblemen also kept companies of actors. 
 Up to 1542 and occasionally afterwards plays were acted in churches. 
 In 1547, when Gardiner, Bishop of Winchester, was directing "a 
 solemn dirge and mass for the late King," he said that the players 
 in Southwark were going to have at the same time " a solemne 
 playe to trye who shal have most resorte, they in game, or I in 
 ernest."^ In 1549, 1551, i553, and at other times, there were very 
 definite and strict royal warrants directed against players.^ At the 
 beginning of Elizabeth's reign, plays were acted mostly in large inns 
 or on temporary scaffolds or on open stages. In 1559, in terms 
 much less severe than those of Edward VI. and of Mary, Elizabeth 
 issued a proclamation * regulating the time, the place, and the 
 manner of playing interludes. In 1560 a Royal payment was 
 made to the players of Lord Robert Dudley (afterwards Earl of 
 
 1 In 1494 each of the King's players of Interludes received a payment of five 
 marks yearly for his wages, and later £1 3s. 4d. a year was added for his livery (see 
 Calendar of State Papers. Domestic. 1547-1580, p. 40). 
 
 * See Calendar 0/ State Papers. Domestic. 1547-1580, p. i. 
 
 " For reprints of these and many other interesting papers see The English Drama 
 and Stage (1543-1664), i86g. In 155G orders were issued "against players and pipers 
 strolling through the Kingdom, disseminating seditions and heresies" (Calendar of State 
 Papers. Domestic. 1547-1580, p. 82. 
 
 * Copies are in the British Museum and the Ilodleian, and a reprint in the work 
 mentioned above. Some of these royal proclamations were no doubt intended to pre- 
 vent tlic assembly of crowds and the consecjuent spread of the plague. 
 
EVENINGS WITH SIIAKSPERE. 323 
 
 Leicester).' It is thought that Ehzabeth never attended a pubHc 
 theatre, yet she was exceedingly fond of dramatic representations, 
 which were often given before her. 
 
 It is clear from the 1559 Proclamation that early in Elizabeth's 
 reign various noblemen had companies of actors under their 
 patronage. In 1571-2 a statute was passed enjoining that all 
 common players not belonging to such were, if they wandered 
 abroad, unless under a certain special license, to be adjudged rogues 
 and vagabonds. In 1574 the Queen granted a license to five 
 servants of the Earl of Leicester as actors of stage plays "through- 
 out o'^ Realme of England." This license must have accorded them 
 other privileges than this permission, which would have been, in 
 some measure at least, already secured to them by the statute of 
 1571-2. The official recognition, which is probably the first privy 
 seal recognition of a company of players, no doubt gave them a 
 position much superior to that of other companies. All dramatic 
 entertainments were under the general supervision of the Master of 
 the Revels." In 1575 Leicester entertained the Queen at Kenil- 
 worth for nineteen days with great magnificence, of which histrionic 
 representation formed a large part, and of some of which it has 
 been suggested that Shakspere, then eleven years old, was a 
 spectator. About this time the Lord Mayor and Common Council 
 of London, adopting the views of the Puritans, endeavoured to 
 
 1 For a copy of the entry made in the Office-books of the Treasurers of the 
 Chamber, and much other information in reference to some of the early companies, see 
 Extracts from the Accounts of the Revels at Court, edited by Peter Cunningham for the 
 Shakespeare Society, 1842, pp. xxviii.-xlv. 
 
 2 This functionary dated his existence from 1546. Sir Thomas Cawarden held the 
 oface from 1546 to 1560; Sir Thomas Benger, from 1560 to 1577 (see p. 198); Thomas 
 Blagrave, from 1577 to 1579; Edmund Tylney, from 1579 to 1610; Sir George Bucke 
 from 1610 to 1622 (see p. 177). 
 
 42* 
 
324 
 
 EVEXIXGS WITH SHAKSPERE. 
 
 considerably limit the doings of the players. A petition from "the 
 Queenes Mamies poore Players " was presented in 1575 to the Privy 
 Council, praying for a relaxation of some of the restrictions under 
 which they were suffering. In 1576 the house known as The 
 Theatre' was built by James Burbage, and in 1577 The Curtain 
 theatre was erected. They were both outside the City jurisdiction, 
 being in Shoreditch, in the part now knowai as Holywell Lane. 
 Many communications referring to players passed between the City 
 Authorities and the Privy Council, and on the 24th of December, 
 1578, the latter "required the Lord Mayor 'to suffer the children of 
 her Majesty's Chapel, the servants of the Lord Chamberlain," 
 of the Earl of Warwick, of the Earl of Leicester, of the Earl 
 of Essex, and the children of Paul's and no companies else to 
 exercise plays within the city.' " The Privy Council was not, 
 however, entirely antagonistic to the religious scruples of those 
 whom the Lord Mayor represented. It made determined and 
 repeated efforts to prevent the acting of plays in Lent, and 
 even tried to do away with Sunday performances,'' except in 
 the case of the Court, where plays were acted on that day down 
 to the time of Charles I. By 1580 there were places, not always 
 theatres, set apart for the performance of plays. That at Black- 
 
 1 In the Royal Historical Society's Tniiisactions, Vol. X., Mr. Fleay has a 
 painstaking paper " On the History of Theatres in London, from their First Opening in 
 157G to their Closing in 1642." An interesting series of articles on " London Theatres," 
 by Mr. T. Fairman Ordish, will be found in Tlie AntKjuaiy from March, 1SS5, to 
 December, 1887. 
 
 * At that time, the Earl of Sussex. 
 
 3 This was rendered more easy by the effect on public opinion resulting from a 
 serious accident to a large number of the audience at Paris Garden on a Sunday in 
 1582. Records of many of the cases treated at St. Thomas's Hospital are given in 
 The Young Chirurgion's Practice, quoted by Mr. Rendle in The Antiquary for September, 
 1889. 
 
EVENINGS WITH SHAKSPERE. 325 
 
 friars' was the most noteworthy, being used for various purposes, 
 including rehearsals in connection with dramatic representations at 
 Court and other aristocratic festivities. In 1583 from some of the 
 noblemen's actors Elizabeth formed, under her own immediate 
 patronage, a company of players who were known as the Queen's 
 Majesty's servants. The Puritan writers and preachers about this 
 time inveighed in the most severe terms against the corrupting 
 influences of the theatre and the practices of theatre-goers. Even 
 deducting a considerable amount for exaggeration and bigotry, there 
 was doubtless enough left to justify Elizabeth in appointing a 
 Commission in 1589 for revising plays.- 
 
 It is perhaps not too much to say that at this time the future of 
 the stage and of dramatic literature was determined. Plays had to 
 such a large extent become mere outlets for personal and political 
 abuse that it was necessary for State-purposes to place them under 
 serious restrictions, and contemporaneously with this came, in the 
 person of Shakspere, one who by the supreme excellence of his 
 work was enabled to raise dramatic writing to a level which, a few 
 short years before, it would have seemed impossible to reach. 
 Ahhough the satirising of individuals was still carried on— and 
 sometimes freely so— yet it sank into comparative insignificance, 
 and, being in a more disguised form, it lost its virulence and soon 
 ceased to be a political danger. The State-reform was not without 
 its good influence on Shakspere. As by it an improved tone had been 
 given to the stage, there was no temptation for him to debase his 
 mighty powers by writing down to a depraved popular taste : but at 
 the beginning of his literary career, knowing only an upward 
 
 1 It was here that some of Lyly's plays were acted. 
 * 1821 Variorum, Vol. III. p. 457. 
 
326 EVENINGS WITH SHAKSPERE. 
 
 tendency, his energies instinctively went to encourage it; and 
 although the stage and drama were afterwards subject to most 
 pernicious influences, to which Shakspere unfortunately yielded at 
 times, yet he impressed them so favourably that writers of every 
 shade of thought agree in pronouncing the spirit of his plays 
 to be essentially elevating, pure, and ennobling. His own words, 
 written in connection with an entirely different matter, will express 
 the general result of his work : 
 
 " ' Fair, kind, and true,' is all my argument, 
 ' Fair, kind, and true,' varying to other words ; 
 And in this change is my invention spent. 
 Three themes in one, which wondrous scope affords. 
 ' Fair, kind, and true,' have often lived alone. 
 Which three till now never kept seat in one." 
 
 Some little time before 1592, Henslowe was managing the Rose 
 theatre, which, being on the south side of the Thames, in Southwark, 
 was outside the authority of the Lord Mayor, and which probably 
 had been only just built near Paris Garden,' the scene of bear- 
 baitings and other noisy sports." In Henslowe's Diary the first 
 entry of the acting of a play at the Rose is on February 19th, 1592. 
 It was here that Shakspere's first plays were performed.^ 
 
 During the greater part of 1593 the theatres were closed in 
 consequence of the extent of the plague. In December, 1594, 
 Shakspere acted with the Lord Chamberlain's servants before the 
 Queen at Greenwich Palace. From this time most of the history 
 of the stage, so far as the work of a Shakspere-socicty is con- 
 
 1 Mr. William Rendle has a full account of this and the Bankside neighbourhood 
 generally in Appendi.x I. of Part II. of the New Shakspere Society's edition of 
 Harrison's Description of England. This and the other two parts are full of interest to 
 the Shakspere-student. 
 
 « See Henry VIII., V. iv. 2. 
 
 » See pp. 59, 63. 
 
EVENINGS WITH SHAKSPERE. 327 
 
 cerned, is the history of the several companies of actors, as will be 
 hereafter briefly stated. It will be sufficient to record here that in 
 1596 or 1597 James Burbage, not without a local protest, converted 
 the Blackfriars premises, alluded to at p. 325, into a theatre,' which 
 stood in the present Playhouse Yard near The Times office; that 
 in 1599 the Globe theatre on the Bankside, on ground now 
 occupied by the brewery of Messrs. Barclay and Perkins, was built 
 by the Burbages partly from the materials of The Theatre, which 
 was then pulled down, and that the Fortune theatre in St. Giles's, 
 Cripplegate, in the street now known as Playhouse Yard, between 
 Whitecross Street and Golden Lane, was built very soon after 
 by Henslowe and his son-in-law, Edward Alleyn,^ the great rival of 
 James Burbage's son, Richard. Henslowe became the manager of 
 the Fortune, and AUeyn its leading actor. There were several other 
 but minor theatres about this time, and on June 22nd, 1600, the 
 Privy Council endeavoured to control their number by issuing an 
 order limiting them to the Fortune for the north side of the 
 Thames and the Globe for the Surrey side. This order was not 
 carried into effect, and at the end of 1601 a more stringent order 
 was issued. In 1603 the stage found in the person of the new 
 monarch a warm supporter. In a special license which on May 
 17th, 1603, he gave to the actors then known as the Lord 
 Chamberlain's servants, of whom Shakspere was one, it is seen 
 that they were occupying " theire now usuall howse called the 
 Globe." 
 
 Soon after the accession of James, the companies of players 
 under the patronage of various noblemen were absorbed into "the 
 
 1 This was on a site exempt from the jurisdiction of the City Authorities. 
 
 2 AUeyn, who was the principal holder of the property, became the founder of 
 Dulwich College. 
 
328 EVENINGS WITH SIIAKSPERE. 
 
 three companies of plaiers to the King, Queene and Prince," and 
 in April, 1604, there went out from the Privy Council to the Lord 
 Mayor and the county magistrates, an order, the signatories to which 
 included the Lord Admiral and the Earl of Worcester, two of the 
 patrons of prominent companies, that the newly-organised bodies 
 were " publicklie to exercise their plaies in ther severall and usuall 
 howses for that purpose and noe other ; viz., the Globe scituate in 
 Maiden Lane on the Banckside in the countie of Surrey, the Fortune 
 in Goldinge Lane, and the Curtaine in Hollywelle in the cowntie of 
 Midlesex,^ without any lett or interrupption in respect of any former 
 Lettres of Prohibition heertofore written by us to your Lordship, 
 except ther shall happen weeklie to die of the plague above the 
 number of thirtie within the Cittie of London and the Liberties 
 thereof, att which time wee thinke itt fitt they shall cease and 
 forbeare any further publicklie to playe untill the sicknes be againe 
 decreaced to the saide number." In 1605-6 an Act of Parliament 
 was passed which forbade in stage-plays the jesting or profane use 
 of "the holy Name of God or of Christ Jesus, or of the Holy 
 Ghost or of the Trinitie." Effects of this are to be seen in the 
 plays, and are of help in fixing the dates of passages cither original 
 or altered. 
 
 In 1613 the Globe theatre was burned down, and at once re- 
 built with greater ornamentation. James I. in 161 5 gave permission 
 for the erection of a second theatre in Blackfriars, but of which 
 advantage was not taken. In 1619 the City of London Corporation 
 endeavoured to suppress the Blackfriars theatre because "the owner 
 of the said playehowse within the Blackfryers under the name of a 
 
 1 The Globe was occupied by the King's servants, the Fortune by the Prince's 
 servants, and the Curtain by the Queen's servants (see Calendar 0/ State Papers. 
 Domestic. Addenda. 1C23— 1625, p. 530). 
 
EVENING^; U'iril SHAKSPERE. 329 
 
 private howse hath converted the same to a publique pkyhowse," 
 one of the results of the consequent obstructive traffic being that 
 the minister and people were "disturbed at the administracion of 
 the Sacrament of Baptisme and publique prayers in the afteer- 
 noones." How far this effort of the City Authorities was successful 
 may be seen from the license granted by the King in 1620, which 
 empowered his servants to act "when the infection of the plague 
 shall not weekely exceed the nomber of Fortie by the certificate of 
 the Lord Mayo^ of London for the time being, as well within theis 
 two their now usuall Houses called the Globe within o"" Countie of 
 Surrey and their private House scituate in the precincts of the 
 Blackfriers within our Citty of London, As also within any Towne 
 Halls, or Moute-halls, or other convenient places within the liberties 
 and freedom of any other Cittie, Universitie, Towne, or Burrough 
 whatsoever within o^ said Realmes and Domynions;" and not only 
 were no hindrances to be placed in their way, but they were to be 
 aided and assisted, and to be allowed " such former curtesies as 
 hath byn given to men of their place and qualitie." In 1621 the 
 Fortune theatre was burned down, and rebuilt in the following year. 
 Other authorities must be consulted for the history of the stage 
 from this time till 1642, when the theatres were closed on account 
 of "the distressed estate of Ireland, steeped in her own blood, 
 and the distracted estate of England, threatened with a cloud of 
 blood by a civil war," and because " public sports do not well agree 
 with public calamities, nor public stage-plays with the seasons of 
 humiliation " then enjoined by the Long Parliament, which in 1648 
 issued an order for " the utter suppression and abolishing of all 
 Stage-Playes and Interludes. With the Penalties to be inflicted 
 upon the Actors and Spectators." With the Restoration came 
 
 43 
 
330 E]'EXIXGS WITH SIIAK^PERE. 
 
 a drama influenced by, and almost re-created on, French lines of 
 thought and manner. 
 
 The notes that follow are on the theatrical companies' that 
 acted the plays which form the Society's course of study. There 
 were some others to which incidental reference will be made. 
 
 Zbc CbilDrcn of ipaul's. 
 
 The scholars or choristers of St. Paul's Cathedral had from the 
 fourteenth century been engaged in dramatic^representation. In 
 1378 they petitioned Richard II. to protect their interests, which 
 they feared would be injured by competition. At that time they 
 were of course acting Mysteries. They however kept pace with, 
 and probably developed, the taste for other forms of drama, and in 
 the sixteenth century they had become very popular actors. 
 Commonly they performed in the School-room of St. Paul's, but 
 they also played before the Court and often went out of London to 
 act. In 1544 they played at Hatfield before Princess Elizabeth, 
 when she was there visited by Queen Mary. In 1559 they appeared 
 again before Elizabeth, when as Queen she was entertained by 
 Lord Arundel at Nonsuch in Surrey. 15^'>3 is the earliest date in 
 the Council-registers when they were paid for performing at Court. 
 They acted Lyly's Cnnipaspe in 1584. There seems to be no record 
 of any play acted by them between 1594 and 1600. Soon after this 
 
 1 The fullest contribution to their history is in Mr. Flea} "s paper " On the Actor 
 Lists, 1578-1G42," in Vol. IX. of the Royal Historical Society's Transactions. Vol. III. 
 of the 1821 Vafiontm is full of interesting details of the history of the Stage, to which 
 later writers have not added much that is material. ^Histoiia Histrionica, 1699, reprinted 
 in Hazlitt's Dodsley, and, with much caution, Collier's llistoiy of Dramatic Literature and 
 Memoirs of Actors, should be consulteel. 
 
EVENINGS WITH SHAKSPERE. 33I 
 
 they acted Antonio and Mellida and Antonio's Revenge (see pp. log, 
 115). For part, if not all, of this period they were prevented from 
 playing by official interdict, but from the latter date to 1608 several 
 plays are mentioned as having been performed by them. 
 
 It is not at all improbable that about this date, after which 
 nothing is heard of the Children of Paul's, James took them 
 under his patronage, and that they became the company known as 
 The Children of the King's Revels. The audiences in their school- 
 room differed from those at the theatres, consisting principally of 
 gentlemen and scholars.^ This will account for the character and 
 expressions of many of the plays that were written specially for 
 them. 
 
 When the Paul's Children played Chapman's Biissy d'Auibois 
 (perhaps in 1602), Nathaniel Field played the title rvle. 
 
 A company known as The Servants of his Majesty's Revels 
 played The Virgin-Martyr at the Red Bull about 1620. 
 
 Z\ic Cbil^rcn of tbc Cbapcl. 
 
 Judging from the dramatic history of the Children of Paul's, it 
 will probably be safe to conclude that the singing-boys of the 
 Chapel Royal had been for some time in the habit of acting plays. 
 Quite in the early part of her reign, when Richard Edwards was 
 their master, they played before Queen Elizabeth. Up to 1569, 
 and perhaps afterwards, they acted in the Chapel itself.- From 
 that year onwards there are in the Council-books records of pay- 
 ments made to them for performances. They occasionally acted in 
 
 1 See 1821 ViU'ionun, Vol. II., pp. 192-6. 
 See Drake's Shahspeare and his Tunes, Paris ed. 1S38, p. 442. 
 
 43 ' 
 
332 EVENINGS WITH SHAKSPERE. 
 
 the Blackfriars house, ^ and from the time it was converted into a 
 theatre they seem to have had it as their regular dramatic home till 
 it was occupied by the King's servants in i6og. In 1604 they 
 formed almost, if not quite, entirely the newly-formed Children of 
 the Revels (see p. 232). After this they were but rarely known by 
 their former title. - 
 
 In iGoo, when they played Ben Jonson's Cynthia's Revels (see 
 p. 210), Nathaniel Field (see p. 252), Salathiel Pavy, Thomas Day, 
 John Underwood,'' Robert Baxter, and John Frost belonged to the 
 company; but in the following year, in the list of dramatis persona; of 
 the Poetaster, the names of the first four are given with those of 
 William Ostler" and Thomas Marton. 
 
 The Children of the Revels played The Silent V/oman (see 
 p. 137) in I Gog. Field was a member of the company, and his is 
 the only one of the iGoo and 1601 names of the Chapel-Children. 
 Pavy was dead.^ The other names are William Barksted, Giles 
 Carey, William Penn, Hugh Attawel, Richard Allin, John Smith, 
 and John Blancy. 
 
 Zhc Xoi'D B^nul•a^s5 Servants. 
 
 Lord William Howard, who was created Lord Howard of 
 Effingham and who was Lord High Admiral during the greater 
 part of Mar\-'s reign, holding the post between the two terms of 
 
 > See p. 325. They acted Lyly's Campiupc there (see p. 61). 
 
 2 See 1821 Variorum, Vol. III., p. 428. A company called The Children of the 
 Chapel acted in 1612-13 (see Cunningham's i?ft'W5 <j/ Cok;/, p. xlii.) 
 ' Afterwards with the King's servants. 
 * See Ben Jonson's pjera on I'avy. lipigra c.\.\. 
 
EVENINGS WITH SIIAKSPERE. 333 
 
 office of Edward the gth Lord Clinton, does not seem to have had a 
 company of pla3-ers. Upon his death in 1573 his son Charles 
 succeeded to the title, and was appointed Lord Admiral in 1585, 
 upon the death of the Earl of Lincoln, the title bestowed on Lord 
 Clinton in 1572. Lord Howard's band of actors seems to be first 
 noticed in 1576, when they pla)ed before the Queen at Hampton 
 Court.' When they acted two interludes before her Majesty on the 
 Sunday after Christmas, 1588, they were described as the Lord 
 Admiral's servants." In November, 1589, they obeyed the Lord 
 Mayor's order " to forbere playinge" within the city.^ At the end of 
 1590 and in the beginning of 1591 they acted two plays at Court.* 
 In May, 1594, they were with Henslowe; and in the following month, 
 with the Lord Chamberlain's men, they began an engagement 
 under him at Newington.^ In 1597 their patron was created Earl 
 of Nottingham. They were sometimes known under the new title 
 from that date till they became the theatrical servants of Henry, 
 Prince of Wales, in 1603. They w^re playing by themselves from 
 October, 1596, to July, 1597 (see Diary, pp. 82—90). Erom 
 October 21st, 1597, to March 4th, 1598, they seem to have been 
 
 1 See 1821 Vavionun, Vol. III., p. 3S7, and Cunningham's Revels at Court, p. 102. 
 
 - 1S21 Variorum, Vol. III., pp. 448-9. In the Royal Historical Society's Traus- 
 actions, Vol. X., p. 131, Mr. Fleay states, without giving any reference, that there was a 
 company known as the Admiral's in 1583. If so, it must have been under the 
 patronage of the Earl of Lincoln. I cannot understand Mr. Fleay's statement {Op. 
 cit., p. 114, and Introduction to Shakespearian Study, p. 53) about the Lord Chamberlain 
 and the Lord Admiral. Philip Howard never held either of these oflices. Beatson's 
 Political Index and Burke's works on the Peerage will supply all the information necessary 
 on these points. 
 
 ' See English Drama and Stage, p. 34 
 
 ■* See 1821 Variorum, Vol. III., p. 449. 
 
 5 Diary, pp. 34-5. During this engagement Titus Andronicns and Faustus were 
 played, the former probably by the Chamberlain's men only and the latter by the 
 Admiral's. 
 
334 EVENINGS WITH SIIAKSPERE. 
 
 acting with Lord Pembroke's men (see Diary, pp. 102-103). From 
 March loth, 1598, it would appear they were again playing by 
 themselves, for Henslowe then took inventories of their properties.' 
 At this time was the performance of Fausius referred to in the 
 title-page of the 1604 edition (see page 67). Soon after these 
 performances, which were at the Rose, they moved to the Fortune 
 (see p. 327). 
 
 Henslowe's Diary shows that between 159-1 ^^^^ ^^02 the 
 company included Edward Alleyn*^ (see p. 327), John Singer, Richard 
 Jones,'' Thomas Towne, Martin Slater, Edward Juby, Thomas 
 Downton,^ James Dunstan,^ William Bird (or Borne), Gabriel Spencer*^ 
 (seep. 207), Robert Shaw,* Humphrey Jeffes," Anthony Jeffes, Charles 
 Massey, Samuel Rowley (see p. 251), Wilson, Flower, Price, and 
 Day. When they became Prince Henry's servants the names of 
 Singer and Jones are wanting, but others are added.'' After the 
 Prince's death in 1612 the actors, passing under the patronage of 
 
 1 See Appendix to Diary. 
 
 • Alleyn had belonged to Lord Worcester's company in 15S6. In 1593 he was one 
 of Lord Strange's men. Alleyn was an actor of the leading parts, amongst which he 
 played Faustus (see p. 67). For references to others of his parts see Memoirs of Eduurd 
 Alleyn, pp. 7, 8, 198—213, and Thomas Heywood's Dedication to the 1633 Edition of 
 Marlowe's Jew of Malta. He was absent from the stage from 1597 to 1601. Ben 
 Jonson (ed. Cunningham, p. 2.42) adds his testimony concerning AUeyn's histrionic 
 ability. 
 
 ■'• Jones was a member of Lord Worcester's company in 1586. 
 
 ■* Shaw and Downton were prominent members of the company in 1598 (see 
 1821 Variorum, Vol. III., p. 450). Shaw became one of Lord Worcester's men in 1602. 
 
 '• Perhaps the Tunstall of Lord Worcester's company in 1586. 
 
 " Probably this is the actor who played the Messenger in 3 Henry 17. (see 1C23 
 Folio, "Histories," p. 150). 
 
 " This is probably the player of the Second Keeper in 3 Henry VI. (see 1C23 Folio, 
 " Histories," p. 158). 
 
 * See 1821 Variorum, Vol. III., p. .\.\.\, and New Shakspere Society's Transaelions, 
 1877-79, I'art III., Appcndi.K II. 
 
EVENINGS WITH SIIAKSPERE. 335 
 
 the Lady Elizabeth and her husband, the Elector Palatine,' became 
 known as the Palssfrave's men." 
 
 Zbc lEnvl of Su33C£'5 Servants, 
 
 It is known that this set of actors, whose first patron perhaps 
 was Thomas Ratcliffe, the 3rd Earl, played before the Queen in 
 1577, 1580, and 1592.'' The Earl of Sussex succeeded the first 
 Lord Howard of Effingham as Lord Chamberlain* in 1573, and 
 held the office till he died in June, 1583. The players up to that 
 time were sometimes known by his private, and sometimes by his 
 official, title (see p. '^i^y). In their earlier days it is probable that 
 they acted at the Curtain. The performance at Court in 1592 was 
 when they were the servants of their earliest patron's brother 
 Henry, the 4th Earl, who lived till April, 1593. Henslowe in his 
 Diary (pp. 31-4) shows that with other companies they were acting 
 for him at the Rose from December, 1593, till the following April. 
 During this engagement they played Titus Andronicns'" (see p. 59). 
 They must then have been under the protection of Robert, the son 
 of the previous Earl. After this date there is no information about 
 them. At the dispersion consequent upon the death of the Earl of 
 Derby (Lord Strange) in 1594, they probably ceased to exist as a 
 separate company. 
 
 1 See p. 103. 
 
 - See Collier's History of Dramatic Literature. Vol. I., p. 3S1 ; 1S21 Variorum, Vol. 
 
 Ill, p. 59- 
 
 - See 1821 Variorum, Vol. III., pp. 446-9. 
 
 * The Lord Mayor and Corporation of London wrote to him in that capacity in 
 1574 in reference to theatrical performances (see English Drama and Stage, pp. 23-4). 
 '^ The other plays at that time are mentioned by Henslowe. 
 
336 EVEXIXGS WITH SHAKSPERE. 
 
 Cbc £arl of DeibB's Servants. 
 
 It is not known when these were formed ; ' but on Sunday, the 
 14th of February, 1580, they acted a play before the Queen. It has 
 been thought that their theatrical home was at the Curtain. 
 Their patron, Henry, the 4th Earl, died on September 25th, 1593. 
 Probably for some time before this, his eldest son, Ferdinando, 
 known as Lord Strange, had become their nominal head.- In 
 1591-3, as Lord Strange's servants, they played before Elizabeth 
 at Whitehall and at Hampton Court. From February to June, 
 1592, they were acting under Henslowe's management at the Rose 
 (see Diary, pp. 20-8). At this time they played Greene's Friar Bacon, 
 which was afterw^ards acted by the Queen's men (see p. y^). Their 
 repertory, of which Henslowe gives a full list, included a play known 
 as Henry VI. (see p. 63). On May 6th, 1593, Lord Strange's men 
 mcluded Edward Alleyn (see p. 334), William Kempe'^ (see pp. 155, 
 338), Thomas Pope,* John Heminge (seep. 306), Augustine Phillipps 
 (see p. 81), and George Bryan.-* Lord Strange did not live long to 
 enjoy the earldom; and before his death, in April, 1594, the company 
 became dispersed. Alleyn stayed with Henslowe and the Lord 
 Admiral's men ; the others joined the Lord Chamberlain's servants. 
 
 ^ Collier {Shakespeare , ed. 1858, Vol. I., p. 17) says the Earl of Derby had a company 
 of players about 1532-6. 
 
 * See English Drama ami Stage, p. 34. Lord Strange's men, who were at Stratford in 
 1579 (see 1821 Variorum, Vol. II., p. 150), were probably his company of tumblers who 
 appeared at Court in 1580-1 (0/. cit., Vol. III., pp. 448-9). 
 
 ^ While Kempe was one of Lord Strange's men he did the comic business in A Knaek 
 to Know A Knave (reprinted in Hazlitt's Dodsley). Kempe had been with the Queen's 
 men in 1588. 
 
 •* Pope and Bryan were amongst the English players who were acting at the Courts 
 of Denmark and Saxony in 15S5-6 (sec p. 75 and Cohn's Shakespeare in Germany, p. xxiii.) 
 Pope played comic parts. 
 
EVENINGS WITH SIIAKSPERE. 337 
 
 Lord Strange's brother, who succeeded to the title, had a company 
 of actors who played before the t^ueen in 1600. Titus Androniais 
 (see p. 59) and Heywood's Edivard IV. (see p. 87) were acted by 
 the Earl of Derby's servants. 
 
 Cbc %ovt) Cbamberlaiirs Scvvants. 
 
 Under this designation a company acted from 1574.^ Tiien and 
 till his death, in June, 1583, the Earl of Sussex was Lord Chamber- 
 lain (see p. 335). He was succeeded by Charles, the 2nd Lord Howard 
 of Effingham;- but in 1585 Henry Carey, the ist Lord Hunsdon, 
 and cousin to Elizabeth, who had a company that acted a comedy 
 before the Queen in 1582,^ was Lord Chamberlain. His players 
 then took the official title, being the company that afterwards acted 
 most of Shakspere's plays. In 1594 they were reinforced by some 
 of the actors who had played under Lord Strange's name. In that 
 year, whilst acting in conjunction with the Lord Admiral's men,* 
 they played Titus Andronicus (see p. 59), and by themselves they 
 played before Elizabeth at Greenwich, when Shakspere was one of 
 the party. When the Queen's servants broke up in 1594 coincident 
 with the death of Lord Strange, it seems reasonable, in the absence 
 of direct information, to believe that the Chamberlain's servants 
 acted at The Curtain till they went to the Globe in 1599 (see p. 327). 
 In July, 1596, Lord Hunsdon died, and William Brooke, the 7th 
 
 1 See 1821 VaiioYum, Vol. III., p. 3S2, and Cunningham's Rcvch at Court, p. 87. 
 
 2 See Calendar of State Papers. Domestic. 1581— 1590, pp. 163-4. 
 
 = See 1821 Variorum, Vol. III., p. 405, and Cunningham, Op. cit., p. 176. 
 
 * See p. 333. Henslowe's record of this double engagement is so vague, that it is 
 impossible to say whether the many plays he mentions (Diary, p. 35 et seq.J were acted 
 by the companies singly or together. The record ends about the time of the first Lord 
 Hunsdon's death. 
 
 44 
 
33S EVEXIXGS WITH SHAKsPERE. 
 
 Lord Cobham, was appointed to the office; and the plaj'ers, passing 
 to the patronage of George Carey, who succeeded his father in the 
 title, again became known as Lord Hunsdon's servants.^ Upon 
 Lord Cobham's death, the 2nd Lord Hunsdon became Lord 
 Chamberlain, in March, 1597, and the players resumed the official 
 designation, retaining it till James's accession, soon after which 
 they went to form the King's servants. 
 
 In 1598, when the Lord Chamberlain's servants played Evoy 
 Man in his Humour, the company included William Shakspere,^ 
 Richard Burbage,'' Augustine Phillipps (see pp. 81, 336), Heminge* 
 (see pp. 306, 336), Henry Condell (see p. 306), Thomas Pope * (see 
 P- 336), William Sly, Christopher Beeston, William Kempe^ (see 
 p. 336), and John Duke. In the following year, when the company 
 played Every Man out of his Humour, the names of Shakspere, 
 Beeston,^ Kempe,*"' and Duke*^ are wanting. About this time Richard 
 Cowley must have been a member of the company.^ In 1603 the 
 Chamberlain's servants acted Scjanus, in the cast of which were 
 Burbage, Shakspere, Phillipps, Heminge, Sly, Condell, John Lowin,^- 
 
 1 During this period they acted Romeo and Juliet (see p. 91). 
 
 * Supposed to have acted old Knowell, and to be represented in that character in 
 the First FoHo Portrait. 
 
 ' Son of James Burbage (see p. 327). Richard's position in the company can be 
 inferred from the fact that Richard III., Hamlet, Othello, and Lear were among his parts. 
 
 * Heminge and Pope were often the business-representatives of the company (see 
 1821 Variorum, Vol. III., p. 450). 
 
 * Kempe played Dogberry in Much Ado (see 1600 Quarto and 1C23 Folio "Comedies,'- 
 p. iiG), and Peter in Romeo and Juliet (see 1599 Quarto). The Folio also states that 
 Balthazar in Much Ado was played by "Jack Wilson." 
 
 Beeston, Kempe, and Duke joined Lord Worcester's players (see Henslowe's D/iHt, 
 pp. 236-7). 
 
 ^ He played Verges in Much Ado (see 1600 Quarto and 1623 Folio " Comedies," p. 1 16). 
 
 * Lowin had previously belonged to Lord Worcester's players. Later on he acted 
 Falstaff, Morose in The Silent Woman, and Mammon in The Alchemist. 
 
EVENINGS WITH SHAKSPERE. 339 
 
 and Alexander Cooke. On May 17th of that year they lost their 
 title of the Lord Chamberlain's servants, and by the Royal License 
 of that date became the King's servants. 
 
 Of the plays given in Chapter IX. for study it is known that the 
 Lord Chamberlain's servants acted Titus Andronicus (see p. 59), 
 Richard 11. (see p. 81), A Midaiimmcr-NighCs Dream (sec p. 85), 
 Richard III. (see p. 87), Romeo and Juliet (see page gi), The Merchant 
 of Venice (see p. loi), Much Ado About Nothing (see p. 103), Thomas, 
 Lord Cromioell (see p. 105), 2 Henry IV. (see p. iii), The Merry 
 Wives of Windsor (see p. 113), and Henry V. (see p. 117). 
 
 Zbc Ciuceii'5 Servants, 
 
 Attached to the Court, and continued from the time of Henry 
 VIL, there were performers who acted interludes (see p. 322), and 
 who in Elizabeth's time were known as the Queen's players.* As 
 these, however, were "very poore and ignorant" in comparison 
 with the "very skilfull and exquisite Actors .... entertained 
 into the seruice of diuers great Lords,"- Elizabeth determined not 
 to be behind the age ; so Edmund Tylney, who was Master of the 
 Revels from 1579 to 1610, was " sente for to the Courte by letter 
 from Mr- Secretary dated the xth of Marche 1582 [1583J To choose 
 out a companie of players for her Ma^ie-''^ In Stow's Chronicle (loc. 
 cit.) it is said that this was done by choosing twelve of the principal 
 
 1 They acted at Stratford in 1569, and probably again in 15S7, 1592, 1593, and 1596. 
 
 - Stow's Chronicle, ed. 1631, p. 698. 
 
 3 Cunningham's Revels at Court , p. 186. Fleay {Introduction to Shakespearian Study, 
 p. 54) says that " there was only one Queen's company in Elizabeth's time." He is un- 
 doubtedly right in stating (Royal Historical Society's Transactions, Vol. IX., p. 47) that 
 the actors led by the Buttons and Lanham were one company. But he seems to have 
 forgotten the Interluders. 
 
 44* 
 
340 EVENINGS WITH SHAKSPERE. 
 
 actors from various existing companies. Fleay says that " the Earl 
 of Warwick's and the Earl of Leicester's companies were dissolved 
 and Queen Elizabeth's men were formed out of them." But the 
 earlier authority must be right, as visits to Stratford were made by 
 Warwick's players' in 1584 and by Leicester's- in 1587 (see 182 1 
 Varioniui, Vol. II., p. 151). Leicester also probably took his 
 company to Holland in 1585 (see p. 193). The newly-formed 
 company had its home at The Theatre'^ (see p. 324). From 1586 
 to 1591 there are entries in the Council-Registers of payments being 
 made to her Majesty's players.* Not later than 1591 the Queen's 
 players acted The Troiihlcsouie Raigne (see p. 95), which was not 
 played by any other company before 161 1. For a week in April, 
 1594, the Queen's men were acting with those of the Earl of 
 Sussex,^ when Greene's Friay Bacon was among the plays performed. 
 After that nothing is known of them. Probably they became 
 absorbed into other companies. Lord Strange's death in 1594 
 seems to have led to a general re-arrangement of the acting 
 companies. 
 
 Amongst the Queen's servants were included Thomas (? Robert) 
 Wilson and Richard Tarleton,'^ Lawrence Dutton, John Dutton, 
 
 1 Warwick's players had acted before the Queen in 1564 and in 157G, when 
 •Lawrence Dutton (who was at the head of Sir Robert Lane's players in 1573) and John 
 Dutton were the chiefs of the party. 
 
 '-' Leicester, when Lord Dudley, had a set of actors who performed at Court in 
 15C2. Li 1574, when he received the special license (see p. 323), James Burbage, John 
 I'erkyn, John Lanham, William Johnson, and Robert Wilson were the players 
 mentioned in it. 
 
 =" It is almost certain that Leicester's company had acted there, as James Burbage 
 one of its leading members, was the builder of the house. 
 
 * These were doubtless the 1583 company. The Registers from June 26th, 1582, to 
 February 14th, 1586, are lost. 
 
 ' Henslowe's Diary, pp. 33-4. 
 
 * Stow, luc. cil. 
 
EVl'NIXGS WITH SIIAKSPERE. 34I 
 
 and John Lanham (its leaders in 1589-90), and perhaps the others 
 mentioned in Leicester's patent of 1574. Upon Tarleton's death 
 in 1588, his place as comedian was taken by William KempeJ 
 
 At the beginning of the reign of James I., the company adopted 
 as the Queen's servants had been previously under the patronage of 
 the Earl of Worcester. ^ Amongst them were Richard Perkins, 
 John Duke, 3 Christopher Beeston,^ Thomas Heywood (see p. 213), 
 and Robert Pallant, as mentioned in Henslowe's Diary, pp. 235-45. 
 When adopted by the Queen, the names of Thomas Greene,* 
 Thomas Swinnerton, James Hoe, and Robert Beeston are found in 
 addition. They then occupied the Curtain. 
 
 This later company of Queen's servants played A Woman Killed 
 K'ith Kindness (see p. 123), which upon its first production had been 
 acted by the Earl of Worcester's players. 
 
 ^bc :!£arl of ipcmbiohe's Servants. 
 
 It seems that it was on St. John's Day, 1592, that the Earl of 
 Pembroke's servants acted for the first time before the Queen at 
 Court. ^ It was probably not much before this date that the 
 
 1 Kempe was one of Lord Strange's men in 1593, in 1598 one of the Lord Cham- 
 berlain's servants, and in 1602 one of Lord Worcester's players. 
 
 - Worcester's players were at Stratford in 1569 and at Leicester in 1586 (see 1821 
 VarioYum, Vol. IL, p. 150, and Shakespeare Society's Papers, Vol. IV., p. 145). In the 
 latter year the company included Robert Browne (who became one of the leaders of the 
 Earl of Derby's servants in 1600), James Tunstall, Edward Alleyn, William Harrison, 
 Thomas Cooke, RicTiard Jones, Edward Browne, and Richard Andrews. Alleyn and 
 Jones, and perhaps Tunstall (Dunstan), became members of the Lord Admiral's 
 company. 
 
 » Duke and Beeston were with the Lord Chamberlain's men in 1598 (see p. 33S). 
 
 * See Calendar of State Papers. Domestic. Addenda. 1623— 1625, p. 530. 
 
 6 See 1821 Variorum, Vol. III., p. 450. 
 
342 EVENINGS UITII SHAKSPERE. 
 
 company had been formed under the patronage of the father of 
 Wilhani Herbert (see p. 231). The names of the players are at 
 present unknown. Not later than 1594 they acted A Shrew^ (see 
 p. 97) and Edward 11."^ (see p. 77). They also played The True 
 Tragedy (see p. 69) and Titus Andronicus (see p. 59), of which it 
 seems, from the order of the companies given on its title-page, they 
 were the first possessors. Under Henslowe's management they 
 were acting with the Lord Admiral's servants at the Rose from 
 October 21st, 1597, to March 4th, 1598, ^ and by themselves for a 
 short time, beginning October, 1600.* When the Earl of Pembroke 
 died in 1601, it is not at all unlikely that they were taken into the 
 Earl of Worcester's company,^ acting with Henslowe. 
 
 (Tbc fjfnfl's Servants. 
 
 The company of actors to which James I. gave his personal 
 patronage soon after he came to the throne consisted principally, 
 if not entirely, of the Lord Chamberlain's servants. Lawrence 
 Fletcher,^ Shakspere, Burbage, Phillipps, Heminge, Condell, Sly, 
 Robert Armin, Cowley, and others unnamed, received from the 
 King a license on ]\Iay 17th, 1603, ten days after his arrival in 
 
 _^ In 1607, to judge from the title-page of the edition of that year, the play had not 
 been acted by any other company. 
 
 * The 1612 Edward II. bore their name alone as its performers. Attention should 
 be given to Prof. Dovvden's article on Marlowe in The Fortnightly Review, January, 1S70. 
 
 ' See Diary, pp. 102-3. ■• See Diary, p. 181. 
 
 ' Edward II. was afterwards acted by the servants to the Queen, who had taken 
 over Lord Worcester's players. 
 
 " Fletcher had come from Scotland with James. On account of his eminence as an 
 actor, the freedom of the city of Aberdeen had been conferred upon him in iGoi. 
 
E]-E\'[XGS WITH SHAKSPERE. 343 
 
 London, by which the company became the King's servants. In 
 the following year they acted Marston's Malcontent, in which (as 
 appears from the Induction) Sly, John Sincklo,' Burbagc, Condell, 
 and Lowin were engaged. On March 15th, 1604, when the virulence 
 of the plague had somewhat abated, the Coronation-procession from 
 the Tower to Westminster took place,- and for the occasion the 
 King gave to each of the players named in the Royal license four 
 and a half yards of red cloth. ^ When the company acted Ben 
 Jonson's Fox in 1605, Burbage, Heminge, Condell, Lowin, Sh', 
 and Cooke are mentioned as having taken parts. Phillipps died in 
 that year, and in his will * left gifts to his servant, Christopher 
 Beeston, and to his fellows, Shakspere, Condell, Fletcher, Armin, 
 Cowley, Cooke, Heminge, Burbage, and Sly, the last three of 
 whom he appointed his executors. In 1610 Burbage, Heminge, 
 Lowin, Ostler (see p. 332), Condell, Underwood (seep. '332), Cooke, 
 Nicholas Tooley, Armin, and William Ecclestone were amongst 
 those who had parts in The Alchemist. The same names, with 
 Richard Robinson in the place of Armin, appear as actors in Catiline 
 in the following year. Before 1611 they played Titus Androniciis 
 (see p. 59). About 1616 they acted The Duchess of Malfi, when are 
 found the names of Burbage (Ferdinand), Condell (Cardinal), Ostler 
 (Antonio), Underwood (Delio and Madman), Lowin (Bosola), John 
 
 1 Sincklo played the First Keeper in 3 Henry VI. (see 1C23 Folio "Histories," p. 15S), 
 one of the Players in the Induction to The Shrew (see 1623 Folio " Comedies," p. 209), 
 and the First Beadle in 2 Henry IV. (see 1600 Quarto). 
 
 ■ Ben Jonson and Dekkerwere engaged in the preparation of the Pageant. 
 
 => See an extract from the Lord Chamberlain's Records given in the New Shakspere 
 Society's Transactions, 1877-9, Part III. The material was for making a cloak and cape. 
 Afterwards the grant became a biennial one (see 1821 Variorum, Vol. III., pp. 60-1). 
 
 * See 1821 Variorum, Vol. III., pp. 470-3. 
 
344 
 
 EVEXISGS Uiril SIIAKSPERE. 
 
 Rice (Pescara), Thomas Pollard (Silvio), Pallant (Doctor and Cariola), 
 Tooley (Madman), Richard Sharp (Duchess), and John Thomas 
 (Julia). In 1623, when the play was again acted by them, the parts 
 of Ferdinand, the Cardinal, and Antonio were taken by Joseph 
 Taylor,' Robinson, and Robert Benfield. Field (see p. 332) was a 
 late member of the company. The names also of Samuel Cross, 
 Samuel Gilburne,- Robert Gough, and John Shancke appear in the 
 First F-olio list of "The Names of the Principall Actors in all these 
 Playes.'* "' Mr. Fleay (Royal Historical Society's Transactions, Vol. IX.) 
 gives the names of the members of the company who had parts in 
 many of Beaumont and Fletcher's plays, and much other informa- 
 tion concerning them on to the closing of the theatres. 
 
 The King's servants played at the Globe, and in 1609 they also 
 used the Blackfriars theatre. 
 
 It is recorded that the King's servants acted Richard II. (see p. 
 81), Richard III. (see p. 87), Romeo and Juliet (see p. 91), Much Ado 
 about Nothing (see p. 103), Thomas, Lord Cromicell (see p. 105), per- 
 haps I Henry IV. (see p. 107), The Merry Wives of Windsor (see pp. 
 103, ii3\ The London Prodigal (see p. 127), A Yorkshire Tragedy 
 (see p. 133), Hamlet (see p. 135), The Alchemist (see p. 103), Othello, 
 (see p. 143), Philaster (sec p. 147), Lear (see p. 149), A King and No 
 King (see pp. 103, 153), Pericles (see p. 159), The Duchess of Malfi 
 (see p. 165), Troilus and Cressida (see p. 167), The Duke of Milan (see 
 p. 175), The Winter's Tale (see pp. 103, 177), and The Tempest (see 
 pp. 103, 179). 
 
 1 BurbaKc died in 1619. Taylor acted Hamlet, lago, Trucwit in The Silent Wcnuvi, 
 
 and Face in The Alchemist. 
 
 « Gilburne is mentioned in Phillipps's will as his " late apprentice." 
 
 3 Shakspere bequeathed to Ileminge, Bnrbncre, and Condell /i : G : S "a pecce to 
 
 buy them ringcs." 
 
EVEXISGS WITH SIIAKSPERE. 345 
 
 Familiarity with the customs of the theatres in Shakspere's 
 times, both on the stage and in the audience, is necessary for under- 
 standing many passages in the plays. The theatres are usually 
 described as "private" and "public." The exact significance of 
 these terms is, however, not clear, as the general public were 
 admitted to both.' The announcement of the play was made by 
 bills- or posters. The hour for beginning the performance varied 
 from one to three o'clock, getting later as years went on. At some 
 theatres admission could be obtained for a penny, and probably the 
 best place could be secured for a shilling.^ The doors seeni to have 
 been opened some considerable time before the acting began, and 
 this interval was occupied by the audience with a variety of diver- 
 sions, in which card-playing and the consumption of cheap and 
 portable refreshments bore a conspicuous place. Tobacco-smoking, 
 to which it is strange that Shakspere has no reference, seems to 
 have been indulged in then and through the performance. During 
 the waiting-time there was often some rough play by the more noisy 
 portion of the audience,* including scrambling for partly-consumed 
 fruits. There was an orchestra provided, whose purpose was the 
 same as now. In the earlier period of the Elizabethan drama some 
 portion of the drama was suggested by the presentation of a 
 dumb-show.^ This became less a practice, and the Prologue ° became 
 
 1 The Globe was called a public, and the Blackfriars a private, theatre. 
 
 "- The transfer of copyright from Charhvood to Roberts in 1594 (see p. 267) included 
 " The billcs for plaics." 
 
 ^ At some theatres accommodation for a limited number of spectators was afforded 
 on the stage (see the address " To the great Variety of Readers" in the 1O23 Folio), and 
 for this an extra charge was made. 
 
 ■> See Henry VIII., V. iv. 63-4. ° See Loeriiie, the play-scene in Hamlet, and Perieles. 
 
 « Much of interest .has been gathered together by G. S. B. in The Prologue and Epi- 
 logue in English Literature. 
 
 45 
 
346 EVEMXGS WITH SIIAKSPERE. 
 
 a sort of substitute for it. Shakspere occasionally conformed to 
 the custom of the Prologue, but was evidently not very tolerant 
 of the practiced Usually only one play was presented at a per- 
 formance, and the average time occupied in this was about two 
 hours.- Instead of the single play, several very short ones were 
 given occasionally. ^ There has been much misunderstanding about 
 the amount of scenery and stage-properties used in the Elizabethan 
 plays. There can be no doubt that these were such as the age could 
 produce.* The dresses of the performers were often of a costly 
 character,^ and bore a disproportionate relation to the remunera- 
 tion of the author. This varied from about £6 to £20. Some of 
 the writers and principal actors were " sharers "^ in the theatre, and 
 from this source derived considerable income.'^ The actors or " hire- 
 lings" were paid a weekly wage." It must be borne in mind that on 
 to the middle of the seventeenth century women's parts were acted 
 by boys or men, and actors playing clowns' parts at times introduced 
 some " extempore wit,"^ for their ability in which they often received 
 high commendation. Although Shakspere seems to have been more 
 favourably disposed to the Epilogue than to the Prologue, he used 
 it only sparingly. It was spoken at times by one who was not of 
 
 1 See A Midsiaumey-Nisht's Dicam, III. i. 17-36, V. i. ioS-52 ; Romeo and Juliet, I. iv. 
 i-io; and Hamlet, III. ii. 151-2. 
 
 * See Prologues to Romeo and Juliet, The Alehemist, and Henry VIII. 
 
 2 See Suggestion 2 on A Yorkshire Tragedy, p. 133. 
 
 * Many of Ben Jonson's Masques must have severely taxed the resources of the 
 mechanicians. 
 
 ' For one instance see p. 123. 
 See Hamlet, III. ii. 290-1. 
 
 T Burbage, Alleyn, Shakspere, I'hillipps, IIcniinf,'i\ Cundcll, Underwood, Tooley, 
 Pope, were all well off. Copies of their wills are \^\\q\\ in \'ol. III. of the 1S21 Variorum. 
 » See pp. 213-14. 
 " Sec Hamlet, III. ii. .12-30. 
 
EVENINGS WITH SHAKSPERE. 347 
 
 the dramatis persona,'^ and immediately after it, it was frequently the 
 custom to offer a pra3-er on behalf of the Sovereign,^ or, in private 
 performances, for the patron of the Company. 
 
 The foregoing is only intended as a mere sketch of some of the 
 more prominent customs of the theatre. The reader who wishes to 
 know more of these interesting points is referred to Vols. II. and III. 
 of the 1821 Variorum, where the notes contain numerous quotations 
 from contemporary literature illustrating the various practices. 
 
 1 See As You Like It. " See 2 Henry IV. 
 
 45 
 
CHAPTER XIII. 
 /iDetvical Xlcsts. 
 
 The true concord of well-tuned sounds." 
 
 Sonnets, Vlll. 5. 
 
 INHERE are maii}^ persons who think that the chronological 
 sequence of Shakspere's plays can be determined by their 
 metrical characteristics. 
 
 Entirely opposed to these are people who are horrified at the 
 bare mention of such a matter-of-fact, arithmetical test in con- 
 nection with work "of imagination all compact." 
 
 Again, there are others who, seeing the vast metrical differences 
 existing in many of Shakspere's plays, cannot ignore the fact that 
 a poet nuist to a certain extent concern himself with the mechanical 
 structure of his verse, and that it is only reasonable to suppose that 
 with his maturer powers his versification would take a freer form. 
 
 It is principally of late years that verse-tests have been brought 
 into prominence, although their determining value was recognised by 
 earlier students.^ The evidence afforded by these tests is too strong 
 
 1 Malonu in 1S21 Vai'ionnii, Vol. II., p. .523, rt pLiisim, and Bathurst's Juiihirks on 
 the Diifcvcmcs in Slutltcs/'i\in-'s Vcnification in Dijfcvcnt I'lriods of liis Life, 1S37. 
 
EVENINGS WITH SIIAKSPERE. 349 
 
 to be set aside by attempts to ridicule them or the hopeless endeavour 
 to ignore them. It is not necessary to concede that they prove as 
 nmch as some would desire ; but it is certain that in some cases 
 they are strikingly confirmatory of known external evidence. If 
 then, in reference to those plaxs about which the external evidence 
 is certain, metrical tests are corroborative of the chronological 
 position, they are surely, in those instances where no external 
 evidence exists, not only entitled to respectful consideration, but 
 should be welcomed as very material aids, if not absolute certainties, 
 in the solution of many complicated problems in the question of 
 determining the sequence of Shakspere's work. But no one verse- 
 test must be set to do more than can reasonably be expected of it. 
 It is demanding too much to think that any test of this kind can 
 fix the exact chronological order of the plays, and it is unfair to 
 discard the test altogether because it fails to do this. In Shakspere's 
 plays the most we can expect verse-tests to show is that at 
 different periods of his work he adopted, consciously or uncon- 
 sciously, certain metrical forms which classify his plays into fairly 
 well-defined periods.^ If sucli arrangement docs not contradict 
 the definite external evidence, the verse-tests by which it has 
 been made have established a claim for investigation which no 
 intelligent student can aftbrd to put on one side. It will be apparent 
 that such is the case if attention be given to some details. Several 
 tests of this kind have been employed. 
 
 (i) Weak and light endings. Man\- lines end in a weak or light 
 monosyllable, and thus require the voice to be carried on almost 
 without pause to the next line. Such endings scarcely exist in the 
 
 1 In those plays parts of which wx-ve wiMttcii at pei'liaps Ion,:,' intervals, and in 
 which there is conjoint authorship, a further complication is introduced. 
 
350 EVENINGS WITH SIIAKSPERE. 
 
 plays which are universally acknowledged to be early, and become 
 frequent in those which are obviously later. Mr. J. K. Ingram has 
 dealt fully with the application of this test in the New Shakspere 
 Society's Transactions, 1874, Part II. 
 
 (2) Double endings. Shakspere in his later plays frequently 
 cmploj-ed lines which have a redundant syllable at the end. These 
 are comparatively rare in the earlier plays. The percentage varies 
 from 4 in Love's Labour's Lost to 33 in The Tempest. For a full 
 consideration of this test, reference should be made to Fleay's 
 Shakespeare Manual, where there is a full record of his investigations, 
 and to the table from Hertzberg quoted in Dowden's Shakspere 
 Primer. 
 
 (3) Rhyme. The presence of rhyming lines has been held to be 
 evidence of early work. The application of this test brings out 
 some very striking results, but its use is complicated by the fact that 
 for certain purposes a writer would be very likely to use rhymes 
 deliberately, although he may in a general sense have emancipated 
 himself from the limitations which they impose. But even with 
 this qualifying consideration, a test which shows a proportion of 
 rhyme-lines to those of blank-verse varying from about i to 3 in a 
 group of plays well-known to be early to about i in 50 in a group 
 of plays equally well-known to be late makes it clear that the exist- 
 ence of rhyme must be of considerable ser\-ice in determining the 
 chronological position of a play. Mr. Fleay, who has been the 
 hardest worker at investigating this test not only in Shakspere's 
 plays but in many contemporary writers, has papers on the subject 
 in the New Shakspere Society's Transactions, 1874, Part I. 
 
 (4) Stopped and unstopped lines. Stopped lines — those in which 
 the pause occurs at the end of the line — are fre(iucnt in the early 
 
ni'JiNiNGS WITH sn.iKsr]:RE. 351 
 
 plays, whereas in the later plays unstopped lines— those in which the 
 sentence is " run on " to the next line — are much more common. 
 Dr. Furnivall has paid considerable attention to this test, the great 
 value of which can be seen horn the following examples he gives in 
 the Introduction to the ' Leopold ' Shakspcvc, p. xx. : 
 
 PROPORTION OF UNSTOPPED TO STOPPED LINES. 
 
 Love's Labour's Lost - - - i in 1S.14 
 The Coined)' of Erroys - - - i in 10.7 
 The Two Gentlemen of Verona - i m 10. 
 
 The Tempest - i in 3.02 
 Cymbeline - - i in 2.52 
 The Winter's Talc i in 2.12 
 
 The frequency of Alexandrines and the position of the caesura 
 ("the pause-test") have also been suggested as indications of the 
 chronological order. But there are not enough statistics on these 
 points to ensure accuracy. 
 
 When preparing the tables given in Chapter IX., I was struck 
 with the varying discrepancy between the totals of printed lines and 
 the totals of the lines when reckoned as verse. This discrepancy 
 means that frequently Shaksperc breaks up a verse-line between 
 two or more speakers. It is obvious that such a practice gives a 
 writer much more freedom than invariably making a speech close at 
 the end of a line, and that it would be probable that he would use 
 this freedcm to a greater extent as time went on and he felt more 
 sure of his powers. It occurred to me that this should supply 
 another metrical test ; and feeling sure that its significance would 
 not have been overlooked, I searched m}- accessible authorities, but 
 could only find that Professor Pulling, following up a suggestion by 
 Professor Ingram, had, in the New Shakspere Society's Transactions 
 for 1877-9, Part III., applied to twenty of Shakspere's plays that 
 which has been called the " speech-ending test." That deals with 
 the numerical proportion which speeches ending in the middle of 
 
352 EVENINGS WITH SHAKSPERE. 
 
 line bear to the total verse-speeches, and may perhaps, if carried 
 out in its entirety, be of more value than mine, which takes into con- 
 sideration the proportionate frequency of split verse-lines and may 
 be called ''the split-verse test." It is clear that the application 
 of this test must not be made to the total lines' in a play, but only 
 to verse-lines in which split lines are possible. All solo-verse must 
 be excluded, and dialogue-verse onh^ must be taken into consideration. 
 The apparent misplacement of some of the plays made by the split- 
 verse test can be explained b}- other considerations. In a revision 
 Shakspere ma\- have introduced onl}- a small quantity of new matter, 
 and the force of the test is of course lessened in those plays in which 
 he was only partly concerned. (See pp. ig, 20). 
 
 The differences of the two totals in the Reading-Tables do not 
 always give the number of split lines, because sometimes a line of 
 verse is occupied by more than two speakers and sometimes a line 
 is spoken by two or more persons at once. 
 
 The efficacy of this test can readily be seen if the thirty-seven 
 plays be taken in the order which I have recommended for study, 
 and which represents in the main the accepted chronology, and then 
 divided into two portions as nearly equal as possible. 
 
 Taking the first nineteen of the suggested chronological order, 
 it will be observed that, with the exception of changing As Yon Like It 
 for Much Ado, the test indicates the same plays to represent the first 
 half of Shakspcre's work. The first five p]a}S are the same in both 
 orders. All the plays mentioned l)y Meres (see p. 8) come in this 
 division. The most serious dislocations are Love's Labour's Lost" 
 and Henry V. 
 
 1 For soms observations on the preparation of tlio table on tiie opposite page, see 
 preface. 
 
 ■■' On the chronological position of this play sec p. 19. 
 

 
 /:FZrA7A'GS 
 
 IV IT 11 SlIAKSPE 
 
 •RE. 
 
 
 
 353 
 
 Ill 
 
 If, 
 
 
 
 
 
 
 
 
 -si 
 
 OS" 
 
 •S.tiS Name of Play. 
 
 Total 
 
 
 
 Solo- 
 
 Dialogue- 
 
 Split- 
 
 rt £ i 
 
 UO-i 
 
 O.S- 
 
 
 Lines. 
 
 Prose. 
 
 Verse. 
 
 verse. 
 
 verse. 
 
 verse. 
 
 Ac^Q 
 
 4 
 
 I 
 
 3//r«)>' F/. 
 
 2905 
 
 3 
 
 2902 
 
 284 
 
 2618 
 
 II 
 
 .42 
 
 3 
 
 2 
 
 2 Henry VI. 
 
 3161 
 
 550 
 
 261I 
 
 247 
 
 2364 
 
 iG 
 
 .G7 
 
 2 
 
 3 
 
 I //£«yy F/. 
 
 2678 
 
 10 
 
 2G6S 
 
 147 
 
 2521 
 
 18 
 
 •71 
 
 I 
 
 4 
 
 Titus Andronicus 
 
 2523 
 
 39 
 
 2484 
 
 137 
 
 2347 
 
 21 
 
 .89 
 
 5 
 
 5 
 
 Comedy of Erron 
 
 1778 
 
 237 
 
 154I 
 
 05 
 
 147G 
 
 20 
 
 1-35 
 
 S 
 
 C 
 
 Riehard II. 
 
 2755 
 
 3 
 
 2752 
 
 79 
 
 2G73 
 
 41 
 
 I 53 
 
 19 
 
 7 
 
 Henry V. 
 
 3380 
 
 1466 
 
 1914 
 
 343 
 
 1571 
 
 30 
 
 1-9 
 
 10 
 
 8 
 
 Richard III. 
 
 3618 
 
 75 
 
 3543 
 
 422 
 
 3121 
 
 Go 
 
 1.92 
 
 13 
 
 9 
 
 Taming of Shrevi 
 
 2648 
 
 561 
 
 2087 ■ 
 
 53 
 
 2034 
 
 47 
 
 2.31 
 
 17 
 
 10 
 
 2 Henry IV. 
 
 3446 
 
 1679 
 
 1767 
 
 89 
 
 1678 
 
 40 
 
 2.38 
 
 G 
 
 II 
 
 Two Gentlemen of Verona 
 
 2294 
 
 656 
 
 1638 
 
 239 
 
 1399 
 
 34 
 
 2.43 
 
 i6 
 
 12 
 
 I Henry IV. 
 
 3177 
 
 1495 
 
 16S1 
 
 55 
 
 1626 
 
 41 
 
 2.52 
 
 12 
 
 13 
 
 John 
 
 2570 
 
 
 
 2570 
 
 Ii6 
 
 2454 
 
 G5 
 
 2.G4 
 
 9 
 
 14 
 
 Midsummer-Night's Dream 
 
 2 1 So 
 
 465 
 
 1715 
 
 322 
 
 1393 
 
 37 
 
 2.G5 
 
 i8 
 
 15 
 
 Merry Wives of Windsor 
 
 3019 
 
 2681 
 
 33S 
 
 32 
 
 306 
 
 10 
 
 3.2G 
 
 II 
 
 16 
 
 Romeo and Juliet 
 
 3053 
 
 455 
 
 259S 
 
 3f'4 
 
 2234 
 
 86 
 
 3.84 
 
 20 
 
 17 
 
 As You Like It 
 
 2867 
 
 1682 
 
 11S5 
 
 200 
 
 985 
 
 38 
 
 385 
 
 14 
 
 18 
 
 Merchant of Venice 
 
 2662 
 
 634 
 
 202S 
 
 5G 
 
 1972 
 
 80 
 
 405 
 
 
 19 
 
 Love's Labour's Lost 
 
 27S9 
 
 979 
 
 1810 
 
 157 
 
 1653 
 
 72 
 
 4-35 
 
 15 
 
 20 
 
 Much Ado about Nothing 
 
 2S29 
 
 2094 
 
 735 
 
 57 
 
 678 
 
 34 
 
 5.01 
 
 21 
 
 21 
 
 Twelfth Night 
 
 2692 
 
 1740 
 
 952 
 
 146 
 
 806 
 
 47 
 
 5.S3 
 
 22 
 
 22 
 
 Julius Casar 
 
 2480 
 
 186 
 
 2294 
 
 142 
 
 2152 
 
 126 
 
 5-85 
 
 32 
 
 23 
 
 Troilus and Cressida 
 
 3496 
 
 1195 
 
 2301 
 
 iq8 
 
 2193 
 
 132 
 
 6.01 
 
 30 
 
 24 
 
 Pericles 
 
 2391 
 
 454 
 
 1937 
 
 536 
 
 I401 
 
 106 
 
 7.56 
 
 23 
 
 25 
 
 Hamlet 
 
 3930 
 
 1174 
 
 275G 
 
 417 
 
 2339 
 
 197 
 
 8.42 
 
 26 
 
 26 
 
 Measure for Measure 
 
 2821 
 
 1151 
 
 1670 
 
 117 
 
 1553 
 
 147 
 
 9.46 
 
 27 
 
 27 
 
 Lear 
 
 3336 
 
 921 
 
 2415 
 
 244 
 
 2171 
 
 229 
 
 10.54 
 
 28 
 
 28 
 
 Timon of Athens 
 
 2373 
 
 f.So 
 
 i<393 
 
 217 
 
 147G 
 
 iGi 
 
 10.9 
 
 25 
 
 29 
 
 Othello 
 
 3317 
 
 C72 
 
 2645 
 
 206 
 
 2439 
 
 2G7 
 
 10.94 
 
 24 
 
 30 
 
 All's Well that Ends Well 
 
 29O6 
 
 14S5 
 
 1481 
 
 13^* 
 
 1345 
 
 154 
 
 11.44 
 
 29 
 
 31 
 
 Macbeth 
 
 2109 
 
 159 
 
 1950 
 
 170 
 
 1780 
 
 244 
 
 137 
 
 33 
 
 32 
 
 Coriolanus 
 
 3410 
 
 S48 
 
 2562 
 
 45 
 
 2517 
 
 389 
 
 1545 
 
 37 
 
 33 
 
 Henry VIII. 
 
 2822 
 
 82 
 
 2740 
 
 no 
 
 2630 
 
 40S 
 
 15-51 
 
 3fi 
 
 34 
 
 Tempest 
 
 2065 
 
 461 
 
 1604 
 
 15S 
 
 144G 
 
 231 
 
 15-97 
 
 35 
 
 35 
 
 Winter's Tale 
 
 3C74 
 
 887 
 
 2US7 
 
 14G 
 
 2041 
 
 332 
 
 16.26 
 
 34 
 
 3G 
 
 Cymheline 
 
 3341 
 
 507 
 
 2834 
 
 47G 
 
 235« 
 
 409 • 
 
 17-34 
 
 31 
 
 37 
 
 Antony and Cleopatra 
 
 3063 
 
 312 
 
 2751 
 
 lOI 
 
 2G50 
 
 465 
 
 1754 
 
 46 
 
354 EVENINGS WITH SHAKSPERE. 
 
 In the second division — that of the last eighteen plays — the 
 coincidences are very close. Among the plays of this division, 
 unless it be Antony and Cleopatra, there is no material difference, 
 except with those piecemeal plays, All's Well that Ends Well, 
 Pericles, and Troihis and Cressida. 
 
 If, in the joint-authorship plays, the generally-acknowledged 
 Shakspere-parts only were subjected to the test, the results might 
 be even more striking. 
 
 Bearing in mind the reservation as to the power of any one 
 metrical test mentioned at p. 349, I think it will be conceded that 
 the results given in the table are clear evidence that a test of 
 this description is of great value in determining the order of the 
 plays. 
 
 I may add that, long before I had any idea of applxing this test, 
 I had arranged the order of study recommended at pp. 18 — 19, and 
 that the order does not differ very materially from that given by 
 competent critics of the present day. 
 
 The overwhelming evidence afforded by these various verse-tests 
 is of such a character, that their most determined opponent must 
 acknowledge that in them may be found a substantial, if not essential, 
 help for the intelligent comprehension of the poet's growing powers 
 and one which no wise student can afford to despise. 
 
CHAPTER XIV. 
 H IRational IReciuirement. 
 
 Society, saith the text, is the happiness of Hfe." 
 
 Love's Laboui-'s Lost, IV. ii. 167-8. 
 
 TWICE in this century there have been in England attempts 
 at a National Shakspere Society. But neither of them 
 has been exactly what is required to popularise and foster the study 
 of Shakspere. They have both catered too exclusively for the 
 specialist, and have erred in taking for granted the existence of a 
 general intelligent admiration of the poet. The Shakespeare 
 Society founded in 1841 and the New Shakspere Society dating its 
 life from 1874 have both rendered excellent service to the student, 
 whom they have laid under a perpetual obligation for the reprints 
 they have issued. Such a Society as that which I think is required 
 might live alongside the present Shakspere Society, with whose 
 work it need not in the least interfere. As societies multiply there 
 will be required a bond of union to link them together and provide 
 means of inter-communication. The New Shakspere Society has 
 done, and is doing, something in this direction, but from its consti- 
 
 46* 
 
35^ EVENINGS WITH SHAKSPERE. 
 
 tution it is unable to effect that which is really required. For 
 supph'ing to subscribing societies copies of its papers before they 
 are issued in the occasional volumes of Transactions, and for re- 
 ceiving from such local societies papers that have been read there 
 and reading them at its own meetings, and at times printing them, 
 it deserves and should receive great credit. But a Society that is 
 to really introduce and encourage Shakspere-study among people 
 who are at present indifferent or lukewarm must be formed upon a 
 more popular basis. In the British Isles ^ the Society should be 
 called the British Shakspere Association, and it should have these 
 distinguishing features : 
 
 1. There should be a general meeting of its members once a 
 year. 
 
 This would be in accordance with the practice of many 
 other societies and congresses. The annual meeting should 
 consist of two day-meetings, at which papers could be read. 
 One of the evenings might be devoted to a conversazione, 
 including the exhibition of things of Shaksperian interest, 
 and the other to a dinner. A third day could be devoted 
 to excursions to places of suitable attraction in the neigh- 
 bourhood. 
 
 2. The President should be an annual one, being of course a local 
 person interested in the work of the Society. 
 
 3. The general members to consist of two classes : guinea sub- 
 scribers, entitled to all the privileges of the Society ; and half-guinea 
 subscribers, who could attend the annual meeting, and who would 
 receive a copy of its transactions. 
 
 ' In each country where Shakspere-Societies exist there should be a central 
 Society bringing all together. 
 
EVEMXGS WITH SIIAKSPERE. 357 
 
 4. The Society to be managed by a council consisting of repre- 
 sentatives from the branch societies forming part of the central 
 Association, and such other persons as may be thought desirable. 
 
 The meetings of this committee to be held at Stratford- 
 on-xA-von, which is fairly central. 
 
 5. The appointment of local secretaries for counties or large 
 towns or combined districts. 
 
 The business of these to be the gathering in of sub- 
 scribers and the formation of local branches — semi-inde- 
 pendent — for rational Shakspere-work. 
 
 6. The issue of a monthly Shakspere-magazine. 
 
 This, which should have existed long ago in Shakspere's 
 own country, would be of great interest, and would afford 
 an opportunity for wide circulation, not only of important 
 articles, but of small points of correspondence on Shaksperian 
 matters, direct and indirect. 
 
 7. Possibly the issue of Parallel Texts of all Quarto and F'olio 
 versions, to be published at special charges. 
 
 These are much needed. 
 
CHAPTER XV. 
 
 Cbronicle of Brents Connected) witb Sbahspeie^woit. 
 
 The abstract and brief chronicles of the time." 
 
 Hamlet, II. ii. 54S-9. 
 
 THIS chapter is not to be taken as a full record of the events 
 with which Shakspere-students should concern themselves. 
 It is literally a " brief chronicle," and is only intended to indicate 
 the salient points to which special attention must be directed. The 
 reader can easily make any additions thought desirable. Before the 
 birth of Shakspere there are many things to be considered which 
 prepared the way for the Elizabethan Drama, and after his death 
 the results of his influence must be gauged. No mention is made 
 of the entry or publication of any of Shakspere's plays. Doubtful 
 dates are printed in Italic. 
 
 1564 Birth of William Shakspere 
 
 1565 First edition of Gorhoduc 
 
 1566 Entry of Roister Doister in Stationers' Registers 
 
 1574 License to Leicester's servants 
 
 1575 Kcnilworth festivities 
 
 1576 Building of The Theatre 
 
 1577 Building of The Curtain 
 1579 Publication of Euphues 
 
 1579 Gosson's ScJiool of Abuse 
 
 1580 Lodge's Defence of Poetry 
 
EVENINGS WITH SIIAKSPERE. 
 
 359 
 
 1580 
 1582 
 1583 
 1584 
 1586 
 1587 
 1588 
 1589 
 
 1589 
 1589 
 
 1591 
 1592 
 1592 
 1592 
 1592 
 1592 
 
 1593 
 1593 
 1593 
 1594 
 159Jf 
 
 1596 
 1596 
 159G 
 1596 
 
 1597 
 1598 
 1598 
 1598 
 1598 
 1599 
 
 ters 
 
 Birth of William Herbert 
 
 William Shakspere's marriage 
 
 Formation of the Queen's servants 
 
 First edition of Campaspc 
 
 Date of Tambnrlainc 
 
 Greene's Menaphon with Nash's preface 
 
 Date of Fausttis 
 
 Commission for revising plays 
 
 Lord Mayor forbids two companies to act 
 
 Date of Friay Bacon 
 
 Henslowe manages The Rose 
 
 Daniel's Sonnets 
 
 Greene's references to Shakspere 
 
 Entry of The Spanish Tragedy in Stationers' Reg 
 
 Death of Greene 
 
 Date of Edward II. 
 
 Earliest edition of Venus and Adonis 
 
 Death of Marlowe 
 
 Theatres closed on account of plague 
 
 Shakspere acting with Lord Chamberlain's servants 
 
 Date of King David 
 
 Earliest record of Thomas Hcywood as a writer 
 
 Drayton's historical poems 
 
 Death of Peele 
 
 Institution of the Blackfriars theatre 
 
 Shakspere's purchase of New Place 
 
 Performance of Every Man in his Humour 
 
 Meres's literary references 
 
 Dekker begins writing for Henslowe 
 
 Publication of first part of Chapman's Homer 
 
 Buildmg of the Globe theatre 
 
360 EVENINGS WITH SHAKSPERE. 
 
 1600 Beaumont enters literary life 
 
 1600 Building of the Fortune theatre 
 
 1601 Webster begins writing plays 
 
 1601 Death of John Shakspere 
 
 1602 Middleton begins writing for Henslowe 
 
 1602 Date of Antonio and Mcllida 
 
 1603 Shakspere becomes one of the King's servants 
 
 1603 Acting of A Woman Killed with Kindness 
 
 1604 Company of the Children of the Revels established 
 1606 Death of Lyly 
 
 1606 Parliament limits the use of the Divine Name in plays 
 1C07 Death of Mary Shakspere 
 
 1607 Marston ceases dramatic writing 
 
 1607 Literary partnership of Beaumont and Fletcher 
 
 1008 Performance of Philaster 
 
 1609 Acting and publication of The Silent Wo)nan 
 
 1610 Entry of The Alchemist in the Stationers' Registers 
 
 161 1 Acting of The Knight of the Burning Pestle 
 
 1612 Performance of The Duchess of Malfi 
 
 161 3 Acting of A King and No King 
 
 1613 Massingcr has dealings with Henslowe 
 
 1613 Destruction of the Globe theatre 
 
 1614 Opening of the new Globe theatre 
 1616 Death of Beaumont 
 
 1616 Death of William Shnkspere 
 
INDEX 
 
 Many references, being more conveniently given in the text, are not repeated in 
 the Index. 
 
 Compound figures (e.g. 140-1) indicate the position of Reading-Table and general 
 comments on play. 
 
 Actors of Shakspere's time, 320. 
 Admiral's servants. Lord, 332. 
 Alchemist, 140-1, 343, 344. 
 Alleyn, E., 327, 334, 336. 
 Allin, R., 332. 
 
 All's Well that Ends Well, 138-9. 
 Antonio and Mcllida, 108-9. 
 Antonio's Revenge, 114-5. 
 Antony and Cleopatva, 160-3. 
 Arber, Prof., 11, 260, et passim. 
 Armin, R., 342. 
 Aspley, W., 292. 
 As You Like It, 124-5. 
 Attawel, H., 332. 
 
 Bale, Bishop, 222. 
 
 Barksted, W., 332. 
 
 Barrett, W., 301. 
 
 Baxter, R., 332. 
 
 Beaumont, F., 147, 153, 157, 191, 215. 
 
 Beauties of Shakspere, 3. 
 
 Beeston, Christopher, 338, 341. 
 
 Beeston, Robert, 341. 
 
 Benfield, R., 344. 
 
 Bibliography, Shakspere, 51. 
 
 Bird, W., 67, 334. 
 
 Biith of Merlin, 180-1. 
 
 Blackfriars theatre, 196, 327, 332. 
 Blaney, J., 332. 
 Blower, R., 285. 
 Bonian, R., 302. 
 Boydell, J., 315. 
 British Dramatists, 15. 
 Bryan, G., 336. 
 
 Bullen's reprints of Elizabethan litera- 
 ture, passim. 
 Burbage, James, 327, 340. 
 Burbage, Richard, 327, 338, 344. 
 Burby, C, 286. 
 Busby, J., 2S0. 
 Butter, N., 300. 
 
 Calendar 0/ State Papers, 41 ct passim. 
 
 Campaspe, 60-1. 
 
 Capell, E., 311. 
 
 Carey, G., 332. 
 
 Chamberlain's servants. Lord, 337. 
 
 Chapel, Children of the, 331. 
 
 Chapman, G., 167, 230. 
 
 Characterisation, Shakspere's, 38,69,107. 
 
 Chaucer, G., 125, 1G7, 185. 
 
 Chettle, H., 105, 233. 
 
 Chronicle, 358. 
 
 Clarke, S., 277. 
 
 47 
 
362 
 
 INDEX. 
 
 Cobham, Lord, 338. 
 
 Collier, J. P., 11, 315 et passim. 
 
 Comedy of Errors, 70-1. 
 
 Commission for revising plays, 325. 
 
 Condell, H., 306, 338, 342. 
 
 Contention, 65. 
 
 Cooke, A., 339. 
 
 Coriohmis, 168-9. 
 
 Cowden-Clarke, C. and M., 31G. 
 
 Cowley, R., 33S, 342- 
 
 Creede, T., 269. 
 
 Criticism, Arrangements for, 36. 
 
 Cross, S., 344. 
 
 Curtain theatre, 324. 
 
 Cymbeline, 172-3. 
 
 Daniel, S., 40, G3, 81, 163, 231. 
 
 Danter, J., 27S. 
 
 Day, John, 250. 
 
 Day, Thomas, 332. 
 
 Dekker, T., 240. 
 
 Derby's servants, Earl of, 336. 
 
 Devices, Book, 2G0. 
 
 Dewe, T., 303. 
 
 Don Quixote, 157. 
 
 Doubtful Plays of Shakespeare (Tauchnitz), 
 
 Downton, T., 334. 
 Drayton, M., 40, 77, 89, 236. 
 Dryden, J., 147. 
 Duchess of Malfi, 164-5, 343. 
 Duke, J., 338, 341. 
 Duke of Milan, 174-5. 
 Dumb-show, 89, 345. 
 Dutton, John, 340. 
 Dutton, Lawrence, 340. 
 Dyce, Rev. A., 203, 204, 206, 217, 21S, 
 316. 
 
 Ecclestone, W., 343. 
 Edward II., 76-7. 
 Edward III., 92-3. 
 Edwards, R., 2Ji 
 
 Eld, G., 291. 
 
 Elocution, 33, 43. 
 
 England's Helicon, 120. 
 
 Entertainments, Shaksperian, 53. 
 
 Essex, Earl of, 81, 105, 117. 
 
 Every Man in His Humour, 98-9, 338. 
 
 Expurgation, 32, 317. 
 
 Fa ire Em, 97, 127. 
 
 Faustus, 66-7. 
 
 Field, Nathaniel, 252, 331, 332, 344. 
 
 Field, Richard, 276. 
 
 Fisher, T., 295. 
 
 Fitton, Mary, 118. 
 
 Fleay, F. G., 6 et passim. 
 
 Fletcher, John, 97, 147, 153, 157, 183, 185, 
 
 187, 215. 
 Fletcher, Lawrence, 342. 
 Folios, The, 304. 
 Ford, J., 242. 
 
 Forman, Dr., 155, 173, 177. 
 Fortune theatre, 327. 
 Friar Bacon, 72-3. 
 Frost, J., 332. 
 Fulwell, U., 245. 
 Furnivall, F. J., 6, 121, 351. 
 
 Germany, English Actors in, 67, 75, 179. 
 
 Gilburne, S., 344. 
 
 Globe theatre, 183, 195, 327. 
 
 Gorboduc, 225. 
 
 Gosson, H., 299. 
 
 Gough, R., 344. 
 
 Greene, Robert, 73, 77, 89, 127, 133, 177, 
 
 194, 202. 
 Greene, Thomas, 341. 
 
 Hall, Bishop, 298. 
 Hall, Doctor, 196, 23S. 
 Halliwell-rhillipps, J. O., 6 ct passim. 
 Hamlet, 134-5. 
 Hanmer, Sir T., 309. 
 Harness, Rev. W., 315. 
 
INDEX. 
 
 363 
 
 Harrison, John, 267, 290. 
 
 Hathaway, Anne, 193. 
 
 Hathaway, R., 249. 
 
 Haughton, W., 247. 
 
 Helme, J., 302. 
 
 Heminge, J., 306, 336, 33S, 342. 
 
 Henry IV., Part I., 106-7. 
 
 Henry IV., Part II., iio-i. 
 
 Henry V., 116-7. 
 
 Henry VI., Part I., 62-3. 
 
 Henry VI., Part II., 64-5. 
 
 Henry VI., Part III., 6S-9, S7. 
 
 Henry VIII., 182-3. 
 
 Henslowe, P., 11 et passim. 
 
 Herbert, William, 103,' 175, 231, 306, 342. 
 
 Heyes, T., 278. 
 
 Heywood, John, 223. 
 
 Haywood, Thomas, 87, 119, 120, 123, 213, 
 
 341- 
 Historical allusions in plays, 41, 81, iii. 
 
 Hoe, J., 341. 
 Holinshed, 81, 155, 173. 
 Howard, Lord, 332. 
 Hudihras, 157. 
 Hudson, Rev. H. N., 316. 
 Hunsdon, Lord, 337. 
 
 Ireland-forgeries, 314. 
 
 Jackson, R., 294. 
 Jaggard, William, 284. 
 Jeffes, Anthony, 334. 
 Jeffes, Humphrey, 334. 
 Jeronimo, 87. 
 Jew of Malta, 101. 
 John, 94-5. 
 
 Johnson, Arthur, 298. 
 Johnson, Samuel, 311. 
 Johnson, William, 340. 
 Jones, Richard, 334. 
 Jones, William, 282. 
 
 Jonson, Ben, 99, 129, 131, 137, ML M7. 
 157, 187, 191, 206. 
 
 Juby, E., 334. 
 Julius Cesar, 130-1. 
 
 Kempe, W., 336, 338, 341. 
 
 King and No King, 152-3. 
 
 King David, 82-3. 
 
 King's servants, 342. 
 
 Knight, C, I, 2, 315. 
 
 Knight of the Burning Pestle, 15G-7. 
 
 Kyd. T., 99, 245. 
 
 Lanham, J., 340. 
 
 La we, M., 296. 
 
 Leake, W., 278. 
 
 Lear, 148-9. 
 
 Legge, Dr., 224. 
 
 Leicester, Earl of, 193, 323. 
 
 Library, A Shakspere, 44. 
 
 Ling, N., 273. 
 
 Lloyd, W. W., 315. 
 
 Locrine, 8S-9, 307. 
 
 Lodge, T., 125, 229. 
 
 London Prodigal, 126-7, l°7- 
 
 Lord Admiral's servants, 332. 
 
 Lord Chamberlain's servants, 337. 
 
 Lover's Complaint, 121. 
 
 Love's Labour's Lost, 19, 78-9, 120. 
 
 Lowin, J., 338, 343. 
 
 Lucrece, 118, 119. 
 
 Lyly, J. 61. 198. 
 
 Macbeth, 154-5. 
 
 Malone, E., 313. 
 
 Marlowe, C, 59, 67, 77, S3, 91, loi, 127, 
 
 135. 199. 342- 
 Marprelate controversy, 79, 265. 
 Marston, J., 99. 109, 115, 129, 211. 
 Marton, T., 332. 
 Massey, E., 334. 
 Massinger, P., 171, 175, 1S3, 185, 1S7. 
 
 191, 219. 
 Matthews, A., 296. 
 Measure for Measure, 144-5- 
 
 47 
 
364 
 
 INDEX. 
 
 Mcichant of Venice, loo-i. 
 
 JMeres, F., 7. 
 
 Merry Wives of Windsor, 19, 112-3. 
 
 Metrical Tests, 147, 151, 167, 169, 348. 
 
 Middleton, T., 155, 239. 
 
 Midsummer-Night's Dream, 84-5. 
 
 Millington, T., 285. 
 
 Milton, J., 83, 89, 137, 157, 163, 259, 265. 
 
 Much Ado about Nothing, 102-3. 
 
 Munday, A., 226. 
 
 Nash, T., 77, 83, 127, 133, 135, 238. 
 National Requirement, 355. 
 New Place, 195. 
 New Way to Pay Old Debts, 186-7. 
 
 Okes, N,, 294. 
 Old Style, 11. 
 Ostler, W., 332, 343. 
 Othello, 142-3, 
 
 Pallant, R., 341, 344. 
 
 Palsgrave's men, 335. 
 
 Paris Garden, 326. 
 
 Parker, J., 303. 
 
 Passionate Pilgrim, 118, 120. 
 
 Paul's, Children of, 330. 
 
 Pavier, T., 297. 
 
 Pavy, S., 332. 
 
 Peele, G., 81, 89, 93, 127, 204. 
 
 Pembroke's servants. Earl of, 194, 341. 
 
 Penn, W., 332. 
 
 Pericles, 20, 158-9. 
 
 Perkins, R., 341. 
 
 Perkyn, J., 340. 
 
 Philaster, 146-7. 
 
 Phillipps, Augustine, 81, 336, 33S, 343. 
 
 Phoenix and Turtle, 121. 
 
 Plutarch, 39, 85, 131, 151, 163, 169. 
 
 Political allusions, 41. 
 
 Pollard, T., 344. 
 
 Pope, Alexander, 308. 
 
 Pope, Thomas, 336, 338. 
 
 Porter, H., 246. 
 Purfoot, T., 282. 
 Puritan Widoic, 307. 
 
 Quartos, The, 40, 46, 254. 
 Queen's servants, 339. 
 
 Raleigh, Sir Walter, 208. 
 
 Reading, Arrangements for, 30, 57. 
 
 Revels at Court, 71. 
 
 Richard II., 80-1. 
 
 Richard III., 86-7. 
 
 Roberts, J., 267. 
 
 Robinson, R., 343. 
 
 Rolfe, W. J., 317. 
 
 Romeo and Juliet, 90-1. 
 
 Rose theatre, 326. 
 
 Rowe, Nicholas, 308. 
 
 Rowley, William, 159, 181, 251. 
 
 Rowley, Samuel, 183, 251, 334. 
 
 Rules for Society, 23. 
 
 Sackville, T., 225. 
 
 Scheme of Study, 18. 
 
 Shakspere, W.— Actor, 337, 338, 342 ; 
 
 biography, 191 ; home-life, 71, 173 ; 
 
 political views, 169 ; religion, 145 ; 
 
 spelling of name, 189; travels, 97, 
 
 155. 167. 193- 
 Shancke, J., 344. 
 Sharp, R., 344. 
 Shaw, R., 334. 
 Shirley, J., 243. 
 Short, P., 280. 
 Shorthand, 258. 
 Sidney, Sir Philip, 135. 
 Silent Woman, 136-7, 332. 
 Simmes, V., 274. 
 Sincklo, J., 343. 
 Singer, John, 334. 
 Singer, S. W., 315. 
 Sir John Oldcastle, 307. 
 Slater, M., 334. 
 
INDEX. 
 
 365 
 
 Sly. W.. 338. 342. 
 
 Smith, John, 332. 
 
 Smith, Wentworth, 251. 
 
 Smythick, J., 290. 
 
 Snodham, T., 293. 
 
 Society-rules, 23. 
 
 Society, Transactions of, 55. 
 
 Songs in the plays, 34. 
 
 Sonnets, 121, 151. 
 
 Southampton, Lord, 85, 195. 
 
 Spanish Tnigcdy, 99, 20S. 
 
 Spencer, Gabriel, 207, 334. 
 
 Spenser, Edmund, 89. 
 
 Stafford, S., 288. 
 
 Stansby, W., 287. 
 
 Stationers' Company, 261. 
 
 Stationers' Registers, 11, 261 et passim. 
 
 Staunton, H., 315, 316. 
 
 Steevens, G., 312. 
 
 Stokes, Rev. H. P., 6, 183, 315. 
 
 Strange's servants, Lord, 194, 336. 
 
 Stratford-on-Avon, 54, 357. 
 
 Sussex's servants, Earl of, 194. 
 
 Swinnerton, T., 341. 
 
 Tamhurlainc, 67. 
 
 Taming of Shreiv, 19, 96-7. 
 
 Tarleton, R., 340. 
 
 Taylor, J., 344. 
 
 Tempest, 178-9. 
 
 Theatre, The, 324. 
 
 Theatres in Shakspere's time, 324, 344. 
 
 Theobald, L., 309, 
 
 Thomas, J., 344. 
 
 Thomas, Lord Cromwell, 104-5. 
 
 Thorpe, T., 289. 
 
 Timon of Athens, 20, 150-1. 
 
 Titus Andronieus, 58-9. 
 
 Tooley, N., 343. 
 
 Tourneur, C, 151, 232. 
 
 Towne, T., 334. 
 
 Troilus and Cressida, 20, 1GG-7. 
 
 Troublesome Raigne, 95. 
 
 True Tragedy, 65, 69. 
 
 Trundell, J., 293. 
 
 Twelfth Night, 128-9. 
 
 Two Gentlemen of Verona, 74-5. 
 
 Ttvo Noble Kinsmen, 184-5. 
 
 Tylney, E., 339. 
 
 Underwood, J., 332, 343. 
 
 Valpy, A. J., 315. 
 Venus and Adonis, iii 
 Verse-tests, 147, 151, 
 Virgin-Martyr, 170-1. 
 
 [67, 169, 348. 
 
 Walkley, T., 303. 
 Walley, H., 302. 
 Warburton, Bishop, 310. 
 Warburton, John, 219. 
 Webster, J., 165, 217. 
 Whetstone, G., 245. 
 White, Edward, 269. 
 White, Richard Grant, 317. 
 White, William, 271. 
 Wilkins, G., 159, 252. 
 Wilson, R., 248, 340. 
 Wily Beguiled, 109. 
 Winter's Tale, 176-7. 
 Wise, A., 284. 
 Woman Killed with Kindness. 
 Wright, J., 299. 
 
 2-3. 34' 
 
 Yorkshire Tragedy, 132-3, 2yS, 307, 
 
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