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and of so many different natures, that nothing but a perusal of the pieces themselves can give an adequate conception of them; but amongst them are these that follow. Division of acts and scenes, they have none; Othello only excepted, which is divided into acts: entries of persons are extreamly imperfect in them, (sometimes more, sometimes fewer than the scene requires) and their Exits are very often omitted; or, when mark'd, not always in the right place; and few scenical directions are to be met with throughout the whole: speeches are frequently confounded, and given to wrong persons, either whole, or in part; and sometimes, instead of the person speaking, you have the actor who presented him: and in two of the plays, (Love's Labour's Lost, and Troilus and Cressida,) the same matter, and in nearly the same words, is set down twice in some passages; which who sees not to be only a negligence of the poet, and that but one of them ought to have been printed? But the reigning fault of all is in the measure: prose is very often printed as verse, and verse as prose; or, where rightly printed verse, that verse is not always right divided: and in all these pieces, the songs are in every particular still more corrupt than the other parts of them. These are the general and principal defects: to which if you add-transposition of words, sentences, lines, and even speeches; words omitted, and others added without reason; and a punctuation so deficient, and so often wrong, that it hardly deserves regard; you have, upon the whole, a true but melancholy picture of the condition of these first printed plays: which bad as it is, is yet better than that of those which came after; or than that of the subsequent folio im

pression of some of these which we are now speaking of.

This folio impression was sent into the world seven years after the author's death, by two of his fellow-players; and contains, besides the last mention'd fourteen, the true and genuine copies of the other six plays, and sixteen that were never publish'd before: the editors make great professions of fidelity, and some complaint of injury done to them and the author by stolen and maim'd copies; giving withal an advantageous, if just, idea of the copies which they have follow'd: but see the terms they make use of. "It had bene a thing, we confesse, worthie to have bene wished, that the author himselfe had liv'd to have set forth, and overseen his owne writings; but since it hath bin ordain'd otherwise, and he by death departed from that right, we pray you do not envie his friends, the office of their care, and paine, to have collected & publish'd them; and so to have publish'd them, as where (before) you were abus'd with diverse stolne, and surreptitious copies, maimed, and deformed by the frauds and stealthes of injurious impostors, that expos'd them: even those, are now offer'd to your view cur'd, and perfect


• There is yet extant in the books of the Stationers' Company, an entry bearing date-Feb. 12, 1624, to Messrs. Jaggard and Blount, the proprietors of this first folio, which is thus worded: "Mr. Wm. Shakespear's Comedy's History's & Tragedy's so many of the said Copy's as bee not enter'd to other men: this entry is follow'd by the titles of all those sixteen plays that were first printed in the folio: The other twenty plays (Othello, and King John, excepted; which the person who furnished this transcript, thinks he may have overlook'd,) are enter'd too in these books, under their respective years; but to whom the transcript says not.

of their limbes; and all the rest, absolute in their numbers, as he conceived them. Who, as he was a happie imitator of nature, was a most gentle expresser of it. His minde and hand went together: and what he thought, he uttered with that easinesse, that wee have scarse received from him a blot in his papers." Who now does not feel himself inclin'd to expect an accurate and good performance in the edition of these prefacers? But alas, it is nothing less for (if we except the six spurious ones, whose places were then supply'd by true and genuine copies) the editions of plays preceding the folio, are the very basis of those we have there; which are either printed from those editions, or from the copies which they made use of; and this is principally evident in" First and Second Henry IV. Love's Labour's Lost, Merchant of Venice, Midsummer-Night's Dream, Much Ado about Nothing, Richard II. Titus Andronicus, and Troilus and Cressida;" for in the others we see somewhat a greater latitude, as was observ'd a little above: but in these plays, there is an almost strict conformity between the two impressions: some additions are in the second, and some omissions; but the faults and errors of the quarto's are all preserv'd in the folio, and others added to them; and what difference there is, is generally for the worse on the side of the folio editors; which should give us but faint hopes of meeting with greater accuracy in the plays which they first publish'd; and, accordingly, we find them subject to all the imperfections that have been noted in the former: nor is their edition in general distinguish'd by any mark of preference above the earliest quarto's, but that some of their plays are divided into acts, and some others into acts and scenes; and that with due precision,

and agreeable to the author's idea of the nature of such divisions. The order of printing these plays, the way in which they are class'd, and the titles given them, being matters of some curiosity, the Table that is before the first folio is here reprinted: and to it are added marks, put between crotchets, shewing the plays that are divided; a signifying— acts, a & s-acts and scenes.

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The plays, mark'd with asterisks, are spoken of by name, in a book, call'd-Wit's Treasury, being the Second Part of Wit's Commonwealth, written by Francis Meres, at p. 282: who, in the same paragraph, mentions another play as being Shakspeare's, under the title of Loves Labours Wonne; a title that seems well adapted to All's well that ends well, and under which it might be first acted. In the paragraph immediately preceding, he speaks of his Venus and Adonis, his Lucrece, and his Sonnets: this book was printed in 1598, by P. Short, for Cuthbert Burbie ; octavo, small. The same author, at p. 283, mentions too a Richard the Third, written by Doctor Leg, author of another play, called The Destruction of Jerusalem. And there is in the Musæum, a manuscript Latin play upon the same subject, written by one Henry Lacy in 1586: which Latin play is but a weak performance; and yet seemeth to be the play spoken of by Sir John Harrington, (for the author was a Cambridge man, and of St. John's,) in this passage of his Apologie of Poetrie, prefix'd to his translation of Ariosto's Orlando, edit. 1591, fol:

and for tragedies, to omit other famous tragedies; that, that was played at S. Johns in Cambridge of Richard the 3.

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The Life and Death of King John.* [a & s.] The Life & Death of Richard the second.* [a & s.]

The First part of King Henry the fourth. [a & s.]

The Second Part of K. Henry the fourth.* [a & s.] The Life of King Henry the Fift.

The First part of King
Henry the Sixt.
The Second part of King
Hen. the Sixt.
The Third part of King
Henry the Sixt.
The Life & Death of
Richard the Third.*
[a & s.]

The Life of King Henry the Eight. [a & s.]


[Troylus and Cressida] from the second folio; omitted in the first. The Tragedy of Coriolanus. [a] Titus Andronicus.* [a.] Romeo and Juliet.* Timon of Athens. The Life and death of Julius Cæsar. [a.] The Tragedy of Macbeth. [a & s.]

The Tragedy of Hamlet. King Lear. [a & s.]

would move (I thinke) Phalaris the tyraunt, and terrifie all tyranous minded men, fro following their foolish ambitious humors, seeing how his ambition made him kill his brother, his nephews, his wife, beside infinit others; and last of all after a short and troublesome raigne, to end his miserable life, and to have his body harried after his death."

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